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Lou Stovall Interview - Silk Screen Process

Creator:
Anacostia Neighborhood Museum  Search this
Reinckens, Sharon A.  Search this
Capilongo, Christopher  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Stovall Workshop Inc.  Search this
Gilliam, Sam, 1933-  Search this
Stovall, Di Bagley, 1947-  Search this
Stovall, Lou  Search this
Collection Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
2 Sound recordings (open reel, 1/4 inch)
Culture:
African American  Search this
Type:
Archival materials
Sound recordings
Documentary films
Interviews
Place:
Washington (D.C.)
United States
Date:
1983
Scope and Contents:
Interview with Lou Stovall for documentary in which Stovall demonstrates and speaks about his silk screen printing process and use of color in detail. During the interview, Stovall discusses his ability and passion for drawing, hiding the human figure in landscape compositions, working with stencils and proofing strips, details of the reductive printing process, integration of color in his work, silk screen printing as a technical medium, art intelligence, aesthetics in his work and other artists, where he gets his inspiration, and Sam Gilliam's work and abstract art.
Interview for short documentary titled Lou Stovall. Audio only. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. AV003305: audio skips and minimal distortions. Dated 19830627.
Biographical / Historical:
Lou Stovall Interview - Silk Screen Process is related to an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.
Local Numbers:
ACMA AV003305-2

ACMA AV003281
General:
Title transcribed from physical asset.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American artists  Search this
Art  Search this
Prints  Search this
Screen prints  Search this
Landscapes  Search this
Drawing  Search this
Prints -- Technique  Search this
Serigraphy  Search this
Color in art  Search this
Genre/Form:
Sound recordings
Documentary films
Interviews
Citation:
Lou Stovall Interview - Silk Screen Process, Exhibition Records AV03-001, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-001, Item ACMA AV003305-1
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7bb229130-69d9-455f-8f72-b9ba1e565722
EDAN-URL:
ead_component:sova-acma-03-001-ref81

Through Their Eyes: The Art of Lou and Di Stovall Self Guided Audio Tour

Creator:
Anacostia Neighborhood Museum  Search this
Jones, Brian  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Corcoran Gallery of Art  Search this
Corcoran School of Art (Washington, D.C.)  Search this
Howard University  Search this
Stovall Workshop Inc.  Search this
Gilliam, Sam, 1933-  Search this
McNeill, Lloyd  Search this
Porter, James A. (James Amos), 1905-1970  Search this
Stovall, Di Bagley, 1947-  Search this
Stovall, Lou  Search this
Collection Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
2 Sound recordings (open reel, 1/4 inch)
5 Sound recordings (audio cassette)
Culture:
African American  Search this
Type:
Archival materials
Sound recordings
Narration
Place:
Washington (D.C.)
Georgia
Springfield (Mass.)
United States
Date:
1983
Scope and Contents:
Brian Jones provides the narration for the self guided audio tour for the exhibition, Through Their Eyes: The Art of Lou and Di Stovall. The life history of Lou and Di Stovall and their work with the Stovall Workshop Inc., Lou's relationship with Sam Gilliam and Lloyd McNeill, Lou's work with the Corcoran Gallery, Di's education at the Corcoran School of Art, the meaning of the poster, and Lou's passion for drawing are briefly discussed. Individual works - posters, prints, and fine art - by Lou and Di, including a collaboration piece by Gilliam and Lou, are described.
Audio tour script - unedited audio narration. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. AV003296-3: sound distorted. Dated 19831026, 19831027. AV001367 and AV001377: dated 198310. AV001368 and AV001369: dated 19831020. AV001365: undated.
Biographical / Historical:
Through Their Eyes: The Art of Lou and Di Stovall Self Guided Audio Tour was created for an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.;Di Stovall, also known as Di Bagley Stovall and Di Bagley, was born in Columbus, Georgia in 1947. As a child, she loved collecting small things, animate and inanimate. Stovall studied with Barbara Pound, a painter known for landscapes, oil, and watercolor, throughout her childhood and teenage years. In the late 1960s, Stovall was educated at Columbus College and Bradley Museum, both in Georgia, before moving to Washington, D.C. to attend Corcoran School of Art. Stovall is a noted master of the miniature, creating representational and abstract images painted in absorbing detail. Although she creates drawings, prints, and watercolors, she prefers to work with acrylic on paper to capture the minute detail she seeks. Stovall's work also includes acrylic paint on glass, hand-crafted jewelry, and wooden cabinetry. Overall, Stovall's work is colorful, whimsical, and sophisticated. Color is extremely important to her. In 1971, she married Lou Stovall, a printmaker.
Local Numbers:
ACMA AV003296-1

