The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.
Scope and Contents note:
The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.
Artists' files include biographical material; artists' statements; correspondence; sales and expense reports; lists and notes; guest lists; writings by others; receipts, invoices, and statements; printed material, including press releases, exhibition announcements, brochures, catalogues, clippings; and photographs of artwork and artists. Included are extensive files on Afro Basaldella, Renato Birolli, Robert Broderson, Anselmo Franesconi, Joseph Glasco, Manabu Mabe, César Manrique, Luciano Minguzzi, Ennio Morlotti, Bernard Perlin, Daniel Rice, and Bernard Rosenthal. There are also files on Jan Cox, Kay Sage, and Kazuo Wakabayashi.
Correspondence comprises the largest series in the collection and consists of general correspondence; correspondence with museums, galleries, and art-related institutions in the United States; and correspondence with museums, galleries, and art-related institutions abroad. Letters focus on routine business matters, e.g., appraisals and sales, acquisitions, and organizing exhibitions at the Catherine Viviano Gallery and other venues.
General correspondence includes letters between Catherine Viviano and artists and their family members. Among the correspondents are: Mary Callery, Bernard Chaet, Piero and Virginia Dorazio, Jean Dubuffet, Dallas Ernst, Karl Fortress, Alberto Giacometti, Henry Sage Goodwin, Morris Graves, José Guerrero, Earle Ludgin, Joan Miro, Alfonso Ossorio, Dorothea Tanning, Stuyvesant Van Veen, Adja Yunkers and his wife, Dore Ashton, among others. Also found is Viviano's correspondence with clients, many of whom were prominent collectors, e.g., Richard Brown Baker, Carl and Joan Fisher, Lawrence and Barbara Fleischman, Joseph Hirschhorn, Marc Moyens, Vincent Price, Joseph Pulitzer, Jr., Nelson Rockefeller, Stanley Seeger, and Frederick and Dorothy Zimmerman. Of interest, are letters from Elizabeth Bishop inquiring about the purchase of a work of art from the gallery. Included are letters from art historians, museum directors, curators, representatives at other art-related institutions, and publishers including Walter Bareiss, Walter Barker, Dominque De Menil, Valentine Dudensing, William Eisendrath, S. Lane Faison, Emily Genauer, Bertram Goodhue, Erhard and Barbara Göpel, James Laughlin, Porter McCray, Abram Lerner, Doris Meltzer, Stephen Robson Miller, John Bernard Myers, Perry Rathbone, Belle Krasne Ribicoff, Meyer Shapiro, George Stout, and Curt Valentin.
Correspondence with museums, galleries, and art-related institutions in the United States contains letters between Viviano and museum directors, curators, dealers, artists, and collectors pertaining to loans, shipping and delivery of artwork, appraisals and sales, and acquisitions. Files include substantive correspondence with the American Academy of Arts and Letters, American Federation of the Arts, Art Institute of Chicago, Arts Club of Chicago, the Barnes Foundation, Bristol Art Museum, Brooklyn Museum, Bundy Art Gallery, Carnegie Institute, City Art Museum of St. Louis, Cleveland Museum of Art, Colorado Springs Fine Arts Center, Dallas Museum of Fine Arts, Denver Art Museum, Des Moines Art Center, Detroit Institute of Arts, Fogg Art Museum, Harvard University, Hirshhorn Museum and Sculpture Garden, Institute of Contemporary Art, Los Angeles County Art Museum, Massachusetts Institute of Technology, Metropolitan Museum of Art, Museum of Fine Arts, Boston, Museum of Fine Arts of Houston, Museum of Modern Art, Pennsylvania Academy of the Fine Arts, Philadelphia Art Alliance, Santa Barbara Museum of Art, University of Nebraska Art Galleries, University of Virginia, Mary Washington College, Wadsworth Atheneum, Walker Art Center, William Rockhill Nelson Gallery of Art, Atkins Museum of the Fine Arts, World House Gallery, and Yale University Art Library.
Correspondence with museums, galleries, and art-related institutions abroad primarily concerns the lending of artwork for exhibitions, acquisition and sales; also included are letters requesting biographical information on artists. Letters between Catherine Viviano and representatives of Max Beckmann Gesellschaft Archiv and Galerie Gunther Franke contain provenance-related information on Beckmann's work.
Business records document the routine business operations of the gallery. Printed material includes an incomplete run of Catherine Viviano Gallery exhibition catalogues; invitations and announcements from other galleries and institutions; and miscellaneous printed material.
Photographs include three images of miscellaneous artwork used for art reference.
Arrangement note:
Records are generally arranged by material type and in chronological order thereafter. Artists' files and correspondence files are arranged in alphabetical order and materials within the folders are arranged chronologically
The collection is arranged as 5 series:
Missing Title
Series 1: Artists' Files, 1945-1986 (Boxes 1-3; 3.5 linear feet)
Series 2: Correspondence, 1939-1985 (Boxes 3-6; 5.5 linear feet)
Series 3: Business Records, 1949-1972 (Boxes 10-11; 1.0 linear feet)
Series 4: Printed Material, 1930-1990 (Boxes 11-13; 1.6 linear feet)
Series 5: Photographs (1948-1954), undated (Box 14; 1 folder)
Biographical/Historical note:
Catherine Viviano (1889-1992) opened her gallery in 1949 on 42 East 57th Street in New York City. Specializing in contemporary American paintings and sculpture, the gallery featured younger American and European artists, e.g., Robert Broderson, Carlyle Brown, Jan Cox, Joseph Glasco, Peter Lanyon, Manabu Mabe, César Manrique, Bernard Perlin, Joseph Rollo, Bernard Rosenthal, and Kay Sage, among others. The gallery was also notable for introducing the work of Italian artists, who had been cut off from the American art scene during World War II, including Afro Basaldella and his brother Mirko Basaldella, Renato Birolli, Leonardo Cremonini, and Luciano Minguzzi.
Born in Italy in 1899 and raised in Chicago, Catherine Viviano came to New York in the early 1930's to work at the Pierre Matisse Gallery, where she remained for sixteen years before founding the Catherine Viviano Gallery.
In 1970, Catherine Viviano closed the gallery, though she continued to work from her home as an art dealer and consultant. She died of a stroke at the age of ninety-two in 1992.
Related Archival Materials note:
Among the other resources relating to Catherine Viviano Gallery in the Archives of American Art are the Kay Sage papers, 1925-circa 1985, bulk 1950-1965.
Provenance:
The Catherine Viviano Gallery records were donated in 2003 on behalf of Margaret Viviano, Catherine Viviano's sister, by her grandnephew, Peter C. Salerno, who had Power of Attorney for Margaret Viviano.
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.
The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
Scope and Content Note:
The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
The earliest documentation from 1895 to 1909 concerns the organization's history and founding and is located in Series 1: Board of Trustees. Also found in this series are meeting minutes, 1909-1963 and 1968. Interfiled with the board meeting minutes are minutes of the executive committee and other special and ad hoc committees, reports to the board, financial statements and reports, and lists of committee appointments and board membership. This series also contains the scattered correspondence and subject files of various officers. Although not a complete set of officers' files, Presidents' Frederick Allen. Whiting (1931-1936), Lawrence M.C. Smith (1948-1952), Thomas Brown Rudd (1952-1954), Daniel Longwell (1954-1956), James S. Schramm (1956-1958), and Roy R. Neuberger (1958-1961) are represented. Leila Mechlin served on AFA's board as secretary from its founding to 1929, and her files are a particularly rich resource for AFA's activities during its early years. Lawrence M.C. Smith's files documenting his years as board treasurer are also arranged in this series. Additional officers' correspondence is interspersed throughout the Alphabetical Files and other series.
General information about the scope of AFA's programs, affiliations, founding, functions, and proceedings are arranged in Series 2: Administrative Records. The first subseries, Alphabetical Files, houses a wide variety of subject files that contain memoranda, correspondence, printed materials, lists, reports, and other papers. These files document the AFA's general history and founding, organizational affiliations, buildings and moves, grants, federal and state government art programs, auctions and other fund-raising efforts, publicity and public relations, publications, and fiftieth anniversary celebration. The subject headings by which these files are arranged are, for the most part, the ones designated by the AFA. The second subseries, Staff Records, houses the scattered files of AFA's director, assistant director, registrar, and special state representative, Robert Luck.
