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Paul Ramírez Jonas papers

Creator:
Ramírez Jonas, Paul, 1965-  Search this
Names:
Creative Time, Inc.  Search this
Hunter College. Department of Art  Search this
Extent:
6.3 Linear feet
19.73 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Date:
circa 1989-2014
Summary:
The papers of New York multimedia artist and educator Paul Ramírez Jonas, measure 6.3 linear feet and 19.73 GB and date from circa 1989-2014. The collection documents the work of this social practice artist through correspondence, exhibition and project files, and professional files, and provides relatively thorough coverage of Ramírez Jonas's work and development to late mid-career.
Scope and Contents:
The papers of New York multimedia artist and educator Paul Ramírez Jonas, measure 6.3 linear feet and 19.73 GB and date from circa 1989-2014. The collection documents the work of this social practice artist through correspondence, exhibition and project files, and professional files, and provides relatively thorough coverage of Ramírez Jonas's work and development to late mid-career.

Correspondence and personal files include greeting cards and postcards sent to Ramírez Jonas from individuals and galleries, and includes the artist's file arrangement lists documenting his organization of the records prior to donation to the Archives of American Art. Extensice email correspondence remains unprocessed.

Exhibition files provide a comprehensive survey of Ramírez Jonas's participation in group and solo exhibitions over more than two decades. Files include correspondence, notes, sketches, and printed, photographic and digital material for multiple exhibitions, and record Ramírez Jonas's relationships with gallery owners as well as the evolution and execution of many installations.

Project files provide a relatively comprehensive record of over two decades of projects, including large scale public art installations and smaller, more intimate projects, that trace evolving themes in Ramírez Jonas's work. Files include correspondence, architect's plans and schematic drawings, artist notes, financial and contractual records, printed and digital material, and photographs.

Professional files document other professional activities in which Ramírez Jonas was involved, such as boards and committees, conferences, panels, and seminars. Also found are a few files relating to teaching appointments, including documentation of his Combined Media Class at Hunter College.
Arrangement:
Prior to donation, Ramírez Jonas organized the bulk of his archives chronologically and thereafter into three categories which he titled "Shows," "Work," and "Other." This core arrangement has been maintained in the series Exhibition Files (Shows), Project Files (Work) and Professional Files (Other). A few additional files that did not fall into these three categories are arranged at the beginning of the collection as Series 1: Correspondence and Personal Files.

Series 1: Correspondence and Personal Files, 1991-circa 2014 (0.25 linear feet; Box 1, 2.20 GB; ER10)

Series 2: Exhibition Files, 1990-2009 (3.05 linear feet; Boxes 1-4, OV 7, 14.99 GB; ER01-ER05)

Series 3: Project Files, 1990-2014 (2.4 linear feet; Boxes 4-6, OVs 8-9, 2.54 GB; ER06-ER09)

Series 4: Professional Files, circa 1989-2014 (0.6 linear feet; Box 6, OV 8)
Biographical / Historical:
Paul Ramírez Jonas (1965-) is a multimedia artist and educator in New York, New York.

Ramírez Jonas was born in Pomona, California and raised in Honduras. He earned a BA in Studio Art and an MFA in Painting from the Rhode Island School of Design in 1989. As a social practice artist Ramírez Jonas explores definitions of art and the public and seeks to engage active audience participation in much of his work. He uses pre-existing texts, models, and materials in work ranging from monumental sculpture to smaller and more intimate projects involving drawings, textiles, musical instruments, video and performance art, and other media.

Ramírez Jonas has had an ongoing association with Creative Time, a public arts organization in New York City which funded, amongst other projects, his 2010 project Key to the City, in which he replaced locks around the city with new locks that could be opened with keys he distributed. Keys have had an important role in Ramírez Jonas's work; his Taylor Square park project in Cambridge, for example, juxtaposes the locked gates of the public space with 5000 keys he distributed to the public to be duplicated endlessly, as a symbol of "this relationship between public space and the public."

Ramírez Jonas is an educator who has taught at institutions including the Rhode Island School of Design and the Museum of Fine Arts, Boston. He is currently an Associate Professor at Hunter College, City University of New York.
Provenance:
The collection was donated in 2015 and 2017 by Paul Ramírez Jonas.
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 born-digital records or 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.
Occupation:
Educators -- New York (State) -- Brooklyn  Search this
Multimedia artists -- New York (State) -- Brooklyn  Search this
Topic:
Latino and Latin American artists  Search this
Citation:
Paul Ramírez Jonas papers, circa 1989-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ramipaul
See more items in:
Paul Ramírez Jonas papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ramipaul

Discusses the Hirshhorns' relationships with artists, portraits of Joseph Hirshhorn, interest in and plans for the collection, the founding of the Hirshhorn Museum and Sculpture Garden, including: visiting with Alexander and Louisa Calder; the Marino M...

Collection Creator::
Barton, George V.  Search this
Container:
Interviews
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 9556, George V. Barton Reminiscences
See more items in:
George V. Barton Reminiscences
George V. Barton Reminiscences / Interviews
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru9566-refidd1e547

Bardene Allen papers

Creator:
Allen, Bardene, 1933-  Search this
Names:
Chamberlain, Richard, 1935-  Search this
Hammersley, Frederick, 1919-2009  Search this
Extent:
0.8 Linear feet (Boxes 1-2)
0.788 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Date:
circa 1965-2014
Summary:
The papers of sculptor, painter, and gallery owner Bardene Allen measure 0.8 linear feet and date from 1965-2014. Allen's career as a painter and sculptor, as well as her administration of the Fine Arts Gallery in Laguna Beach, California, are documented through biographical material, correspondence, professional files, exhibition files, photographic materials, and printed material.
Scope and Contents:
The papers of sculptor, painter, and gallery owner Bardene Allen measure 0.8 linear feet and date from 1965-2014. Allen's career as a painter and sculptor, as well as her administration of the Fine Arts Gallery in Laguna Beach, California, are documented through biographical material, correspondence, professional files, exhibition files, photographic materials, and printed material.