ACMA AV003296-2

ACMA AV003296-3

ACMA AV001367

ACMA AV001377

ACMA AV001368

ACMA AV001369

ACMA AV001365
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American artists  Search this
Art  Search this
Prints  Search this
Screen prints  Search this
Posters  Search this
Landscapes  Search this
Drawing  Search this
Prints -- Technique  Search this
Serigraphy  Search this
Museum exhibits  Search this
Exhibitions  Search this
Genre/Form:
Sound recordings
Narration
Series Citation:
Through Their Eyes: The Art of Lou and Di Stovall audiovisual records, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.03-001, Item ACMA AV003450
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa731fd1d52-7513-46ba-85bd-f42d01585523
EDAN-URL:
ead_component:sova-acma-03-001-ref68

Stovall Workshop Inc. Slide Show Interviews

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Corcoran Gallery of Art  Search this
Corcoran Gallery--Dupont Center  Search this
Stovall Workshop Inc.  Search this
Bronson, David  Search this
Cook, Dana  Search this
Davis, Gene, 1920-1985  Search this
Fralin, Frances  Search this
Gilliam, Sam, 1933-  Search this
Hopps, Walter  Search this
McGowin, Ed, 1938-  Search this
McNeill, Lloyd  Search this
Stovall, Di Bagley, 1947-  Search this
Stovall, Lou  Search this
Collection Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
2 Sound recordings (open reel, 1/4 inch)
Culture:
African American  Search this
Type:
Archival materials
Sound recordings
Interviews
Place:
Washington (D.C.)
Atlanta (Ga.)
United States
Date:
1983
Scope and Contents:
Interviews with Dana Cook, Francis Fralin, and David Bronson for Stovall Workshop Inc. Slide Show, which focused on the formation of Workshop by Lou Stovall and Lloyd McNeill from its origins at the Corcoran Gallery of Art to its current location in northwest Washington, D.C. Cook, an illustrator and printmaker, discusses her experience working with and learning from Stovall at Workshop. Fralin speaks of Walter Hopps' outreach program idea leading to a relationship between Stovall and the Corcoran Gallery of Art, development of the Workshop at the Corcoran Gallery Dupont Circle, Stovall's and McNeill's poster collaboration, Stovall's silkscreening and drawing, Di Stovall's art and imagination, and other Workshop and Corcoran artists, including Sam Gilliam, David Bronson and Gene Davis. Bronson, a technician and craftsman, discusses his role at Workshop: helping to set up Workshop at Corcoran, learning silk screen process, working in woodshop, and creating prints for artists, including Ed McGowin for Name Change exhibition at Baltimore Museum of Art. All speak of Stovall's personality as a person, teacher and leader, particularly his perfectionist nature and high standards.
Interviews for slide show about Stovall Workshop Inc. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. Dana Cook interview dated 19830801: AV003309-1. Frances Fralin interview dated 19830809: AV003309-1 and AV003309-2. David Bronson interview dated 19830810: AV003314. All recordings have some distortions or skips in sound recording.
Biographical / Historical:
Stovall Workshop Inc. Slide Show is related to an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression from posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.;Stovall Workshop Inc. was formed as a result of a poster collaboration between printmaker Lou Stovall and designer Lloyd McNeill in 1966. Printmaking, sculpture, photography, and furniture making were directed by Stovall in Workshop, first located at the Concoran Gallery of Art [Corcoran Gallery Dupont Circle]. By 1973, Stovall moved Workshop to northwest DC.
Local Numbers:
ACMA AV003309-2

ACMA AV003314
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American artists  Search this
Art  Search this
Prints  Search this
Screen prints  Search this
Posters  Search this
Landscapes  Search this
Prints -- Technique  Search this
Serigraphy  Search this
Color in art  Search this
Museum exhibits  Search this
Exhibitions  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Stovall Workshop Inc. Slide Show Interviews, Exhibition Records AV03-001, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-001, Item ACMA AV003309-1
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7e787faf3-2445-469d-92c0-fc3ed72efc9e
EDAN-URL:
ead_component:sova-acma-03-001-ref70