During its most active period, the AFA sponsored or participated in several special programs and Series 3: Special Programs houses the files that document many of them. The first subseries consists of the files for the Artists in Residence program that was funded by the Ford Foundation. Awarded in 1963, the grant sponsored short-term teaching residencies for artists in museums throughout the United States. The host museums were encouraged to hold exhibitions of the artists' works. This subseries contains both the general files of the program, as well as individual files on the participating artists. During the late 1950s and early 1960s, the AFA and the Ford Foundation also sponsored additional programs for artists, including Grants in Aid, Purchase Awards, and the Retrospective Exhibitions Program. The files documenting these three programs are also arranged in Series 3, under the subseries Ford Foundation Program for Visual Artists. In the late 1950s, the AFA implemented the Museum Donor Program with benefactors and philanthropists Audrey Bruce Currier and Stephen Richard Currier. Through the administration of the AFA, the Curriers donated funds to selected institutions specifically for the purchase of contemporary American art. The Curriers preferred to remain anonymous throughout the program. Files documenting this program include correspondence, applications from the accepted institutions, rejections, a summary report, and clippings about the untimely deaths of Mr. and Mrs. Currier in 1967.
Also found in Series 3 are the files documenting AFAs working relationship with the first state arts council, the New York State Council on the Arts (NYSCA). In 1961, AFA and NYSCA implemented a traveling exhibition program in New York State. Found here are files for possible itineraries, proposals, publicity, loans, budgets, and the actual exhibition files. Additional AFA special programs documented in Series 3 include the Picture of the Month program of the mid-1950s and the Jean Tennyson Foundation Color Slide Lecture Program.
AFA Annual Convention files constitute Series 4. Beginning with the Third Annual Convention in 1912 and continuing through the 1963 Annual Convention, the files contain official proceedings, speeches, programs, clippings, correspondence, and press releases. Files are missing for 1913, 1915, 1918, 1922, 1923, 1925, 1926, 1931, 1936-1949, 1952, 1956, 1958, 1960, and 1962. There are also audio recordings in the form of reel-to-reel tapes for the 1951 Annual Convention.
Series 5: Exhibition Files forms the bulk of the collection at circa 62 linear feet and is arranged into twenty subseries. The first subseries, Exhibitions, General, houses primarily the records of the Board of Trustees Exhibition Committee and documents the AFA's earliest involvement with traveling exhibitions. These files contain reports, budgets, correspondence, memoranda, scattered exhibition catalogs, and photographs. They are primarily the files of the chair of the Exhibition Committee and include the files of Juliana R. Force, Eloise Spaeth, and Mrs. John Pope. Also found in this series is a subseries of Mrs. John Pope's records documenting circulating exhibitions from 1934 to 1955, arranged by state.
The remaining nineteen subseries of the Exhibition Files reflect either specific exhibition programs, many of which have unique numbers assigned by AFA to individual exhibitions, or other exhibition-related files, such rejected, canceled, and suggested exhibitions and miscellaneous installation photographs. The Annual Exhibitions files constitute the largest of the subseries and are numbered according to the system assigned by AFA, following a typical chronological order. Although the documentation for each exhibition varies widely by both type and amount, most of the files contain contracts and legal agreements, correspondence, memoranda, itinerary information, condition reports, publicity materials, catalogs, announcements, price lists, and other such information arranged into one or more files. The files were labeled "documentation files," "dispersal files," "report form files," "loan agreement files," and "publicity files" according to the filing system devised by AFA. Many of the files also house a significant amount of correspondence with museum officials, lenders, and artists.
Additional subseries document AFA's exhibition venues and partnerships with the Metropolitan Museum of Art, the Virginia Museum of Fine Arts, the New York State Council on the [UNK] Life magazine, and Addison Gallery. A complete list of all of the subseries, including specific exhibition programs, follows in the Series Outline.
The final three series of the collection are small: Printed Material, Miscellaneous Files, and Oversized Material. The printed material was donated much later to the Archives and dates from 1990 to 1993. Found here are scattered press releases, annual reports, and an exhibition program. Miscellaneous Files contain scattered records, 1926-1962, of the Architectural League of New York relating to national award programs. It is not clear why this small group of Architectural League records was found mixed with the AFA records but perhaps the collaboration between the two organizations on several special projects provides an explanation. Also found in Miscellaneous Files is a group of black and white lantern slides from a lecture series, "New Horizons in America." Oversized Material includes a portfolio, a work of art, and posters.
See Appendix for a list of artists exhibiting with the American Federation of Arts
Arrangement:
The collection is arranged into eight primary series based primarily on administrative units or program areas. Several of the series are further subdivided into subseries. While processing, it became clear that the two filing systems were redundant and overlapped in both subject area and type of material. Most of these files were subsequently merged into the now broader Alphabetical Files or into separate series. Oversized material may be found at the end of the collection arranged in a separate series.
In most cases, files related to one another by subseries or subject areas (in the case of the Alphabetical Files) or by individual name (in the case of officers and staff files) are arranged in chronological order. The entire subseries of Alphabetical Files in Series 2 is arranged by subject heading, as assigned by the AFA, or individual name. The Alphabetical Files originally formed two broad filing systems as established by the AFA: one for general correspondence arranged by subject; and one for director's and other staff correspondence, also arranged by subject.
Series 1: Board of Trustees, circa 1895-1968 (Boxes 1-3)
Series 2: Administrative Records, 1910-1966 (Boxes 4-8)
Series 3: Special Programs, 1950-1967 (Boxes 9-13)
Series 4: Annual Conventions, 1912-1963 (Boxes 14-16)
Series 5: Exhibition Files, 1934-1969 (Boxes 17-78)
Series 6: Printed Material, 1990-1993 (Box 78)
Series 7: Miscellaneous Files, 1926-1962, undated (Box 79)
Series 8: Oversized Materials, 1890, undated (Boxes 80-85)
Historical Note:
Founded in 1909 by Elihu Root, the American Federation of Arts (AFA) exists today as a national nonprofit museum service organization striving to unite American art institutions, collectors, artists, and museums. Elihu Root, then secretary of state in the administration of Theodore Roosevelt, spoke of his idea at the first meeting of the AFA held in New York at the National Academy of Arts. He envisioned an organization that would promote American art most often seen only by the elite in the major cities of the East and upper Midwest by sending "exhibitions of original works of art on tour through the hinterlands across the United States."
The American Academy in Rome, Corcoran Gallery of Art, Art Institute of Chicago, and Metropolitan Museum of Art were influential organizing member institutions. Individual members included such notables as William Merritt Chase, Charles L. Freer, Daniel C. French, Charles L. Hutchinson, Henry Cabot Lodge, J.P. Morgan, and Henry Walters. The founding of the AFA provided the American art world with a forum for communication and participation among artists, cultural institutions, patrons of the arts, and the public.
To accomplish its mission, the AFA established volunteer committees for membership, exhibitions, and publications. During its first year, the AFA began publishing Art and Progress (later changed to Magazine of Art) and the American Art Annual (now the American Art Directory). In 1909, the AFA also organized its first traveling exhibition, Paintings by Prominent American Artists, which was shown at museums in Fort Worth, New Orleans, Minneapolis, and New Ulm, Minnesota.
By the end of the first year, the headquarters of the organization moved to Washington, D.C., to facilitate lobbying the federal government for favorable art legislation. In 1913, the AFA lobbied successfully for the removal of the tariff on foreign art entering the United States. In 1916, the Federation met with the Interstate Commerce Commission to protest prohibitively high interstate taxes on traveling art exhibitions.