Biographical materials include resumes and artist statements. Correspondence includes professional correspondence regarding Allen's career as well as personal correspondence and correspondence with friend and actor Richard Chamberlain and her former professor and friend Frederick Hammersley. Professional files include writings, a statement of her thoughts on her relationship with Frederick Hammersley, as well as price lists, artwork inventories, donations, commission proposals, and documentation of her involvement with both the Fine Arts Gallery in Laguna Beach, California and the Orange County Center for Contemporary Art. Also included are exhibition files for select exhibitions Allen participated in. Photographic materials include printed photographs and transparencies as well as digitized and born-digital images of artwork and Allen with her artwork and at exhibitions. Printed material includes press clippings and exhibition invitations and catalogs.
Arrangement:
The collection is arranged in 6 series:

Series 1: Biographical Material, circa 1990-1996 (0.1 Linear Feet; Box 1)

Series 2: Correspondence, circa 1965-2009 (0.2 Linear Feet; Box 1)

Series 3: Professional Files, circa 1980-1994 (0.1 Linear Feet; Box 1)

Series 4: Exhibition Files, circa 1989-1995 (0.1 Linear Feet; Box 2)

Series 5: Photographic Material, circa 1977-2014 (0.2 Linear Feet; Box 2, ER01)

Series 6: Printed Material, circa 1981-2007 (0.1 Linear Feet; Box 2)
Biographical / Historical:
Bardene Allen (1933- ) is a sculptor, painter and former gallery owner in Laguna Beach, California. Allen received her bachelor of fine arts degree at Pomona College in 1955 where she studied under Frederick Hammersley, who would become a life-long friend and correspondent. She is the former owner of the Fine Arts Gallery in Laguna Beach, California which was in operation from 1980 to 1983. As a sculptor Allen has worked in stone, wood, resin, bronze and terracotta. Her subjects in sculpture and painting range from mythic gods and imaginary creatures to everyday characters, Hollywood entertainers, and popular musicians in rock and jazz music.
Provenance:
The papers were donated from 1992 to 2002, 2009, and 2014 by Bardene Allen.
Restrictions:
This collection is temporarily closed to researchers due to archival processing and digitization. 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.
Occupation:
Painters -- California  Search this
Sculptors -- California  Search this
Gallery owners -- California  Search this
Topic:
Women artists  Search this
Function:
Art galleries, Commercial -- California -- Laguna Beach
Citation:
Bardene Allen Papers, circa 1965-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.allebard
See more items in:
Bardene Allen papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-allebard

Oral history interview with Leroy Davis and Cecily Langdale, 2007 June 26-August 7

Interviewee:
Davis, Leroy, 1922-  Search this
Interviewer:
Langdale, Cecily  Search this
Subject:
Shikler, Aaron  Search this
Barnes, Albert C. (Albert Coombs)  Search this
Bly, Boris  Search this
De Mazia, Violette  Search this
Davis, Terry Ritter  Search this
Bouché, Louis  Search this
Levine, David  Search this
Penn, Arthur  Search this
Hirschl & Adler Galleries  Search this
Tyler School of Art  Search this
Barnes Foundation  Search this
Widgeon Point Charitable Foundation  Search this
Type:
Sound recordings
Interviews
Topic:
Art dealers -- New York (State) -- New York -- Interviews  Search this
Gallery owners -- New York (State) -- New York -- Interviews  Search this
Art dealers -- New York (State) -- New York -- Interviews  Search this
Gallery owners -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)13624
(DSI-AAA_SIRISBib)271983
AAA_collcode_davis07
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_271983
Online Media:

Milch Gallery records, 1911-1995

Creator:
Milch Gallery  Search this
Subject:
Barmore, Charles  Search this
Barr, Charles H.  Search this
Ballin, Hugo  Search this
Barlow, Myron  Search this
Baer, Martin  Search this
Ascher, Mary G. (Mary Goldman)  Search this
Azzaretti, Faust  Search this
Biddle, George  Search this
Blackburn, Morris  Search this
Bellows, George  Search this
Benson, Frank Weston  Search this
Baumann, Gustave  Search this
Barr, Norman  Search this
Barrymore, Lionel  Search this
Acheson, Alice  Search this
Aiken, Charles Avery  Search this
Albee, Grace  Search this
Twachtman, John Henry  Search this
Tryon, Dwight William  Search this
Trebilcock, Paul  Search this
Thayer, Abbott Handerson  Search this
Anderson, Karl  Search this
Warneke, Heinz (Heinrich)  Search this
Varian, Dorothy  Search this
Ufer, Walter  Search this
Weir, Julian Alden  Search this
Weir, John F. (John Ferguson)  Search this
Watkins, Franklin Chenault  Search this
Wiles, Irving Ramsay  Search this
Laufman, Sidney  Search this
Wiggins, Carleton  Search this
Appel, Marianne  Search this
Wickey, Harry  Search this
White, Henry Cooke  Search this
Zucker, Jacques  Search this
Woodward, Robert Strong  Search this
Waugh, Frederick Judd  Search this
Gonzalez, Xavier  Search this
Bacon, Peggy  Search this
Arms, John Taylor  Search this
Moffett, Ross  Search this
Milch, Edward  Search this
Moran, Thomas  Search this
Mora, F. Luis (Francis Luis)  Search this
Meyerowitz, William  Search this
Milch, Albert  Search this
Manship, Paul  Search this
Archipenko, Alexander  Search this
MacRae, Emma Fordyce  Search this
Beal, Reynolds  Search this
Metcalf, Willard Leroy  Search this
Melchers, Gari  Search this
Low, Will Hicok  Search this
Linde, Ossip L.  Search this
Lutz, Dan  Search this
Lucioni, Luigi  Search this
Woodward, Stanley Wingate  Search this
Lawson, Ernest  Search this
Lever, Hayley  Search this
Lie, Jonas  Search this
Kingman, Dong  Search this
Kroll, Leon  Search this
Kronberg, Louis  Search this
Wyeth, Andrew  Search this
Kupferman, Lawrence Edward  Search this
Ireland, Leroy  Search this
Judson, Alice  Search this
Kalish, Max  Search this
Katz, A. Raymond (Alexander Raymond)  Search this
Sheets, Millard  Search this
Heinz, Charles  Search this
Hennings, E. Martin  Search this
Henri, Robert  Search this
Hopkinson, Charles  Search this
Tanner, Henry Ossawa  Search this
Sterner, Albert  Search this
Sterne, Maurice  Search this
Speight, Francis  Search this
Speicher, Eugene Edward  Search this
Shuster, Will  Search this
Sharp, Joseph Henry  Search this
Shapiro, David  Search this
Schofield, Walter Elmer  Search this
Sawyer, Wells  Search this
Sample, Paul  Search this
Ryerson, Margery  Search this
Ryder, Chauncey F.  Search this
Rungius, Carl  Search this
Romano, Umberto  Search this
Redfield, Edward Willis  Search this
Ritschel, William  Search this
Pousette-Dart, Nathaniel  Search this
Pugh, Mabel  Search this
Pleissner, Ogden M.  Search this
Pollet, Joseph C.  Search this
Perrine, Van Dearing  Search this
Pittman, Hobson Lafayette  Search this
Parshall, DeWitt  Search this
Pearson, Ralph M.  Search this
Oberteuffer, Karl A. (Karl Amiard)  Search this
Ochtman, Leonard  Search this
Myers, Jerome  Search this
Adams, Charles L.  Search this
Nagler, Edith Kroger  Search this
Adams, Wayman  Search this
Murphy, Hermann Dudley  Search this
Murphy, John Francis  Search this
Curran, Charles C. (Charles Courtney)  Search this
Crane, Bruce  Search this
Davey, Randall  Search this
Daingerfield, Elliott  Search this
DeCamp, Joseph  Search this
De Groot, Adelaide Milton  Search this
Dessar, Louis Paul  Search this
Dehn, Adolf  Search this
Calder, Alexander Stirling  Search this
Butler, Howard Russell  Search this
Chamberlain, Samuel  Search this
Carroll, John  Search this
Christy, Howard Chandler  Search this
Cheffetz, Asa  Search this
Congdon, William  Search this
Cole, Alphaeus Philemon  Search this
Breckenridge, Hugh H. (Hugh Henry)  Search this
Bridgman, Frederick Arthur  Search this
Browne, George Elmer  Search this
Bruce, Edward  Search this
Brush, George de Forest  Search this
Buck, Claude  Search this
Burlin, Paul  Search this
Burr, George Elbert  Search this
Blakelock, Ralph Albert  Search this
Blanch, Arnold  Search this
Blanch, Lucile  Search this
Bluemner, Oscar  Search this
Pène Du Bois, Guy  Search this
Blumenschein, Ernest Leonard  Search this
Bohm, Max  Search this
Bohrod, Aaron  Search this
Bosa, Louis  Search this
Hart, George Overbury  Search this
Halpert, Samuel  Search this
Grosz, George  Search this
Gregory, Waylande  Search this
Heerman, Norbert Leo  Search this
Hassam, Childe  Search this
Haskell, Ernest  Search this
Hartmann, Sadakichi  Search this
Gaspard, Leon  Search this
Ganso, Emil  Search this
Gallagher, Sears  Search this
Fuchs, Emil  Search this
Gregory, John  Search this
Greenwood, Marion  Search this
Genth, Lillian Mathilde  Search this
Fechin, Nikolai Ivanovich  Search this
Fenton, Beatrice  Search this
Etnier, Stephen  Search this
Farnsworth, Jerry  Search this
Fredenthal, David  Search this
French, Daniel Chester  Search this
Fitzgerald, James  Search this
Flagg, James Montgomery  Search this
Dike, Phil  Search this
Donoho, Gaines Ruger  Search this
Dewing, Thomas Wilmer  Search this
Diederich, William Hunt  Search this
Eakins, Susan Macdowell  Search this
Duncan, Charles  Search this
Vonnoh, Robert William, 1858-1933  Search this
Milch Galleries  Search this
E. & A. Milch, Inc.  Search this
Type:
Gallery records
Photographs
Topic:
Gallery owners  Search this
Art -- Collectors and collecting  Search this
Art, American  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)8207
(DSI-AAA_SIRISBib)210378
AAA_collcode_milcgall
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210378
Online Media:

Oral history interview with Alberto Mijangos, 2003 Dec. 5-12

Interviewee:
Mijangos, Alberto, 1925-2007  Search this
Interviewer:
Cordova, Cary  Search this
Subject:
Rivera, Diego  Search this
Tamayo, Olga  Search this
Goitia, Francisco  Search this
Tamayo, Rufino  Search this
Orozco, José Clemente  Search this
Siqueiros, David Alfaro  Search this
Casas, Mel  Search this
Rothko, Mark  Search this
Gamboa, Raul  Search this
Sanchez, Gabriel  Search this
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Type:
Sound recordings
Interviews
Topic:
Painters -- Texas -- San Antonio -- Interviews  Search this
Mexican American artists  Search this
Mexican American art  Search this
Painting -- Technique  Search this
Hispanic American artists  Search this
Record number:
(DSI-AAA_CollID)12561
(DSI-AAA_SIRISBib)246985
AAA_collcode_mijang03
Theme:
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_246985
Online Media:

Hermine Benhaim Freed papers relating to Howard Putzel, 1945-1966

Creator:
Freed, Hermine  Search this
Subject:
Putzel, Howard  Search this
Topic:
Abstract expressionism  Search this
Record number:
(DSI-AAA_CollID)5775
(DSI-AAA_SIRISBib)208614
AAA_collcode_benhherm
Theme:
Art Theory and Historiography
Art Movements and Schools
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208614

Hermine Benhaim Freed papers relating to Howard Putzel

Creator:
Freed, Hermine  Search this
Names:
Putzel, Howard, 1898-1945  Search this
Extent:
0.01 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1945-1966
Summary:
The papers of Hermine Benhaim Freed measure 0.01 linear feet (7 items) and date from 1945 to 1966. The collection mostly consists of material Freed gathered about New York gallery owner Howard Putzel, such as Benhaim's paper on Howard Putzel, "Howard Putzel and the Beginnings of Abstract Expressionism," written for a Modern Art Seminar at New York University. Also included are letters to Freed, 1966, about Putzel from Joseph Allen, Peggy Guggenheim, Kenneth MacPherson and Gordon Onslow-Ford; and a typescript and a clipping of reviews of the exhibition "A Problem for Critics," 1945, organized by Putzel.
Scope and Contents:
The papers of Hermine Benhaim Freed measure 0.01 linear feet (1 folder) and consists of 7 items and date from 1945 to 1966. The collection mostly consists of material gathered about New York gallery owner Howard Putzel, such as Freed's paper on Howard Putzel, "Howard Putzel and the Beginnings of Abstract Expressionism," written for a Modern Art Seminar at New York University. Also included are letters to Freed, 1966, about Putzel from Joseph Allen, Peggy Guggenheim, Kenneth MacPherson and Gordon Onslow-Ford; and a typescript and a clipping of reviews of the exhibition "A Problem for Critics," 1945, organized by Putzel.
Arrangement:
Due to the small size of this collection, the papers are arranged as one series.