Byron Gallery records

Creator:
Byron Gallery  Search this
Names:
Galleria dell'Ariete  Search this
Antonakos, Stephen, 1926-2013  Search this
Calder, Alexander, 1898-1976  Search this
Consagra, Pietro, 1920-  Search this
Copley, Alfred L.  Search this
De Chirico, Giorgio, 1888-  Search this
Ernst, Max, 1891-1976  Search this
Friedeberg, Pedro, 1937-  Search this
Gilliam, Sam, 1933-  Search this
Goeritz, Mathias, 1915-1990  Search this
Grilo, Sarah  Search this
Matta Echaurren, Roberto Sebastián, 1911-  Search this
Meadmore, Clement  Search this
Nivola, Costantino, 1911-1988  Search this
Sleigh, Sylvia  Search this
Talman, Paul  Search this
Youngerman, Jack, 1926-2020  Search this
Extent:
16.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Date:
circa 1950s-1991
Summary:
The records of New York Byron Gallery measure 16.3 linear feet and date from circa 1950s-1991, with the bulk of the material dating from 1960-1971. The records document the gallery's representation and exhibition of Surrealist and contemporary American artists, as well as the occasional pre-Columbian and Old Masters artwork. Found are over ten linear feet of artists and subject files, fifty-seven exhibition scrapbooks, exhibition catalogs, and sales records. There are also exhibitions catalogs of the Milan Galleria Dell'Arieti.
Scope and Content Note:
The records of New York Byron Gallery measure 16.3 linear feet and date from circa 1950s-1991, with the bulk of the material dating from 1960-1971. The records document the gallery's representation and exhibition of Surrealist and contemporary American artists, as well as the occasional pre-Columbian and Old Masters artwork. Found are extensive artists and subject files, exhibition files and scrapbooks, exhibition catalogs, and sales records. There are also exhibitions catalogs of the Milan Galleria Dell'Arieti.

Artist and subject files comprise over one-half of the records and contain business correspondence, sales information, photographs and transparencies, catalogs, and exhibit reviews for each artist either represented or sold by the gallery, or participated in an exhibition organized by the gallery. Particularly rich files are found for Alcopley, Stephen Antonakos, Alexander Calder, Pietro Consagra, Giorgio De Chirico, Max Ernst, Pedro Friedeberg, Sam Gilliam, Mathias Goeritz, Sarah Grilo, Roberto Sabastiano Matta, Clement Meadmore, Constantino Nivola, Sylvia Sleigh, Paul Talman, and Jack Youngerman.

Fifty-seven exhibition scrapbooks in binder sleeves represent a complete documentary record of Byron Gallery exhibits from 1963-1970. The scrapbook contain a wide variety of materials, including correspondence, catalogs, price lists, installation photographs and slides, printed reproductions of exhibited art work, and newspaper clippings and reviews. Additional printed materials include exhibition catalogs and invitations. There is also a near-complete run of catalogs from the Galleria Dell'Arieti, a contemporary gallery in Milan, Italy, 1961-1970.

Financial and business records are contained in a series of invoices from 1963-1971, and a card file of artwork sold or returned.
Arrangement:
The collection is arranged as 5 series:

Missing Title

Series 1: Artist and Subject Files, circa 1950s-1991, undated (Box 1-10, 17; 10.2 linear feet)

Series 2: Exhibition Scrapbooks, 1963-1970 (Box 11-14, 17; 4.1 linear feet)

Series 3: Printed Material, 1961-1970 (Box 15; 0.5 linear foot)

Series 4: Invoices, 1963-1971 (Box 15; 0.5 linear foot)

Series 5: Card Files, circa 1960s-1970s (Box 16; 1 linear foot)
Historical Note:
The Byron Gallery was founded in 1961 by Charles Byron (b. 1918) and located on Madison Avenue in New York, New York. The gallery primarily showed Surrealist masters and up-and-coming contemporary American painters and sculptures, as well as an occasional ancient and Old Masters exhibit.

Among the artists represented by the gallery were Alcopley, Herbert Bayer, Albert Kotin, Clement Meadmore, Richard Merkin, Constantino Nivola, Brian O'Doherty, and Hans Richter. Additional artists handled by the gallery or given shows were Max Ernst, Sam Gilliam, Robert Sebastian Matta, Renee Magritte, Sylvia Sleigh, and Jack Youngerman. The gallery also sold work by artists represented by other galleries, or from the secondary market.

Several prescient group shows were organized by the gallery, including the Box Show in 1965, featuring the work of over 100 artists, including Arakawa, Lee Bontecou, Chryssa, Joseph Cornell, Alcopley, Walter De Maria, Dan Flavin, Donald Judd, Edward Kienholz, Sol Lewitt, Louise Nevelson, Constantino Nivola, Robert Rauschenberg, Michell Stuart, and Andy Warhol. The Paris Review show in 1965 was another stellar event, with contributions from Richard Anuszkiewicz, Allan D'Arcangelo, Jim Dine, Helen Frankenthaler, Robert Indiana, Alex Katz, Ellsworth Kelly, Lindner, Richard Robert Motherwell, Louise Nevelson, Estaban Vicente, and Andy Warhol. In 1964, the gallery also organized an exhibition of over 40 American landscape artists, American Landscapes. The gallery also exhibited two shows based on Pre-Columbian objects, and, in the late 1960s, held two major exhibitions, 400 Years of Italian Art: Florentine Relief Fund Art Show (1967) and Greek Gold Exhibition (1967-1968).
Provenance:
The Byron Gallery papers were donated to the Archives of American Art by gallery owner Charles Byron in 1999.
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:
Surrealism  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Photographs
Scrapbooks
Citation:
Byron Gallery records, circa 1950s-1991, bulk 1960-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.byrogall
See more items in:
Byron Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bd7a7571-1027-4885-9bdb-30c575a99764
EDAN-URL:
ead_collection:sova-aaa-byrogall
Online Media:

Sam Gilliam papers, 1957-1989

Creator:
Gilliam, Sam, 1933-2022  Search this
Subject:
Andrews, Benny  Search this
Driskell, David C.  Search this
Gilliam, Dorothy Butler  Search this
Krebs, Rockne  Search this
Mondale, Walter F.  Search this
Carl Solway Gallery  Search this
Philadelphia Museum of Art  Search this
Studio Museum in Harlem  Search this
Type:
Interviews
Scrapbooks
Sketches
Sound recordings
Topic:
Art -- Study and teaching  Search this
Color-field painting  Search this
Painting, Modern -- 20th century -- Washington (D.C.)  Search this
Washington Color School (Group of artists)  Search this
African American artists  Search this
African American educators  Search this
African American painters  Search this
Theme:
Sketches & Sketchbooks  Search this
African American  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)9584
(DSI-AAA_SIRISBib)211785
AAA_collcode_gillsam
Theme:
Sketches & Sketchbooks
African American
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211785
Online Media:

Fendrick Gallery records

Creator:
Fendrick Gallery  Search this
Names:
Barbara Fendrick Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Arneson, Robert, 1930-1992  Search this
Bailey, William, 1930-2020  Search this
Benes, Barton Lidic  Search this
Brush, Daniel  Search this
Castle, Wendell, 1932-2018  Search this
Cottingham, Robert, 1935-  Search this
Drake, James, 1946-  Search this
Dreyfuss, John, 1949-  Search this
Dusenbery, Walter, 1939-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Gilliam, Sam, 1933-  Search this
Johns, Jasper, 1930-  Search this
KaskeyRaymond J., 1943-  Search this
Lalanne, Claude  Search this
Lalanne, François Xavier  Search this
Maria da Conceição  Search this
Paley, Albert  Search this
Raffael, Joseph, 1933-  Search this
Summer, Carol  Search this
Tenneson, Joyce, 1945-  Search this
Woodyard, William  Search this
Extent:
106.4 Linear feet
0.008 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Account books
Photographs
Date:
1952-2001
Summary:
The records of the Fendrick Gallery measure 106.4 linear feet and 0.008 GB and span the years 1952 to 2001. The bulk of the collection is comprised of artist's files that document the gallery's relations with and representation of over 300 contemporary artists and sculptors, including Robert Arneson, William Bailey, Daniel Brush, Wendell Castle, Robert Cottingham, James Drake, John Dreyfuss, Walter Dusenbury, Roger Essley, Helen Frankenthaler , Sam Gilliam, Jasper Johns, Raymond Kaskey, Claude and Francois Lalanne, Albert Paley, Joseph Raffael, Carol Summer, and numerous other artists. Also found are subject, exhibition, commission, administrative, and financial files, as well as files documenting the gallery's relationship with other museums and galleries.
Scope and Content Note:
The records of the Fendrick Gallery measure 106.4 linear feet and 0.008 GB and span the years 1952 to 2001. The bulk of the collection is comprised of artist's files that document the gallery's relationships with and representation of over 300 contemporary artists, including Robert Arneson, William Bailey, Daniel Brush, Wendell Castle, Robert Cottingham, James Drake, John Dreyfuss, Walter Dusenbury, Roger Essley, Helen Frankenthaler, Sam Gilliam, Jasper Johns, Raymond Kaskey, Claude and Francois Lalanne, Albert Paley, Joseph Raffael, Carol Summer, and numerous other artists. Also found are subject, exhibition, commission, administrative, and financial files, as well as files documenting the gallery's relationship with other museums and galleries.

Series 1, Artist's Files, measures almost 42 linear feet and dates from 1962-2001. Found here are files documenting the gallery's relationship with over 300 contemporary artists. Files typically contain correspondence, sales receipts, printed materials, exhibition catalogs and announcements, commission information, photographs, slides, and other materials.

Series 2, Albert Paley, 1970-2001, and undated, provides detailed documentation (14.5 linear feet) of the Fendrick gallery's representation of prominent American metal sculptor Albert Paley. The gallery represented Paley from the early 1980s through the early 1990s and devoted a great deal of its resources promoting Paley's work through exhibitions and commissioned sales. Correspondence between the Fendrick Galleries and Paley Studios is found in this series, along with publicity materials, commission proposals and sketches, exhibition materials, and audio-visual and photographic documentation of Paley's work. Researchers should also consult Series 3 for additional documentation of Paley's commissioned projects.

