Łunkiewicz-Rogoyska, Maria Ewa, 1895-1967 Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1921-1974
Summary:
The papers of Joaquin Torres-García measure 0.2 linear feet and date from 1921 to 1974. The papers document Torres-García's career as an artist and writer through twenty-eight photocopied letters from Katherine Dreier, Marcel Duchamp, Julio Gonzalez, Joan Miro, Piet Mondrian, Jean Xceron, Theo Van Doesburg, Michel Seuphor, and Maria Ewa Łunkiewicz-Rogoyska, 1921-1943; an essay "Le Planisme de Torres-Garcia" by Van Doesburg, 1929; photographs of Torres-García's work; clippings, 1929-1971; and 7 exhibition announcements and catalogs, 1921-1974.
Scope and Contents:
The papers of Joaquin Torres-García measure 0.2 linear feet and date from 1921 to 1974. The papers document Torres-García's career as an artist and writer through twenty-eight photocopied letters from Katherine Dreier, Marcel Duchamp, Julio Gonzalez, Joan Miro, Piet Mondrian, Jean Xceron, Theo Van Doesburg, Michel Seuphor, and Maria Ewa Łunkiewicz-Rogoyska, 1921-1943; an essay "Le Planisme de Torres-Garcia" by Van Doesburg, 1929; photographs of Torres-García's work; clippings, 1929-1971; 7 exhibition announcements and catalogs, 1921-1974.
Arrangement:
The collection is arranged into one series
Series 1: Joaquin Torres-Garcia papers, 1921-1974 (0.2 linear feet; Box 1)
Biographical / Historical:
Joaquin Torres-García (1874-1949) was a painter and writer from Uruguay. Torres-García was born in Montevideo, Uruguay in 1874, and he emigrated to Spain in 1891 where he began his artistic career. He primarily worked in Spain, but he also spent time in the United States, Uruguay, and other parts of Europe. Torres-García sought to integrate classicism and modernism in his works and he was a proponent of the Latin American Constructivist movement. He collaborated with Antoni Gaudi on the stained glass windows for the Palma Cathedral and La Sagrada Familia, and he also created frescoes for the Palau de la Generalitat de Catalunya. In addition to his artwork, Torres-García published over 150 books, essays and articles in Catalan, Spanish, French and English, and delivered more than 500 lectures. He founded several art schools in Spain and Montevideo and a number of artistic groups, including the first European abstract-art group. Torres-García founded the magazine Cercle et Carré (Circle and Square) in Paris in 1929. Torres-García died on 8 August 1949.
Provenance:
Copies of letters donated by Cecilia Torres, Torres-García's daughter-in-law in 1977. Originals owned by the Getty Research Institute, History of Art and the Humanities.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
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.
Papers relating to Gallatin's art collection, the Museum of Living Art, and other museums and activities.
REELS 507-508: Mainly correspondence. Letters pertain to the Museum of Living Art at New York University; Gallatin's work on the New York Mayor's Committee on National Defense, including many letters from artists regarding war work, 1918-1919; research for bibliographies; family matters; and business affairs. Correspondents include: Oscar Bluemner, Alexander Calder, Warrington Dawson, Robert Delaunay, Charles Demuth, Charles Freer, Walter Gay, William Glackens, Julio Gonzalez, Childe Hassam, Henry McBride, C. R. W. Nevinson, Ben Nicholson, Maxfield Parrish, Joseph & Elizabeth Pennell, Leonce Rosenberg, William Rothenstein, Allan Wade and Elizabeth Wharton.
The Bluemner material includes four letters, a sketch, and a note from Oscar Bluemner to Gallatin. Bluemner writes about the 1932 Whitney Museum show, French and American painters, architecture, and painting.
REEL 1293: 3 scrapbooks which include official press releases and clippings of artists about the opening of the Gallery of Living Art at NYU, and its subsequent acquisitions, exhibitions, change of name to Museum of Living Art, and discontinuance of the Museum and transfer to the Philadelphia Museum of Art. Also included are reproductions of some of the works found in the collection, reproductions of photos taken by Gallatin of artists whose works are in this collection, a 1935 Gallery of Living Art Bulletin, and clippings and a portion of the Catalog of the Gallery of Living Art.
Biographical / Historical:
Art collector; New York, N.Y. Gallatin formed one of America's earliest modern art collections, and displayed it as Gallery of Living Art (later Museum of Living Art) at NYU from 1907-1943, when he moved it to the Philadelphia Museum of Art. Gallatin was also a painter.