Throughout the next fifteen years, the AFA continued to grow in membership and influence. By 1919, membership included 438 institutions and 2,900 individuals. The AFA's annual conventions were held in major national art centers and were attended by members, chapter delegates, and the public. At the conventions, scholars, patrons, and curators lectured on and discussed subjects of national interest, thereby fostering an exchange of ideas. The AFA also sponsored periodic regional conferences to promote institutional cooperation and to discuss mutual problems and needs. To facilitate exhibition venues west of the Mississippi River, in 1921 the AFA opened regional offices at the University of Nebraska and at Stanford University. The AFA produced and circulated slide programs and lecture series to museums and educational institutions that fostered art education. By 1929, the Federation had developed forty-six slide-lecture programs that covered American mural painting, European and American contemporary art, and textiles.
During the 1930s, the Federation expanded its services by providing schools with teaching guides, student workbooks, slides, and films about art. In 1935, the AFA began publishing Who's Who in American Art, later publishing The Official Directory of Illustrators and Advertising Artists and Films on Art reference guides. To reach an even larger audience, the AFA began collaborating with the Metropolitan Museum of Art in New York to organize national circulating exhibitions to "bring the museum to the people."
One of AFA's priorities was to make American art more visible abroad. The Federation focused on encouraging the representation of American artists in foreign exhibitions, and in 1924 it lobbied successfully for additional American participation in the Venice Biennale. The AFA's focus on exhibiting American art abroad continued to expand, particularly following World War II. In 1950, recognizing that the AFA could assist in promoting American culture, the State Department awarded the AFA a grant for a German "re-orientation program" consisting of educational exhibitions shown in German museums. Additional government funding further enabled the AFA to organize American participation in exhibitions in India, Japan, Paris, Switzerland, and Rotterdam between 1950 and 1970. Later, the AFA collaborated with the United States Information Agency (USIA) to create the Overseas Museum Donor Program which permitted donations of American art to foreign institutions on a restriction-free, tax-deductible basis. During the 1950s, the AFA was a very active member of the Committee on Government and Art, a national committee with members from across the art and museum world concerned with government sponsorship of and legislation affecting art sales, commissions, and trade.
In 1952, the headquarters of the AFA returned to New York, sparking a period of innovation and expanded of programs. Throughout the 1950s, the AFA distributed films about art and co-sponsored the Films on Art Festival in Woodstock, New York. The AFA also introduced its Picture of the Month Program in 1954, renting original works of art to small American art and educational institutions. In 1956, the AFA organized the Art Collectors Club of America to provide fellowship for art collectors through meetings and activities. The club disbanded in the 1970s.
The Federation's exhibition programs continued to flourish during the 1950s and 1960s. Private and public financial support allowed the AFA to achieve many of its goals. In 1958, the Ford Foundation awarded an important grant to organize a series of traveling one-person shows and a series of monographs devoted to contemporary American artists. Milton Avery, Andrew Dasburg, José DeCreeft, Lee Gatch, Walter Quirt, Abraham Rattner, and others were among the artists who participated. Private foundation support for the AFA's Museum Donor Program provided an annual allowance that was distributed to regional museums for the pourchase of contemporary American art. Cooperative programs and joint venues also became popular during this period. For example, public support from the New York State Council on the Arts allowed the AFA to circulate exhibitions to small New York State communities, and the Virginia Museum of Fine Arts provided the AFA with five exhibitions for national tours.
Throughout its history, the American Federation of Arts has concentrated on its founding principle of broadening the audience for contemporary American art. Through its numerous exhibition and film programs, the AFA has succeeded in "breaking down barriers of distance and language to broaden the knowledge and appreciation of art." Annual exhibitions such as New Talent in the USA and Art Schools USA, organized by the AFA, brought before the public the most contemporary American artists and craftspeople, genres, and artistic forms of experimentation, exposing viewers to new ways of thinking and expression. In 1965, AFA produced The Curriculum in Visual Education, a series of films created to heighten the aesthetic awareness of children.
A vital part of American art history, the AFA was one of the first organizations to develop successfully the concept of traveling art exhibitions on a national and international level. The AFA was instrumental in assisting museums with circulating important juried exhibitions of contemporary art, such as the Whitney Annual and Corcoran Biennial. The AFA also recognized the importance of the exchange of cultural ideas, and it brought exhibitions of the European masters to the American public as well as exhibitions focusing on foreign contempoorary art, photography, and architecture. Many organizations and museums have followed the AFA's precedent, and traveling national and international venues are now commonplace.
Since 1909, women have served as officers and members of the Board of Trustees. Leila Mechlin was a founding participant and served as secretary from 1909 to 1933. Juliana R. Force and Eloise Spaeth both chaired the Exhibition Committee in the late 1940s. Women and artists of diverse backgrounds and nationalities were widely represented in the AFA's exhibition programs, most notably during the 1960s. In 1960, the AFA organized, with financial support from the Ford Foundation, a major Jacob Lawrence retrospective. Additional culturally diverse exhibitions included Contemporary Jewish Ceremonial Art (1961), The Heart of India (1962), 1,000 Years of American Indian Art (1963), and Ten Negro Artists from the United States (1966).
The AFA also had an impact on patronage in the arts. AFA exhibitions of contemporary art provided collectors with knowledge of new artists and avant-garde art forms, creating a broader demand and market for this type of work. Museums and collectors began purchasing work by new or obscure American artists whom they learned about through AFA exhibitions and programs.
The historical records of the American Federation of Arts offer the researcher a unique opportunity to study the development of American art and artists in the twentieth century as well as providing insight into trends in American culture.
Missing Title
1909 -- Founded in New York City. Began publishing Art and Progress (later retitled Magazine of Art) and the American Art Annual.
1910 -- Moved headquarters to Washington, D.C.
1913 -- Lobbied successfully for the removal of the tariff on art entering the United States.
1915-1916 -- Lobbied successfully against the Cummins Amendment and the Interstate Commerce Commission's prohibitively high interstate tax on traveling art.
1920 -- Organized a lobbying campaign for the development of a national gallery of art at its national convention.
1921 -- Opened two new offices at the University of Nebraska and at Stanford University.
1924 -- Arranged American participation in the Venice Biennale exhibition.
1927 -- Closed office at Stanford University.
1929 -- Organized American participation in exhibitions in France and Germany.
1933 -- Closed office at the University of Nebraska.
1935 -- Began publishing Who's Who in American Art.
1948 -- Published The Official Directory of Illustrators and Advertising Artists.
1949 -- Collaborated with the Metropolitan Museum of Art to circulate exhibitions from its collections.
1950 -- Participated in the U.S. government's German re-orientation program.
1951 -- Joined forces with the United States Information Agency (USIA) to create the Overseas Museum Donor Program. Published the reference guide Films on Art. Co-sponsored the Films on Art Festival in Woodstock, New York, through 1957.
1952 -- Moved headquarters to New York City.
1953 -- Magazine of Art liquidated.
1954 -- Introduced the Picture of the Month Program.
1956 -- Founded the Art Collectors Club of America.
1958 -- Received a Ford Foundation grant to finance a series of one-person shows of contemporary American artists.
1960 -- Created the Museum Donor Program.
1961 -- Received a grant from the New York State Council on the Arts to circulate exhibitions to small New York state communities.
1963 -- Received a grant from the Ford Foundation for the Artists in Residence program.
1964 -- Introduced the List Art Poster Program.
1965 -- Produced The Curriculum in Visual Education, a series of films that attempted to heighten the aesthetic awareness of children.
Appendix: List of Artists Exhibiting with American Federation of Arts:
The following is an alphabetical list of artists who exhibited with the American Federation of Arts; many are obscure. The alpha-numeric codes and numbers appearing with the artist's name represent specific AFA exhibition programs and, most often, AFA's exhibition numbering system. In cases where the AFA did not assign an exhibition number, Archives' staff have done so.
The primary reference source for the names and name variants is the American Federation of Arts Records. The names are documented in handwritten notes and lists, typed lists, and exhibition catalogs and announcements. The Archives of American Art name authority file was also consulted in questionable cases. The majority of names, however, were not found in either the AAA name authority file or standard bibliographic resources, and only in the AFA records.