Series 3, Commissioned Works and Projects, 1972-2000, and undated, documents the variety of commissions and special projects the gallery arranged and managed on behalf of its represented artists. Because privately commissioned work and government-sponsored public art projects represented a significant source of revenue for the Fendrick galleries, the gallery devoted a substantial amount of time and resources towards securing these projects. These files contain applications, proposals, sketches, correspondence, photographs and other material arranged by name of project.

Series 4, Exhibition Files, 1961, 1970-1996, and undated, houses files relating to exhibitions organized by Fendrick Gallery. Found here are exhibition announcements, invitations, and catalogs; specific named exhibition files; and files concerning special projects or exhibitions, often jointly curated with other galleries or institutions. The Fendrick gallery was also actively involved in various governmental programs, such as Art in the Embassies Program, and organized traveling exhibits or loaned artwork to them.

The gallery's relationships with other galleries, museums, institutions, and art organizations is documented in Series 5, Museums and Galleries Files, 1952-2000, and undated. Many of the files concern loans, exhibition venues, and joint exhibitions or projects.

Series 6, Subject Files, 1952, 1960-2001, and undated contain numerous files arranged by subject heading. Here, researchers will find information collected and maintained by the gallery on various art medium, artists of interest, exhibition catalogs from museums and other galleries, information about small and fine art presses. Of particular interest are several folders entitled "Fine Art Printers & Publishers." Barbara Fendrick's early years in the art business centered upon exhibiting, promoting, and selling prints produced by young, emerging American artists. The information found here documents her growing personal relationships with some of the most prominent artists and printmakers of this era.

Records documenting administrative, business, operating, and financial affairs are arranged in Series 7, Administrative and Financial Files, 1960-2001, and undated. Found here are records of both the Barbara Fendrick Gallery (New York) and the Fendrick Gallery (Washington, D.C.), as well as files that document Barbara Fendrick's role as art consultant, appraiser, lecturer, exhibition juror, and guest curator. Found are numerous inventory cards, insurance records, consignment files, general correspondence, lists, loan files, notebooks, real estate files, card files on artists and clients, and history files. Of particular interest are the Day Books/Dailies maintained by the New York gallery staff consisting of entries and notes regarding prospective clients and their interests. The Telephone Log Books contain details of telephone conversations with artists, clients, dealers, and other art professionals. Series 7 also houses the financial records of both galleries, including invoices, financial statements, expenses, accounts, and tax records.
Arrangement:
The Fendrick Gallery records were processed to the series, subseries, and folder level. The collection is arranged into seven series. Items within folders, for the most part, were not fully sorted or preserved. When possible, materials were generally arranged at least by year. Within Series 1, Artists' Files, each set of folders for a particular artist are only given span dates. Due to the amount and complexity of material compiled on the artist Albert Paley, his files are arranged into a separate series of their own.

Missing Title

Series 1: Artists Files, 1962-2001, undated (Box 1-42, OV 108-110; 41.5 linear ft.)

Series 2: Albert Paley, 1970-2001, undated (Box 42-54; Box 107, OV 111-113, 117-118, FC 119; 14.6 linear ft., ER01; 0.001 GB)

Series 3: Commissioned Works and Projects, 1972- 2000, undated (Box 54-57; 3.5 linear ft.)

Series 4: Exhibition Files, 1961, 1970-1996, undated (Box 58-63; 5.5 linear feet)

Series 5: Museums and Galleries Files, 1952-200, undated (Box 64-73; 9.25 linear feet)

Series 6: Subject Files, 1952, 1960-2001, undated (Box 73-88, OV 115-116, FC 120; 15.6 linear ft.)

Series 7: Administrative and Financial Files, undated (Box 88-106; OV, ER02-ER03; 0.008 GB)
Historical Note:
The Fendrick Gallery was established in 1960 as a "by appointment only" gallery out of Barbara Fendrick's Washington, D.C., area home. Initially the gallery promoted contemporary American and European prints by emerging artists and also commissioned print editions by nationally-known artists. During the mid 1960s, the Fendrick Gallery also coordinated and produced art exhibitions on a contract basis for the United States Information Agency. The gallery was responsible for organizing the first large American art exhibition at the Department of State and the Federal Reserve.

In May, 1970 the Fendrick Gallery moved into a three-story townhouse in Georgetown and began presenting regular exhibitions open to the public. The gallery offered many prominent American artists, such as Robert Arneson, Jim Dine, Helen Frankenthaler, Jasper Johns, Louise Nevelson, and Robert Rauschenberg their first solo shows in the nation's capital. The Fendrick Gallery also represented many nationally known sculptors, such as John Dreyfuss, Walter Dusenbery, Raymond Kaskey, and Albert Paley.

