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Dr. Maya Angelou In Conversation with Dr. Johnnetta B. Cole - National Portrait Gallery

Creator:
National Portrait Gallery  Search this
Type:
YouTube Videos
Uploaded:
2014-05-30T20:24:07.000Z
YouTube Category:
Education  Search this
Topic:
Portraits  Search this
See more by:
NatlPortraitGallery
Data Source:
National Portrait Gallery
YouTube Channel:
NatlPortraitGallery
EDAN-URL:
edanmdm:yt_-sHTpGfPe1c

2022 National Portrait Gallery Director's Essay Prize

Creator:
National Portrait Gallery  Search this
Type:
YouTube Videos
Uploaded:
2022-09-16T18:32:01.000Z
YouTube Category:
Entertainment  Search this
Topic:
Portraits  Search this
See more by:
NatlPortraitGallery
Data Source:
National Portrait Gallery
YouTube Channel:
NatlPortraitGallery
EDAN-URL:
edanmdm:yt_9cRv4JcWMI4

Obama Portrait Unveiling at the Smithsonian’s National Portrait Gallery

Creator:
Smithsonian Institution  Search this
Type:
YouTube Videos
Uploaded:
2018-02-12T20:31:55.000Z
YouTube Category:
Education  Search this
See more by:
SmithsonianVideos
Data Source:
Smithsonian Institution
YouTube Channel:
SmithsonianVideos
EDAN-URL:
edanmdm:yt_uX8muQOfzqA

Valley House Gallery records, 1953-1979

Creator:
Valley House Gallery  Search this
Subject:
Vogel, Donald S.  Search this
Williamson, Clara McDonald  Search this
Type:
Interviews
Sound recordings
Citation:
Valley House Gallery records, 1953-1979. Archives of American Art, Smithsonian Institution.
Theme:
Art Market  Search this
Record number:
(DSI-AAA_CollID)9247
(DSI-AAA_SIRISBib)211442
AAA_collcode_vallhous
Theme:
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211442

Valley House Gallery records

Creator:
Valley House Gallery  Search this
Names:
Vogel, Donald S., 1917-2004  Search this
Williamson, Clara McDonald, 1875-1976  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Date:
1953-1979
Summary:
The records of the Valley House Gallery measure 0.6 linear feet and date from 1953 to 1979. The records document the history of the gallery through a biography on artist and gallery director Donald Vogel, a series of interviews with artist Clara Williamson on seven audio cassettes, exhibition catalogs and exhibition announcements.
Scope and Contents:
The records of the Valley House Gallery measure 0.6 linear feet and date from 1953 to 1979. The records document the history of the gallery through a biography on artist and gallery director Donald Vogel, a series of interviews with artist Clara Williamson on seven audio cassettes, exhibition catalogs and exhibition announcements.
Arrangement:
The collection is arranged into one series.

Series 1: Valley House Gallery Records, 1953-1979 (0.6 linear feet; Boxes 1-2)
Biographical / Historical:
Valley House Gallery was an art gallery in Dallas, Texas. The gallery was founded in 1951 by painter Donald S. Vogel, who was also the gallery director. The gallery was originally named the Betty McLean Gallery (1951-1954) and subsequently renamed the Valley House Gallery. The gallery exhibited 20th century European and American art.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 1685-1686) including biographical information on Texas artists; financial records; notes for an article on primitive painter Clara McDonald Williamson, and notes of an interview with her by Donald S. Vogel; exhibition catalogs and clippings on Vogel; and correspondence with Robert DeBolli, Edith Halpert, Curt Valentin, E. Yamanouchi, Al Meadows, Wildenstein & Co., M. Knoedler, and others. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Material on reels 1685-1686 lent for microfilming by Donald S. Vogel, 1979. Material on reel 1799 donated by Vogel, 1979.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- Texas
Genre/Form:
Interviews
Sound recordings
Citation:
Valley House Gallery records, 1953-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vallhous
See more items in:
Valley House Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b926f86d-c19c-4053-8318-d5e08d2e838a
EDAN-URL:
ead_collection:sova-aaa-vallhous

Valley House Gallery Records

Collection Creator:
Valley House Gallery  Search this
Extent:
0.6 Linear feet (Boxes 1-2)
Type:
Archival materials
Date:
1953-1979
Scope and Contents:
The records of the Valley House Gallery measure 0.6 linear feet and date from 1953 to 1979. The records document the history of the gallery through a biography on artist and gallery director Donald Vogel, a series of interviews with artist Clara Williamson on seven audio cassettes, exhibition catalogs and exhibition announcements.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Valley House Gallery records, 1953-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vallhous, Series 1
See more items in:
Valley House Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93533d404-44b9-4fd8-8575-a0996df180b1
EDAN-URL:
ead_component:sova-aaa-vallhous-ref7

Portrait Presentation: A Conversation with Mark Clark

Producer:
National Portrait Gallery, Smithsonian Institution  Search this
Sitter:
Mark Wayne Clark, 1 May 1896 - 17 Apr 1984  Search this
Interviewer:
Marvin Sadik  Search this
Medium:
Audio recording
Dimensions:
Duration: 31 min., 04 sec.
Type:
Time-Based Media
Date:
February 15, 1972
Topic:
Mark Wayne Clark: Male  Search this
Mark Wayne Clark: Military and Intelligence\Army\Officer\General  Search this
Mark Wayne Clark: Education and Scholarship\Administrator\College administrator\President  Search this
Mark Wayne Clark: Military and Intelligence\Army\Officer\World War II army officer  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution: Audio/Visual Special Collection
Object number:
AV.1972.EDU.1
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4f187d5b8-59c8-4463-9b8d-d8d7e58c5a22
EDAN-URL:
edanmdm:npg_AV.1972.EDU.1

