Skip to main content Smithsonian Institution

Search Results

Collections Search Center
690 documents - page 1 of 35

Arthur C. Clarke Collection of Sri Lanka

Creator:
Clarke, Arthur C., Sir (Arthur Charles), 1917-2008  Search this
Extent:
95.02 Cubic feet (188 legal size boxes; 5 15 x 12 x 3 flat boxes; 1 16 x 20 x 3 flat box; 4 12 x 8 x 5 shoeboxes)
88.55 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1932-2012
bulk 1950-2008
Summary:
Sir Arthur C. Clarke is one of the preeminent science-fiction writers of the 20th century.
Scope and Contents:
Contains personal and business correspondence, manuscripts of most of Clarke's fiction works in various draft states, short stories, articles, addresses, speeches, movie outlines, Apollo 11 broadcast material, datebooks & notebooks, reference materials, business cards of visitors & contacts, photos & slides. There is some material by people other than the creator such as manuscripts and film/TV scripts.

This collection also includes audio-visual material. Please contact the Media Archivist for access.
Arrangement:
Series were based on the creator's original arrangement of material.

Arranged into 7 Series:

Series 1: Correspondence

Series 2: Original Writing

2.1: "Clarkives"

2.2: Non-"Clarkives"

2.3: Articles, Short Stories

2.4: Lectures, Speeches

Series 3: Media & Publicity

Series 4: Awards & Tributes

Series 5: Manuscripts written by others relating to Clarke's Literary Works

Series 6: Miscellaneous

Series 7: Images

7.1: Photos

7.2: Slide Albums
Biographical / Historical:
Born on December 16, 1917, in Minehead, England, Arthur Charles Clarke became obsessed with science fiction and astronomy at a young age. He was the eldest of four children born into a farming family, however he would become, with his brother Fred Clarke acting as a business associate, one of the leading names in science fiction.

During World War II Clarke served as a radar instructor and in his free time became one of the early members of the British Interplanetary Society. In 1945, Clarke made one of his earliest predictions (he called them "extrapolations") when he came up with the idea of communication satellites. He became known for this uncanny prescience which is seen in so much of his work.

In 1948 Clarke graduated from King's College, London with honors in math and physics. By 1951, Clarke had gained respect as both a fiction and non-fiction writer with Interplanetary Flight and Prelude to Space, respectively.

In 1956, Clarke emigrated to Sri Lanka, then known as Ceylon, where he could indulge a new obsession - skin diving. He remained in Sri Lanka for the rest of his life, creating a diving company and funding many science education programs in the country.

Perhaps Clarke's most recognizable feat came when he was able to work with Stanley Kubrick over a course of 4 years in order to create the book and film 2001: A Space Odyssey which was loosely based on the earlier Clarke story "The Sentinel."

Clarke accomplished an amazing amount of writing, speaking tours, TV appearances and humanitarian work despite suffering from post-polio syndrome for decades. He won numerous awards, mostly for his science fiction but also for popularizing science. He was knighted in 1998. He died, age 90, March 19, 2008.
Provenance:
Arthur C. Clarke Trust, gift, 2014
Restrictions:
No restrictions on access.
Rights:
Permissions Requests
Topic:
Underwater archaeology -- 1960's  Search this
nonfiction novels  Search this
Interplanetary voyages  Search this
Artificial satellites  Search this
Manned space flight  Search this
Apollo 11 Flight  Search this
Astronautics  Search this
Science fiction  Search this
Citation:
Arthur C. Clarke Collection of Sri Lanka, Acc. 2015-0010, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2015.0010
See more items in:
Arthur C. Clarke Collection of Sri Lanka
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2015-0010
Online Media:

Rockwell Kent papers, circa 1840-1993, bulk 1935-1961

Creator:
Kent, Rockwell, 1882-1971  Search this
Kent, Rockwell, 1882-1971  Search this
Subject:
Wildenstein, Felix  Search this
Phillips, Duncan  Search this
Hays, Lee  Search this
Untermeyer, Louis  Search this
Zigrosser, Carl  Search this
Robeson, Paul  Search this
DuBois, W.E.B. (William Edward Burghardt)  Search this
Roosevelt, Franklin D. (Franklin Delano)  Search this
Ruggles, Carl  Search this
Stefansson, Vilhjalmur  Search this
Nearing, Helen  Search this
Nearing, Scott  Search this
Pach, Walter  Search this
Rasmussen, Knud  Search this
Reeves, Ruth  Search this
Seeger, Pete  Search this
Daniel, Charles  Search this
Cleland, T. M. (Thomas Maitland)  Search this
Davies, Arthur B. (Arthur Bowen)  Search this
Chamberlain, J. E.  Search this
Boyesen, Bayard  Search this
Chase, William Merritt  Search this
Freuchen, Peter  Search this
Gellert, Hugo  Search this
Gottlieb, Harry  Search this
Hartley, Marsden  Search this
FitzGerald, James  Search this
Keller, Charles  Search this
Miller, Kenneth Hayes  Search this
Henri, Robert  Search this
Jones, Dan Burne  Search this
United American Artists  Search this
United Office and Professional Workers of America  Search this
United Scenic Artists  Search this
National Farmers' Union (U.S.)  Search this
National Maritime Union of America  Search this
American Artists' Congress  Search this
Artists' Union (New York, N.Y.)  Search this
Artists League of America  Search this
Citizens' Committee for Government Arts Projects  Search this
Farmers Union of the New York Milk Shed  Search this
Federal Art Project  Search this
Federal Writers' Project  Search this
Macbeth Gallery  Search this
International Workers Order  Search this
Type:
Poems
Sketches
Business records
Photographs
Drawings
Topic:
Designers -- New York (State)  Search this
Mural painting and decoration  Search this
Politics and culture  Search this
Authors -- New York  Search this
Art, Modern -- 20th century -- United States -- Political aspects  Search this
Dairy farms  Search this
Federal aid to the arts  Search this
Illustrators -- New York (State)  Search this
Illustration of books  Search this
Works of art  Search this
World War, 1939-1945 -- Civilian relief  Search this
Art and war  Search this
Commercial art  Search this
World War, 1939-1945 -- Art and the war  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)9557
(DSI-AAA_SIRISBib)211757
AAA_collcode_kentrock
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211757
Online Media:

Richard Artschwager papers

Creator:
Artschwager, Richard, 1923-  Search this
Names:
Adair Margo Gallery  Search this
Carpenter Center for the Visual Arts  Search this
Cornell University.  Search this
Gagosian Gallery  Search this
Galerie Franck + Schulte  Search this
Harvard University  Search this
Herbert F. Johnson Museum of Art  Search this
Leo Castelli Gallery  Search this
Lorence-Monk Gallery (New York, N.Y.)  Search this
Museum Ludwig  Search this
Museum of Contemporary Art (Los Angeles, Calif.)  Search this
Museum of Fine Arts, Boston  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Skowhegan School of Painting and Sculpture  Search this
University of Wisconsin  Search this
Whitney Museum of American Art  Search this
Alloway, Lawrence, 1926-1990  Search this
Castelli, Leo  Search this
Copley, William Nelson, 1919-1996  Search this
Fischl, Eric, 1948-  Search this
Johnson, Ray, 1927-  Search this
Karp, Ivan C., 1926-2012  Search this
Katz, Alex, 1927-  Search this
Kimmelman, Michael  Search this
Lawler, Louise  Search this
LeWitt, Sol, 1928-2007  Search this
Murray, Elizabeth, 1940-  Search this
Namuth, Hans  Search this
Neuendorf, Hans  Search this
Ruscha, Edward  Search this
Schaffner, Ingrid  Search this
Schjeldahl, Peter  Search this
Waters, John, 1946-  Search this
Woodman, Betty, 1930-  Search this
Extent:
5.6 Linear feet
9.33 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Illustrated letters
Transcripts
Sketches
Photographs
Sound recordings
Video recordings
Date:
1959-2013
Summary:
The papers of New York painter and sculptor Richard Artschwager measure 5.6 linear feet and 9.33 GB and date from 1959-2013. The papers include extensive correspondence, recorded talks and a lecture, exhibition files, printed and digital material, and photographs.
Scope and Contents:
The papers of New York painter and sculptor Richard Artschwager measure 5.6 linear feet and 9.33 GB and date from 1959-2013. The papers include extensive correspondence, recorded talks and a lecture, exhibition files, printed and digital material, and photographs.

Artschwager's correspondence is with museums, galleries, artists, art historians, academic institutions, and publishers and concerns exhibitions, speaking engagements, and teaching. Frequent correspondents include Lawrence Alloway, Leo Castelli Gallery, Gagosian Gallery, Galerie Franck + Schulte, Herbert F. Johnson Museum, Ivan Karp, Museum Ludwig, Museum of Contemporary Art, Los Angeles, Ingrid Schaffner, and the Whitney Museum of American Art. Also found are letters from fellow artists, including William Copley, Eric Fischl, Ray Johnson, Louise Lawler, Sol Lewitt, Ed Ruscha, John Waters, and Betty Woodman. Some letters are annotated or illustrated with sketches by Artschwager.

The collection includes a lecture and recorded talks by Richard Artschwager held at the University of Wisconsin, Madison, Skowhegan School of Painting & Sculpture, and the Carpenter Center of the Visual Arts, Harvard University, and other venues. One of the recordings is from the "Conversations with Contemporary Artists" series of the Museum of Modern Art. Also included in this series is a recorded discussion with artists Alex Katz and Elizabeth Murray and art critics Michael Kimmelman and Peter Schjeldahl.

Exhibition files are found for exhibitions held at Adair Margo Gallery, Lorence Monk Gallery, Museum of Fine Arts, Boston, Cornell University, and numerous others, including many in Europe. Files typically contain correspondence, price lists, announcements, printed material, photographs, and a few sound and video recordings.

Printed material includes invitations and announcements as well as posters, reproductions, and brochures, mostly related to Richard Artschwager's exhibitions. Newspaper and magazine clippings document exhibition openings and the critical reception of his work.

There are also a few photographs including images of Leo Castelli by Hans Namuth used by Artschwager in preparing for his portrait of Castelli.
Arrangement:
The collection is arranged as 5 series.

Series 1: Correspondence, circa 1970-2013 (Boxes 1-3; 3.0 linear feet, ER01-ER02; 0.555 GB)

Series 2: Talks and Lecture, 1985-2009 (Box 4; 0.8 linear feet, ER03-ER10; 8.77 GB)

Series 3: Exhibition Files, 1973-2007 (Boxes 4-5; 1.0 linear feet)

Series 4: Printed Material, 1959-2012 (Boxes 5-6, OV 7; 0.6 linear feet)

Series 5: Photographs, circa 1973, 2007 (Box 6, OV 8; 0.1 linear feet)
Biographical / Historical:
Richard Artschwager (1923-2013) lived and worked in New York City and Hudson, New York and was known primarily for his paintings and sculptures. Artschwager was born in Washington, D.C. and grew up in New Mexico. As a youth, Artschwager showed a talent for drawing. He studied chemistry and mathematics at Cornell University. In 1944, Artschwager interrupted his studies to enlist in the U.S. Army. After the war, he returned to Cornell to complete his Bachelor of Arts degree in 1948. Encouraged by his first wife, Elfriede Wejmelka to develop his interest in art, Artschwager moved to New York to study at the Studio School of Amédée Ozenfant. His paintings and drawings from this period were featured in two group shows at the Terrain Gallery in 1957 and at the Art Directions Gallery on Madison Avenue in 1959, where they were recognized by Donald Judd.