Over the years, Fendrick Gallery promoted many emerging artists who were breaking down the barriers between art and craft in the areas of clay, furniture, metal, and book arts. The gallery held the first major show of contemporary ceramics on the East Coast, with the 1976 exhibition, Clay USA. The gallery also received critical acclaim for its exhibitions in the area of "book arts" and held four shows featuring the works of prominent American and international book artists.

In 1987 and 1988, the gallery expanded and opened the Barbara Fendrick Gallery in the Soho section of New York City. The New York location operated as both a gallery space and storage area and was often referred to as "The Warehouse." Both the Fendrick Gallery and the Barbara Fendrick Gallery closed in the summer of 1991, but Barbara Fendrick continues to work as an art consultant, appraiser, exhibition juror, lecturer, and guest curator.
Provenance:
The records of the Fendrick Gallery were donated to the Archives of American Art by Barbara Fendrick in 1999, with an addition to the records in 2001.
Restrictions:
The collection is open for research. Use of unmicrofilmed material 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:
Art -- Washington (D.C.)  Search this
Furniture designers  Search this
Artists -- Washington (D.C.)  Search this
Art, Modern -- 20th century -- Washington (D.C.)  Search this
Sculptors  Search this
Artists' books  Search this
Printmakers  Search this
Metal-workers  Search this
Function:
Art galleries, Commercial -- Washington (D.C.)
Genre/Form:
Account books
Photographs
Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fendgall
See more items in:
Fendrick Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c38a61dc-847b-4624-aa9c-0b53206502b3
EDAN-URL:
ead_collection:sova-aaa-fendgall
Online Media:

Sam Gilliam papers

Creator:
Gilliam, Sam, 1933-  Search this
Names:
Carl Solway Gallery  Search this
Philadelphia Museum of Art  Search this
Studio Museum in Harlem  Search this
Andrews, Benny, 1930-2006  Search this
Driskell, David C.  Search this
Gilliam, Dorothy Butler, 1936-  Search this
Krebs, Rockne, 1938-2011  Search this
Mondale, Walter F., 1928-  Search this
Extent:
7.9 Linear feet
7.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Scrapbooks
Sketches
Sound recordings
Date:
1957-1989
1957-1989
Summary:
The papers of contemporary Color Field painter and educator Sam Gilliam measure 7.9 linear feet and date from 1957 to 1989. The papers include biographical material, correspondence, writings, business records, printed material, subject files, a scrapbook, artwork, and photographic material that document Gilliam's life beginning as a student, through to his teaching, professorial, and artistic career based in Washington D.C. The collection highlights Gilliam's close involvement with the art institutions, racial politics, and artistic innovation from the 1960s through the 1980s, and particularly showcases the planning and creation of Gilliam's large-scale three-dimensional paintings, often associated with the Washington Color School.
Scope and Contents:
The papers of contemporary Color Field painter and educator Sam Gilliam measure 7.9 linear feet and date from 1957 to 1989. The papers include biographical material, correspondence, writings, business records, printed material, subject files, a scrapbook, artwork, and photographic material that document Gilliam's life beginning as a student, through to his teaching, professorial, and artistic career based in Washington D.C. The collection highlights Gilliam's close involvement with the art institutions, racial politics, and artistic innovation from the 1960s through the 1980s, and particularly showcases the planning and creation of Gilliam's large-scale three-dimensional paintings, often associated with the Washington Color School.

Biographical material includes résumés, passports, exhibition lists, artists' statements and essays, interview transcripts and recordings. Also included are audio recordings of conversations between Sam Gilliam and artist Benny Andrews, between Gilliam and artist Rockne Krebs, as well as recordings of a 1968 interview conducted by Dorothy Gilliam.

Correspondence spans over 20 years and includes letters to and from museums and galleries such as the Philadelphia Museum of Art, the Studio Museum in Harlem, Carl Solway Gallery, collectors, artists including David Driskell, friends, family, students, and fans.

Writings include notes, statements, and essays by and about Gilliam, writings by university students of Gilliam, and writings related to Gilliam's artwork and public commissions including measurements for artworks, material research, and information regarding prints created for the private home of Walter Mondale.

Business records primarily include the daily records of activities kept by Sam and Dorothy Gilliam's secretary, Debby, from 1973 to 1978. Also present are resumes for a studio assistant for Gilliam, certificates of originality, legal documents, receipts and invoices, a record of donated paintings, financial records, ledgers, contracts, records and paperwork for the Gilliam's company Enterprise 101, and miscellany.