Examples:
55-1: AFA annual exhibitions program
AD-1: Addison Gallery exhibitions
L-1: Life Magazine Exhibitions
ME-1: Misceallaneous exhibitions (numbers assigned by AAA staff)
NMA-1: Metropolitan Museum of Art exhibitions
NE-96: Contemporary Color Lithography
NY-1: New York State Council on the Arts exhibitions
VA-1: Virginia Museum of Fine Arts exhibitions
Missing Title
A. Quincy Jones, Frederick E. Emmons & Assoc: 62-34
The records of the American Federation of Arts (AFA) were donated to the Archives of American Art (AAA) over a thirteen-year period, with the bulk of the material arriving between 1964 and 1966. In 1979, Preston Bolton donated his letters and those from John de Menil, Ann Drevet, Lee Malone, and others regarding planning for the 1957 AFA annual convention held in Houston, Texas; convention committee minutes from 1956; and AFA newsletters. This material, as well as a 1979 gift from Louise Ferrari of transcripts from a panel discussion from the 1957 AFA convention in Houston, was microfilmed on AAA Reel 1780. All material previously microfilmed on Reel 1780 has been fully integrated into the collection and arranged within proper series and subseries. The provenance of the 1990-1993 printed material is unknown.
Restrictions:
Use 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.
REELS N591-N597: Photographs of the Museum, Juliana Force, Herman Moore; scrapbooks on the Whitney Studio Club, Whitney Studio Galleries and the Museum, 1927-1965.
REELS N599-N604: Notebooks of Edwin W. Dickinson; photographs and provenance information for works by Philip Evergood; a catalog of information and some photographs of Chinese ink drawings and other works by Reginald Marsh; and photographs and information on Bernard Reder, Jack Tworkov, Max Weber (portions also microfilmed on reel NY59-8 (fr. 497-658), reel NY59-9 (fr. 1-51), and William Zorach.
REELS N604-N609: Exhibition catalogs, 1946-1966, for artists and groups shows at the Museum, including Robert Feke, William Rimmer, Ralph Blakelock, Albert Maurer, Albert Pinkham Ryder, Yasuo Kuniyoshi, Thomas Cole, Max Weber, Arshile Gorky, Mark Tobey, John Sloan, Loren MacIver, I. Rice Pereira, George Grosz, Reginald Marsh, Charles Burchfield, Morris Graves, Theodore Roszak, John Marin, Hans Hofmann, Bradley Tomlin, Stuart Davis, Milton Avery, Lee Gatch, Jose De Creeft, Maurice Prendergast, Edward Hopper, Hyman Bloom, Robert E. Jones, Balcomb Greene, Karl Zerbe, Arthur G. Dove, William Zorach, Philip Evergood, Bernard Reder, Herbert Feber, Oliver O'Connor Barrett,Arthur B. Davies, Jose De Rivera, Paul Burlin, Joseph Stella, Jack Tworkov, Ivan Albright, Stuart Davis, Edwin Dickinson, John Quidor, and Niles Spencer.
REELS N646-N694: Artists' files on: Oliver O'Connor Barrett,William Baziotes, George Bellows, Thomas Hart Benton, Peter Blume, James Brooks, Patrick Henry Bruce, Charles Burchfield, Paul Burlin, David Burliuk, Paul Cadmus, Mary Cassatt, Thomas Cole, Glenn Coleman, Jon Corbino, John Steuart Curry, Jo Davidson, Arthur B. Davies, Jose DeCreeft, Charles Demuth, Jose De Rivera, Arthur Dove, Guy Pène du Bois, Stuart Davis, Frank Duveneck, Ralph Earl, Eastman Johnson, The Eight, Philip Evergood, Robert Feke, Lyonel Feininger, Ernest Fiene, George Fuller, Lee Gatch, William Glackens, Arshile Gorky, Balcomb Greene, Chaim Gross, George Grosz, William Harnett, Marsden Hartley, Childe Hassam, John Heliker, Robert Henri, Hans Hofmann, George Inness, Leon Kelly, Franz Kline, Karl Knaths, Leon Kroll, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, Robert Laurent, Ernest Lawson, Jack Levine, Seymour Lipton, George B. Luks,
Stanton Macdonald-Wright, Loren MacIver, John Marin, Reginald Marsh, Alfred Maurer, K. H. Miller, Robert Motherwell, William Mount, Jerome Myers, Louise Nevelson, Georgia O'Keeffe (portions also microfilmed on reels NY59-13 (fr. 98-115, 406-424, 586-685), reel NY59-14 (entire), and reel NY59-15 (fr. 1-140, 145-153), I. Rice Pereira, Bernard Perlin, Joseph Pollett, Jackson Pollock, Reginald Pollack, Henry V. Poor, Richard Pousette-Dart, Maurice Prendergast, Abraham Rattner, Bernard Reder, Ad Reinhardt, William Rimmer, Larry Rivers, Hugo Robus, Theodore Roszak, Mark Rothko, Concetta Scarvaglione, Henry Schnakenberg, Ben Shahn, John Sloan, David Smith, Eugene Speicher, Theodoros Stamos, Joseph Stella, Maurice Sterne, Mark Tobey, Bradley Tomlin,Trajan, Allen Tucker, John Twachtman, Jack Tworkov, Abraham Walkowitz (also on reel NY/59-15) , Max Weber, James M. Whistler, Gertrude Whitney, Grant Wood, Alexander Wyant, Mahonri Young, and William Zorach.
REELS NWH 1-NWH 7: Artist files on Charles Sheeler, Bernard Karfiol, Louis Eilshemius; scatterred records of the Whitney Studio Club and Museum, 1914-1945, including minutes, Oct. 15, 1930, and Whitney Studio ledgers, 1928-1931; catalogs of one-man shows, 1932-1945; catalogs of annual painting exhibitions, 1932-1940, sculpture, watercolor and drawing exhibitions, 1933-1945, and group exhibitions, 1932-1945; and clippings, Oct. 1935-1936.
REELS NY59/8 (fr. 256-end)-NY59/10: Files on Max Weber, including biographical material, lists of work, and miscellany. Also found (NY59/8 frames 354-383) are ca.20 letters from Weber to Abraham Walkowitz, 1907-1924.
Biographical / Historical:
Whitney Museum of American Art is an American art museum in New York, New York. Founded by Gertrude Vanderbilt Whitney and formally opened in 1931. Previous to its opening as a museum it was known as the Whitney Studio Club (1914-28) and Whitney Studio Galleries (1928-30).
Provenance:
The Weber files on reels NY59/8-10 were lent for microfilming 1959 by the Whitney Museum of American Art; the remainder was lent 1964-1967; additional material from the Museum was lent at the same time, and subsequently donated, including the papers of Lloyd Goodrich, Juliana Force, Thomas B. Clarke, the American Art Research Council, and Gertrude Vanderbilt Whitney; these have each been cataloged separately. Portions of Weber, and O'Keeffe material that was microfilmed in 1959 were refilmed in 1967.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, Modern -- 20th century -- United States Search this
Artists -- Exhibitions -- New York (State) -- New York Search this
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and nine scrapbooks.
Scope and Contents:
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and scrapbooks.
Correspondence is with colleagues, artists, museums, and galleries concerning a wide variety of topics, including exhibitions and publications. The bulk of the correspondence consists of alphabetical files (two linear feet) that includes correspondence with artists. Notable correspondents include Pol Bury, Alexander Calder, Gordon Onslow Ford, Alberto Giacometti, Morris Graves, Philip Guston, Dimitri Hadzi, Jacques Lipchitz, Georgia O'Keeffe, Ad Reinhardt, Mark Rothko, Jean Tinguely, and others. Eight additional files of chronological correspondence is with curators, arts organizations, and publishers. Additional correspondence is found in the professional files, project files, membership files, artists' research files, and exhibition files.
The bulk of the writings series is comprised of files related to Selz's books and includes typescript drafts and galleys, printed and digital material, correspondence, and publishing contracts. Files are found for Art in Our Times, Art of Engagement, Beyond the Mainstream, and Theories of Modern Art. Other writings consist of drafts of articles, essays, notes, and lectures by Selz. Also included are writings by others, including materials related to Paul Karlstrom's biography of Selz.
