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 Benhaim 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 Benhaim, 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 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 Benhaim, 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 -- United States Search this
Citation:
Hermine Benhaim Freed papers relating to Howard Putzel, 1945-1966. Archives of American Art, Smithsonian Institution.
The papers of painter, sculptor, author, and illustrator Esphyr Slobodkina measure 1.9 linear feet and date from circa 1925 to 1995. Found within the papers are personal and professional correspondence, including letters from Ilya Bolotowsky, George L.K. Morris, and Paul Kelpe; writings, including a copy of the autobiography Notes for a Biographer (vol. 1); printed materials; photographs; and material on the American Abstract Artists, including administrative records, business correspondence, and publications.
Scope and Contents:
The papers of painter, sculptor, author, and illustrator Esphyr Slobodkina measure 1.9 linear feet and date from circa 1925 to 1995. Found within the papers are personal and professional correspondence, including letters from Ilya Bolotowsky, George L.K. Morris, and Paul Kelpe; writings, including a copy of the autobiography Notes for a Biographer (vol. 1); printed materials; photographs; and material on the American Abstract Artists, including administrative records, business correspondence, and publications.
Correspondence is primarily with Slobodkina's family, friends, and business associates. The series includes significant correspondence from her first husband, Ilya Bolotowsky, as well as abstract artists George L.K. Morris, Paul Kelpe, Ruth Eckstein, Leo Rabkin, and Harry Tedlie. The series also includes correspondence regarding her published works.
Writings consist of 3 essays by Slobodkina on abstract art, the autobiography Notes for a Biographer (vol. 1), the edited folio Ilya Bolotowsky, and a small notebook kept by Ilya Bolotowsky during the 1920s-30s.
Printed material includes clippings; samples of announcements and cards designed by Slobodkina; exhibition announcements and catalogs; and press releases.
Photographs are of Slobodkina and her paintings and sculptures, as well as photographs of artwork by other abstract artists.
American Abstract Artists' records includes administrative material, correspondence, writings, selected exhibitions, and printed material dating from 1936 to 1996.
Arrangement:
The collection is arranged as 5 series.
Series 1: Correspondence, 1934-1992 (0.4 linear feet; Box 1)
Series 2: Writings, circa 1920-1985 (6 folders; Box 1)
Series 3: Printed material, circa 1939-1994 (7 folders; Box 1, OV 4)
Series 4: Photographs, circa 1925-1970 (3 folders; Box 1)
Series 5: American Abstract Artists, circa 1936-1995 (0.9 linear feet, Box 1-3, OV 4)
Biographical / Historical:
Painter, sculptor, author, and illustrator Esphyr Slobodkina (1908-2002) lived and worked in New York City, Great Neck, and Long Island, New York and was known for her abstract art and her children's books, including the seminal Caps For Sale.
Slobodkina was born in Chelyabinsk, Siberia to Solomon Slobodkin and his wife, Itta Agranovich. After the Russian Revolution and Civil War of 1917-1918, her family immigrated to Harbin, Manchuria where her father found work with Standard Oil and her mother contributed to the family's finances by working as a dressmaker. After graduating from high school in 1927, Slobodkina immigrated to the United States to join her brother in New York City where she enrolled at the National Academy of Design.
At the Academy, Slobodkina met her future husband, the artist and fellow Russian émigré Ilya Bolotowsky. In 1936, they became founding members of the American Abstract Artists, an artist run organization that worked to advance abstract art at a time when few opportunities to exhibit their works existed. She served as the organization's first secretary and later served as treasurer, president, and institutional bibliographer.
In 1937, Slobodkina met the children's author Margaret Wise Brown. After seeing her work, Brown invited Slobodkina to illustrate The Little Fireman, the first of their many collaborations together. In 1940, Slobodkina's first published book, Caps For Sale, was released and has remained in print for over 70 years. It won the Lewis Carroll Shelf Award in 1958 and is considered a classic of children's literature.