In the 1950s, in order to support his family, Artschwager turned to designing and manufacturing modern furniture. His woodworking skills inspired him to create sculptures from utilitarian objects such as tables, chairs, and mirrors. He is best known for the use of building materials Celotex and Formica in his work and for inventing an abstract form he called "blps" reliefs, stencils or decals that were installed randomly in museum, gallery and public spaces. From the mid-1980s to late 1990s, Artschwager designed large scale projects, though he continued to incorporate everyday domestic objects in his sculptures and paintings.

In 1965, Artschwager was given his first one-man exhibition at the Castelli Gallery and he remained with the Gallery for thirty years. He was also represented by Mary Boone, David Nolan, and the Gagosian Gallery. In the 1980s, Artschwager served on the Visual Arts Policy Committee at the National Endowment of the Arts. He was elected to the American Academy of Arts in 1992. He was a visiting artist at New Mexico State University, Soka University, Skowhegan School of Painting and Sculpture, and the University of Arizona. Artschwager's work was the subject of a major surveys, including the Kunstmuseum Winterthur, Neues Museum, and Serpentine Gallery. He participated in numerous international group shows including the Venice Biennale and Documenta in Kassel, Germany. The Whitney Museum of American Art honored Artschwager with two travelling retrospective exhibitions in 1988 and 2012. In late 2012, Artschwager had one-man shows at the Gagosian Gallery and David Nolan Gallery.

Richard Artschwager died at the age of 89 years in 2013. He is survived by his wife, Ann Sebring Artschwager and three children from previous marriages.
Related Materials:
Also found among the resources at the Archives of American Art is an oral history interview with Artschwager, March 3-28, 1972, conducted by Paul Cummings.
Provenance:
The collection was donated by Richard Artschwager and his wife Ann Artschwager in 2013.
Restrictions:
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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.
Occupation:
Art critics  Search this
Topic:
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Art, Modern -- 20th century  Search this
Sculptors -- New York (State) -- New York  Search this
Genre/Form:
Illustrated letters
Transcripts
Sketches
Photographs
Sound recordings
Video recordings
Citation:
Richard Artschwager papers, 1959-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artsrich
See more items in:
Richard Artschwager papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-artsrich
Online Media:

5. Dennis Meadows - Perspectives on the Limits of Growth: It is too late for sustainable development

Creator:
Smithsonian Institution  Search this
Type:
YouTube Videos
Uploaded:
2012-03-09T22:52:56.000Z
YouTube Category:
Education  Search this
See more by:
SmithsonianVideos
Data Source:
Smithsonian Institution
YouTube Channel:
SmithsonianVideos
EDAN-URL:
edanmdm:yt_f2oyU0RusiA

Linda Farris Gallery records, 1969-1995

Creator:
Linda Farris Gallery  Search this
Farris, Linda  Search this
Linda Farris Gallery  Search this
Subject:
Nevelson, Louise  Search this
Lucero, Michael  Search this
Markovitz, Sherry  Search this
Landfield, Ronnie  Search this
Luce, Charles  Search this
Pepper, Beverly  Search this
Bruskin, Grisha  Search this
Noah, Barbara  Search this
Clough, Charles  Search this
Barry, Lynda  Search this
Type:
Interviews
Scrapbooks
Lectures
Photographs
Sound recordings
Visitors' books
Topic:
Avant-garde (Aesthetics)  Search this
Art -- Washington (State) -- Exhibitions  Search this
Art, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Artists -- Northwestern States  Search this
Transcripts  Search this
Theme:
Art Market  Search this
Art Gallery Records  Search this
Record number:
(DSI-AAA_CollID)6612
(DSI-AAA_SIRISBib)215921
AAA_collcode_lindfarr
Theme:
Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215921
Online Media:

Frances Wolfson Art Gallery records, 1973-1994

Creator:
Frances Wolfson Art Gallery  Search this
Frances Wolfson Art Gallery  Search this
Subject:
Day, Larry  Search this
Chisolm, Michael  Search this
Bencomo, Mario  Search this
Azaceta, Luis Cruz  Search this
Dionisio, Humberto  Search this
Katzen, Lila  Search this
Larraz, Julio  Search this
McGarrell, James  Search this
Piper, Jane  Search this
Topic:
Art, Modern -- 20th century -- Florida -- Miami -- Exhibitions  Search this
Artists -- Florida -- Miami  Search this
Latino and Latin American artists  Search this
Art, Latin American  Search this
Cuban American artists  Search this
Theme:
Latino and Latin American  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)5416
(DSI-AAA_SIRISBib)216308
AAA_collcode_franwola
Theme:
Latino and Latin American
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216308
Online Media:

Frances Wolfson Art Gallery records

Creator:
Frances Wolfson Art Gallery  Search this
Names:
Azaceta, Luis Cruz, 1942-  Search this
Bencomo, Mario, 1953-  Search this
Chisolm, Michael  Search this
Day, Larry, 1921-  Search this
Dionisio, Humberto, 1950-1987  Search this
Katzen, Lila  Search this
Larraz, Julio  Search this
McGarrell, James, 1930-  Search this
Piper, Jane, 1916-  Search this
Extent:
5 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1973-1994
Summary:
The records of the Frances Wolfson Art Gallery measure 5 linear feet and date from 1973 to 1994. The Gallery was established in 1976 on the Mitchell Wolfson New World Center Campus of the Miami-Dade Community College. It focused on the art of the local Latino community in addition to serving the needs of the College's arts and humanities students. Materials document exhibitions held at the Gallery and the general administration of the Gallery through correspondence, business records and printed material.
Scope and Contents:
The records of the Frances Wolfson Art Gallery comprise 5 linear feet of material dating from 1973 to 1994. The collection contains correspondence, routine business records, exhibition files, notes, printed material, and photographs of artists, installations, and works of art, and is arranged into seven series according to material type. The bulk of the material relates to exhibitions held at the Gallery from 1977 to 1992 in exhibition files measuring 4.5 linear feet. The general administration of the Gallery is also partially documented through business records and correspondence files.
Arrangement:
The collection is arranged as six series according to material type. Records are arranged chronologically unless otherwise noted.