Series 1: Hermine Benhaim Freed papers relating to Howard Putzel, 1945-1966 (Folder 1; 7 items)
Biographical / Historical:
Hermine Benhaim Freed (1940-1998) was a painter and video artist in New York City. Freed studied painting at Cornell University and New York University, where she taught starting from the late 1960s.
Provenance:
The papers were donated to the Archives of American Art in 1972 by Hermine Benhaim Freed.
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.
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 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.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Abstract expressionism  Search this
Citation:
Hermine Benhaim Freed papers relating to Howard Putzel, 1945-1966. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.benhherm
See more items in:
Hermine Benhaim Freed papers relating to Howard Putzel
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-benhherm

Hermine Benhaim Freed papers relating to Howard Putzel

Collection Creator:
Freed, Hermine  Search this
Extent:
7 Items ((Folder 1))
Type:
Archival materials
Date:
1945-1966
Scope and Contents:
The collection mostly consists of material Freed gathered about New York gallery owner Howard Putzel, such as Freed's paper on Howard Putzel, "Howard Putzel and the Beginnings of Abstract Expressionism," written for a Modern Art Seminar at New York University. Also included are letters to Freed, 1966, about Putzel from Joseph Allen, Peggy Guggenheim, Kenneth MacPherson and Gordon Onslow-Ford; and a typescript and a clipping of reviews of the exhibition "A Problem for Critics," 1945, organized by Putzel.
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.
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 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:
Hermine Benhaim Freed papers relating to Howard Putzel, 1945-1966. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.benhherm, Series 1
See more items in:
Hermine Benhaim Freed papers relating to Howard Putzel
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-benhherm-ref4

Macbeth Gallery records

Creator:
Macbeth Gallery  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Homer, Winslow, 1836-1910  Search this
Macbeth, Robert W. (Robert Walker), 1884-1940  Search this
Macbeth, William, 1851-1917  Search this
McIntyre, Robert G. (Robert George), b. 1885  Search this
Stuart, Gilbert, 1755-1828  Search this
Weir, Robert Walter, 1803-1889  Search this
Extent:
131.6 Linear feet
Type:
Collection descriptions
Archival materials
Daguerreotypes
Photographs
Scrapbooks
Date:
1947-1948
1838-1968
bulk 1892-1953
Summary:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.
Scope and Content Note:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. The records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

The gallery's correspondence files form the core of the collection and illuminate most aspects of American art history: the creation and sale of works of art, the development of reputations, the rise of museums and art societies, change and resistance to change in the art market, and the evolution of taste. Ninety-five feet of correspondence house substantial and informative letters from dozens of important American painters and sculptors, including older artists and younger contemporaries of the gallery in its later years. There are also letters from collectors, curators, other galleries, and critics.

The financial files found in the collection offer insight into the changing economic climate in which the gallery operated. They include information ranging from the details of individual sales and the market for individual artists, to consignment activities and artist commissions, to overviews of annual sales. This information is augmented by the firm's inventory records and the photographs of artwork with their accompanying records of paintings sold. The inventory records provide details of all works of art handled by the gallery, both sold and unsold, and the buyers who purchased them; the photographs of artwork include images of artwork sold with accompanying sales information.

The highlight of the gallery's printed material is the publication Art Notes. Although published only until 1930, Art Notes provides an excellent and detailed view of the gallery's exhibition schedule and the relationship of the gallery owners with many of the artists whose work they handled. It was a house organ that also provided a running commentary on events in the art world. The gallery's 19 fragile scrapbooks, maintained throughout the firm's history, provide further coverage of activities through exhibition catalogs and related news clippings. Printed material from other sources provides a frame of reference for activities in the art world from the mid-19th to the mid-20th-centuries and includes an almost complete run of the rare and important pre-Civil War art publication The Crayon.

Reference files record the interest which the gallery owners took in the work of early portrait painters and in later artists such as George Inness and Winslow Homer. Together with the immense volume of correspondence with buyers and sellers of paintings by the great portraitists and the Hudson River School found in the gallery's correspondence files, these records are still useful sources of information today and underscore the deep interest that the Macbeths and Robert McIntyre took in 18th and 19th-century American art.

The photographs of artists found here are a treasure trove of images of some of the major figures of the 19th and 20th-centuries. There are photographs of artists such as Chester Beach, Emil Carlsen, Charles Melville Dewey, Frederick Carl Frieseke, Childe Hassam, Winslow Homer, George Inness, Maurice Prendergast, and Julian Alden Weir, many of them original prints and the majority of them autographed.

With the exception of the "The Eight" and a few of their contemporaries, an important aspect of art history, the modernist movement, is generally represented in the Macbeth Gallery records only in a negative form as the three successive proprietors of the gallery showed very little interest in this area. Nevertheless, the collection is a highly significant source of information on many of the major and minor figures in American art in the period after 1890.
Arrangement:
The collection is arranged into eight series:

Series 1: Correspondence, 1838-1968 (Box 1-95, 163-164, OV 165; 96.2 linear feet)

Series 2: Financial and Shipping Records, 1892-1956 (Box 96-110; 11.8 linear feet)

Series 3: Inventory Records, 1892-circa 1957 (Box 111-113; 3.0 linear feet)

Series 4: Printed Material, 1838-1963 (Box 114-119, 162; 5.0 linear feet)

Series 5: Scrapbooks, 1892-1952 (Box 120-130; 3.3 linear feet)

Series 6: Reference Files, 1839-1959 (Box 131-132; 0.6 linear feet)

Series 7: Miscellaneous Files, 1912-1956 (Box 133-134; 0.8 linear feet)

Series 8: Photographs, circa 1880-circa 1968 (Box 135-161; 12.1 linear feet)
Historical Note:
The Macbeth Gallery was established in 1892 by William Macbeth, a Scotch-Irish immigrant who had spent ten years with the print dealer Frederick Keppel before he opened his doors to the art-buying public at 237 Fifth Avenue in New York. Despite the prevailing interest in foreign art at that time, particularly in that of the Barbizon and Dutch schools, Macbeth was determined to dedicate his gallery to "the permanent exhibition and sale of American pictures, both in oil and water colors."