Professional files document curatorial and teaching positions at the Chicago Institute of Design, Pomona College, University of California, Berkeley, and the Museum of Modern Art. The series includes contracts, recommendations, syllabi, and correspondence.
Project files document Selz's professional work on specific art projects, panels, and symposiums. There is extensive documentation of Selz's work as project director of Christo's Running Fence, as well as other environmental art work projects by Christo, the Berkeley Art Project, Disney Art Project, "Funk Art" symposium, and the "Art and Politics in the 20th Century" symposium. Project files contain a wide variety of materials, such as correspondence, printed material, financial records, reports, photographs, and other documents. There are 2 tape reels, 1 VHS, and 1 sound cassette.
Membership and association records document Selz's involvement with or membership in various art councils, trustee boards, such as the College Art Association, Art in Chicago Advisory Committee, Bay Area Rapid Transit (B.A.R.T.) Art Council, and the San Francisco Crafts and Folk Art Museum Advisory Board, among others. Materials include meeting minutes, bulletins, correspondence, and memoranda.
Artists' Research Files consist of a wide variety of research materials Selz compiled about artists for lectures, writings, projects, exhibitions, etc. Files vary and may include original and photocopied correspondence, photographic material, resumes, printed and digital material, and writings. There is also 1 sound cassette. Files are found for Bedri Baykam, Max Beckmann, Fletcher Benton, Ciel Bergman, Barbara Chase-Riboud, Bruce Conner, Jean Dubuffet, Lyonel Feininger, Leon Golub, Dimitri Hadzi, Rico Lebrun, Harold Paris, Irving Petlin, among many others.
Exhibition files include catalogs, reviews, clippings, writings, correspondence, and other material documenting exhibitions organized by Selz. Limited materials are found for the MOMA Art Nouveau exhibition. More extensive documentation is found for Seven Decades of Modern Art, 1895-1965, The Joint Show (1967), The American Presidency in Political Cartoons (1976), American Modern Art Between the Two World Wars (1979), German Realism in the Twenties: Artist As Social Critic (1980), Twelve Artists from the German Democratic Republic (1989), a Richard Lindner Retrospective (1996), Spaces of Nature (1999), Color and Fire: Defining Moments in Studio Ceramics, 1950-2000 (2000), and a Nathan Oliviera Retrospective (2002), among others. Some of the materials are in digital format.
Personal business records are related to the Mark Rothko estate and Kate Rothko's legal case against Marlborough Gallery, Inc. Also included in this series are Peter Selz's school transcripts, bequests, royalty statements, house designs, and other material.
Printed materials include clippings, prints of articles written by Peter Selz, exhibition announcements and invitations, and photocopies of artwork images.
There are nine disbound scrapbooks dating from the 1940s up through 2012 containing clippings, exhibition announcements, and photographs of art events, Selz, and artists. This series also includes materials from the 2018 addition that may have previously been compiled in binders.
Arrangement:
This collection is arranged as 10 series. When possible the original order of Peter Selz was maintained. However, multiple accessions were merged and integrated.
Missing Title
Series 1: Correspondence, 1942-2013 (2.3 linear feet; Box 1-3, Box 37)
Series 2: Writings, 1942- circa 2014 (8.3 linear feet; Box 3-10, OV 32, Box 37, 0.035 GB; ER01, ER12)
Series 3: Professional Files, 1949-2012 (1 linear feet; Box 11, Box 37)
Series 4: Project Files, 1962-2015 (2.8 linear feet; Box 12-14, OV 33, Box 37)
Series 5: Membership and Association Records, 1958-2014 (1.1 linear feet; Box 14-15, Box 37)
Series 6: Artists' Research Files, 1955-2014 (7.9 linear feet; Box 15-22, OV 34-35, 0.520 GB; ER02-ER08)
Series 7: Exhibition Files, 1959-2014 (5.2 linear feet; Box 23-27, Box 38, 0.093 GB; ER09-ER11)
Series 8: Personal Business Records, 1929-2014 (1.2 linear feet; Box 28-29, OV 36, Box 38)
Series 9: Printed Material, 1957-2014 (0.3 linear feet; Box 29, Box 38)
Series 10: Scrapbooks, 1947-2018 (1.4 linear feet, Box 29-31, Box 38)
Biographical / Historical:
Peter Howard Selz (1919-2019) was a pioneering historian of modern art, professor, and writer who taught at the University of California, Berkeley, from 1965-1988 and founded and directed the Berkeley Art Museum from 1965-1973.
Selz was born in 1919 in Munich, Germany to Eugene Selz and Edith Drey Selz. In 1936, the family fled Nazi Germany and immigrated to the United States. Selz attended Columbia University from 1937 to 1938 and became a naturalized citizen in 1942. During World War II, Selz served in the U.S. Army in the Office of Strategic Services. He married writer Thalia Cheronis in 1948 but they later divorced in 1965; he married several times afterwards.
After the war, Selz attended and taught at the University of Chicago where he received a Ph. D. in German Expressionism. He spent a year in Paris, 1949-1950, at the Sorbonne and École du Louvre on a Fulbright grant. He received a second Fulbright grant in 1953 to study at the Royal Museums of Art and History in Belgium. From 1953-1955, Selz also taught at the Chicago Institute of Design.
In 1955 Peter Selz accepted a position to chair the art history department at Pomona College in Claremont and relocated to California for a few years. He also became director of the college's art gallery.
In 1958 Selz moved to New York City to become curator of painting and sculpture at the Museum of Modern Art and was there through the transformative mid-1960s. While at MOMA, he organized several significant exhibitions of modern art, including the 1960 Jean Tinguely "Homage to New York," a sculpture that destroyed itself (and started a fire) in the sculpture garden of the museum; New Images of Man (1959), the Art Nouveau show (1960), and the Art of Assemblage (1961). He also launched important retrospectives, including the first Rodin retrospective in the United States and a comprehensive exhibition of Alberto Giacometti's work in 1965.
In 1965, Peter Selz returned to California to become the founding director of the Berkeley Art Museum at the University of California, Berkeley, a position he held until 1973. He organized exhibitions of Funk, film, and ceramicists like Peter Voulkos and Robert Arneson. Peter Selz later became project director for Christo's "Running Fence", the 24.5-mile long fabric fence over the Marin County hills in 1976. He also served concurrently as a professor of art history at UC until retiring in 1988.
Peter Selz was a member of the College Art Association's board of directors for two terms, 1958-1964 and 1966-1971. Selz is a prolific writer, and the author or co-author of numerous books, exhibition catalogs, and articles. Notable books include German Expressionist Painting (1957), Art in a Turbulent Era (1965), Art in Our Times (1981), and Sam Francis (1975).
In 1988 Peter Selz was named emeritus professor at University of California, Berkeley. In 1993 he was on the acquisitions committee of the Museums of Fine Arts, San Francisco. In 2012, Selz curated The Painted Word exhibition. Selz died in 2019 in Albany, California.
Related Materials:
The Archives of American Art also holds oral history interviews of Peter Selz conducted by Paul J. Karlstrom on July 28, 1982, October 12, 1982, and November 3, 1999.
Provenance:
The Peter Howard Selz papers were donated to the Archives of American Art by Peter Selz in multiple installments from 1976 through 2014. Additional papers were donated in 2018 by Gabrielle Selz, Peter Selz's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate copies 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.
Peter Howard Selz papers, 1929-2018, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the 2014 processing of this collection was provided by the Frederick Hammersley Foundation. Funding for the processing of the 2018 addition was provided by Gerald and Bente Buck.
Letters, writings and notes, sketches and drawings, printed matter, and photographs regarding artists, mainly from the Pacific Northwest, with whom Wehr was associated.
Resume; letters to Wehr; writings by and about Wehr; exhibition announcements and catalogs; clippings; printed material; and photographs of Wehr. Also included are Wehr's files on American Northwest artists Guy Anderson, Kenneth Callahan, Morris Graves, Pehr Hallsten, Stanley William Hayter, Ray Hill, Helmi Juvonen, Mark Tobey, composer Ernest Bloch, and art administrator Richard E. Fuller, containing biographical materials, correspondence, photographs, printed material, and writings by Wehr.
