Fitch-Perkins-Bergmann House (New Canaan, Connecticut)
United States of America -- Connecticut -- Fairfield County -- New Canaan
Scope and Contents:
The folder includes a worksheet, a garden plan and plant list, and a copy of a House Beautiful article about the garden.
General:
This architect-designer's modernist garden with a highly ordered geometry is an extension to the 1836 Greek Revival style house. An abstract but formal composition using a series of stepped terraces merges, joins, and unfolds space on the one-third acre lot. Keeping to the minimalist theme, abundant summer annuals are limited to two colors. The serene landscaped rooms are formalized by yew parterres, serial hedges, stone and painted brick walls, a bosk of pruned crabapple trees, a cone folly, raked gravel, and other French and Italian elements. Its geometry contrasts with the thick, random woodland plantings of mature pines and hemlocks. An opaque screen of European beech separates the entry court from the landmark building, located in a historic district adjacent to the town center. The patter of water is created with two fountains in granite basins located side by side.
Persons and organizations with the property include: Theophilus Fitch (former owner, 1835-1837); Philo Fitch (former owner, 1837-1865); Clarinda Ayres (former owner, 1865-1891); Eleazer Fancher (former owner, 1891-1902); Helen Rogers (former owner, 1902-1919); The Community School (former owner, 1919-1924); Maxwell E. and Louise Perkins (former owners, 1924-1965); John and Bertha Frothingham (former owners, 1965-1972); and Johnson Lee (former owner, 1972-1973).
Related Materials:
Fitch-Perkins-Bergmann House related holdings consist of 1 folder (7 35 mm. slides)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
This architect-designer's modernist garden with a highly ordered geometry is an extension to the 1836 Greek Revival style house. An abstract but formal composition using a series of stepped terraces merges, joins, and unfolds space on the one-third acre lot. Keeping to the minimalist theme, abundant summer annuals are limited to two colors. The serene landscaped rooms are formalized by yew parterres, serial hedges, stone and painted brick walls, a bosk of pruned crabapple trees, a cone folly, raked gravel, and other French and Italian elements. Its geometry contrasts with the thick, random woodland plantings of mature pines and hemlocks. An opaque screen of European beech separates the entry court from the landmark building, located in a historic district adjacent to the town center. The patter of water is created with two fountains in granite basins located side by side.
Persons and organizations with the property include: Theophilus Fitch (former owner, 1835-1837); Philo Fitch (former owner, 1837-1865); Clarinda Ayres (former owner, 1865-1891); Eleazer Fancher (former owner, 1891-1902); Helen Rogers (former owner, 1902-1919); The Community School (former owner, 1919-1924); Maxwell E. and Louise Perkins (former owners, 1924-1965); John and Bertha Frothingham (former owners, 1965-1972); and Johnson Lee (former owner, 1972-1973).
Collection Restrictions:
Access to collection by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Irene Jeruss Garden Photography Collection
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
(Oversized material from Box 70, Folders 15, 19-21, 23-26; Box 71, Folders 1-3)
Container:
Box 199, Folder 9
Type:
Archival materials
Date:
1965-1983
Collection Restrictions:
Use of original records requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.
Collection Citation:
American Petroleum Institute Photograph and Film Collection, 1860s-1990 (bulk 1955-1990), Archives Center, National Museum of American History
Assembled by collectors Dr. Henry D. Rosin and Nancy Rosin to document nineteenth-century and early twentieth-century photography of Japan. Includes albumen prints, portions handcolored, some signed and numbered in the negative. Taken by photographers Felice Beato (b. ca. 1825), Baron Raimon von Stillfried (1938-1911), Kusakabe Kimbei (active 1880s), Ueno Hikoma (1838-1904), Ogawa Kazumasa (1860-1929) and unknown photographers to depict architecture, landscapes, formal studio portraits, and daily activities.
Arrangement:
Organized chronologically by the creators.
Biographical / Historical:
Henry and Nancy Rosin were collectors of Japanese photography of the nineteenth and twentieth centuries.