Although some of the gallery's earliest exhibitions were of work by European artists, the business soon became the only gallery in continuous operation that kept American art permanently on display. In the January 1917 issue of Art Notes, Macbeth recounts those early days remembering that "The opening of my gallery......was a rash venture under the existing conditions, and disaster was freely predicted." Nevertheless, he struggled through the financial crisis of 1893 and persisted with his devotion to American art; slowly the market for his pictures grew more amenable.

Macbeth moved to more spacious quarters at 450 Fifth Avenue in 1906 and two years later undertook what was to become the major event in the gallery's early history: the 1908 exhibition of "The Eight," featuring work by Arthur B. Davies, Willam J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. "The Eight" were an unlikely combination of social realists, visionaries and impressionists eager to challenge the dominating influence of the National Academy. The exhibition received an immense amount of publicity and instantly entered into art history as a successful assault on tradition.

Despite the splash that the exhibition made and its implications for the future of American art, nothing that the gallery did subsequently indicated that Macbeth intended to capitalize on its significance. It is true that Macbeth supported many artists later considered leaders in American art when the public would pay no attention to them because of their modernist tendencies; Arthur B. Davies, Paul Dougherty, Maurice Prendergast, Theodore Robinson, and F. Ballard Williams all held their first exhibitions at his gallery. Nevertheless, neither Macbeth nor the gallery's two successive proprietors, Robert G. McIntyre (William's nephew) and Robert Macbeth (William's son), who joined the gallery in 1903 and 1906 respectively, ever developed a true interest in modern art. The November 1930 issue of Art Notes summarizes their collective disdain for modernism, stating: "We believe that, by and large, modern art is amusing. We are heretical enough to believe that much of it was started for the amusement of its creators and that no one was more surprised than they when it was taken seriously by a certain audience to whom the bizarre and the unintelligible always makes an appeal." So while the Macbeths and McIntyre cetainly championed American artists and insisted they deserved as much recognition as the Europeans, their deepest and most abiding interest was undoubtedly the established artists of the 18th and 19th-centuries and those of the early 20th-century who continued in a more conservative style. Artists such as Emil Carlsen, Charles Harold Davis, Frederick C. Frieseke, Robert Henri, Winslow Homer, Chauncey F. Ryder, Abbot Handerson Thayer, J. Francis Murphy, A. H. Wyant were the gallery's bread and butter.

When William Macbeth died in 1917 Robert Macbeth took up the reins with the assistance of Robert G. McIntyre . Although they incorporated the business as William Macbeth, Inc., in 1918 the gallery continued to be known, as it always would be, simply as Macbeth Gallery. Macbeth and McIntyre continued to show work in the same vein as the elder Macbeth. They concentrated primarily on oil paintings at this time, having found by the 1920s that "oils are all that our gallery owners will buy," though they also exhibited an occasional group of watercolors and pastels in addition to bronzes and other sculpture by contemporary American artists such as Chester Beach and Janet Scudder.

Of the early American painters the Macbeths and McIntyre were particularly interested in colonial portraits and miniatures, especially those painted by prominent artists in the latter part of the eighteenth century such as John Singleton Copley, Gilbert Stuart, Thomas Sully and John Trumbull. In its early years the gallery also handled the work of a few prominent American etchers including Frank W. Benson, Emil Fuchs, Daniel Garber, Childe Hassam and Chauncey F. Ryder. The print department was generally discontinued, however, in the late 1930s although the gallery continued to show prints by contemporaries such as Stow Wengenroth.

In 1924 relative prosperity allowed the gallery to move uptown to 15 East Fifty-seventh Street. When the 1930s brought new financial hardship for the gallery Macbeth and McIntyre took a variety of approaches to boosting sales. In 1930 they decided to hold only group exhibitions throughout the season to the exclusion of one-man shows, and also held some special exhibitions of paintings priced at a hundred dollars each in the hope that they could tempt those "willing to take advantage of a rare chance to secure representative examples of good art at a most attractive price." A move to smaller quarters at 15 East Fifty-seventh Street in 1935 was made with the intention of concentrating their efforts on the work of fewer contemporary artists, while continuing to handle the work of the older Americans they had long supported.

When Macbeth died suddenly and unexpectedly in August 1940 following an operation for appendicitis, McIntyre continued to run the gallery with the assistance of Hazel Lewis. During the 1940s McIntyre and Lewis showed primarily contemporary art in a wide range of media including oil, watercolor, pastel, drawing and sculpture, while continuing, as always, to show the occasional group of 19th-century Americans. The great success of the gallery's later years was undeniably Andrew Wyeth whose first exhibition, held at Macbeth Gallery in 1937, resulted in the sale of all twenty-two paintings cataloged.

Although subsequent Wyeth exhibitions were also successful, McIntyre struggled financially throughout the 1940s and periodically considered liquidating the company. Although "vitally interested" in contemporary art by people such as Robert Brackman, Jay Connaway, Carl Gaertner, James Lechay, Herbert Meyer and Ogden M. Pleissner he found that, for the most part, it did not pay. McIntyre continued operations until 1953 when he decided that doing so for profit was not only a financial burden but also ran contrary to his desire to spend more time devoted to his first love, early American art. When the lease expired on 11 East Fifty-seventh Street in April 1953 McIntyre did not renew it. After closing the gallery's doors he sold art from his New York apartment and from his home in Dorset, Vermont. He officially dissolved William Macbeth, Inc., in 1957.

The history of the Macbeth Gallery is a long and distinguished one with each successive proprietor making a significant contribution to art in America. William Macbeth helped establish an audience and a market for American art when few were willing to give it serious consideration. Robert Macbeth continued to cement the gallery's reputation as one of the leading firms in New York and was instrumental in organizing the American Art Dealers Association. Robert G. McIntyre claimed in a letter to Lloyd Goodrich, dated 22 June 1945, that the thing of which he was most proud was "the share I have had in the formation of the collection of the Addison Gallery of American Art, at Andover, Massacusetts." McIntyre was widely respected in the art community as a dealer, as an adviser to curators, and as a scholar whose research and book on Martin Johnson Heade helped "rediscover" an important American artist. One of his most significant and lasting contributions to the history of art in America, however, was undoubtedly his gift of the gallery's historical records to the Archives of American Art.
Related Material:
Among the holdings of the Archives of American are a small collection of scattered Robert McIntyre's papers and 9 items of William Macbeth's papers. Macbeth Gallery exhibition catalogs are also available in the American Art Exhibition Catalog collection and the Brooklyn Museum Records, both loaned and microfilmed collections.

