Correspondence between printmaker Lynton Kistler and artist Jean Charlot, 1933-1979, and letters between Kistler and Charlot's family after his death in 1979. Also included is a file on the Kistler and Charlot collaborative project for a series of color lithographs entitled PICTURE BOOK, printed in 1933 and 1973, and correspondence, 1953-1982, between Kistler and clients for his and Charlots' work.
Biographical / Historical:
Lithographic printer. Kistler began working in the plant of his father, Will A. Kistler, and developed many advances in the use of the offset press. The Kistler Studio of Lithography, Los Angeles, was established to help artists cultivate the extensive possibilities of aluminum and zinc plates in color lithography. Jean Charlot was a lithographer and muralist who began his collaboration with Kistler in the 1930s. Their close association in the development of color lithography, and their friendship is reflected in these papers. Charlot went to Hawaii in 1949 to do a mural commission. He remained there until his death in 1979.
Provenance:
Lynton Kistler gave these papers to the Thomas Hale Hamilton Library, University of Hawaii at Manoa, which owns the Jean Charlot papers. At Kistler's request these papers were photocopied for the Archives of American Art. After microfilming, AAA discarded the photocopies.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The records of New York gallery and bookstore Weyhe Gallery measure 15.3 linear feet and date from 1921 to 2014. The collection is comprised of administrative files that include material related to the daily functions of the gallery; correspondence with curators, dealers, museums, clients, and artists including Ansel Adams, Alexander Brook, Galerie Alfred Flechtheim, Hilla Rebay, and Marion Willard, among others, and from Lynton Kistler to Carl Zigrosser expressing his desire to exhibit his collection of hand-printed lithographs; artist files that include correspondence and business records; financial records consisting of loan and consignment records, sales invoices, ledgers, and other material that documents the movement of artwork through the gallery and bookstore; printed materials that include photocopies of sales catalogs, clippings, exhibition announcements and catalogs, and other material; and photocopies of 8 volumes of scrapbooks containing clippings relating to artists, prints, and the gallery.
Scope and Contents:
The records of New York gallery and bookstore Weyhe Gallery measure 15.3 linear feet and date from 1921 to 2014. The collection is comprised of administrative files that include material related to the daily functions of the gallery; correspondence with curators, dealers, museums, clients, and artists including Ansel Adams, Alexander Brook, Galerie Alfred Flechtheim, Hilla Rebay, and Marion Willard, among others, and from Lynton Kistler to Carl Zigrosser expressing his desire to exhibit his collection of hand-printed lithographs; artist files that include correspondence and business records; financial records consisting of loan and consignment records, sales invoices, ledgers, and other material that documents the movement of artwork through the gallery and bookstore; printed materials that include photocopies of sales catalogs, clippings, exhibition announcements and catalogs, and other material; and photocopies of 8 volumes of scrapbooks containing clippings relating to artists, prints, and the gallery.
Arrangement:
The collection is arranged as six series.
Series 1: Administrative Files, circa 1930-circa 1990 (0.5 linear feet; Box 1)
Series 2: Correspondence, 1921-2005 (3.0 linear feet; Boxes 1-4)
Series 3: Artist Files, 1930-2002 (0.8 linear feet; Boxes 4-5)
Series 4: Financial Records, 1926-2009 (9.2 linear feet; Boxes 5-14, 17)
Series 5: Printed Materials, 1930-2014 (0.8 linear feet; Box 14, OV 18)
Series 6: Scrapbooks, circa 2000 (1.0 linear feet; Boxes 14-16)
Biographical / Historical:
The Weyhe Gallery (est. 1919) was an art gallery and bookstore in New York, N.Y. It was one of the first New York galleries to specialize in prints.