Henry and Nancy Rosin Collection of Early Photography of Japan. FSA.A1999.35. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
The papers of abstract painter David Novros are dated 1963 to 2008, and measure 1.0 linear foot. Correspondence, records relating to the Liaunig Boat House commission (Middleburgh, NY), interview transcripts, printed material, and photographs document the painter's professional career.
Scope and Content Note:
The papers of abstract painter David Novros are dated 1963 to 2008, and measure 1.0 linear foot. Correspondence, records relating to the Liaunig Boat House commission (Middleburgh, NY), interview transcripts, printed material, and photographs document the painter's professional career.
The vast majority of correspondence consists of incoming letters. The only reciprocal exchanges preserved are with art historian Charles Hope and the Menil Collection. Letters are from artists Rory McEwen, Paul Mogensen, and Ken Price; writers Frances Colpitt and Claudine Humblet; and from other colleagues and friends. The letters David Novros wrote to his family between 1963 and 1979 recount his travels and describe in some detail - many with accompanying illustrations and diagrams - work in progress, exhibitions, and commissions. Also preserved are copies of his letters to the Trustees of the Donald Judd Estate and Ranier Judd concerning the Marfa, Texas properties and projects, his Spring Street studio in New York City, and the Judd Foundation. Novros's letters to editors concern art-related articles that appeared in The New York Review of Books, The New York Times, Los Angeles Times, and other publications.
Peter Liaunig's commission for a boat house with three fresco paintings in Middleburgh, New York, is documented by correspondence, plans, and designs. The "Boat House Diary, Middleburgh, NY," kept by Novros August 10-15, 2003, describes the process of painting the frescoes with the assistance of Jason, and notes materials and techniques used.
Interview transcripts are of Phong Bui's conversation with David Novros, published June 2008 in The Brooklyn Rail, and an unpublished interview Novros conducted with sculptor Robert Graham in 2008.
Printed material about or mentioning David Novros consists of articles and reviews, exhibition announcements and posters. Items written by Novros are a review of Jackson Pollock and two poems.
Photographs are of David Novros with his family and friends. There are also views of the Novros family's home in Van Nuys, California, and Indian-painted rocks at Sears Point, Arizona that influenced Novros' art.
Arrangement:
The collection is arranged as 5 series:
Missing Title
Series 1: Correspondence, 1963-2008 (Boxes 1-2; 0.4 linear ft.)
Series 2: Liaunig Boat House, 1998-2004 (Box 2, OV3; 0.2 linear ft.)
Series 3: Interview Transcripts, 2008 (Box 2; 0.1 linear ft.)
Series 4: Printed Material, 1966-2008 (Box 2, OV 4; 0.2 linear ft.)
Series 5: Photographs, 1976-1999 (Box 2; 0.1 linear ft.)
Biographical Note:
David Novros (1941-) is an abstract painter in New York, NY.
Abstract painter David Novros was born in Los Angeles in 1941 and lived with his family in Van Nuys, California. His father, Lester Novros, was an artist whose interest in movement eventually led him to the Walt Disney Company, where he worked on animation projects. In 1941 he established his own production company, Graphic Films, and began teaching in the Cinema Department of the University of Southern California. Both David and his brother Paul were enamored with film; David turned to painting, but Paul followed in their father's line of work and became an award-winning film producer.
David entered the University of Southern California and studied painting with James Jervaisee. He made a few student films and sometimes worked with his father, but before long he turned to painting. During the summer of 1961, Novros attended courses at Yale and met Chuck Close, Brice Marden, and Vija Celmins.
After earning a B.F.A. in 1963, Novros completed his Army Reserve obligations and travelled in Europe. He moved to New York City in 1964 and met many Minimalist artists. Over the next several years, Novros's rectangular paintings gave way to multi-panel paintings and then to shaped panels. From the late 1960s through the 1970s, Novros developed a reputation as a geometric abstractionist. He showed at Park Place Gallery and had a solo exhibition at Virginia Dwan Gallery (Los Angeles) in 1966; the next year, his work was again presented at Park Place Gallery and at the Virginia Dwan Gallery (New York). Several solo exhibitions followed at Klaus Kertess's influential Bykert Gallery, as well as at other venues.