Files kept by Francine Seders of the Otto Seligman Gallery, Seattle, Washington, on artists Camille Bryen, Frederick Franck, Morris Graves, Daniel Milhaud, Toni Olney, Arthur Hall Smith, Francois Stahly, and George Van Haardt.
Biographical / Historical:
Painter, consultant, writer; Seattle, Wash.
Provenance:
Donated 1972 through 1980 by Wesley C. Wehr.
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.
44 personal letters to Merita Mills from Graves, 1932-1937, and 3 letters to his sister, Celia, 1935-1936; photographs of Graves, his family, an unidentified woman, and a painting, "Millenium Light"; notes and writings; printed material; and clippings.
Biographical / Historical:
Painter; Washington. Graves was a member of the Seattle area progressive artists' collective known as the "Group of Twelve."
Provenance:
Lent for microfilming 1975 by Margaret Pomeroy Hoover.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
United States -- Economic conditions, 1918-1945 -- Washington (State)
Date:
circa 1840s-1997
Summary:
The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 12.7 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.
Scope and Content Note:
The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 13.8 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.
Among the biographical information are awards and certificates, biographical and genealogical notes, and educational records. Correspondence concerns Inverarity's activities as Director of the WPA Federal Arts Project in Washington State, 1936-1941. Additional personal and professional correspondence, 1929-1993, documents his activities as a museum director, consultant, collector, and writer. Among the friends and colleagues with whom he corresponded are: Max Ernst and Dorothea Tanning, Rockwell and Sally Kent, Stanton MacDonald-Wright, Wolfgang Palen, Juliet and Man Ray, Mark Tobey, Edward Weston, and various individuals associated with the WPA.
Manuscripts of a few of Inverarity's many articles on topics such as anthropology, museology, and information storage and retrieval are among his writings and notes. Also included are the manuscript of an unpublished book, Tobey Remembered, along with drafts, notes, correspondence, research materials, and photocopies of Tobey's letters to him and others. Other writings consist of book reviews, children's books, a catalog of the Inverarity Collection, and a copy of his 1946 master's thesis, "The Social-Economic Position of the American Artist." Several journals, 1928-1966, survive, including one that records his 1932 trip to study the Haida Indians of the Queen Charlotte Islands.
Subject files include general subjects such as "Folk Art" and "Preservation." Files on the museums where Inverarity was the director contain some official records as well as general information. Art work by Inverarity includes eight volumes of sketch books, 1928-1942, commercial work for Boeing, notes and drawings for book designs. Among the work by other artists are drawings, paintings and prints by friends. Of particular interest are display panels for a small exhibit on airbrush stencil prints produced by the Washington State WPA Federal Art Project. Other noteworthy items are pencil sketches and a watercolor by Mark Tobey, and prints by Hiroshige and Jan Matulka.
Five scrapbooks, 1928-1979, contain newspaper clippings, miscellaneous printed items, and a small number of photographs and letters. Three volumes document his career as an artist and museum director. One consists of biographical information and items designed by Inverarity, and another concerns publication and marketing of his monograph Art of the Northwest Coast Indians.
Sound recordings consist of interviews and conversations. An extensive interview with Inverarity about his life and career was conducted by Craig Gilborn in 1990. Bruce and Jane Inverarity in conversation with former colleague Ernie Johnson and his wife Helen about his departure from the Museum of International Folk Art were recorded in 1980. Also included is a 1981 conversation with Grace T. Stevenson containing references to Mark Tobey and Morris Graves.
Printed material includes many items about or produced by the WPA Federal Art Project. Among the items written by Inverarity are many articles on a wide variety of topics, his book Art of the Northwest Coast Indians, and two published portfolios. Printed material by other authors includes articles, books and reports about or mentioning Inverarity, and books designed or illustrated by him. Among the miscellaneous printed items are catalogs and brochures of the schools where Inverarity taught and studied, and a few ephemeral items designed by him.
Photographs are of art work, people, places, the Washington State WPA Federal Art Project, and miscellaneous subjects. All photographs known to be by Inverarity are clearly marked. Art work includes views of Inverarity's collection of his own work and that of other artists hanging in his home. Photographs of people include artists, friends, colleagues, and various groups. Of special interest are Inverarity's portraits of artists, among them Marcel Duchamp, Max Ernst, Morris Graves, Hilaire Hiler, Rico Le Brun, Stanton Macdonald-Wright, Man Ray, Dorothea Tanning, and Mark Tobey. Photographs of places include the museums where Inverarity was director, places in which he lived, and travel pictures. Of note are a large group of photographs (copy prints) taken in 1932 while studying the Haida Indians in British Columbia. Nineteenth century photographs of family homes, Europe, and South America may have been taken by his father. Photographs of the Washington State WPA Federal Arts Project are of individual works of art, exhibition installations, mosaic procedures and local art centers. Many, probably intended for display, are mounted in groups on large cardboard panels. Miscellaneous subjects include art photographs by Inverarity and the microreader he invented.
Arrangement:
The collection is arranged as nine series. Correspondence is in chronological order, Biographical Information and Subject Files are arranged alphabetically by folder title. Other series have been organized into subseries and arrangement is as described in the Series Descriptions/Container List below. Unless noted otherwise, material within folders is arranged chronologically.
Missing Title
Series 1: Biographical Information, 1934-1997, undated (Box 1, OV 18; 0.25 linear ft.)
Series 2: Correspondence, 1928-1993, undated (Box 1; 0.75 linear ft.)
Series 3: Writings and Notes, 1928-1993, undated, (Boxes 2-3; 1.5 linear ft.)
Series 4: Subject Files, 1938-1990, undated (Boxes 3-6, OV 19-20; 2.5 linear ft.)
Series 5: Art Work, circa 1840s-1969, undated (Boxes 6, 12, 16, OV 21; 1.3 linear ft.)
Series 6: Scrapbooks, 1928-1991, undated (Boxes 7-8; 1.1 linear ft.)
Series 7: Sound Recordings, 1980-1990 (Box 8; 3 folders)
Series 8: Printed Material, 1902-1995, undated (Boxes 8-13, OV 22; 3.4 linear ft.)
Series 9: Photographs, circa 1870s-1990, undated (Boxes 11, 14-17, OV 23; 3.0 linear ft.)
Biographical Note:
Robert Bruce Inverarity (1909-1999) showed artistic leanings as a boy, and from an early age was fascinated by puppetry and Northwest Coast native culture. During much of his youth, Inverarity's family lived in Canada, but returned to their native Seattle when he was a teenager. After graduating from high school, he made a 500 mile journey on foot along the coasts of the Vancouver Islands, collecting Indian artifacts and studying the area's tribal legends.
He studied briefly with Mark Tobey in Seattle, where the two shared a studio; when Tobey departed for Chicago, Inverarity succeeded him as an art teacher at the Cornish School. He spent the next few years in California working as an artist, exhibiting, and occasionally teaching. From there, he moved to Vancouver where he was Director of the School of Creative Art. In 1932, Inverarity made a three month trip to the Queen Charlotte Islands, British Columbia, for the purpose of studying the Haida Indians.
Upon his return to the United States in 1933, Inverarity joined the University of Washington Drama School as a puppetry instructor; in 1938 he published a highly regarded Manual of Puppetry. During 1936-37, he took a leave of absence from the university to assume the position of State Director of the Federal Art Project, where he remained until 1939. He then became State Director of the Art and Crafts Project (1939-1941). The U.S. Navy appointed Inverarity Chief of Design for Camouflage (1941-1943) and he later served as an Official Navy War Artist (1943-1945).