An extensive collection of Macbeth Gallery exhibition catalogs are also held by the Frick Art Reference Library and the Watson Library of the Metropolitan Museum of Art.
Provenance:
The bulk of the Macbeth Gallery records were donated and microfilmed in several installments between 1955 and 1966 by Robert G. McIntyre and Estate. Additional Macbeth Gallery printed material was donated by Phoebe C. and William Macbeth II, grandchildren of William Macbeth, in 1974.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
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:
Curators -- New York (State) -- New York  Search this
Eight (Group of American artists)  Search this
Art directors -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Artists -- United States  Search this
Art -- Collectors and collecting  Search this
Art, American  Search this
Art dealers -- New York (State) -- New York  Search this
Genre/Form:
Daguerreotypes
Photographs
Scrapbooks
Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macbgall
See more items in:
Macbeth Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-macbgall
Online Media:

Tibor de Nagy Gallery records

Creator:
Tibor de Nagy Gallery  Search this
Names:
Art Dealers Association of America  Search this
Art in America  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Museum of Modern Art (New York, N.Y.)  Search this
National Institute of Arts and Letters (U.S.)  Search this
United States Information Agency  Search this
Castoro, Rosemarie  Search this
Ciarrocchi, Ray, 1933-  Search this
De Nagy, Tibor, 1908-1993  Search this
Goodnough, Robert, 1917-  Search this
Gregor, Harold, 1929-  Search this
Grooms, Red  Search this
Hirsch, Pauli  Search this
Kozloff, Joyce  Search this
Onassis, Jacqueline Kennedy, 1929-1994  Search this
Penney, Charles Rand, 1923-2010  Search this
Reginato, Peter, 1945-  Search this
Robbin, Tony  Search this
Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this
Rose, Leatrice  Search this
Witteman-Widrig, Nancy  Search this
Extent:
43.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1941-2016
Summary:
The records of the New York Tibor de Nagy Gallery measure 43.9 linear feet and date from 1941-2016. The records document the activities of the gallery through business records and correspondence, exhibition files, artist files, financial and legal records, inventory records, and a small amount of records of the Houston Branch.
Scope and Contents:
The records of the New York Tibor de Nagy Gallery measure 43.9 linear feet and date from 1941-2016. The records document the activities of the gallery through business records and correspondence, exhibition files, artist files, financial and legal records, inventory records, a small amount of records of the Houston Branch, and exhibition announcements.

Business records include correspondence and administrative files. Business correspondence is with clients, curators, galleries, museums, colleges and universities, organizations, and publications, such as the Museum of Modern Art, Art Dealers Association, National Institute of Arts and Letters, United States Information Agency, The Hirshhorn Museum, Art News, Art in America, Pauli Hirsch, Jacqueline Kennedy, Charles Penney, Nelson Rockefeller, and many others. Correspondence concerns sales, purchases, shipping, loans, general exhibitions, publicity, events, publications and publishing, and other topics. Additional documents found within the correspondence files are purchase invoices, inquiries, shipping receipts, and photographs. Correspondence with artists is found in the Artist Files series. Administrative files concern day-to-day operations and include leases and construction documents, incorporation, insurance, art appraisals, art framing, and other general business affairs.

Exhibition files document many exhibitions held at the Gallery and include clippings and research materials, exhibition catalogs, exhibit and gallery plans, correspondence, and photographs. Some loan agreements and shipping receipts are also included.

Artist files document business affairs with individual artists and also contain collected information on artists. Typically, there are several files on each artist which may include printed materials, biographies, consignments, loans documentation, sales documentation, correspondence, photographic material, publicity, and reviews. Artists well represented among these files include Rosemarie Castoro, Ray Ciarrocchi, Robert Goodnough, Harold Gregor, Red Grooms (including a transcript of "A Conversation with Marison and Red Grooms"), Joyce Kozloff, Peter Reginato, Tony Robbin, Leatrice Rose, and Nancy Witteman-Widrig.

Financial records include incomplete runs of billing statements, expenses and cash disbursements, paid and unpaid invoices, and sales and shipping receipts. Inventory records consist primarily of index cards and/or sheets that document stock, consignments, loans, sales, and shipping.

A relatively small amount of Houston branch records include announcements, clippings, correspondence, financial information including consignments, income, invoices, and statements, photographs, publicity materials and a research file on Houston art museums.

Exhibition announcements promote the gallery's exhibitions for artists including Joe Brainard, Shirley Jaffe, Fairfield Porter, Rosemarie Castoro, Alfred Leslie, and many others.
Arrangement:
The Tibor de Nagy Gallery records are arranged into seven series.

Series 1: Business Records and Correpondence, 1950-1993 (10 linear feet; Boxes 1-10)

Series 2: Exhibition Files, 1941-1992 (2 linear feet; Boxes 11-12)

Series 3: Artist Files, 1956-1993 (18.6 linear feet; Boxes 13-31, 46)

Series 4: Financial and Legal Records, 1951-1984 (3.5 linear feet; Boxes 31-34)

Series 5: Inventory Records, 1952-1989 (9 linear feet; Boxes 34-43)

Series 6: Houston Branch Records, 1969-1984 (1.2 linear feet; Boxes 43-45)

Series 7: Exhibition Announcements, 1953-2016 (0.8 linear feet; Boxes 47-48)
Biographical / Historical:
One of the earliest modern art galleries in New York, Tibor de Nagy Gallery was founded in 1950 by Tibor de Nagy and John Bernard Myers. Initially the gallery featured the work of second generation Abstract Expressionists and continues to operate today with a focus on the Post War second generation New York School.

John B. Myers served as the gallery's first director and De Nagy was the business manager while continuing to work in the banking business. Early on, the gallery introduced and promoted second generation Abstract Expressionists such as Grace Hartigan and Alfred Leslie. The gallery quickly earned a reputation for promoting the work of emerging artists, including Carl Andre, Helen Frankenthaler, Jane Freilicher, Red Grooms, Fairfield Porter, and Larry Rivers, among others, giving many of them their first solo shows.