Series 1: Correspondence, 1976-1994 (Box 1; 0.2 linear feet)

Series 2: Business Records, 1981-1993 (Box 1; 0.2 linear feet)

Series 3: Notes, 1973-1987 (Box 1; 2 folders)

Series 4: Exhibition Files, 1977-1992, undated (Boxes 1-5; 4.5 linear feet)

Series 5: Printed Material, 1974-1994 (Box 5; 5 folders)

Series 6: Color Transparencies of Artwork, 1983-1990 (Box 5; 10 items)
Biographical / Historical:
The Frances Wolfson Art Gallery was established in 1976 on the Mitchell Wolfson New World Center Campus of the Miami-Dade Community College. It focused on the art of the local Latino community in addition to serving the needs of the College's arts and humanities students. Exhibitions and lectures reflected four major areas of emphasis: the Latino community, the Black community, the relationship of art, architecture and culture to the quality of contemporary urban civilization, and the best of new artists presented in solo or cohesive group exhibitions.

Director from 1978 to 1981, Roberta Griffin was followed in that position by Sheldon Lurie in September 1981 until his death in October 1990.

In the spring of 1987, the Frances Wolfson Art Gallery implemented an active exhibition program at the InterAmerican Center in the form of the InterAmerican Art Gallery. Located in the Little Havana section of Miami, the major thrust of this gallery is Hispanic art, reflecting the interests and needs of the surrounding community.
Provenance:
This collection was donated to the Archives of American Art by the Miami-Dade Community College in 1997
Restrictions:
Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern -- 20th century -- Florida -- Miami -- Exhibitions  Search this
Artists -- Florida -- Miami  Search this
Latino and Latin American artists  Search this
Art, Latin American  Search this
Cuban American artists  Search this
Function:
Art galleries, University and college -- Florida
Citation:
Frances Wolfson Art Gallery records, 1973-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.franwola
See more items in:
Frances Wolfson Art Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-franwola

Melinda Wortz papers

Creator:
Wortz, Melinda  Search this
Names:
University of California, Irvine -- Faculty  Search this
University of California, Irvine. Department of Studo Art  Search this
University of California, Irvine. Fine Arts Gallery  Search this
Antin, Eleanor  Search this
Baca, Judith Francisca  Search this
Ballatore-Nelson, Sandy  Search this
Barber, Daniel  Search this
Bell, Larry, 1939-  Search this
Christo, 1935-  Search this
DeLap, Tony, 1927-  Search this
Dine, Jim, 1935-  Search this
Eversley, Frederick  Search this
Harding, Bill  Search this
Irwin, Robert, 1928-  Search this
Johns, Jasper, 1930-  Search this
Kauffman, Craig, 1932-2010  Search this
Livkin, Rena  Search this
Lodato, Peter  Search this
Marchesi, Cork  Search this
Marck, Marc van der  Search this
McCafferty, Jay David, 1948-  Search this
Moses, Ed, 1926-  Search this
Noguchi, Isamu, 1904-1988  Search this
Ox, Jack, 1948-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rinke, Klaus, 1939-  Search this
Rosler, Martha  Search this
Schwartz, Beth Ames  Search this
Small, Rena  Search this
Sonneman, Eve  Search this
Taylor, Elizabeth, 1932-2011  Search this
Tivey, Hap  Search this
Todd, Liza  Search this
Turrell, James  Search this
Valentine, De Wain, 1936-  Search this
Warner, Elsa  Search this
Wiener, Nina  Search this
Zaimo, Stephen  Search this
Extent:
17.45 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Transcripts
Sound recordings
Travel diaries
Place:
Paris (France) -- description and travel
Soviet Union -- description and travel
Date:
1958-1992
Summary:
The papers of California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002) date from 1958-1992, and measure 17.45 linear feet. The collection includes documentation of Wortz's tenure at the University of California, Irvine (UCI), where she specialized in collecting and presenting the California "light and space" artists during the 1970s and 1980s. Wortz's papers include biographical information, personal and professional correspondence, interview transcripts and sound recordings, professional and student writings and notes, diaries of five trips abroad, UCI administrative, dossier, and teaching files, general subject and artist files, printed material, several pieces of artwork; and photographs.
Scope and Contents:
The papers of California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002) date from 1958-1992, and measure 17.45 linear feet. The collection includes documentation of Wortz's tenure at the University of California, Irvine (UCI), where she specialized in collecting and presenting the California Light and Space artists during the 1970s and 1980s. Wortz's papers include biographical information, personal and professional correspondence, interview transcripts and sound recordings, professional and student writings and notes, diaries of five trips abroad, UCI administrative, dossier, and teaching files, general subject and artist files, printed material, several pieces of artwork; and photographs.

Wortz's biographical material includes annotated appointment books and calendars, resumes, and some family, financial, and legal records.

Correspondence files document Wortz's activities beyond her work at UCI, including scattered correspondence with artists such as Eleanor Antin, Daniel Barber, Christo, Craig Kauffman, Cork Marchesi, Martha Rosler, Eve Sonneman, Hap Tivey, and Elsa Warner. Correspondence also relates to arrangements for lectures, juries, panels, symposiums, and other professional activities in which Wortz participated.

Interviews include transcripts of four interviews conducted by Wortz with subjects including Peter Lodato and Dewain Valentine, and a sound recording of an interview with Nina Wiener.