Slobodkina and Bolotowsky divorced in 1938, after which she continued to produce abstract mixed media paintings and sculptures. Her first major one-person show was organized by the gallery owner A.E. Gallatin in 1940. Through the 1940s and into 1970s, Slobodkina regularly contributed to group exhibitions and her works are owned by numerous institutions, including the Metropolitan Museum of Art, Whitney Museum, Boston Museum of Fine Arts, and Hillwood Art Museum.
In addition to publishing children's books, Slobodkina authored three volumes of her autobiography, Notes for a Biographer (1976-1983) and edited American Abstract Artists: Its Publications, Catalogs, and Membership (1979) and the folio Ilya Bolotwosky (1985). Active until the end of her life, she oversaw the production of musical audio recordings for her 20 children's books well into her 80s, and at the age of 90, designed a museum financed through the Slobodkina Foundation. She died at her home in Glen Head, Long Island in 2002.
Related Materials:
The Archives also holds the American Abstract Artists records.
Separated Materials:
The Archives of American Art also holds materials lent for microfilming (N70-61) including a travel album, printed material, notes, McDowell colony correspondence, and an American Abstract Artists financial ledger. Lents materials were returned to the lender and are not described in the collection container inventory.
Additionally, 69 rolled drawings on tracing paper were transferred to Hillwood Art Museum in 2006.
Provenance:
Esphyr Slobodkina loaned a portion of her papers for microfilming and donated material in 1970. She gave additional papers between 1995 and 1996.
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 Esphyr Slobodkina 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.
The papers of New York abstract painter Leon Polk Smith measure 7.2 linear feet and date from 1921 to 1997. The papers consist of biographical material, business and personal correspondence, interview transcripts and an interview video recording, writings, financial records for the corporate entity Leon Polk Smith, Inc., printed material, photographic material, and a scrapbook of newspaper clippings.
Scope and Contents note:
The papers of New York abstract painter Leon Polk Smith measure 7.2 linear feet and date from 1921 to 1997. The papers consist of biographical material, business and personal correspondence, interview transcripts and an interview video recording, writings, financial records for the corporate entity Leon Polk Smith, Inc., printed material, photographic material, and a scrapbook of newspaper clippings.
Biographical material includes official affidavits, certificates, passports, expense receipts, and a travel expense notebook. A curriculum vitae, family history, and medical records are also included in the series.
Correspondence, both business and personal, comprises the bulk of the collection. This includes correspondence between Smith and his life companion, Robert Jamieson; art critics Arthur C. Danto, Claudine Humblet, and David Galloway; and artists Gego (Gertrude Goldschmidt) and Ray Johnson. Business correspondence relates to Smith's various gallery and museum exhibitions, loans, and sales. There is extensive correspondence between Smith and the Brooklyn Museum, Butler Institute of American Art, Di Laurenti Gallery, Edition and Galerie Hoffmann, Galerie Denise Rene, Meyers/Bloom Gallery, Washburn Gallery, and the Wilhelm-Hack Museum. The business subseries also includes correspondence between Smith and his alma mater, East Central University, formerly known as Oklahoma State University.
Interviews consist of six typewritten transcripts of interviews conducted with Smith over the course of his professional career from 1950 to 1993, a 1995 video interview of museum director Robert T. Buck discussing the Brooklyn Museum's exhibition of Leon Polk Smith for the television program National Arts, and a 1965 interview transcript with gallery owner Lucile Horsley.
Writings include sixteen published and unpublished scholarly essays on Smith and his work. The series also includes notes and a brief artist's statement by Smith regarding the pros and cons of modern art galleries.
Financial records are 1978-1989 federal income tax filings and routine tax preparation and payment receipts for the corporate entity Leon Polk Smith, Inc. Smith's personal filing records from 1987-1989 are also included in this series.
Printed material consists of two books, including the Brooklyn Museum's monograph Leon Polk Smith: American Painter, newspaper clippings reviewing Smith's work, and exhibition announcements and catalogs of Smith's museum and gallery shows from 1941 to 1997.