Provenance:
Material on reels 507-508 lent for microfilming in 1973; reel 1293 lent by the Philadelphia Museum of Art.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
An interview of Lee Bontecou conducted 2009 January 10, by Dore Ashton, for the Archives of American Art, at Knoedler and Company, in New York, New York.
Bontecou speaks of her interest in art as a young child and her parents' encouragement and influences; her two years at community college before studying painting then sculpture under William Zorach at the Arts Students League in New York City; her time working, living and studying in Rome though the Fulbright Scholarship; her abstracted figural works in Rome influenced by ancient Greek and Roman sculpture; her exploration in Europe of non-American influences and her admiration of the strong design sense in Italy; returning to the United States and working in the New York City art scene and exhibiting her works at Leo Castelli's Gallery; different techniques including welding and vacuum forming; meeting her husband, Bill Giles, and raising her daughter, Vallie, in New York City; leaving New York City and the Castelli Gallery for Pennsylvania and the ability to experiment in her artwork; teaching at Brooklyn College where she worked with Morris Dorsky and enjoyed a wide range of students; her lack of affiliation with art movements, including Pop Art; her illness and her current work; and her strong belief that an M.F.A. is useless and that young artists have to make themselves. Bontecou also recalls Robert Brackman, Julio Gonzales, Alexander Calder, Richard Bellamy, Gabriel Kahn, Richard Stankewiczs, Tom Doyle, Eve Hesse, Sandra and Jack Beale, and others.
Biographical / Historical:
Lee Bontecou (1931- ) is a sculptor and printmaker from New York, New York. Bontecou studied at the Art Students League of New York and taught at Brooklyn College.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 10 digital wav files. Duration is 2 hr., 42 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Sculptors -- New York (State) -- New York Search this
Printmakers -- New York (State) -- New York Search this
The records of the New York Galerie Chalette measure 24.15 linear feet and date from 1916-1999, with the bulk of the material dating from 1939-1994. The collection documents this contemporary art gallery's operations from its founding in 1954 through Madeleine Lejwa's later years as an independent dealer. Included are correspondence, artists' files, financial and legal records, printed materials, clippings, exhibition catalogs, audio and video recordings, and motion picture film; about half of the collection consists of photographs. Arthur Lejwa's profession as a biochemist prior to becoming a gallery owner is also documented in this collection. The collection also contains personal records of the Lejwas, including correspondence, legal papers, photographs, photo albums, and printed material.
Scope and Content Note:
The records of the New York Galerie Chalette measure 24.15 linear feet and date from 1916-1999, with the bulk of the material dating from 1939-1994. The collection documents this contemporary art gallery's operations from its founding in 1954 through Madeleine Lejwa's later years as an independent dealer. Included are correspondence, artists' files, financial and legal records, printed materials, clippings, exhibition catalogs, audio and video recordings, and motion picture film; about half of the collection consists of photographs. Arthur Lejwa's profession as a biochemist prior to becoming a gallery owner is also documented in this collection. The collection also contains personal records of the Lejwas, including correspondence, legal papers, photographs, photo albums, and printed material.
Among the artists represented in the artists' files are Jean Arp, Max Bill, Burgoyne Diller, Wojciech Fangor, Sue Fuller, Julio Gonzalez, Roberta Gonzalez, Lazlo Moholy-Nagy, William Reimann, George Rickey, Leon Polk Smith, Victor Varsarely, Max Weber, and various Dada artists. Many artists are represented in the large collection of photographs as is the Lejwa's personal collection. Included in the business records are invoices, receipts for works sold, yearly sales and purchase ledgers, checks for artwork purchases, and index card files recording sales. Legal records include files related to litigation, primarily Lebenstein v. Lejwa. The collection includes film reels and audio recordings of lectures, broadcasts, and exhibits from the 1960s-1990s. It also includes two film reels from a French television program about Jean Arp.
Among the personal records are biographical information, correspondence, legal records mostly related to the settlement of Arthur Lejwa's estate, a significant quantity of snapshots, negatives and slides, and newspaper clippings chronicling Arthur Lejwa's work as a biochemist and the Robert Gould Research Foundation. Arthur Lejwa's scientific career is also represented in biographical information, publications, research notebooks, and photographs. Much of the personal correspondence is from 1939-1951 and is written in Polish, Yiddish and German. The Lejwa's philanthropic donations, especially in Israel, are documented in correspondence, papers, and photographs. Many of the photographs and photo albums record Madeleine Lejwa's travels in the 1970s-1990s.