Writings and notes include drafts, and some published copies, of articles and essays written for journals, magazines, and exhibition catalogs; Wortz's dissertation and thesis; notes; student essays and class notes; and scattered writings by others. Included in the published works are copies of Artweek containing articles by Wortz, and drafts and published copies of essays on Larry Bell, Robert Irwin, Jasper Johns, Jay McCafferty, Isamu Noguchi, Robert Rauschenberg, Klaus Rinke, Beth Ames Schwartz, and James Turrell.

Diaries document five separate overseas trips to locations including Asia in 1977, Paris in 1978, and the U.S.S.R., where Wortz delivered a paper on Robert Irwin, in 1989.

University of California, Irvine, records include Wortz's administrative files documenting her work on various committees, her directorship of the Fine Arts Gallery, including budget and exhibition records, her work as Chair of Studio Art, and her collaborations with other faculty, including Judy Baca, Sandy Ballatore, Tony Delap, Craig Kauffman, and Rena Small. Wortz's dossier files provide a thorough record of her accomplishments from the late 1970s-1990, and her UCI teaching files document the content of core art courses which she taught at UCI in the 1970s and 1980s.

Subject files provide additional documentation of Wortz's interest in particular artists and subjects, and include scattered correspondence with artists, as well as additional correspondence, reports, printed material, index card files, sound cassettes, and photographs, documenting her interests in art and politics, feminism, religion and spirituality, museum management and training, and other subjects.

Printed material includes announcements, catalogs, journals, newsletters, and material specifically documenting Wortz's activities.

Artwork includes a piece of floor covering from a Jim Dine exhibition, a booklet by Daniel Barber, Flams by Rena Livkin, and several pieces of unidentified artwork.

Photographs include photos of Wortz with her family and with UCI faculty including Tony DeLap, Craig Kauffman, and Ed Moses; photos of events with friends and family, including Hap Tivey's wedding to Liza Todd with Elizabeth Taylor in attendance; photos of artists including Frederick Eversley, Bill Harding, Jack Ox, and Stephen Zaimo; and photos of artwork by artists including Tony DeLap, Barbara Smith, Marc Van Der Marck, and others.
Arrangement:
The collection is arranged as ten series.

Series 1: Biographical Materials, 1966-1988 (0.25 linear feet; Boxes 1, 19)

Series 2: Correspondence, 1967-1992 (1.25 linear feet; Boxes 1-2, 18)

Series 3: Interviews, 1971-circa 1980s (6 folders; Boxes 2, 18)

Series 4: Writings and Notes, 1958-circa 1990 (4.25 linear feet; Boxes 2-6, 19)

Series 5: Diaries, 1977-1989 (6 folders; Box 6)

Series 6: University of California, Irvine, 1960-1991 (4.8 linear feet; Boxes 6-11, OV 20)

Series 7: Subject Files, circa 1960-1990 (4.25 linear feet; Boxes 11-15, 18)

Series 8: Printed Material, 1960s-1980s (1.8 linear feet; Boxes 15-16, 19)

Series 9: Artwork, circa 1960s-circa 1980s (3 folders; Boxes 17, 19)

Series 10: Photographs, 1960s-1980s (0.6 linear feet; Boxes 17, 19)
Biographical / Historical:
California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002), taught at the University of California, Irvine, from 1975, serving as Director of UCI's Fine Arts Gallery and Chair of the Department of Studio Art. Wortz's special area of interest was the work of the California "light and space" artists emerging in Los Angeles in the 1970s.

After attending Stanford University and graduating from Radcliffe College with a bachelors degree in art history, Wortz received her masters degree in art history from the University of California, Los Angeles, and her doctorate in theology and the arts from the Graduate Theological Union at Berkeley. Wortz taught at California State University and the University of California Extension in the early 1970s. At UCI her colleagues included Judy Baca, Sandy Ballatore, Tony Delap, Craig Kauffman, and Rena Small.

Wortz married Edward C. Wortz in the early 1970s, following her divorce from her first husband, Thomas G. Terbell, Jr. Edward Wortz's first career was as a research scientist working on NASA contracts in the air research industry in Colorado and California. Later he was involved in the arts and participated in collaborations with artists including Robert Irwin, Coy Howard, and James Turrell. He worked with Melinda Wortz to develop their personal collection of contemporary art.

Melinda Wortz was a prolific writer who wrote extensively for national art periodicals, including Arts Magazine, and Art News. She also wrote, and served as editor, for the California periodical Artweek from the 1960s to 1990s. She wrote numerous catalogs for artists including Larry Bell, Cork Marchesi, Doug Moran, Beth Ames Schwartz, and James Turrell; and published articles on Dan Flavin, Robert Irwin, Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, Frank Stella, and others. She lectured at Brown University, the Center for Art, Salt Lake City, Contemporary Art Museum, La Jolla, the Massachusetts Institute of Technology, the San Diego Museum, Wellesley College, the Whitney Museum of American Art, and many other institutions. In 1989 she traveled to the U.S.S.R. to deliver a paper on Robert Irwin at the International Art Critics Association annual meeting.

In addition to her curatorial work at the UCI Fine Arts Gallery, where she organized exhibitions for artists including Alice Aycock, Jonathan Borofsky, Audrey Flack, Jack Ox, and Dennis Oppenheim, Wortz curated exhibitions for University of California sister colleges, Pasadena Art Museum, and others.

Wortz received UCI and National Endowment for the Arts grants in support of her writing, and served on advisory boards of the Contemporary Arts Forum, Los Angeles Institute of Contemporary Art, Santa Barbara, Robert Rauschenberg's foundation, Advisory Board of Change, Inc., the Pasadena Art Museum, and others.