A scrapbook contains newspaper clippings documenting Smith's years as an educator and artist in Oklahoma in the 1930s and 1940s.
Photographs are of Smith and his acquaintances circa 1920-1960, and a representative selection of photographs and color slides of Smith's artwork from 1939 to 1960.
Arrangement note:
The collection is arranged as 8 series:
Series 1: Biographical Material, 1938-1994 (Box 1, OV 10; 11 folders)
Series 2: Correspondence, 1939-1997 (Boxes 1-5, 9, OV 10; 5 linear feet)
Series 3: Interviews, 1950-1995 (Boxes 5-6; 8 folders)
Series 4: Writings, 1963-1996 (Box 6; 13 folders)
Series 5: Financial Records, 1979-1990 (Box 6; 15 folders)
Series 6: Printed Material, 1941-1997 (Boxes 6-7, 9; .5 linear feet)
Series 7: Scrapbook, 1930-1940 (Box 8; 1 folder)
Series 8: Photographic Material, 1920-1990 (Box 8; 8 folders)
Biographical/Historical note:
Leon Polk Smith (1906-1996) worked primarily in New York City as a painter, educator, and lecturer. He is considered one of the founders of the hard edge style of minimalist abstract art.
Smith was born in Chickasha, Indian Territory one year before its formal incorporation into the Oklahoma Territory. Both of his parents were of Cherokee ancestry and he was raised in a small farming community that included Cherokee and Choctaw Indians. After receiving his teaching degree in 1934, Smith worked as an educator in rural Oklahoma communities and, at the same time, took the opportunity to introduce arts programs to local schools. In 1936, he enrolled in Columbia University's Teachers College to pursue a graduate degree in arts education and began painting full time. That summer, he visited the Albert E. Gallatin Gallery of Living Art at New York University, where he was first introduced to the work of the European modernists Constantin Brancusi, Jean Arp, and most importantly, Piet Mondrian.
In the late 1940s and early 1950s, Smith accepted university teaching positions at Rollins College in Florida, and New York University and Mills College of Education in New York. During this time, Smith moved beyond his early explorations of neo-plasticism and began to paint in a more hard edge style, typified by geometric lines, curving shapes of color, and the use of tondo (disk shaped) canvases. In 1958, Betty Parson's Section Eleven Gallery showcased his new work in two one-man exhibitions, which introduced him to a wider audience of museum curators and art collectors. In the 1960s, Smith's work was included in two of his most important group exhibitions, The Responsive Eye at the Museum of Modern Art (1965) and Systemic Painting at the Solomon R. Guggenheim Museum (1966). In 1995, the Brooklyn Museum curated Leon Polk Smith: American Painter, a retrospective exhibition of Smith's career.
Smith produced works exploring shapes and lines, minimalist use of color, and modularity well into the 1990s and exhibited at a number of affiliated galleries, including the Stable Gallery, Galerie Chalette, Galerie Denise Rene, Washburn Gallery, and ACA Galleries. Smith died in 1996 in his home in Manhattan, at the age of 91.
Provenance:
The papers of Leon Polk Smith were donated by the artist's partner, Robert Jamieson, in 1998 and 2002.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Leon Polk Smith 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.
Topic:
Painters -- New York (State) -- New York Search this
Leon Polk Smith papers, 1921-1997. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Leon Polk Smith Foundation and the Terra Foundation for American Art.
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:
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 Stable Gallery records 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.
1.2 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1954-1962
Scope and Contents:
Printed materials, photographs, scrapbooks, correspondence, and a card file.
REEL 677: Four catalogs; four clippings; letters; eulogies of Kaufmann; and two scrapbooks containing clippings and announcements.
REEL 692: 350 photographs of Kaufmann's works.
UNMICROFILMED: Letters from the executor of Kaufmann's estate and the Arts Fund to various galleries, museums and universities regarding donating Kaufmann's work to these institutions; an alphabetized card file listing donated works and their location; and seven printed items.