Oral history interview wih Clara Diament Sujo

Interviewee:
Diament Sujo, Clara  Search this
Interviewer:
Berman, Avis  Search this
Creator:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Names:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Córdova, Arturo de, 1908-1973  Search this
D'Harnoncourt, Rene, 1901-1968  Search this
De Kooning, Willem, 1904-1997  Search this
Duchamp, Marcel, 1887-1968  Search this
Hughes, Langston, 1902-1967  Search this
Johns, Jasper, 1930-  Search this
Kuh, Katharine  Search this
Lam, Wifredo  Search this
Marisol, 1930-2016  Search this
Messer, Thomas M.  Search this
Miller, Dorothy Canning, 1904-2003  Search this
Otero Rodríguez, Alejandro  Search this
Perón, Juan Domingo, 1895-1974  Search this
Pollock, Jackson, 1912-1956  Search this
Rauschenberg, Robert, 1925-2008  Search this
Reverón, Armando, 1889-1954  Search this
Romero Brest, Jorge  Search this
Soto, Jesús Rafael, 1923-2005  Search this
Sterne, Hedda, 1910-2011  Search this
Valera, Víctor, 1927-  Search this
Extent:
98 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2010 June 8-16
Scope and Contents:
An interview of Clara Diament Sujo conducted 2010 June 8-16, by Avis Berman, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Sujo's home, in New York, New York.
Diament speaks of her childhood in Argentina; her father's early influence; working with Abbott Industries; her travels with her father as a child to Punta del Este in Urguay, and Mar del Plata; her experiences in the United States; life under Juan Perón and how political events helped shape her education; teaching in Venezuela; collecting art for the Venezuelan science museum; her views on art; the artists that she has worked with and represented; the opening of her first gallery in Venezuela; her gallery in New York City; the influence of Jorge Romero Brest; and her work with the museum network to represent Latin American artists. She recalls Katharine Kuh, Jackson Pollock, Willem de Kooning, Richard Wright, Langston Hughes, Jesus Rafael Soto, Arturo de Cordova, Alejandro Otero, Victor Valera, Armando Reverón, Mercedes Pardo, Wilfredo Lam, Alfred Barr, Rene d'Harnoncourt, Dorothy Miller, Thomas Messer, Marcel Duchamp, Hedda Sterne, Robert Rauschenberg, Jasper Johns, Marisol Escobar, and others.
Biographical / Historical:
Clara Diament Sujo (1921-) is an Argentinian born owner and director of CDS Gallery in New York, New York. Avis Berman (1949-) is a scholar in New York, New York.
General:
Originally recorded on 1 compact disc. Reformatted in 2010 as 3 digital wav files. Duration is 5 hr., 10 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Gallery owners -- New York (State) -- New York  Search this
Gallery directors -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Collectors -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting  Search this
Latino and Latin American artists  Search this
Women art dealers  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.diamen10
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96d7f23a5-df3f-460a-9e75-6c53a343b5e5
EDAN-URL:
ead_collection:sova-aaa-diamen10
Online Media:

Helen Williams Drutt (English) exhibition posters on American craft

Creator:
Drutt, Helen Williams  Search this
Extent:
1.7 Linear feet
1 rd
Type:
Collection descriptions
Archival materials
Date:
circa 1960-2010
Scope and Contents:
Rare exhibition posters compiled by Drutt from a variety of galleries and artists, mostly concerning American craft. Many posters are signed and annotated by the artist.
Biographical / Historical:
Helen Williams Drutt (English) (1930- ) is an art dealer and gallery director of the Helen Drutt gallery Philadelphia, Pa., specializing in American craft. Known as Helen Drutt or Helen Williams Drutt and later Helen Williams Drutt English.
Provenance:
Donated 2010 by Helen Williams Drutt English.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Art dealers -- Pennsylvania -- Philadelphia  Search this
Gallery directors -- Pennsylvania -- Philadelphia  Search this
Topic:
Art, American  Search this
Identifier:
AAA.druthele
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw903d7b767-d450-4f22-a10a-d9f92510e4ea
EDAN-URL:
ead_collection:sova-aaa-druthele

Chaim and Dorothy Koppelman papers, circa 1930s-2006, bulk 1942-2005

Creator:
Koppelman, Chaim, 1920-  Search this
Subject:
Stamos, Theodoros  Search this
Anuszkiewicz, Richard  Search this
Dienes, Sari  Search this
Herz, Nat  Search this
Kandinsky, Wassily  Search this
Koppelman, Dorothy  Search this
Kranz, Sheldon  Search this
Lichtenstein, Roy  Search this
Ozenfant, Amédée  Search this
Pond, Clayton  Search this
Rebay, Hilla  Search this
Picasso, Pablo  Search this
Siegel, Eli  Search this
Solomon R. Guggenheim Foundation  Search this
Terrain Gallery  Search this
Audubon Artists (New York, N.Y.)  Search this
Associated American Artists  Search this
American Federation of Arts  Search this
DeCordova and Dana Museum and Park  Search this
Pratt Graphics Center  Search this
Print Council of America  Search this
School of Visual Arts (New York, N.Y.)  Search this
Type:
Illustrated letters
Sketchbooks
Photographs
Sound recordings
Scrapbooks
Sketches
Citation:
Chaim and Dorothy Koppelman papers, circa 1930s-2006, bulk 1942-2005. Archives of American Art, Smithsonian Institution.
Topic:
Artists' studios  Search this
Gallery owners -- New York (State) -- New York  Search this
World War, 1939-1945  Search this
Art -- Study and teaching  Search this
Prints -- Technique  Search this
Printmakers -- New York (State) -- New York  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)13589
(DSI-AAA_SIRISBib)268639
AAA_collcode_koppchai
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_268639
Online Media:

Baxter Art Gallery records

Creator:
Baxter Art Gallery  Search this
Names:
California Institute of Technology  Search this
Pasadena Gallery of Contemporary Arts  Search this
Belloli, Jay  Search this
Schwartz, Lillian  Search this
Smith, David R. (David Rodman), 1923-  Search this
Extent:
17 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1962-1997
Summary:
The records of the Baxter Art Gallery measure 17 linear feet and date from 1962 to 1997. The collection documents the activities of the gallery founded by Professor David Smith in 1971 on the campus of the California Institute of Technology in Pasadena, California. Documentation includes administrative records, business correspondence, programs and events, exhibition files, and printed material, as well as three films by artist Lillian Schwartz shown at the gallery. The bulk of the collection (9.7 linear feet) consists of Exhibition Files, which document nearly every exhibition held at the gallery from 1971 to 1985. Of note are detailed records regarding "25 Years of Space Photography," the last exhibition held at Baxter Art Gallery in 1985 which toured internationally through 1997. Also included are records of the Pasadena Gallery of Contemporary Arts, which was founded by former director Jay Belloli after Baxter Art Gallery closed.
Scope and Contents:
The records of the Baxter Art Gallery measure 17 linear feet and date from 1962 to 1997. The collection documents the activities of the gallery founded by Professor David Smith in 1971 on the campus of the California Institute of Technology in Pasadena, California. Documentation includes administrative records, business correspondence, programs and events, exhibition files, and printed material, as well as three films by artist Lillian Schwartz shown at the gallery. The bulk of the collection (9.7 linear feet) consists of Exhibition Files, which document nearly every exhibition held at the gallery from 1971 to 1985. Of note are detailed records regarding "25 Years of Space Photography," the last exhibition held at Baxter Art Gallery in 1985 which toured internationally through 1997. Also included are records of the Pasadena Gallery of Contemporary Arts, which was founded by former director Jay Belloli after Baxter Art Gallery closed.
Arrangement:
The collection is arranged as 7 series.

Series 1: Administrative Records, 1970-1987 (Boxes 1-4, Box 21; 3.4 linear feet)

Series 2: Business Correspondence, 1969-1988 (Box 4, Box 21; 0.5 linear feet)

Series 3: Programs and Events, 1971-1986 (Boxes 4-5, Box 21; 0.5 linear feet)

Series 4: Exhibition Files, 1968-1997 (Boxes 5-14, Box 21, FC 17; 9.7 linear feet)

Series 5: Printed Material, 1962-1989 (Box 14, Box 21, OV 16, OV 23; 0.7 linear feet)

Series 6: Pasadena Gallery of Contemporary Arts Records, 1981-1990 (Boxes 14-15, Boxes 21-22, OV 23; 1.6 linear feet)

Series 7: Motion Picture Film, circa 1970, circa 1975 (FC 18-20; 0.4 linear feet)
Biographical / Historical:
Baxter Art Gallery (1971-1985) was an art exhibition space at the California Institute of Technology in Pasadena, California founded by Professor David Smith.

David R. Smith, professor of Literature, established an exhibition program for Caltech in 1968 as part of the Institute Programs Committee. In 1971 Baxter Art Gallery was formally established as part of the new Donald E. Baxter Hall of the Humanities and Social Sciences. The majority of the exhibitions focused on contemporary art, with a special interest in Southern California artists and art and technology. David Smith became the first gallery director. After years of struggling to find funding for exhibitions, in 1977 the gallery received sponsorship from the Pasadena Art Alliance. The establishment of Friends of the Baxter Art Gallery around this time allowed for more educational programs around the exhibitions, such as lectures, informal talks, films, tours, and performances.

Michael H. Smith served as director from 1977 to 1982, followed by Jay Belloli, director from 1982 to 1985. In 1984 the closing of the gallery was announced, despite outcry from faculty and the public. The last exhibition "25 Years of Space Photography" was held at the gallery from May 22 to September 2, 1985. That exhibition continued to tour internationally to over 50 museums under the curatorship of Jay Belloli.

After Baxter Art Gallery closed Belloli established the Pasadena Gallery of Contemporary Arts and worked to find a new exhibition space. This gallery in collaboration with the Pasadena Arts Workshop became the Armory Center for the Arts in 1989 and Belloli served as Director of Gallery Programs.
Provenance:
The records were donated in 1986 by the Baxter Art Gallery via David Smith and Jay Belloli, Directors, and in 1991 by David Grether, chair of the Division of Humanities at the California Institute of Technology. Additional records were donated in 2011 and 2019 by Jay Belloli.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Motion pictures (visual works)  Search this
Space photography  Search this
Function:
Art galleries, University and college -- California
Citation:
Baxter Art Gallery records, 1962-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.baxtart
See more items in:
Baxter Art Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92ed49ae7-3a0b-41ef-b06c-78185ad17790
EDAN-URL:
ead_collection:sova-aaa-baxtart
Online Media:

Chaim and Dorothy Koppelman papers

Creator:
Koppelman, Chaim, 1920-2009  Search this
Names:
American Federation of Arts  Search this
Associated American Artists  Search this
Audubon Artists (New York, N.Y.)  Search this
DeCordova and Dana Museum and Park  Search this
Pratt Graphics Center  Search this
Print Council of America  Search this
School of Visual Arts (New York, N.Y.)  Search this
Solomon R. Guggenheim Foundation  Search this
Terrain Gallery  Search this
Anuszkiewicz, Richard  Search this
Dienes, Sari  Search this
Herz, Nat, 1920-1964  Search this
Kandinsky, Wassily, 1866-1944  Search this
Koppelman, Dorothy  Search this
Kranz, Sheldon  Search this
Lichtenstein, Roy, 1923-1997  Search this
Ozenfant, Amédée, 1886-1966  Search this
Picasso, Pablo, 1881-1973  Search this
Pond, Clayton, 1941-  Search this
Rebay, Hilla, 1890-1967  Search this
Siegel, Eli, 1902-  Search this
Stamos, Theodoros, 1922-1997  Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Illustrated letters
Sketchbooks
Photographs
Sound recordings
Scrapbooks
Sketches
Date:
circa 1930s-2006
bulk 1942-2005
Summary:
The papers of Chaim and Dorothy Koppelman measure 4.0 linear feet and date from circa 1930s-2006, bulk 1942-2005. The collection documents the activities of Chaim Koppelman and his wife, Dorothy Koppelman, as artists and educators, and their affiliation with the Terrain Gallery and the Aesthetic Realism Foundation. Materials include biographical material, correspondence, writings and notes, subject files, teaching files, exhibition files, personal business records, scrapbooks, printed material, sketches, sketchbooks, and photographs.
Scope and Content Note:
The papers of Chaim and Dorothy Koppelman measure 4.0 linear feet and date from circa 1930s-2006, bulk 1942-2005. The collection documents the activities of Chaim Koppelman and his wife, Dorothy Koppelman, as artists and educators, and their affiliation with the Terrain Gallery and the Aesthetic Realism Foundation. Materials include biographical material, correspondence, writings and notes, subject files, teaching files, exhibition files, personal business records, scrapbooks, printed material, sketches, sketchbooks, and photographs.