Wortz was diagnosed with Alzheimers disease at the age of 50 and died in 2002.
Provenance:
The collection was donated by Edward C. Wortz, Melinda Wortz's husband, in 1994.
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.
Occupation:
Art historians -- California -- Los Angeles  Search this
Authors -- California -- Los Angeles  Search this
Educators -- California -- Los Angeles  Search this
Art museum curators -- California -- Los Angeles  Search this
Gallery directors -- California -- Irvine  Search this
Topic:
Art, American -- California  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century -- California  Search this
Women art historians  Search this
Genre/Form:
Interviews
Photographs
Transcripts
Sound recordings
Travel diaries
Citation:
Melinda Wortz papers, 1958-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wortmeli
See more items in:
Melinda Wortz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wortmeli
Online Media:

Gertrude Kasle Gallery records

Creator:
Gertrude Kasle Gallery (Detroit, Mich.)  Search this
Names:
Universal Limited Art Editions (Firm)  Search this
Bontecou, Lee, 1931-  Search this
De Kooning, Willem, 1904-1997  Search this
Dine, Jim, 1935-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Goodman, Brenda Joyce, 1943-  Search this
Goodnough, Robert, 1917-  Search this
Goodyear, John L., 1930-  Search this
Gottlieb, Adolph, 1903-1974  Search this
Grosman, Tatyana, 1904-1982  Search this
Guston, Philip, 1913-1980  Search this
Hartigan, Grace  Search this
Jenkins, Paul, 1923-2012  Search this
Johnson, Ray, 1927-  Search this
Kasle, Gertrude, 1917-  Search this
Motherwell, Robert  Search this
Natkin, Robert, 1930-  Search this
Nesbitt, Lowell, 1933-1993  Search this
Oldenburg, Claes, 1929-  Search this
Pollock, Charles C.  Search this
Rauschenberg, Robert, 1925-2008  Search this
Schmidt, Julius, 1923-  Search this
Shapiro, Babe  Search this
Tall, Bill  Search this
Todd, Mike, 1935-  Search this
Tworkov, Jack  Search this
Extent:
8.1 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Sound recordings
Date:
1949-1999
bulk 1964-1983
Summary:
The records of the Gertrude Kasle Gallery of Detroit measure 8.1 linear feet and date from 1949-1999, with the bulk of records dating from 1964-1983. The collection documents the establishment and operations of this contemporary American art gallery and consists of artists files, business and administrative files, exhibition files, photographic materials, and interviews and lectures in the form of sound recordings.
Scope and Content Note:
The records of the Gertrude Kasle Gallery of Detroit measure 8.1 linear feet and date from 1949-1999, with the bulk of the records dating from 1964-1983. The collection documents the establishment and operations of this contemporary American art gallery and consists of artists files, business and administrative files, exhibition files, photographic materials, and interviews and lectures in the form of sound recordings.

The bulk of the records consist of Artists' Files that document the professional and personal relationships Kasle fostered with the artists represented by the gallery, including sales and exhibitions. The files contain a wide variety of materials and the amount of documentation for each artist also varies. Typically the files contain personal and business correspondence, sales documentation, exhibition photographs, photographs of works of art, family photographs, photographs of the artist, exhibition announcements and catalogs, other printed materials, greeting cards, and other documents. Some of the artists well-represented in the files include Lee Bontecou, Wilhem De Kooning, Jim Dine, Helen Frankenthaler, Brenda Goodman, Robert Goodnaugh, John Goodyear, Adolph Gottlieb, Philip Guston, Grace Hartigan, Ray Johnson, Robert Motherwell, Robert Natkin, Lowell Nesbitt, Claes Oldenburg, Charles Pollock, Robert Rauschenberg, Julius Schmidt, Babe Shapiro, Michael Todd, and Jack Tworkov. Additional general information about exhibitions is found in Series 3, Exhibition Files and additional photographs are filed in Series 4, Photographic Material.

Gallery and personal business and administrative files house documents relating to the founding and incorporation of the gallery and general operations, as well as some of Gertrude Kasle personal business files. Also found in this series are files related to fine art prints and the gallery's business relationship with Universal Limited Art Editions.

Scattered exhibition files are found for a few of the gallery's exhibitions and also include general exhibition related files, such as clippings, announcements, guest lists, and schedules. Most of the information about the gallery's exhibitions is found in the Artists Files. Photographs and slides are found throughout the collection, particularly in the Artists Files, but Series 4, Photographic Materials houses an extensive collection of slides documenting art work by artists represented by the gallery. There is also an autographed photograph portrait of Lowell Nesbitt.

Sound recordings are of interviews and lectures. Interviews are with Tatyana Grosman, Lowell Nesbitt, Paul Jenkins, and Bill Tall. There are recorded lectures by Paul Jenkins and Jack Tworkov. The sound recordings are on both audio cassette reel to reel tapes. Transcripts are not available.
Arrangement:
The collection is arranged into 5 series:

Series 1: Artists Files, 1949-1999 (Boxes 1-5, OV 11; 5.1 linear feet)

Series 2: Gallery and Personal Business and Administrative Files, 1961-1995 (Boxes 6-7, OV 12; 1.2 linear feet)

Series 3: Exhibition Files, 1963-1976 (Box 7; 7 folders)

Series 4: Photographic Materials, 1953-1985 (Boxes 7, 10; 18 folders)

Series 5: Sound Recordings, 1966-1971 (Boxes 7-9; 7 folders)
Historical Note:
Gertrude Kasle was born in New York City on December 2, 1917, and began her life-long career in the art world very early, taking art classes in high school and Saturday classes at the Art Students League. She began her formal studies in art education at New York University (NYU) and later transfered to the University of Michigan. Kasle interrupted her studies during World War II to devote herself to family work while her husband served as a military chaplain. The family returned to Detroit in 1947 and she began classes at the Society of Arts and Crafts. After raising her three children, she enrolled in Wayne State University in 1955, completing her degree in 1962.