Biographical / Historical:
Painter and gallery owner; New York, N.Y. Founded the Forum Gallery to provide exhibition space for college and university art students.
Provenance:
Donated 1961-1977 by Walter Weiss for the estate of Robert D. Kaufmann.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Letters from Waldo and Ellen Larsen Peirce and others; writings by Schwartz, including a typescript of the book, ETRETAT; photographs of Schwartz and his work and exhibition installations; and printed material including exhibition catalogs; clippings. Also included is an exhibition guest book for Gallery 144 West 13 Street.
Biographical / Historical:
Painter and gallery owner; New York, N.Y. Owned Gallery 144 West 13th Street, New York, N.Y., ca. 1931-1934.
Provenance:
Donated 1973 by Schwartz's widow, and in 1988 by his son, Paul Waldo Schwartz.
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.
8 Linear feet ( (partially microfilmed on 8 reels))
Type:
Collection descriptions
Archival materials
Date:
1936-1970
Scope and Contents:
Correspondence, printed material, business records, scrapbooks, and photographs.
REEL 34: Scrapbooks, 1956-1967, containing notices, clippings, and articles about artists represented by the gallery.
REEL N69-41: Papers relating to Kurt Seligmann, including correspondence, clippings, press releases, biographical data, prices, lists and invoices.
REEL N69/55 - N69/59: Files on artists associated with the gallery, including biographical and career information, correspondence, announcements, catalogs, lists of works, clippings, and contracts.
Artist files include Fermin Aguayo, Sylvia Bernstein, Antol Biró, Donald Baum, Bedikian, Henri J. Brenner, Dorothy W. Brown, Claire Burch, Edmond Casarella, Katherine P. Choy, Robert Conover, Lyn Cortlandt, Edward Countey, Craven Gallery (Paris), Mildred Crooks, Worden Day, Joel Falguierre, Ray Fink, Eugene Fitsch, Amy Flemming, Jane Foster, Norma A. Fox, Stanislas Fraydas, John Freeman, Edith Geiger, Howard Gibbs, Kay K. Gross, Aaronel deRoyGruber, Dimitri Hadzi, Irene Hamar, Jean Helion, Buffie Johnson,Galerie Irla Kert, Regina Kirschner, Ted Kliros, Ida Kohlmeyer, Doris Kreindler, Lawrence Kupferman, Mortimer Laughlin, Gerson Lieber, Jeanne Lister, Julie MacDonald, Boris Margo, Charles E. Martin, Olivia Morrison, Legh Myers,Barbara Newstadt, John O'Hare, Anthony Padovano, Jack Perlmutter, Pierrakos, Godfrey Pilkington, Andre Racz, Edward Renouf, Shay Rieger, Reginald Rowe, Alfred Russell, Robert I. Russin, Justine Schacter, Segy, Sergio Signori, Soshana, William Stipe, Helen Stoller, Paul Tedeschi, David Tindle, Paul Van Hoeydonck, Chi-Yuan Wang, and Roland Wise.
REEL N69-113: Gallery file on Audrey Skaling containing correspondence with Skaling, museum curators, critics, and others concerning Skaling's work and exhibitions.
UNMICROFILMED: Files on artists containing correspondence, photographs, printed material and press releases; files on exhibitions; and receipt books.
Biographical / Historical:
Art gallery; New York, N.Y. Founded in 1956.
Provenance:
Material on reel 34 lent for microfilming by the Ruth White Gallery, 1970. Other material donated by the gallery, 1969-1975.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Schneider-Gabriel Galleries (New York, N.Y.) Search this
Extent:
1 Linear foot ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1923-1953
Scope and Contents:
Financial records; correspondence; and ca. 500 photographs of works of art by major European (13th to 20th centuries) and American (19th and 20th centuries) artists.
Biographical / Historical:
Art gallery; New York, N.Y. Owned by Albert Schneider.
Provenance:
The donor, Mrs. Albert Schneider, is the widow of Albert Schneider.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Correspondence, photographs, and scrapbooks relating to solo and group exhibitions presented.