Printed materials include photocopies, exhibition announcements, magazines, and clippings regarding exhibitions, specific artworks, and commissions, and Gilliam and/or his then-wife, Dorothy Gilliam.

The subject file series contains letters, photographic material, business records, sketches, and printed materials concerning specific galleries, public art commissions, arts organizations, workshops, teaching positions, Gilliam's studio, art suppliers, and other topics.

A disbound scrapbook contains photographs, notes, and printed material related to Gilliam and his studio practice.

The artwork series includes sketches, personal notes, and small preparatory drawings by Gilliam.

Photographic material includes negatives, slides, and transparencies of artworks, Gilliam in his studio, and Gilliam and staff preparing museum and gallery exhibition spaces. Also included are records of student artwork, and photos and slides of artwork sent to Gilliam by students and aspiring artists.
Arrangement:
This collection is arranged as 9 series.

Series 1: Biographical Material, 1958-1988, (Box 1; 0.8 linear feet)

Series 2: Correspondence, 1965-1989, (Boxes 1-2; 0.6 linear feet)

Series 3: Writings, 1962-1988, (Box 2; 0.4 linear feet)

Series 4: Business Records, 1957-1986, (Boxes 2-3; 1.0 linear foot)

Series 5: Printed Material, 1962-1987, (Boxes 3-4; 1.0 linear foot)

Series 6: Subject Files, 1963-1988, (Boxes 4-7; 2.2 linear feet)

Series 7: Scrapbook, 1958-1968, (Box 7; 0.2 linear feet)

Series 8: Artwork, 1970-1980, undated, (Boxes 7-9; 0.4 linear feet)

Series 9: Photographic Material, 1960-1985, (Boxes 8-9; 0.3 linear feet)
Biographical / Historical:
Sam Gilliam (1933-2022) was an African American artist based in Washington, D.C. He was born in Tupelo, Mississippi, and raised in Louisville, Kentucky, where he began painting as a child, eventually attending the University of Louisville where he received his B.A. in Fine Art and M.A. in Painting. He went on to teach art to high school students in the Washington D.C. public school system, and university-level students at the Corcoran School of Art, the Maryland Institute College of Art (MICA), the University of Maryland, and Carnegie Mellon University. His numerous grants and awards include the 1971 Solomon Guggenheim Memorial Foundation Fellowship and multiple Honorary Doctoral degrees.

As an artist, Gilliam is best known for his three-dimensional draped and suspended paintings, covered with large fields of poured paint, pigment, and colorful staining influenced by the movement and colors of Abstract Expressionist painters. He created many public works that incorporated new materials such as custom designed metal forms, quilted canvas, and textiles; his works often included subtle social commentaries through their titling. His suspended paintings cemented Gilliam as an innovative and influential presence in 20th century American art.
Related Materials:
Also found in the Archives of American Art are two oral history interviews with Sam Gilliam, one conducted by Kenneth Young, September 18, 1984, and the other by Ben Forgey, November 4-11, 1989.
Provenance:
The Sam Gilliam papers were donated to the Archives of American Art by Sam Gilliam in 1989.
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:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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 -- Washington (D.C.)  Search this
Painters -- Washington (D.C.)  Search this
Topic:
Art -- Study and teaching  Search this
Color-field painting  Search this
Painting, Modern -- 20th century -- Washington (D.C.)  Search this
Washington Color School (Group of artists)  Search this
African American artists  Search this
African American educators  Search this
African American painters  Search this
Genre/Form:
Interviews
Scrapbooks
Sketches
Sound recordings
Citation:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gillsam
See more items in:
Sam Gilliam papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90b5177ef-7a80-48b3-bcdb-3f1f74d21b5c
EDAN-URL:
ead_collection:sova-aaa-gillsam

Biographical Material

Collection Creator:
Gilliam, Sam, 1933-  Search this
Extent:
0.8 Linear feet (Box 1)
Type:
Archival materials
Date:
1958-1988
Scope and Contents:
Biographical material includes résumés, passports, exhibition lists, artist statements and essays by and about Gilliam, interview transcripts, and audiovisual material. The audiovisual material includes recordings of a group interview conducted by Dorothy Gilliam with artists Bob Field, Rockne Krebs, Gene Davis, Walter Hopps, and Sam Gilliam concerning the Washington Gallery of Modern Art in Washington, D.C. Also included are audio recordings of Portrait with Sam Gilliam, circa 1978, from the WBOE-FM radio series Black Art in America, and sound recordings of conversations between Gilliam and artists Benny Andrews and Rockne Krebs.
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gillsam, Series 1
See more items in:
Sam Gilliam papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94685ff15-d7ad-4a59-a5f4-b10b8f0ebd3c
EDAN-URL:
ead_component:sova-aaa-gillsam-ref1