The gallery was established by German-born dealer Erhard Weyhe (1883-1972). Before World War I, he worked as a print dealer, as well as a book dealer and publisher. He owned a shop in London but moved his business to New York once the war began. He first opened the Weyhe Gallery on 710 Lexington Ave. in 1919. From 1923 to 2003, the gallery was located at 794 Lexington Ave. The gallery focused on artists from Western Europe but also sold the works of Antonio Frasconi, Wanda Gág, Rockwell Kent, Rudy Pozatti, and Diego Rivera among others.
Carl Zigrossser was the gallery's first director from 1919 to 1940. When Zigrosser departed after accepting a position at the Philadelphia Museum of Art, Weyhe took over as director. After Weyhe's death in 1972, his daughter, Gertrude Dennis, operated the gallery and bookstore until her death in 2003. Weyhe's granddaughter, Deborah Kiley, currently runs the gallery as Weyhe Art Books in Mt. Desert, Maine.
Provenance:
The records were donated in 1996, 2012, and 2016 by the Weyhe Gallery via owners Gertrude Weyhe Dennis and Deborah Weyhe Kiley.
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.
An interview of Clinton Adams conducted 1995 August 2-3, by Paul Karlstrom, for the Archives of American Art, at his home, in Albuquerque, New Mexico.
Adams discusses his family background; involvement in Hollywood "industry"; teaching at University of California, Los Angeles; service during WWII; first contact with New York's Museum of Modern Art; his decision to return to California; teaching painting at UCLA from 1946-1954, and friends and colleagues at that time including Lorser Feitelson, Stanton Macdonald-Wright, Lynton R. Kistler and Annita Delano; the difficult political situation at UCLA and the "modernist" conflicts; his views on modernist and conservative groups; Stanton Macdonald-Wright; Adams' own work; his relationship to the ideas and nature of modernism; the Sanity in Art group and other art groups in Los Angeles; his opinion on which artists should have been included in the exhibition/catalogue "Turning the Tide: Early Los Angeles Modernists"; his observations on art historical constructs; the history of New Mexican art; the idea of regionalism; the mythology of Santa Fe, New Mexico.; Southwestern art; the Tamarind Lithography Workshop during its New Mexico phase, its background and changes after the move from Los Angeles to the University of New Mexico, his fifteen years as director, major artists involved, and his desire to publish overlooked artists. Adams recalls Fritz Scholder, John Altoon, Leonard Edmondson, Ynez Johnston, Vincent Price, Jules Langsner, and Rico Lebrun.
Biographical / Historical:
Clinton Adams (1918-2002) was a printmaker, painter, and art administrator of Los Angeles, California and Albuquerque, New Mexico.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 16 digital wav files. Duration is 3 hrs., 28 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 others. Funding for the transcription provided by the Pasadena Art Alliance.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Arts administrators -- New Mexico -- Albuquerque -- Interviews Search this
An interview of Clinton Adams conducted 1974 March 29, by Paul Cummings, for the Archives of American Art.
Adams speaks of how he got involved with the Tamarind Lithography Workshop; how and why Tamarind came about; the lack of artists doing lithographs; the need for the artist to collaborate with the printmaker in order to make a good print; writing a book about the workshop; how in order to interest American Artists into making lithographs, there needs to be a market for it; how it was difficult collecting works of art for the University of New Mexico (UNM); the current art scene in Albuquerque; the arts programs at UNM; moving the workshop to UNM in order to make Tamarind a permanent institute and get more funding; and how more women are becoming printers. He recalls June Wayne, Lynton R. Kistler, Man Ray, Jean Charlow, Eugene Berman, Stanton Macdonald-Wright, Garo Antreasian, Joe Funk, Romas Viesulas, Tatyana Grosman, Irwin Hollander, Ken Tyler, Julie Duristo, Bohuslav Horak, Kenneth Adams, John Sommers, and many others.
Biographical / Historical:
Clinton Adams (1918-2002) was a printmaker, painter, and art administrator from Albuquerque, New Mexico.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 57 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 others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Arts administrators -- New Mexico -- Albuquerque -- Interviews Search this