During his early years as a teacher and administrator, Inverarity continued making art and participated in a wide variety of exhibitions. He published a portfolio, 12 Photographs by R. B. Inverarity (1940). In the following year, Movable Masks and Figures of the North Pacific Coast Indians, a portfolio of his watercolors reproduced as silkscreen prints, appeared. Although Inverarity stopped exhibiting in 1941, he continued to produce art; notable work of this period includes photographic portraits of a number of artist friends (Max Ernst, Dorothea Tanning, Marcel Duchamp, and Man Ray).
After World War II, Inverarity completed his formal education. He earned a Bachelor's degree in art and anthropology from the University of Washington (1946), and then studied with Hilaire Hiler at Freemont University in Los Angeles, where he was awarded a Master's degree in fine arts (1947) and a Ph.D. (1948).
Inverarity began his museum career in 1949 when he was appointed the first director of the Museum of International Folk Art in Santa Fe, New Mexico, a position that combined his interest in, and knowledge of, anthropology and art. While in Santa Fe, he published Art of the North West Coast Indians (1950). During his five year tenure as director, the museum participated in a pilot study for coding visual files, a project of the anthropological group, Human Resources Area Files, Inc. When Inverarity was dismissed from the Museum of International Folk Art in 1954, most of the staff resigned in protest, and the American Association of Museums investigated the situation.
Inverarity then became the first director of the Adirondack Museum, Blue Mountain Lake, New York, where he remained for eleven years. In addition to planning the museum's building, and developing collections and programs, Inverarity continued his involvement with the visual files project of the Human Resources Area Files, Inc., studying information storage and retrieval, developing a "microreader," and publishing Visual Files Coding Index (1960). In addition, he published many articles on a variety of topics and was active in organizations for anthropologists and museum professionals.
After his 1965 departure from the Adirondack Museum, Inverarity went to California and worked as an illustrator and book designer at the University of California Press. He returned to the east coast in 1969 to assume the directorship of the Philadelphia Maritime Museum. During this period, he remained active in professional associations and traveled to study museums abroad. He retired in 1976 and moved to La Jolla, California.
Robert Bruce Inverarity died in 1999.
Separated Material:
Originals of most of the drawings and sketches loaned by Mr. Inverarity were returned to him after filming and were not subsequently donated. This material is available on 35 mm microfilm reel D/NDA/I, frames 392-409.
Provenance:
Robert Bruce Inverarity donated his papers to the Archives in several installments between 1965 and 1993. Additional papers were received from his estate in 1999. He also loaned a small number of additional drawings and sketches for microfilming which were returned to him. A few of these drawings were included with the papers he subsequently donated to the Archives of American Art.
Restrictions:
The collection is open for research. Use 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.
The selected records of the Schmidt Bingham Gallery measure 1.2 linear feet and date from 1948 to 2002. The records document the history of the New York gallery through letters to Penelope Schmidt upon the closing of the Schmidt Bingham Gallery (2002); artists' files on Carroll Cloar, Morris Graves, and John Wilde; files relating to an exhibition, "L'Alta Fantasia, Saints, Angels and Other Heavenly Creatures" (1990-1991); and photographs of various works of art. Artists' files include biographical material, a catalog raisonne, exhibition checklists, price lists, printed material, exhibition catalogs, announcements, clippings, published writings, press releases, as well as photographs, slides, transparencies of works of art and video recordings (VHS cassettes). John Wilde's files include typescripts of his diaries (1978-1990) and letters to Penelope Schmidt (1986-2002). Also found are letters between Penelope Schmidt and Paul Caponigro (1997-2001). Video recordings are on Carroll Cloar, (undated) and Morris Graves, "An Introduction to Morris Graves, " (1994).
Scope and Contents:
The selected records of the Schmidt Bingham Gallery measure 1.2 linear feet and date from 1948 to 2002. The records document the history of the New York gallery through letters to Penelope Schmidt upon the closing of the Schmidt Bingham Gallery (2002); artists' files on Carroll Cloar, Morris Graves, and John Wilde; files relating to an exhibition, "L'Alta Fantasia, Saints, Angels and Other Heavenly Creatures" (1990-1991); and photographs of various works of art. Artists' files include biographical material, a catalog raisonne, exhibition checklists, price lists, printed material, exhibition catalogs, announcements, clippings, published writings, press releases, as well as photographs, slides, transparencies of works of art and video recordings (VHS cassettes). John Wilde's files include typescripts of his diaries (1978-1990) and letters to Penelope Schmidt (1986-2002). Also found are letters between Penelope Schmidt and Paul Caponigro (1997-2001). Video recordings are on Carroll Cloar, (undated) and Morris Graves, "An Introduction to Morris Graves," (1994).
Arrangement:
The collection is arranged into one series.
Series 1: Schmidt Bingham Gallery selected records, 1948-2002 (1.2 linear feet; Boxes 1-2)
Biographical / Historical:
Schmidt Bingham Gallery was an art gallery in New York, New York, that specialized in contemporary art. Co-founded by Penelope Schmidt, the gallery operated for 16 years on 57th Street, and closed March 31, 2002.
Provenance:
Donated 2002 by Penelope Schmidt. Schmidt retained the bulk of the gallery's records.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning 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.
Function:
Art galleries, Commercial -- New York (State)
Citation:
Schmidt Bingham Gallery Selected Records, 1948-2002. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Primarily photographs of works exhibited in Michigan Artist Craftsmen exhibits at the Detroit Institute of Arts, 1950-1956, and Designer Craftsmen U.S.A. 1953 for which Woolfenden was a juror. Many of the photographs have labels identifying the museum holding the work, the artists' name, and year exhibiting. Some printed material, notecards and other documentation relating to the 1953 Designer Craftsmen exhibit are also found, primarily relating to the Michigan artists represented and the Michigan regional exhibitions. Also found are miscellaneous photographs, including one of Woolfenden with fellow judge Sarkis Sarkesian holding winning covers for the 4th annual Yearbook of the Newspaper Guild of Detroit, one of Woolfenden at a typewriter labeled Yearbook Staff 1940, and one of Woolfenden holding a bowl with a group of women identified as Museum and Television Party, 1949; twenty-four clippings are of articles by and about Woolfenden, circa 1938-1956 and his obituary, 1995; three illustrated letters from Detroit artist Cyril Miles to Woolfenden (ca. 1967); and a letter from Morris Graves, 1964, reflecting on meeting Woolfenden with Una Johnson, and "those days in St. Paul... wouldn't it be great sport if the three of us were sometime asked to 'do it again'."
Biographical / Historical:
William E. Woolfenden (1918- 1995) was the director of the Archives of American Art from 1963-1983.
Provenance:
Donated July 1980 by William E. Woolfenden.
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.
The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.9 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career.
Scope and Content Note:
The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.9 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career. 3.6 linear feet of correspondence comprise the bulk of the collection.
Arrangement:
The collection is arranged into ten series according to material type:
Missing Title
Series 1: Biographical Material, 1907-1981, undated (box 1; 4 folders)
Series 2: Correspondence, 1909-1991, undated (boxes 1-4; 3.6 linear feet)
Series 3: Personal Business Records, 1944-1976 (box 4; 15 folders)
Series 4: Notes, 1959-1968 (box 4; 10 folders)
Series 5: Teaching Files, 1964-1971 (box 5; 4 folders)
Series 6: Writings, circa 1910-1976 (box 5; 21 folders)
Series 7: Interview Transcripts, 1951, undated (box 5; 2 folders)
Series 8: Printed Material, 1903-1991 (boxes 5-7; 1.2 linear feet)
Series 9: Photographs, 1916-1976 (box 7; 12 folders)
Series 10: Oversized Material, 1947-1948, 1967, undated
Biographical Note:
Born in Portland, Oregon on April 12, 1883, Cunningham's family moved to Seattle in 1889. Inspired by Gertrude Kasebier's work, she purchased her first camera in 1901. After studying chemistry and botany at the University of Washington, she worked for the Edward S. Curtis Studio, Seattle, from 1907 to 1909. Receiving a scholarship, Cunningham studied for a year at the Technische Hochschule, Dresden.
Upon her return to Seattle in 1910, she opened a studio and had the first major exhibition of her work at the Brooklyn Institute of Arts and Sciences in 1912.