Later the gallery gained a reputation as a space for collaborative artistic ventures and organized exhibitions that combined visual imagery and poetry by several New York School poets. The gallery also published books by poets John Ashbery, Frank O'Hara, and James Schuyler, as well as a poetry newsletter entitled Semi-Colon.

In 1973 de Nagy teamed with Marvin Watson to open the Watson/deNagy Gallery in Houston, which closed in 1983. Tibor de Nagy retired from banking in 1970 and continued running the gallery until he died in 1993. The Tibor de Nagy gallery continues operating today at 724 Fifth Avenue under the direction of Andrew Arnot and Eric Brown. It also works with a number of estates, including those of Joe Brainard, Rudy Burckhardt, Donald Evans, and Jess.
Related Materials:
Among the holdings of the Archives of American Art are an oral history interview with Tibor de Nagy, March 29, 1976 conducted by Paul Cummings; the John Bernard Myers papers (which do not contain documentation of his work at the gallery); and the Watson/de Nagy Houston gallery records available only on microfilm, a small portion of which may also be duplicated in the original records described in this finding aid.
Provenance:
The records were donated by Tibor de Nagy Gallery in multiple accessions between 1993-1996 and in 2018. Additional material about the exhibition, Digital Explorations: Emerging Visions in art, 1988, donated in 2020 by one of the exhibition curators, Ligia Ercius-DiPaola.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. research facility.
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, Modern  Search this
Gallery owners  Search this
Art dealers -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art galleries, Commercial -- Texas -- Houston  Search this
Genre/Form:
Photographs
Citation:
Tibor de Nagy Gallery records, 1941-1993. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tibode
See more items in:
Tibor de Nagy Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tibode
Online Media:

Bertha Schaefer papers and gallery records

Creator:
Schaefer, Bertha, 1895-1971  Search this
Names:
Bertha Schaefer Gallery (New York, N.Y.)  Search this
New Bertha Schaefer Gallery (New York, N.Y.)  Search this
Barnet, Will, 1911-2012  Search this
Ben-Zion  Search this
Duchamp, Marcel, 1887-1968  Search this
Greene, Balcomb, 1904-1990  Search this
Picasso, Pablo, 1881-1973  Search this
Pollock, Jackson, 1912-1956  Search this
Reinhardt, Ad, 1913-1967  Search this
Vasilieff, Nicholas  Search this
Zóbel, Fernando  Search this
Extent:
4.6 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketches
Date:
1909-1975
bulk 1940-1965
Summary:
The Bertha Schaefer papers and gallery records measure 4.6 linear feet and date from 1909-1975, with the bulk of the material dating from 1940-1965. The collection documents the Bertha Schaefer Gallery as well as Bertha Schaefer, the interior designer, through correspondence with artists and galleries, artist files, client files, exhibition material, printed material, financial material, biographical material, photographs, and six scrapbooks.
Scope and Contents:
The Bertha Schaefer papers and gallery records measure 4.6 linear feet and date from 1909-1975, with the bulk of the material dating from 1940-1965. The collection documents the Bertha Schaefer Gallery as well as Bertha Schaefer, the interior designer, through correspondence with artists and galleries, artist files, client files, exhibition material, printed material, financial material, biographical material, photographs, and six scrapbooks. Also found here are oversized blue prints and sketched plans of interior design projects, as well as a number of oversized photographic prints and stereo slides. Correspondence contains handwritten notes by many notable artists, including Marcel Duchamp, Pablo Picasso, Jackson Pollock, Ad Reinhardt, and Fernando Zobel, with a bulk of the letters from Balcomb Greene.

Separated into three series, the Bertha Schaefer Gallery records document the artists represented by and function of the Bertha Schaefer Gallery. The Bertha Schaefer papers pertain to Bertha Schaefer as an interior designer through a large number of photographic materials and client files. Six scrapbooks document artists Will Barnet, Ben-Zion, Balcomb Greene, and Nicolai Vasilieff, as well as the Bertha Schaefer gallery and the New Bertha Schaefer Gallery.
Arrangement:
This collection is arranged as 3 series. Records are generally arranged by material type and chronologically thereafter.

Series 1: Bertha Schaefer Gallery Records, 1909-1971 (0.8 linear feet; Box 1)

Series 2: Bertha Schaefer Papers, 1914-1971 (2.6 linear feet; Boxes 1-3, 6-7, OV 8-9)

Series 3: Scrapbooks, 1944-1975 (1.2 linear feet; Boxes 3-5)
Biographical / Historical:
Bertha Schaefer (1895-1971) was an interior designer and director of the Bertha Schaefer Gallery in New York, New York. Schaefer was born in Yazoo City, Mississippi to Emil and Julia (Marx) Schaefer. She received her B.A. on June 1, 1914 from Mississippi State College for Women, and received a diploma for interior decorating from the Parsons School of Design in New York City. In 1924, after living in Paris for 5 months, she opened Bertha Schaefer Interiors in New York. In 1944, she opened the Bertha Schaefer Gallery of Contemporary Art, which featured American and European paintings and sculpture. "The Modern House Comes Alive" (1947-1948) is one of the key exhibitions she created. Schaefer designed furniture for Joe Singer of M. Singer and Sons Furniture Company in New York, 1950-1961.

Schaefer won design awards from the Museum of Modern Art (1952) and the Decorators Club of New York (1959). In 1958, she was given an award of recognition from the U.S. Department of State for her gallery's assistance in the American program for the Brussels Universal and International Exhibition, and an outstanding achievement in interior design award from the American Institute of Interior Designers. She was a member of several design organizations, including: the American Institute of Decorators, the Home Lighting Forum, the Illuminating Engineers Society, the American Federation of the Arts, and the Art Dealers Association of America. She was the president of the Decorators Club of New York from 1947-1948 and 1955-1957.