Novros participated in important exhibitions of abstraction, among them "Systemic Painting" (Guggenheim Museum, 1966), "Color and Structure" (Whitney Museum of American Art, 1971), and "Abstract-Geometry-Painting: Selected Geometric Abstract Painting in America since 1945" (Albright-Knox Gallery, 1989). In 1970, he was awarded a Guggenheim Foundation Fellowship.
In the 1970s, Novros turned to fresco painting, and his eventual decision to focus on murals effectively removed him from the commercial gallery scene. One of his earliest commissions was a fresco painted in 1970 for the second floor of Donald Judd's studio/home. Other commissions include: Solar Triptych, a radial triptych that opens and closes throughout the day, for the lobby of Union Station, Newark, NJ (1984); a fresco in the Old Court House, Miami (1984); a painted-glass and copper fresco in the Gross Building, Winslow, Arizona (1994-1996); and the Liaunig Boat House with fresco paintings, Middleburgh, NY (1996-2003). A number of museums in the United States and Europe include Novros's work in their permanent collections, among them: Menil Collection, Museum of Modern Art, Whitney Museum of American Art, Museum Liaunig (Austria), and Daimler contemporary (Berlin).
Mr. Novros lives and works in New York City.
Related Material:
An oral history interview with David Novros was conducted by Michael Brennan for the Archives of American Art in 2008.
Provenance:
Gift of David Novros, 2009
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.
Topic:
Painters -- New York (State) -- New York Search this
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
General correspondence files contain all communications that do not pertain to a specific project. Because Friedman's personal life and business were so interconnected, many of his business associates also shared personal correspondence with the designer.,Materials in this collection document Friedman's work from 1967, as a student, until his death in 1995.
Files that document his affiliations with Yale University and the State University of New York at Purchase include administrative memos, proposals, lecture outlines, syllabi, bibliographies, examples of students' work, and design projects Friedman did for each school. A copy of the goals and objectives of the Division of Visual Arts within the School of the Arts at SUNY Purchase written by Friedman is included.
Project files include business correspondence, invoices, sketches, contracts, clippings, photographs, and slides. In the case of his graphic projects, some samples of stationery and brochures are included. Extensive documentation exists for Friedman's projects for Citibank, WilliWear, National Public Radio, and Bonwit Teller. Some correspondence is in German. Friedman's lecture notes, proposals for articles and books, and drafts of many articles are included. Clippings of articles on the designer and his work are arranged chronologically.
Research files consist of articles and Friedman's notes on topics of interest to him, such as typography, structure, simultaneity, and information theory. Photographs, slides, and transparencies of many of Friedman's projects, his sources of inspiration, and the work of his students are included.
Arrangement:
Record Groups include:
1: General Correspondence
2: University Affiliations
3: Project Files
4: Lectures and Writings
5: Clippings
6: Research Materials
7: Photographs and Slides
Biographical / Historical:
Educator, graphic and furniture designer. Born in Cleveland, Ohio, 1945. Friedman recieved a BFA from Carnegie Institute of Technology, Pittsburg, PA. He studied graphic design at Hochschule fur Gestaltung, Ulm, and studied with Armin Hofmann and Wolfgang Weingart at Allgemeine Gewerbeschule, Basel. Friedman returned to America in 1969 and began his career as graphic designer for large corporations.
He worked with the firm Anspach Grossman Portugal as a senior designer from 1975 to 1977. Friedman contributed significantly to what came to be known as "post-modern" or "new wave" typography in the 1970s. He taught graphic design at Yale University, 1970-73. He became Assistant Professor and Chairman of the Board of Study in Design at the State University of New York at Purchase, 1972-1975. Friedman designed catalogs and brochures for both universities. Friedman worked with Pentagram Design in New York City from 1979 to 1984. He designed corporate identity programs, posters, publications, packaging, letterheads, and logos, for clients such as Citibank, and Williwear.