In 1915, Cunningham married printmaker Roi Partridge and gave birth to her first son, Gryffyd. Two years later, her family moved to California, where she gave birth to twin sons, Padraic and Rondal. In 1920, the family moved to Oakland, where her husband taught at Mills College. During the 1920s, she exhibited her art work and began photographing plant forms.
Along with Ansel Adams, John Paul Edwards, Sonya Noskowiak, Henry Swift, Willard Van Dyke, and Edward Weston, Cunningham formed the f/64 Group, a society of purist photographers in 1932. During the same year she began working for Vanity Fair and other magazines and began a career as a portrait photographer, including Martha Graham, Cary Grant, Morris Graves, Alfred Stieglitz, and Spencer Tracy as her subjects. She divorced her husband in 1934.
In 1947, Cunningham established a studio in her San Francisco home, and continued to exhibit extensively until her death on June 24, 1976.
Provenance:
The collection was donated to the Archives of American Art by Imogen Cunningham in 1974 and 1976, and by her son, Gryffyd Partridge, in 1991.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Photographers -- California -- San Francisco Search this
Educators -- California -- San Francisco Search this
An interview of Paul Caponigro conducted 1999 July 30-August 12, by Susan C. Larsen, for the Archives of American Art, at Caponigro's home, in Cushing, Maine.
Caponigro describes his childhood, military career, and travels through the southwest and northern California, his association with Minor White, exhibitions, publications, employment, and marriage to wife Eleanor.
Caponigro discusses the significance of his Stonehenge series of photographs; others' interpretations of his work; further exhibitions; and the role that his family's move to Santa Fe, New Mexico, has played in the evolution of his work.
Further discussion of the photographic scene in Santa Fe and its connection to American modernist photographers such as Paul Strand and Ansel Adams; travels; Guggenheim grant; the 1991 fall from a rocky ledge that was a physical and spiritual watershed in his life; and his new home in Cushing, Maine.
He recalls George Tice, Ansel Adams, Minor White, Bert Westin, Imogen Cunningham, Dorothea Lange, Oliver Gagliani, Beniamino Bufano, Morris Graves, Walter Chappell, Jerry Uelsmann, Carl Chiarenza, William Clift, Marie Cosindas, Peter Bunnell, John Szarkowski, Robert Singer, Beaumont Newhall, Georgia O'Keeffe, Ed Ranney, David Scheinbaum, Janet Russek, Lucien Clergue, and many others.
Biographical / Historical:
Paul Caponigro (1932- ) is a photographer and teacher from New England and New Mexico.
General:
Originally recorded on 7 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 5 hr., 19 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.
The records of the Charles Campbell Gallery in San Francisco date from 1960 to 2001 and measure 17.6 linear feet. The records include business correspondence with galleries, curators, trusts, and individual buyers and sellers; business records consisting of administrative files, business notebooks, and financial material; artist and exhibition files; and Charles Campbell's related personal files that include correspondence, catalogs, newsletters, and clippings about jazz, and photos and travel. Substantial artist files exist for Nathan Oliveira, which contain original artwork and photos of the artist, Peter Allegaert, Gordon Cook, Charles Griffin Farr, Morris Graves, Robert Harvey, Geer Morton, Fred Reichman, Jean Rustin, Stephani Sanchez, and Wayne Thiebaud, among others.
Scope and Contents:
The records of the Charles Campbell Gallery in San Francisco date from 1960 to 2001 and measure 17.6 linear feet. The records include business correspondence with galleries, curators, trusts, and individual buyers and sellers; business records consisting of administrative files, business notebooks, and financial material; artist and exhibition files; and Charles Campbell's related personal files that include correspondence, catalogs, newsletters, and clippings about jazz, and photos and travel. Substantial artist files exist for Nathan Oliveira, which contain original artwork and photos of the artist, Peter Allegaert, Gordon Cook, Charles Griffin Farr, Morris Graves, Robert Harvey, Geer Morton, Fred Reichman, Jean Rustin, Stephani Sanchez, and Wayne Thiebaud, among others.
The records are a rich resource for documenting the Bay Area Figuration art movement in the San Francisco region.
Business correspondence is with galleries, curators, trusts, and individuals mostly regarding loans and sales. Correspondents include Allan Stone Gallery, Bryce Bannatyne Gallery, Canfield Gallery, Forum Gallery, Felix Landau Gallery, Henri Ghent, Barbara Guest, Phyllis Hattis, and Trini Gallery, among many others. Although there is scattered correspondence with artists filed among the business correspondence, the bulk of the gallery's correspondence with artists is found in the Artist and Exhibition Files.
Business records include administrative files comprised of mailing lists, business registration records, newsletters, information about affiliated organizations (including The San Francisco Art Dealers Association), and records and clippings about arts law. Gallery notebooks contain information about the gallery's day-to-day activities and also include inventories, contacts, accounting information, and lists of business arrangements and dealings. Financial materials include appraisal and consignment records, invoices, insurance records,donation records, and a vendor analysis report comprise the financial material.
Almost two-thirds of the collection is comprised of artist and exhibition files. In addition to the artistis listed above, there are substantial artist files for Ruth Asawa, E. J. Bellocq, Elmer Bischoff, Robert Berlind, John Battenberg, Joan Brown, William Theophilus Brown, Charles Mattox, Robert Qualters, Beth Van Hoesen, Carlos Villa, Paul Wonner, among many others. The artist files also include artwork, such as pen and ink and pencil sketches by Peter Allegaert, ink and gouache sketches by Nathan Oliveira, and a pen and ink sketch by John Goray. Scattered photos depict artists (notably Oliveira), their studios, artwork and installation shots, and exhibition attendee notebooks document shows from 1978 to 1987.
The collection also contains personal correspondence and files relating to Charles Campbell's interest in jazz and travel. These records include music catalogs, clippings, newsletters, correspondence, brochures, tickets, maps, travel agendas, and photos. Campbell's personal correspondence is scattered throughout the collection, and documents Charles' and his wife Esther's friendships with artists and others.
Arrangement:
The collection is arranged as 5 series.
Missing Title
Series 1: Business Correspondence, 1968-1996 (Boxes 1-3; 2.3 linear feet)
Series 2: Business Records, circa 1968-2001 (Boxes 3-5; 2.3 linear feet)
Series 3: Artist and Exhibition Files, 1960-1999 (Boxes 5-15; 10.7 linear feet)
Series 4: Personal Files, circa 1972-circa 1998 (Boxes 16-17; 1.6 linear feet)
Series 5: Printed Material, 1965-2000 (Boxes 17-19; 0.7 linear feet)
Biographical / Historical:
The Charles Campbell Gallery was established by Charles Campbell in 1972 in North Beach, San Francisco, following his ownership of The Louvre, a frame shop that he established in 1947. The Charles Campbell Gallery was among the most important San Francisco galleries of that era, especially for showing local artists. Campbell was a close friend of many of the leading Bay Area artists, most of whom had exhibibitions at his gallery, including Richard Diebenkorn, Wayne Thiebaud, Hassel Smith, Elmer Bischoff, and Gordon Onslow-Ford. Some of the artists represented and shown at the gallery were later identified with the region's signature art movement, Bay Area Figuration, including Nathan Oliviera, Paul Wonner, Gordon Cook, William Theophilus Brown, James Weeks, and Joan Brown.
Campbell partnered with Paul Thiebaud in 1990 and the gallery changed its name to the Campbell-Thiebaud Gallery, and began to show a fresh roster of artists. The partnership ended on friendly terms in 2001, with the business becoming the Paul Thiebaud Gallery. After this, Campbell re-established his independent gallery for a short while collaborating with a former gallery assistant Steven Lopez. This collaboration ended in a lawsuit resolved in 2007-2008 that essentially dissolved the gallery in all but name.
Campbell was also very interested in jazz and he was at one point the manager of trombone player Turk Murphy. They briefly ran a club together in San Francisco, The Italian Villa.
Charles Campbell died in 2014 at the age of 99.
Provenance:
Charles Campbell donated the Charles Campbell Gallery records in 2002.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Serices 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.