Arrangement:
The collection is arranged as 8 series. The series are generally arranged alphabetically by type of material or subject, and chronologically thereafter.
Missing Title
Series 1: Correspondence, 1920-1995 (Boxes 1-2; 1.4 linear foot)
Series 2: Artists' Files, 1916-1996 (Boxes 2-6, 25; 4.3 linear feet)
Series 3: General Business Files, 1950-1994 (Boxes 6-8; 2.3 linear feet)
Series 4: Printed Materials, 1931-1996 (Boxes 9-10, 25; 1.2 linear feet)
Series 5: Photographs, circa 1920s-1994 (Boxes 10-16, 24-25; 7 linear feet)
Series 6: Legal Records, 1938, 1959-1988 (Box 17; 0.8 linear feet)
Series 7: Personal Papers of Arthur and Madeleine Chalette Lejwa, 1925-1999 (Boxes 17-21, 25; 3.7 linear feet)
Series 8: Motion Picture Film, Audio, and Video Recordings, circa 1950s-1995 (Boxes 21-23, FC 29-42; 4.3 linear feet)
Historical Note:
Art dealers and collectors Madeleine Chalette (1915-1996) and Arthur Lejwa (1895-1972) opened the Galerie Chalette in New York on 45 West 57th Street in February, 1954. The gallery originally specialized in contemporary French graphics and later shifted its focus to contemporary twentieth century European and American art, particularly the work of Jean Arp. Over the years, Galerie Chalette relocated twice. In 1957, the gallery moved to 1100 Madison Avenue and then to 9 East 88th Street in 1964.
Madeleine Chalette was born in 1915 in Paris and grew up in Poland. In 1940, after Madeleine's efforts to secure the release of her father, Leon Chalette, from Sachsenhausen concentration camp near Berlin were successful, father and daughter traveled by boat to Shanghai. They stayed in Shanghai throughout World War II, arriving in the United States in 1946. Arthur Lejwa, a Polish-born biochemist, immigrated to the United States in 1939 and taught at Long Island University. In 1947, Madeleine and Arthur Lejwa were married in Cincinnati, Ohio, where Arthur was the Director of the Robert Gould Institute for Nutritional Research.
The gallery was very active in the 1950s and 1960s, as evidenced by the numerous exhibitions. Many of the exhibitions in the 1950s were thematic. Exhibitions in the 1960s were mostly organized around the work of a particular artist, such as Wojciech Fangor and Leon Polk Smith. In 1972, the Metropolitan Museum of Art showcased Jean Arp's work from the Lejwa's collection and a few works lent by Arp's widow, Marguerite Arp. The exhibition was expanded and traveled as "Arp 1877-1966," first exhibited at the Solomon R. Guggenheim Museum and then shown in seven museums in the United States and six in Australia.
In the early 1970s, the Lejwas began supporting institutions in Jerusalem, including donating a 17th century Polish menorah to The Israel Museum and five sculptures to be displayed in public spaces: "The Threshold of Jerusalem" by Jean Arp, "The Loop" by Robert Engman, George Rickey's "Two Lines Oblique," "The Skedion Ekton" by Stephanie Scuris, and "Four Cubes Cut in Identical Halves" by Max Bill.
Following Arthur's death on October 27, 1972, Madeleine continued as an independent dealer and consultant and renamed the business Chalette International. In the 1980s, Madeleine Lejwa continued her philanthropic endeavors in Jerusalem, donating to a scholarship fund for Arab students. She was also a strong supporter of New York University's archeological site Aphrodisias, in southwestern Turkey. In the 1970s and 1980s, Lejwa traveled widely including Israel, Jordan, Egypt, Italy, Turkey, Japan, and China. Madeleine passed away at age 81 on June 9, 1996.
Related Material:
Addition papers related to Leon Chalette and Madeleine Chalette are located at Leo Baeck Institute, New York, N.Y.
Separated Material:
Papers related to Leon Chalette's imprisonment in Sachsenhausen concentration camp were transferred to the Leo Baeck Institute, New York, N.Y. in 2010.
Provenance:
The records were donated by Robert Warshaw, executor of the Madeleine Chalette Lejwa estate in two accessions in 1997 and 2005.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Julio González : Zeichnen im Raum = dessiner dans l'espace / herausgegeben von Toni Stooss, Therese Bhattacharya-Stettler ; mit Beiträgen von Michael Baumgartner ... [et al.]