Scattered biographical material includes resumes, artist's statements, copies of entries in Who's Who directories, and miscellaneous items.

Correspondence includes personal correspondence and general correspondence. Personal correspondence mostly consists of Chaim Koppelman's letters written to Dorothy while he was serving in the U.S. Army during World War II. He describes his daily activities, observations on army life, and his travels while stationed in England, France, and Germany. Of interest is Chaim Koppelman's letter to Dorothy describing his meeting Picasso and visiting the artist's studio. Personal correspondence also includes Chaim and Dorothy Koppelman's letters with family and friends. Notable correspondents include Sari Dienes, Nat Herz, Sheldon Kranz, Amédée Ozenfant, Hilla Rebay, and Theodoros Stamos. Hilla Rebay's letters to Chaim Koppelman discuss museum-related activities at the Solomon R. Guggenheim Foundation, including the Guggenheim's memorial exhibition for Wassily Kandinsky. There is also a file of letters from Eli Siegel to Chaim Koppelman. General correspondence includes mostly incoming letters to Chaim Koppelman from collectors, colleagues, students, and arts institutions. Frequent correspondents include: Associated American Artists, American Federation of the Arts, Audubon Artists, DeCordova and Dana Museum and Park, Pratt Graphics Center and Print Council of America.

Writings and notes contain annotated typescripts and handwritten drafts by Chaim and Dorothy Koppelman. Chaim Koppelman's writings include essays and talks on art, artists, and printmaking based on Aesthetic Realism; also found are some poems. Dorothy Koppelman's writings consist of artist's statements and essay-length pieces that were prepared for Aesthetic Realism talks on the work and lives of artists, held at the Terrain Gallery of the Aesthetic Realism Foundation and other venues. Also found is a sound recording of Chaim Koppelman's 1968 conversation with Richard Anuszkiewicz, Roy Lichtenstein, and Clayton Pond; the artists discuss the influence of the Siegel Theory of Opposites on their work.

Subject files document the activities, projects, and professional affiliations of Chaim and Dorothy Koppelman. Included are materials on exhibitions, applications for fellowships and grants, awards, drafts of writings, donations and acquisitions of artwork by museums. Teaching files provide an overview of the faculty positions held by Chaim and Dorothy Koppelman over the course of their careers. Found are extensive files on Chaim Koppelman's tenure at the School of Visual Arts. Exhibition files chronicle the Koppelmans' solo and group shows at the Terrain and other venues; substantive files contain Chaim Koppelman's correspondence with museums and arts institutions and sales information.

Two scrapbooks contain exhibition-related materials, such as artists' statements, press releases, awards, printed material, and photographs of artwork. Artwork includes sketches and illustrated letters by Chaim Koppelman. There are twenty annotated sketchbooks by Chaim Koppelman and a sketchbook by Dorothy Koppelman. Photographs and snapshots are of Chaim and Dorothy Koppelman; many of the snapshots of Chaim Koppelman and others document his army service while stationed in the United States and Europe. Four photograph albums include black and white photographs of Chaim and Dorothy Koppelman in their studio; included are snapshots of the Koppelmans with family and friends at exhibition openings, gatherings, and on their travels. There are photographs of Regina Dienes, Gerson Lieber, Bernard Olshan, Joseph Solman, and Theodoros Stamos.
Arrangement:
The collection is arranged as 12 series:

Missing Title

Series 1: Biographical Material, 1940-2001 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1942-2003 (Box 1; 0.6 linear feet)

Series 3: Writings and Notes, 1930s-1989, 2005 (Box 1; 0.2 linear feet)

Series 4: Subject Files, 1942-2004 (Boxes 1-2; 0.8 linear feet)

Series 5: Teaching Files, 1940s-2006 (Box 2; 0.4 linear feet)

Series 6: Exhibition Files, 1940s-2005 (Boxes 2-3; 0.6 linear feet)

Series 7: Personal Business Records, 1944-1969 (Box 3; 3 folders)

Series 8: Scrapbooks, 1942-2003 (Box 3; 2 folders)

Series 9: Printed Material, 1937-1971, 2004 (Box 3; 0.25 linear feet)

Series 10: Artwork, 1933-1949, 1980-2000 (Box 3; 3 folders)

Series 11: Sketchbooks, 1944-2005 (Boxes 3-4; 0.8 linear feet)

Series 12: Photographs, 1930-circa 2004 (Box 4; 0.25 linear feet)
Biographical Note:
Chaim Koppelman (1920-2009) lived and worked in New York as a printmaker, educator, and Aesthetic Realism consultant. Painter, gallery director, Aesthetic Realism consultant, and educator Dorothy Koppelman (1920-) resides and works in New York City.