Schaefer was one of the first people to use fluorescent lighting in domestic spaces, with Percy Block as her first client, in 1939. In honor of Edison's birthday in 1953, she designed a bathroom for General Electric, applying new developments in lighting. She died on May 24, 1971, after which the gallery was renamed the New Bertha Schaefer Gallery.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Bertha Schaefer conducted by Paul Cummings, April 20-22, 1970.
Separated Materials:
The Archives of American Art also holds material lent for microfilming. Reel N69-115 is comprised of papers concerning Alfred H. Maurer, including a scrapbook about Maurer from 1946 to 1969. Reel N70-60 contains material concerning Hale Woodruff, including correspondence, sketches and drawings, articles, photographs, catalogs, announcements, clipping, notes kept while a student of Diego Rivera, and a scrapbook. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
The Bertha Schaefer papers and gallery records were donated in several installments from 1969 to 1974 by Bertha Schaefer and Bertha Schaefer Gallery Inc. She also loaned material for microfilming in 1970. Paul Creamer donated three scrapbooks from the Bertha Schaefer Gallery and the New Bertha Schaefer Gallery in 1979. Additional material was donated in 1984 by Syracuse University.
Restrictions:
Use of original papers requires an appointment.
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.
Occupation:
Painters  Search this
Topic:
Gallery directors  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Sculptors  Search this
Interior decoration  Search this
Gallery owners  Search this
Interior decorators  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Sketches
Citation:
Bertha Schaefer papers and gallery records, 1909-1975, bulk 1940-1965. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schabert
See more items in:
Bertha Schaefer papers and gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schabert

Oral history interview with Jane Kallir, 1993 Feb. 25

Interviewee:
Kallir, Jane, 1954-  Search this
Interviewer:
Long, Rose-Carol Washton  Search this
Subject:
Galerie St. Etienne  Search this
Type:
Sound recordings
Interviews
Topic:
Art dealers -- New York (State) -- New York -- Interviews  Search this
Gallery owners -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12809
(DSI-AAA_SIRISBib)215329
AAA_collcode_kallir93
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215329

Oral history interview with Virginia Dwan, 2010 July 14-2011 March 21

Interviewee:
Dwan, Virginia, 1931-  Search this
Interviewer:
Stuckey, Charles F.  Search this
Subject:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Type:
Sound recordings
Interviews
Topic:
Art -- Collectors and collecting -- New York (State) -- New York -- Interviews  Search this
Gallery owners -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)16109
(DSI-AAA_SIRISBib)362284
AAA_collcode_dwan10
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_362284

Lue Osborne and Cordray Simmons papers, 1905-1975

Creator:
Osborne, Lue, 1889-1968  Search this
Simmons, Cordray, 1888-1970  Search this
Topic:
Sculptors -- United States -- Interviews  Search this
Women artists  Search this
Record number:
(DSI-AAA_CollID)8532
(DSI-AAA_SIRISBib)210710
AAA_collcode_osbolue
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210710

Space Gallery records, 1975-1995

Creator:
Space Gallery (Los Angeles, Calif.)  Search this
Subject:
Alderette, Bob  Search this
Beifer, Sandy  Search this
Davis, John  Search this
Dillbohner, Christel  Search this
Kunishima, Seiji  Search this
Lundin, Norman  Search this
Page, Ann  Search this
Rosenthal, Rachel  Search this
Seem, Olga  Search this
Schwab, Norman  Search this
Stanton, Tom  Search this
Teraoka, Masami  Search this
Topic:
Asian American artists  Search this
Art, Modern -- 20th century  Search this
Record number:
(DSI-AAA_CollID)6587
(DSI-AAA_SIRISBib)215889
AAA_collcode_spacgall
Theme:
The Art Market
Art Gallery Records
Asian American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215889

Joanne Rapp Gallery/the Hand and the Spirit records, circa 1958-2004, bulk 1973-1998

Creator:
Joanne Rapp Gallery/the Hand and the Spirit  Search this
Subject:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Topic:
Handicraft  Search this
Record number:
(DSI-AAA_CollID)11581
(DSI-AAA_SIRISBib)248996
AAA_collcode_joanrapg
Theme:
The Art Market
Art Gallery Records
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_248996

Charles E. Feinberg collection of artists letters, 1800-1930

Creator:
Feinberg, Charles E., 1899-1988  Search this
Subject:
Gill, James Dwyer  Search this
Austin, Ben W.  Search this
Topic:
Artists -- United States -- Autographs  Search this
Autographs -- Collections  Search this
Collectors and collecting  Search this
Record number:
(DSI-AAA_CollID)5903
(DSI-AAA_SIRISBib)208743
AAA_collcode_feinchar
Theme:
The Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208743

[Robert Howard Studio opening] [videorecording] / created by Terry Fox, produced by Paule Anglim, 1976

Creator:
Anglim, Paule  Search this
Anglim, Paule  Search this
Subject:
Howard, Robert Boardman  Search this
Fox, Terry  Search this
Record number:
(DSI-AAA_CollID)10819
(DSI-AAA_SIRISBib)214559
AAA_collcode_foxterr
Theme:
The Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214559

Oral history interview with Jane Kallir

Interviewee:
Kallir, Jane  Search this
Interviewer:
Long, Rose-Carol Washton  Search this
Names:
Galerie St. Etienne  Search this
Extent:
1 Sound cassette (Sound recording: 1 sound cassette (90 min.), analog)
29 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
1993 Feb. 25
Scope and Contents:
Interview of Jane Kallir, conducted by Rose-Carol Washton Long for the Archives of American Art, Smithsonian Institution in New York, New York on February 25, 1993.
Kallir speaks of the founding of the Galerie St. Etienne by her grandfather; her grandfather's Neue Galerie in Vienna; her education in art history and studio art; how she began working at the Galerie St. Etienne; her interest in folk art and Austrian and German Expressionism; writing a catalogue raisonne on Egon Schiele; her grandfather's attitude towards women artists, including Kathe Kollwitz and Grandma Moses; and exhibitions at the Galerie including Gustav Klimt to Egon Schiele, Austria's Expressionism, The Folk Art Tradition. Kallir also recalls John Kallir, Eva Marie Kallir, Hildegard Bachert, and others.
Biographical / Historical:
Jane Kallir (1954- ) is an art dealer from Galerie St. Etienne in New York, N.Y.
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. Funding for this interview was provided by the Art Dealers Association.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art dealers -- New York (State) -- New York -- Interviews  Search this
Gallery owners -- Interviews  Search this
Function:
Art galleries, Commercial -- New York (State) -- New York
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.kallir93
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kallir93
Online Media:

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