Friedman was a long-time friend of artist Keith Haring, and designed the book, "Keith Haring", 1982. He was the author of "Dan Friedman: Radical Modernism", 1994, and co-authored with Jeffrey Deitch, "Cultural Geometry", 1988, and "Artificial Nature", 1990. He designed the books "New Italian Design", 1990, and "Post Human", 1992. He also designed furniture, lighting, screens, wall elements, and interiors. Many of his furniture designs were done especially for Galerie Noetu in Paris. Among his best known furniture designs are the 1989 Virgin Screen, 1989 Zoid sofa and chair, and the Three Mile Island lamps.
Friedman served as the Frank Stanton Professor of Graphic Design at the Cooper Union in New York city, from 1994 until his death in 1995.
Related Materials:
Cooper-Hewitt, National Design Museum, Drawings and Prints Department
Hundreds of designs for letterheads, logos, business cards, invitations, greeting cards, furniture, lighting, screens, office interiors, shoppings bags and gift boxes, calendars, packaging, weather pattern diagrams and maps, book covers, and posters
Cooper-Hewitt, National Design Museum, Applied Arts Department
"U.S.A." table and dome-shaped floor lamp.,.
Friedman's work can be found in the collections of the following museums: Museum of Modern Art, New York City; Museum of Decorative Arts, Montreal, Canada; Art Institute of Chicago, Chicago, IL; Seibu, Tokyo; Virginia Museum of Fine Arts, Richmond, VA; and Israel Museum, Jerusalem.
Provenance:
This collection was donated to the museum by the designer's brother, Ken Friedman in 1995.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
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 such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
This series primarily documents group exhibitions held at the Robert Schoelkopf Gallery between 1963 and 1987, in addition to several exhibitions held in other locations. Records relating to exhibitions of work by individual artists are not included in this series but can be found in Series 1: Aftist Files. The first files in the series contain exhibition lists and printed material for shows that have no accompanying material and thus are not represented in an individual folder. Much of the printed matter consists of general reference material relating to themes of group shows held at the gallery. It also documents group exhibitions at other locations that featured artists in whom the gallery had an interest. Three folders of photographs that were originally labeled "Publicity Photographs" can be found immediately following these files.
The bulk of the series deals with specific exhibitions. Records include photographs of installations and individual works of art shown, exhibition catlogs, clippings, press releases, and material pertaining to related events. Correspondence concerning arrangements for exhibitions and requests for information can also be found here. Files chronicling specific exhibitions are arranged chronologically, with the exception of three files combining material relating to two exhibitions entitled Nine Realist Painters and Nine Realist Painters Revisited that can be found at the end of the series. Dates of exhibitions are given in parentheses after the exhibition titles and should not be confused with record dates.
The series contains ten negatives of photographs used in the 1985 exhibition, Photographs of the American West, and three negatives of installation shots from the 1985 exhibition, American Stone Carvers. For preservation reasons these are stored at the end of the negatives from Series 1: Artist Files, in Box 24.
See Appendix B for a list of all known exhibitions at the Robert Schoelkopf Gallery.
Appendix B: Exhibitions at Robert Schoelkopf Gallery:
Below is a list of all known exhibitions held at the Robert Schoelkopf Gallery. Italics indicate that the exact title of an exhibition is is known. Brackets indicate that the date or occurrence of an exhibition is assumed but cannot be confirmed.