Chaim Koppelman was born in Brooklyn in 1920. Koppelman studied at the American Artists School with Carl Holty and at the Art Students League with Jose De Creeft and Will Barnet. Simultaneously, he began to study in classes taught by Eli Siegel, critic, poet, and founder of the philosophy Aesthetic Realism. In 1942, Koppelman was drafted in the U.S. Army. Before going overseas in 1943, he married Dorothy Myers. In the army, Koppelman continued his studies in painting and sculpture, where he attended the Art College in Western England, Bristol, and the Beaux Arts School in Reims, France. Chaim Koppelman took part in the Normandy invasion and was awarded the Bronze Star for his service.

After Koppelman returned to New York in 1944, he studied at the Amédée Ozenfant School, where he eventually became Ozenfant's assistant. Around this time, Koppelman turned from painting and sculpture to printmaking. In 1955, Chaim Koppelman, his wife, Dorothy, and other artists and poets studying Aesthetic Realism established the Terrain Gallery. For many years, Koppelman was the head of the gallery's Print Division and then later became an advisory director.

Chaim Koppelman held a number of teaching positions in universities and arts institutions. He lectured at Brooklyn College, the Art Education Department from 1950-1960. In 1959, Koppelman founded the Printmaking Division at the School of Visual Arts, where he served on the school's faculty until 2007. At the Aesthetic Realism Foundation, he taught artists how to relate their artwork and their everyday lives. He wrote: "After having tested his aesthetic concepts in literally thousands of works of different periods, in different styles, in different media, I say that Eli Siegel's Theory of Opposites is the key to what is good or beautiful in art….When Eli Siegel showed that what makes a work of art beautiful—the oneness of opposites—is the same as what every individual wants, it was one of the mightiest and kindest achievements of man's mind."

Among the awards Chaim Koppelman received were: two Tiffany Grants, 1956, 1959; New York Artists Equity Annual Awards Honoring Will Barnet, Robert Blackburn, Chaim Koppelman, 1992; and the Purchase Prize, Art Students League in 2005. Koppelman was a member of the National Academy and a member of the Society of American Graphic Artists (SAGA). In 2004, SAGA presented him with the Lifetime Achievement Award. In addition to his solo and group exhibitions at the Terrain Gallery, Chaim Koppelman's work was featured at the Beatrice Conde Gallery, International Print Center (New York), Library of Congress, and Minneapolis Institute of Arts. His prints are in the collections of the Guggenheim Museum, Museum of Modern Art (New York), Metropolitan Museum of Art, Victoria and Albert Museum in London, and the National Gallery.

In December 2009, Koppelman died at age 89 in New York City.

Born in 1920, Dorothy Koppelman attended Brooklyn College, the Art Students League, and American Artists School where she trained under Joseph Solman. During this time, she began to study poetry, and the relation of art and the self in classes with Eli Siegel, the founder of Aesthetic Realism.

Dorothy Koppelman has had a number of solo and group exhibitions at the Terrain Gallery. She has also shown her paintings at the Atlantic Gallery, Art Gallery of Binghamton, New York, Beatrice Conde Gallery, the Broome Street Gallery, and at MoMA, Brooklyn Museum, Newark Museum, the Whitney Biennial 2006 Peace Tower, the National Academy, and the Butler Art Institute.

Dorothy Koppelman has served on the faculty at several arts institutions: the National Academy, Brooklyn College School of Education, and the School of Visual Arts. She has given presentations on Aesthetic Realism at the Fondazione Piero della Francesa in Italy, and with Carrie Wilson at the 31st World Congress of the International Society for Education through Art (InSEA). On August 16, 2002, in a talk given on Eli Siegel Day in Baltimore, she said, "Eli Siegel explained the true meaning of art for our lives. No one—no scholar, no artist, no person—in all the centuries ever saw this before: that we can learn about ourselves from the very technique of art!...He showed that far from being in a separate world, art has the answer to the trouble in this one."

She is a member of several professional organizations including the American Society of Contemporary Artists and New York Artists Equity. She has received an Honorable Mention from the Brooklyn Society of Artists, 1957; a Tiffany Grant for painting, 1965; and awards from the American Society of Contemporary Artists, 1996, 1999. Dorothy Koppelman's work has been included in the collections of Hampton University, Virginia; Rosenzweig Museum, Durham, North Carolina; New-York Historical Society; Yale University; the National Museum of Women in the Arts, as well as other institutions.

Dorothy Koppelman lives in New York City. She is a consultant on the faculty of the Aesthetic Realism Foundation, where she also teaches the Critical Inquiry, a workshop for artists. She serves on the Board of Directors of the Aesthetic Realism Foundation, and is President of the Eli Siegel/Martha Baird Foundation. She continues her study in classes with Ellen Reiss, Aesthetic Realism Chairman of Education.
Related Materials:
The Archives of American Art also holds the Terrain Gallery records of which Dorothy Koppelman is the director.
Provenance:
The collection was donated by Chaim and Dorothy Koppelman in 2006.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Artists' studios  Search this
Gallery owners -- New York (State) -- New York  Search this
World War, 1939-1945  Search this
Art -- Study and teaching  Search this
Prints -- Technique  Search this
Printmakers -- New York (State) -- New York  Search this
Genre/Form:
Illustrated letters
Sketchbooks
Photographs
Sound recordings
Scrapbooks
Sketches
Citation:
Chaim and Dorothy Koppelman papers, circa 1930s-2006, bulk 1942-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.koppchai
See more items in:
Chaim and Dorothy Koppelman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw988e54036-6f92-4d0d-89e9-c638ba3bf216
EDAN-URL:
ead_collection:sova-aaa-koppchai
Online Media:

Richard York Gallery records

Creator:
Richard York Gallery  Search this
Names:
Art Dealers Association of America  Search this
De Forest, Lockwood, 1850-1932  Search this
Goldyne, Joseph R.  Search this
Hale, Ellen Day, 1855-1940  Search this
Hill, J. W. (John William), 1812-1879  Search this
Hill, John Henry, 1839-1922  Search this
Hornby, Lester George, 1882-1956  Search this
Lozowick, Louis, 1892-1973  Search this
Lucioni, Luigi, 1900-1988  Search this
MacRae, Emma Fordyce, 1887-1974  Search this
Mapplethorpe, Robert  Search this
Marin, John, 1870-1953  Search this
Marin, John, Jr., 1915?-1988  Search this
Smith, Houghton Cranford, 1887-1983  Search this
Stella, Joseph, 1877-1946  Search this
Stevens, Will Henry, 1881-1949  Search this
Wheeler, Steve, 1912-1992  Search this
York, Richard  Search this
Extent:
87.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
circa 1865-2008
bulk 1981-2004
Summary:
The records of the Richard York Gallery, a New York gallery specializing in American art from early 1800s to 1950, measure 87.5 linear feet and date from circa 1865-2005, with the bulk of the material dating from 1981 to 2004. The collection contains artists' artwork files, documenting the sale and consignment of nearly 6,500 works of art. The gallery's activities are also recorded through correspondence, artists' files, client files, gallery invoices, inventories, business and financial records, printed materials, scrapbooks, photographic materials of artwork, and estate records for the John Marin estate and Sergio Stella estate (Joseph Stella).
Scope and Content Note:
The records of the Richard York Gallery, a New York gallery specializing in American art from early 1800s to 1950, measure 87.5 linear feet and date from circa 1865-2005, with the bulk of the material dating from 1981 to 2004. The bulk of the records are artists' artwork files, documenting the sale and consignment of nearly 6,500 works of art. The gallery's activities are also recorded through correspondence, artists' files, client files, gallery invoices, inventories, business and financial records, printed materials, scrapbooks, photographic materials of artwork, and estate records for the John Marin estate and Sergio Stella estate (Joseph Stella).

Correspondence includes both incoming and outgoing correspondence with collectors, clients, galleries and museums, primarily regarding appraisals, consignments, exhibitions, general inquiries, loans, and sales. Also found are scattered transactional records, information sheets for artwork, and photographic materials. Correspondence from the mid-late 1980s is poorly represented.

The sale and consignment of nearly 6,500 pieces of artwork at the Richard York Gallery are documented through transactional records, photographic materials, correspondence, and scattered printed materials found in the Artists' Artwork Files. Artists for which there are significant quantities of materials (over 50 folders) include Joseph Goldyne, Ellen Day Hale, John Henry Hill, John William Hill, Lester George Hornby, Louis Lozowick, Luigi Lucioni, Emma Fordyce MacRae, John Marin, Joseph Stella, William Henry Stevens, and Steve Wheeler. Also included are the files of the Richard York photography collection, which contained works by Robert Mapplethorpe.

Similar to the Artists' Artwork Files, Client Files document the sale and consignment of artwork, but are arranged by artist's and client's name. Materials found are primarily from the early 1990s and include correspondence, notes, photographic materials, photocopied client information cards, and printed materials.

The Richard York Gallery represented the John Marin estate and the Sergio Stella estate (Joseph Stella). The records of the John Marin estate are primarily artwork in-take sheets from 1998 and inventory lists from 2001. The Sergio Stella Estate records include correspondence, inventories of artwork by Joseph Stella, and some photographic materials.

Sales and inventory records contain a nearly complete set of gallery invoices from 1995-2000, and 2004. Inventories includes gallery inventory lists, and inventory cards of sold artwork from 1981-1997 (bulk 1981-1991).

The business and financial records include accounting records, bank deposit records, corporate records, index cards for contacts, invoices for gallery expenses, materials related to Richard York's involvement in the ADAA, mailing lists, records of payments to consignors, receipts, shipping records, and tax records. The gallery migrated from paper records to Artbase, an artwork management system, around 2000-2002. Included are two CDs of database data and digital images from Artbase, as well as inventories of the digital file names.

Printed materials contain advertising tear sheets from 1998-2002, exhibition catalogs, magazine and newspaper clippings of reviews and announcements, and other miscellaneous printed materials. Printed materials are also found in eight scrapbooks which document the activities of the Richard York Gallery, Richard York, and the gallery's exhibitions from 1981-2002. Materials in the scrapbooks include clippings, correspondence, photographs, exhibition catalogs, announcements, and invitations.

Photographic materials includes color photographs, transparencies, digital prints, and scattered printed materials, as well as over 600 slides of artwork, primarily works of art which were sold or consigned by the gallery. Artists for which there is significant volume of transparencies include Houghton Cranford Smith and Lockwood de Forest, Sr.

Artists' files consist mostly of photocopied newspaper and magazine clippings, writings about the artist, and exhibition catalogs. Some original copies of printed material, correspondence with collectors, curators, and gallerists, photographic materials, artwork records, and some exhibition records are also present.
Arrangement:
The collection is arranged as 10 series:

Missing Title

Series 1: Correspondence, 1975-2005 (Boxes 1-7, 81; 6.4 linear feet)

Series 2: Artists' Artwork Files, circa 1865-2004 (Boxes 7-64; 56.85 linear feet)

Series 3: Client Files, 1965, circa 1981-circa 2004 (Box 64; 0.5 linear feet)

Series 4: Estate Records, 1983-circa 2004 (Boxes 64-65; 1.0 linear feet)

Series 5: Sales and Inventory Records, 1977-2004 (Boxes 65-70; 5.0 linear feet)

Series 6: Business and Financial Records, 1974-2005 (Boxes 70-77, 81; 6.25 linear feet)

Series 7: Printed Materials, 1980-2004 (Boxes 77-78; 1.1 linear feet)

Series 8: Scrapbooks, 1981-2002 (Boxes 78, 80; 1.0 linear feet)

Series 9: Photographic Materials, 1977-2004 (Boxes 78-79; 1.2 linear feet)

Series 10: Artists' Files, 1922-2008 (Boxes 81-89; 8 linear feet)
Historical Note:
Richard T. York (circa 1950-2003) opened his eponymous gallery in the spring of 1981 on East 65th Street in New York City. Specializing in American painting and sculpture from early 1800s to 1950, the Richard York Gallery dealt in the artwork of hundreds of artists including Albert Bierstadt, Charles Demuth, Arthur Dove, Lockwood de Forest, John Graham, Georgia O'Keeffe, John Singer Sargent, Charles Sheeler, and Steve Wheeler. It also represented the estates of artists John Marin and Joseph Stella.