Participating artists include Ronald Bladen, Louise Bourgeios, Michael David, Ron Gorchov, David Hare, Joan Snyder, John Francis Torreano, John Willenbecher, and Isaac Witkin. Photographs are of exhibition installations and artists represented by the gallery. Three comprehensive scrapbooks, comprised mainly of printed matter, document the history and activities of the gallery.
Arrangement:
I. Artist Files. II. Exhibition Files. III. Photographs. IV. Scrapbooks. Artist files arranged alphabetically; all other materials are in chronological order.
Biographical / Historical:
Patricia Hamilton Gallery, 20 West 57th Street, New York City, was particularly important for its support of sculptors. Operated 1977-1985; since closing the gallery, Ms. Hamilton has remained active as a private dealer/consultant.
Provenance:
Donated 1986 by Patricia Hamilton.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art dealers -- New York (State) -- New York Search this
50 exhibition catalogs arranged alphabetically by artists, A-W for individual shows, and arranged chronologically for group shows; and exhibition announcements.
Biographical / Historical:
Art gallery, New York, N.Y. Run by Georgette Passedoit.
Provenance:
Donated 1968 by Georgette Passedoit.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
A receipt from the firm of Frederick Keppel for a woodcut by Albrecht Durer, sold for 5 dollars to the Rev. W. A. Leonard on March 15, 1875. The receipt is signed by Keppel's assistant, W[illiam] Macbeth.
Biographical / Historical:
Frederick Keppel was the founder of Frederick Keppel and Co. and William Macbeth was his assistant who later founded the well-known Macbeth Gallery in New York City.
Provenance:
The document was presented to Sherman Lee who in turn gave it to the Archives of American Art.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Clippings and exhibition announcements from Long's galleries, including Davis & Long Company, and Meredith Long Contemporary in New York City, and Meredith Long & Company, Houston.
Biographical / Historical:
Art galleries; Houston, Texas and New York, N.Y. Owned and directed by Meredith Long. Businesses included Davis and Long, 746 Madison Ave., NYC; Meredith Long Contemporary, 7 W. 57th St., NYC, and Meredith Long and Company, 2323 San Felipe, Houston, Tex. Specialized in 19th and 20th century American art. Long is a Trustee and member of the Board of Directors at the Museum of Fine Arts, Houston and Contemporary Arts Museum.
Provenance:
Lent for microfilming 1979 by Meredith Long & Co.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Family correspondence; personal and professional correspondence relating to Porter's career as a gallery owner, with Caresse Crosby, Eldzier Cortor, Worden Day, Edith Halpert, Adolph Gottlieb, Karl Knaths, Peggy Guggenheim, Mark Rothko, Willem de Kooning, and many others; diaries; notes; financial papers; clippings; publicity catalogs; and miscellany.
Biographical / Historical:
Painter, sculptor, gallery owner; Wainscott, N.Y. Porter opened the G Place Gallery with Caresse Crosby in 1943.
Provenance:
Lent for microfilming 1970 by Edwin David Porter.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
5.8 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1934-1967
Scope and Contents:
Diaries, correspondence, photographs, writings, scrapbook, exhibition materials, and printed materials.
UNMICROFILMED: Two stock books of the Harry Salpeter Gallery, Inc.; 13 bound copies of articles by Salpeter; a drawing; a manuscript of DR. JOHNSON AND MR. BOSWELL; 11 cartoons by Herb Kruckman; correspondence with artists and friends, including 8 postcards and 2 letters from David Burliuk, 1946-1957; photographs; writings, including articles for magazines; a scrapbook; exhibition catalogs; clippings; and books.
REEL 690-691: Diaries, January 1956-November 1967.
Biographical / Historical:
Writer, art critic, gallery owner; New York, N.Y.; b. 1895; d. 1967; owner of the Harry Salpeter Gallery; New York, N.Y.
Provenance:
Donated 1960-1973 by Salpeter and, after his death in 1967, by his widow, Rebecca Salpeter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