While a student in Detroit, Kasle was active in the Friends of Modern Art group at the Detroit Institute of Art, and became Vice President. In 1962, she was approached by Detroit businessman Franklin Siden to help him open a gallery where she would have a one-third partnership. During the first year of Siden Gallery's operations, Kasle introduced Detroit to the work of many notable contemporay American artists, such as Larry Rivers, Grace Hartigan, Robert Goodnough, and Robert Natkin.

Her tenure with the Siden Gallery was short-lived and by 1964 she left and began to contemplate her next move. Several of the artists she had represented at Siden Gallery encouraged her to open her own gallery. Local art critic Joy Hakanson Colby who worked for the Detroit News interviewed Kasle and claimed that Kasle was "looking for gallery space". Responding to the article, the Fischer Building offered Kasle a very attractive lease in the "New Center" area of downtown Detroit that would later become known as the city's gallery center, housing several prominent galleries.

With the help of her husband and son, she opened the doors of the Gertrude Kasle Gallery on April 10, 1965. The opening exhibition featured Larry Rivers, Grace Hartigan, Robert Goodnough, Irving Kreisberg, and Manousher Yektai. Kasle's goal was to introduce the city of Detroit to the foremost contemporary artists in the country, some already well-established such as Wilhelm De Kooning, Helen Frankenthaler, Philip Guston, Grace Hartigan, Robert Motherwell, Lowell Nesbitt, Claes Oldenburg, Charles Pollock, Larry Rivers, and Jack Tworkov, as well as others just becoming known, such as Jim Dine. Through group and one-man shows, the Gertrude Kasle Gallery represented contemporary painting, mixed media, and sculpture, focusing primarily on the Abstract Expressionist movement. The gallery also fostered many local Detroit artists, giving them their first shows, including Al Loving and Brenda Goodman.

During her earlier tenure with the Siden Gallery Kasle had worked with Tatyana Grosman of Universal Limited Art Editions which produced original prints of contemporary artists including Jasper Johns, Robert Rauschenberg, and Jim Dine. In her own gallery, Kasle continued her business relationship with Grosman and fine art print publishers, allowing the gallery access to many artists that were previously unattainable.

For eleven years the Gertrude Kasle Gallery operated as a thriving contemporary art gallery, forming the nucleus for the growing Detroit modern and avant garde art scene during the sixties and seventies. Although financially the gallery was not as successful as hoped, it provided a cultural forum for artists and Detroit art enthusiasts to convene, learn, and celebrate. In April, 1976 the gallery closed. When asked why she was closing the gallery, Gertrude Kasle said, "Because the need for a gallery like mine isn't as great as it was in the 1960's. Today the public respects and understands more about creative innovation in contemporary art." (Hakanson Colby, March, 1976) Although the gallery formally closed, Kasle continues to work as a art consultant and live in Detroit.

This historical note relies heavily on the essays written by Gertrude Kasle's son, Stephen available on the Gertrude Kasle Gallery website.
Related Material:
Also available at the Archives of American Art is an oral history interview with Gertrude Kasle conducted by Dennis Barrie on July 24, 1975.
Provenance:
The collection was donated to the Archives of American Art in 1976 and 1982 by Mrs. Gertrude Kasle. A third accession was donated by the Cincinnati Art Museum in 2002.
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.
Topic:
Art, Modern -- 20th century  Search this
Function:
Art galleries, Commercial -- Michigan
Genre/Form:
Interviews
Photographs
Sound recordings
Citation:
The Gertrude Kasle Gallery records, 1949-1999 (bulk 1964-1983). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gertkasl
See more items in:
Gertrude Kasle Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gertkasl
Online Media:

Linda Farris Gallery records

Creator:
Linda Farris Gallery  Search this
Farris, Linda  Search this
Names:
Barry, Lynda, 1956-  Search this
Bruskin, Grisha, 1945-  Search this
Clough, Charles, 1951-  Search this
Landfield, Ronnie, 1947-  Search this
Luce, Charles, 1947-  Search this
Lucero, Michael, 1953-  Search this
Markovitz, Sherry  Search this
Nevelson, Louise, 1899-1988  Search this
Noah, Barbara  Search this
Pepper, Beverly  Search this
Extent:
13.4 Linear feet (13 Boxes, 1 sol, 1 ov folder)
Type:
Collection descriptions
Archival materials
Interviews
Scrapbooks
Lectures
Photographs
Sound recordings
Visitors' books
Date:
1969-1995
Summary:
The records of Seattle's avant-garde Linda Farris Gallery measure 13.4 linear feet and date from 1969-1995. The bulk of the records consist of artists' and exhibition files. Also found are gallery business correspondence, administrative files, event files, reference files, records of sales, scattered legal files, the personal papers of gallery owner Linda Farris, and printed materials.
Scope and Contents:
The records of Seattle's avant-garde Linda Farris Gallery measure 13.4 linear feet and date from 1969-1995. The bulk of the records consist of artists' and exhibition files. Also found are gallery business correspondence, administrative files, event files, reference files, records of sales, scattered legal files, the personal papers of gallery owner Linda Farris, and printed materials. Business correspondence is with galleries, dealers, publishers, museums, and other businesses. Administrative files are varied and include advertising and promotion materials, exhibition schedules, mailing lists, guest books, a scrapbook, and gallery history.

Artists' files are found for many contemporary American artists that interested Linda Farris or were represented by the gallery. The contents of each file vary but many include photographs and slides, writings, correspondence, and printed materials. Files for Lynda Barry, Grisha Brusking, Charles Clough, Ronnie Landfield, Charles Luce, Michael Lucerno, Sherry Markovitz, Louise Nevelson, Barbara Noah, and Beverly Pepper are particularly rich. Exhibition files are for Linda Farris Gallery exhibitions and include printed materials, correspondence, loan and consignment agreements, and photographs.