List of Exhibitions

Collection Creator:
Gilliam, Sam, 1933-  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
1963-1976
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Sam Gilliam papers
Sam Gilliam papers / Series 1: Biographical Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cc54b479-59fe-40ff-8322-180541c7ab4e
EDAN-URL:
ead_component:sova-aaa-gillsam-ref10

Notes

Collection Creator:
Gilliam, Sam, 1933-  Search this
Container:
Box 2, Folder 50
Type:
Archival materials
Date:
1973
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Sam Gilliam papers
Sam Gilliam papers / Series 3: Writings
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92b7217ac-6426-448c-9ba2-71b8ac7b3ff3
EDAN-URL:
ead_component:sova-aaa-gillsam-ref100

Notes

Collection Creator:
Gilliam, Sam, 1933-  Search this
Container:
Box 2, Folder 51
Type:
Archival materials
Date:
1969, 1973, 1977-1978
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Sam Gilliam papers
Sam Gilliam papers / Series 3: Writings
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw936f64d76-c920-4373-a41c-f06fcb7017b9
EDAN-URL:
ead_component:sova-aaa-gillsam-ref101

Ledgers

Collection Creator:
Gilliam, Sam, 1933-  Search this
Container:
Box 2, Folder 52-54
Type:
Archival materials
Date:
1974
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Sam Gilliam papers
Sam Gilliam papers / Series 4: Business Records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d11a03df-5fc8-455a-a415-804d7ddfed4a
EDAN-URL:
ead_component:sova-aaa-gillsam-ref102

Ledgers

Collection Creator:
Gilliam, Sam, 1933-  Search this
Container:
Box 2, Folder 55-57
Type:
Archival materials
Date:
1975
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Sam Gilliam papers
Sam Gilliam papers / Series 4: Business Records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw988df894c-eba3-4b63-8aa0-fff75e00e3b4
EDAN-URL:
ead_component:sova-aaa-gillsam-ref103

Ledgers

Collection Creator:
Gilliam, Sam, 1933-  Search this
Container:
Box 2, Folder 58-60
Type:
Archival materials
Date:
1976
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Sam Gilliam papers
Sam Gilliam papers / Series 4: Business Records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw916d65794-0ace-4844-b187-4f4820bf0570
EDAN-URL:
ead_component:sova-aaa-gillsam-ref104

Taxes

Collection Creator:
Gilliam, Sam, 1933-  Search this
Container:
Box 2, Folder 61
Type:
Archival materials
Date:
1967
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Sam Gilliam papers
Sam Gilliam papers / Series 4: Business Records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw978bc66a9-bced-446a-9a1a-b061f22fdc57
EDAN-URL:
ead_component:sova-aaa-gillsam-ref105

Taxes

Collection Creator:
Gilliam, Sam, 1933-  Search this
Container:
Box 2, Folder 62
Type:
Archival materials
Date:
1969
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Sam Gilliam papers
Sam Gilliam papers / Series 4: Business Records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96086b47f-97bd-4e99-afa4-2fe41d94a444
EDAN-URL:
ead_component:sova-aaa-gillsam-ref106

Trusts for Family

Collection Creator:
Gilliam, Sam, 1933-  Search this
Container:
Box 2, Folder 63
Type:
Archival materials
Date:
1975-1977
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Sam Gilliam papers
Sam Gilliam papers / Series 4: Business Records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d987ef15-d4f4-4b50-91c3-c17a97ae52c7
EDAN-URL:
ead_component:sova-aaa-gillsam-ref107

Trusts for Family

Collection Creator:
Gilliam, Sam, 1933-  Search this
Container:
Box 2, Folder 64
Type:
Archival materials
Date:
1978-1980
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Sam Gilliam papers
Sam Gilliam papers / Series 4: Business Records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ac6c7289-2cdc-46ae-9331-c9f7c5a9a00c
EDAN-URL:
ead_component:sova-aaa-gillsam-ref108

Taxes

Collection Creator:
Gilliam, Sam, 1933-  Search this
Container:
Box 2, Folder 65-67
Type:
Archival materials
Date:
1976
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Sam Gilliam papers
Sam Gilliam papers / Series 4: Business Records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c019d6f4-f0c6-4379-b0fd-027a3becc6a9
EDAN-URL:
ead_component:sova-aaa-gillsam-ref109

Resumes

Collection Creator:
Gilliam, Sam, 1933-  Search this
Container:
Box 1, Folder 2
Type:
Archival materials
Date:
1985-1988
Collection 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.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.
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:
Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.
See more items in:
Sam Gilliam papers
Sam Gilliam papers / Series 1: Biographical Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a6d8a260-5a6e-4e6b-b956-e3ccfbc93cd3
EDAN-URL:
ead_component:sova-aaa-gillsam-ref11

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