Richard York passed away in April 2003, and the gallery closed in May 2004.
Provenance:
The Richard York Gallery records were donated to the Archives of American Art in 2006 by Kevin Scott, the executor of Richard York's estate; and in 2015 by Lisa Bush Hankin, former gallery director.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, American  Search this
Art -- Economic aspects  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Scrapbooks
Photographs
Citation:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.richyorg
See more items in:
Richard York Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9840d344b-113b-4019-9b6b-8327b4395bb0
EDAN-URL:
ead_collection:sova-aaa-richyorg
Online Media:

General

Collection Creator:
Arquin, Florence  Search this
Container:
Box 1, Folder 17-18
Type:
Archival materials
Date:
1940-1973
Scope and Contents:
Includes photocopies of letters from Diego Rivera and Frida Kahlo.
Collection Restrictions:
The Florence Arquin papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Florence Arquin papers, 1923-1985. Archives of American Art, Smithsonian Institution.
See more items in:
Florence Arquin papers
Florence Arquin papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fadc0cd5-4f79-48de-b8fa-a09b8a09b1ad
EDAN-URL:
ead_component:sova-aaa-arquflor-ref25
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Online Media:

Stable Gallery records

Creator:
Stable Gallery  Search this
Names:
New York School of poets and painters  Search this
Groh, Alan, 1923-1996  Search this
Scull, Robert, 1917-1986 -- Art collections  Search this
Ward, Eleanor, 1912-1984  Search this
Extent:
2.9 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Video recordings
Sketchbooks
Sound recordings
Photographs
Date:
1916-1999
bulk 1953-1970
Summary:
The Stable Gallery records measure 2.9 linear feet and are dated 1916-1999 (bulk 1953-1970). The gallery was known for its representation of the New York School. Records consist mainly of artist files containing biographical notes, correspondence, price lists, sales and payment information, printed matter, and photographs. A small number of gallery administrative and financial records are included, along with printed matter, photographs, and personal papers and estate records of gallery founder and owner Eleanor Ward. There are also reminiscences by gallery owner Eleanor Ward and her assistant Alan Groh, a sound cassette recording of Eleanor Ward, and a videoreel (1/2 inch) documentary of a 1973 Sotheby auction of works from the Robert C. Scull collection.
Scope and Content Note:
The Stable Gallery records measure 2.9 linear feet and are dated 1916-1999 (bulk 1953-1970). The gallery was known for its representation of the New York School. Records consist mainly of artist files containing biographical notes, correspondence, price lists, sales and payment information, printed matter, and photographs. A small number of gallery administrative and financial records are included, along with printed matter, photographs, personal papers, and estate records of gallery founder and owner Eleanor Ward. There are also reminiscences by gallery owner Eleanor Ward and her assistant Alan Groh, a sound cassette recording of Eleanor Ward, and a videoreel (1/2 inch) documentary of a 1973 Sotheby auction of works from the Robert C. Scull collection.

The Stable Gallery's administrative records includes both general correspondence and copious letters from Eleanor Ward to Alan Groh, her assitant regarding gallery business, lists, floor plans, financial records, printed matter, and photographs of unidentified artwork and exhibition installations. There are also reminiscences by gallery owner Eleanor Ward and Alan Groh, a cassette recording of Eleanor Ward, and a film recording of a 1973 Sotheby auction of works from the Robert C. Scull collection. Additional Stable Gallery administrative and financial information, as well as related printed matter is included with the artist files.

Artist files contain biographical notes, correspondence, price lists, printed matter, and photographs of artists and artwork. The correspondence includes memoranda regarding payments to artists and sales information. Among the printed matter is documentation of the Stable Gallery and other exhibitions, reviews, and miscellaneous articles. Unfortunately, no records about the famous Stable Annuals held between 1953 and 1957 survive.

Artwork consists of 4 sketchbooks and loose sheets with charcoal drawings by unidentified artist(s).

The Eleanor Ward papers include miscellaneous personal papers and records concerning her estate. Photographs in the series are of Eleanor Ward, friends and family, parties, and the interior and exterior of Ward's Connecticut house.
Arrangement:
The collection is arranged as four series:

Missing Title

Series 1: Administrative Records, 1955-1986 (0.5 linear feet; Boxes 1, 4, 5)

Series 2: Artist Files, 1952-1997 (1.6 linear feet; Boxes 1-2)

Series 3: Artwork, circa 1955-1970 (3 folders; Box 4)

Series 4: Eleanor Ward Papers, 1916-1999 (0.5 linear feet; Boxes 2-4, 5)
Historical Note:
Established in 1953 by Eleanor Ward (1911-1984), the Stable Gallery derived its name from its first home, a former livery stable on Seventh Avenue at West 58th Street, New York City. Long interested in art and recognized for her "good taste" and "flair," Mrs. Ward had vaguely considered the idea of opening her own gallery for some time and received encouragement from Christian Dior, with whom she had worked in Paris. In 1952, opportunity arose to lease a suitable building that would later become a gallery. At first, Ward and a friend sold mannequins and made the large, empty space available for fashion photography; in December, she operated a Christmas boutique for a few weeks.