DateExhibitionNov., 1962 -- A Selection of Drawings & Watercolors
Nov. 13-Dec. 1, 1962 -- Johan Birnie
Dec. 4-22, 1962 -- Norman Zammitt
Jan. 2-Feb. 9, 1963 -- Joseph Stella
Mar. 5-30, 1963 -- 19th Century American Paintings
Apr. 2-27, 1963 -- Ethel Myers: Drawings and Sculpture
Jan. 27-Feb. 22, 1973 -- Bruno Civitico: Paintings and Drawings
Feb. 24-Mar. 22, 1973 -- Paul Wiesenfeld: Paintings
Mar. 24-Apr. 19, 1973 -- Cecile Gray Bazelon
Apr. 21-May 17, 1973 -- Walker Evans
[Apr. 21-May 17], 1973 -- [The Unknown Lachaise]
May 19-June 14, 1973 -- Brooklyn Bridge: Paintings, Prints, Photographs, Memorabilia, and Historical Documents Celebrating the 90th Anniversary of One of Man's Noblest Works
Sept. 18-Oct. 13, 1973 -- A Century of Photographs, 1842-1949
Oct. 20-Nov. 29, 1973 -- Gaston Lachaise: Sculpture and Drawings
Dec. 8-Jan. 17, 1974 -- Photography in Italy in the 19th Century
Jan. 19-Feb. 14, 1974 -- Louisa Matthiasdottir
Feb. 16-Mar. 14, 1974 -- Myron Lechay: Paintings of the Twenties & Thirties
Mar. 16-Apr. 11, 1974 -- Leland Bell: Recent Paintings
Apr. 13-May 9, 1974 -- Douglas Cumming: Paintings and Drawings
May 11-June 7, 1974 -- Gabriel Laderman: Retrospective
June 11-July 19, 1974 -- The Art of the Portrait Photograph
Oct. 1-31, 1974 -- North American Indians
Oct. 19-Nov. 14, 1974 -- William Bailey
Nov. 2-30, 1974 -- Walker Evans: Vintage Prints
Dec. 10-Jan. 11, 1975 -- The Art of the Photogravure
Jan. 7-31, 1975 -- Four Americans
Jan. 14-Feb. 28, 1975 -- Rome by Robert MacPherson
Feb. 4-Mar. 1, 1975 -- Altar Pieces of World War II
Mar. 4-29, 1975 -- Giséle è
[Mar. 4-Apr. 26], 1975 -- [John Henry Bradley Storrs]
Apr. 1-30, 1975 -- Margaret Bourke-White, 1904-1971
Apr. 29-May 30, 1975 -- Martha Mayer Erlebacher
May 3-31, 1975 -- Arnold Genthe
June 2-July 11, 1975 -- 19th Century Photographs of the Middle East
June 10-July 11, 1975 -- New Talent
Sept. 16-Oct. 18, 1975 -- Richard Piccolo
Sept. 16-Oct. 30, 1975 -- August Sander: Vintage Prints
Apr. 15-May 17, 1989 -- Richard Ryan: Recent Paintings and Drawings
July 7-26, 1989 -- Walter Hatke
Sept. 9-Oct. 11, 1989 -- Raymond Han: Recent Paintings
Oct. 15-Nov. 15, 1989 -- Stone Roberts
[Nov. 21-Dec. 24], 1989 -- [John Storrs]
undated, 1990 -- Ed Garman and James M. Guy
Jan. 6-Feb. 7, 1990 -- David Ligare: Recent Paintings and Drawings
Feb. 10-Mar. 14, 1990 -- Sondra Freckelton
Mar. 17-Apr. 20, 1990 -- Leland Bell
Apr. 21-May 23, 1990 -- James Aponovich: Recent Paintings
May 26-June 27, 1990 -- Four Artists/Four Decades: A Selection of Works on Paper by Gaston Lachaise, Jan Matulka, John Storrs, and Joseph Stella from the Years 1910-1950
Oct. 13-Nov. 14, 1990 -- Gabriel Laderman: Recent Paintings
Jan. 5-Feb. 6, 1991 -- Rolph Scarlett (1889-1984): Paintings and Works on Paper
Feb. 9-Mar. 13, 1991 -- William Bailey: Recent Paintings, Caseins, and Drawings
Mar. 16-Apr. 17, 1991 -- Louisa Matthiasdottir: Recent Paintings
May 18-June 12, 1991 -- Richard Raiselis: Recent Paintings
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Keith Warner papers, 1935-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