The Stable Gallery opened in 1953 with an exhibition of work by Ward's friend Mike Mishke, a commercial artist. She then arranged for the Stable Gallery to host a sequel to the 1951 Ninth Street Show (the initial show, organized by the Club with financial assistance from Leo Castelli, was held in an empty store on Ninth Street). The New York Artists Annual, better known as the Stable Annual, was selected by the artists themselves; this well-attended, widely-reviewed, and influential exhibition continued until 1957. Participating artists included Philip Guston, Franz Kline, Willem deKooning, Robert Motherwell, Jackson Pollock, Robert Rauschenberg, Ad Reinhardt, Richard Stankiewicz, and Jack Tworkov.

The Stable Gallery soon became a gathering place for artists, including some not in Stable's "stable." Over the years, the Stable Gallery presented the first one-man shows of Robert Indiana, Cy Twombly, and Andy Warhol. Among the artists closely associated with the gallery were: Joseph Cornell, Edward Dugmore, John Ferren, Alex Katz, Conrad Marca-Relli, Marisol, Joan Mitchell, Isamu Noguchi, Richard Stankiewicz, Cy Twombly, Jack Tworkov, and Wilfred Zogbaum. The gallery was known for dramatic, somewhat theatrical installations, and occasionally presented exhibitions beyond its usual focus (photographs by Hans Namuth and pre-Columbian sculpture, which personally interested Ward).

When the block where the Stable Gallery stood was razed in 1960 to make way for a high rise apartment building, Mrs. Ward moved her gallery to 33 East 74th Street, where she was able to maintain an apartment for herself upstairs. Quite abruptly, Ward closed the Stable Gallery in 1970, noting changes in the art scene, growing commercialization, and a loss of enthusiasm that made the gallery merely a business for her. Alan Groh (1923-1996), who started as Eleanor Ward's assistant in 1956 and was eventually named gallery director, became director of A. M. Sachs Gallery. Mrs. Ward traveled widely and acted as an art consultant to selected clients.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Eleanor Ward conducted by Paul Cummings, February 8, 1972.
Provenance:
The Stable Gallery records were the gift of the Estate of Eleanor Ward. In 1984, artist files were received from Alan Groh, executor of Ward's estate and her assistant at the Stable Gallery. Additional records were donated in 1997 by Buzz Miller on behalf of the Estate of Eleanor Ward; Mr. Miller was Alan Groh's partner and executor of his estate. Another addition was received in 1999 from Paul Gardner, executor of the Estate of Buzz Miller. A final addition of 0.2 liner feet was donated in 2019 by Nancy Berner, Alan Groh's niece.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
New York school of art  Search this
Art, Modern -- 20th century -- Exhibitions  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Drawings
Video recordings
Sketchbooks
Sound recordings
Photographs
Citation:
Stable Gallery records, 1916-1999, bulk 1953-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stabgall
See more items in:
Stable Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw991ac322b-59f8-40f3-8b7a-926e8ffb653b
EDAN-URL:
ead_collection:sova-aaa-stabgall
Online Media:

Correspondence

Collection Creator:
Rolick, Esther G., 1922-  Search this
Container:
Box 1, Folder 12
Type:
Archival materials
Date:
1946-1959
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Esther G. Rolick papers, 1940-1985. Archives of American Art, Smithsonian Institution.
See more items in:
Esther G. Rolick papers
Esther G. Rolick papers / Series 1: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93dc0d6f2-8ded-480a-be79-80dd26ae3ed1
EDAN-URL:
ead_component:sova-aaa-roliesth-ref3
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Correspondence

Collection Creator:
Thibault/Teabo, André, 1948?  Search this
Extent:
3 Folders (Box 1)
Type:
Archival materials
Date:
1987-2001
Scope and Contents:
Correspondence includes letters and cards from Romare and Nanette Bearden, letters exchanged between Nanette and Andre Thibault, as well as letters from the National Gallery of Art addressed to Thibault. Additionally, this series contains printed material pertaining to the passing of gallery director Arne Ekstrom, who exhibited Bearden's artwork.
Collection Restrictions:
This collection is open for research. Access to originals papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
The André Thibault/Teabo papers regarding Romare Bearden, circa 1930s-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thibandr, Series 2
See more items in:
André Thibault/Teabo papers regarding Romare Bearden
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a5af4ad1-4417-492a-955b-4e1266bf1e67
EDAN-URL:
ead_component:sova-aaa-thibandr-ref4

Alma W. Thomas Retrospective Exhibition (1972), Corcoran Gallery of Art, Printed Material

Collection Creator:
Thomas, Alma  Search this
Container:
Box 3, Folder 2
Type:
Archival materials
Date:
1972
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Alma Thomas papers
Alma Thomas papers / Series 4: Exhibition Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96e955016-3fd5-4ba0-a399-d49ebda11106
EDAN-URL:
ead_component:sova-aaa-thomalma-ref812
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Correspondence

Collection Creator:
Woodruff, Hale, 1900-1980  Search this
Container:
Box 1, Folder 5
Type:
Archival materials
Date:
1944-1973
undated
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Hale Woodruff papers, 1920-1977, bulk 1960s-1970s. Archives of American Art, Smithsonian Institution.
See more items in:
Hale Woodruff papers
Hale Woodruff papers / Series 2: Professional Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c4815dfc-e644-4ef6-adaa-9c6f7eede6b0
EDAN-URL:
ead_component:sova-aaa-woodhale-ref12
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Materials related to exhibitions and projects

Collection Creator:
Woodruff, Hale, 1900-1980  Search this
Container:
Box 1, Folder 8
Type:
Archival materials
Date:
1952
1967-1968
1977
undated
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Hale Woodruff papers, 1920-1977, bulk 1960s-1970s. Archives of American Art, Smithsonian Institution.
See more items in:
Hale Woodruff papers
Hale Woodruff papers / Series 2: Professional Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98b0ffa77-c16d-45f0-ad5a-d267fca29de0
EDAN-URL:
ead_component:sova-aaa-woodhale-ref15
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  • View Materials related to exhibitions and projects digital asset number 1

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