Event files cover anniversary celebrations, lectures, panel discussions, and receptions. There are 17 sound cassette recordings of "Art Now" lectures and "Focus" panel discussions. Scattered reference files contain collected materials on subjects of interest to the gallery. There are scattered financial, sales, and legal files. Sales records cover 1970-1979.

Linda Farris' personal papers contain printed materials about her and the gallery and other materials concerning her professional and curatorial work outside of the gallery. There is also a transcript of an oral history with Farris and a news interview.

Printed materials include published books and magazines, clippings and exhibition catalogs and announcements.

Photographs are scattered throughout adminstrative files, exhibition files, event files, and Linda Farris' personal papers.
Arrangement:
The collection is arranged as 8 series.

Series 1: Correspondence, 1975-1991, undated (Box 1; .7 linear feet)

Series 2: Administrative files, 1970-1995, undated (Box 1-2, 14; 1 linear feet)

Series 3: Artists and Exhibition files, 1969-1995, undated (Box 2-9, 15; 6.6 linear feet)

Series 4: Events files, 1971-1990, undated (Box 9, 14; 0.6 linear feet)

Series 5: Reference files, 1969-1994, undated (Box 9-10; 0.6 linear feet)

Series 6: Financial, Sales and Legal files, 1970-1995 (Box 10; 0.4 linear feet)

Series 7: Linda Farris Papers, 1972-1995 (Box 10-11; .9 linear feet)

Series 8: Printed Materials, 1970-1995 (Box 11-14; 2 linear feet)
Biographical / Historical:
The Linda Farris Gallery was Seattle's leading venue for contemporary art during its twenty-five years of operation.

Linda Farris opened Gallery East in Bellevue in 1970, and a year later moved to Pioneer Square in Seattle, changing the name to Linda Farris Gallery in 1973. The gallery continued to present contemporary art there until closing in December 1995. Art dealer Linda Farris began representing a group of promising artists, all graduates of the University of Washington. Greg Kucera of the Greg Kucera Gallery noted in an article for the Seattle Weekly, "Their work could be loosely seen as a movement, complete with aesthetic interrelationships, convenient marriages, an unintelligible manifesto in the form of Dennis Evans' quirky pronouncements…" From the same article he states, "Her avant-garde gallery changed forever the nature of being an art dealer in Seattle." It was among the three or four most influential galleries in the Pacific Northwest.

The gallery held exhibitions of many nationally known contemporary artists, including Sam Francis, Louise Nevelson, and Robert Rauschenberg, as well as Northwest artists Jeffrey Bishop, Dennis Evans, Sherry Markovitz, Nancy Mee, Norie Sato, and Patti Warashina. The latter group started with the gallery and remained loyal at the time of its closing in 1995.

Art dealer, collector and free-lance curator Linda B. Farris (1944-2005), a native of San Francisco and a graduate of the University of California, Berkeley (1966), was an active participant in and style setter for the Seattle art world for the twenty-five years she was in business. As a member of the art community she actively supported the Henry Art Gallery at the University of Washington, Pilchuck Glass School, and Seattle Art Museum's Contemporary Art Council, and served on the boards of directors of Henry Art Gallery and Factory Visual Arts. Farris curated "Eight Seattle Artists" in 1981 for the Los Angeles Institute of Contemporary Art and "Self Portraits" in 1983 for the Los Angeles Municipal Art Gallery. She also led the movement to keep Henry Moore's "Vertebrae" from leaving Seattle, and instituted a series of talks, panel discussions, performances, and tours in her gallery, and in and around Seattle.

This note draws heavily on the Archives of American Art's West Coast Regional Collector Paul Karlstrom's collection description written upon acquisition of the papers.
Related Materials:
An oral history interview with Linda Farris conducted in 1975 by Sally Swenson, is located in the University of Washington University Libraries Digital Collections.
Provenance:
The Linda Farris Gallery records were donated to the Archives of American Art by owner Linda Farris in 1995 at the time she closed the gallery.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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.
Topic:
Avant-garde (Aesthetics)  Search this
Art -- Washington (State) -- Exhibitions  Search this
Art, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Artists -- Northwestern States  Search this
Transcripts  Search this
Function:
Art galleries, Commercial -- Washington (State)
Genre/Form:
Interviews
Scrapbooks
Lectures
Photographs
Sound recordings
Visitors' books
Citation:
Linda Farris Gallery records, 1969-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lindfarr
See more items in:
Linda Farris Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lindfarr

Fendrick Gallery records

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In 1987 and 1988, the gallery expanded and opened the Barbara Fendrick Gallery in the Soho section of New York City. The New York location operated as both a gallery space and storage area and was often referred to as "The Warehouse." Both the Fendrick Gallery and the Barbara Fendrick Gallery closed in the summer of 1991, but Barbara Fendrick continues to work as an art consultant, appraiser, exhibition juror, lecturer, and guest curator.
Provenance:
The records of the Fendrick Gallery were donated to the Archives of American Art by Barbara Fendrick in 1999, with an addition to the records in 2001.
Restrictions:
The collection is open for research. Use of unmicrofilmed material requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art -- Washington (D.C.)  Search this
Furniture designers  Search this
Artists -- Washington (D.C.)  Search this
Art, Modern -- 20th century -- Washington (D.C.)  Search this
Sculptors  Search this
Artists' books  Search this
Printmakers  Search this
Metal-workers  Search this
Function:
Art galleries, Commercial -- Washington (D.C.)
Genre/Form:
Account books
Photographs
Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fendgall
See more items in:
Fendrick Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fendgall
Online Media:

Vose Galleries of Boston records

Creator:
Vose Galleries of Boston  Search this
Names:
Arthur U. Newton Galleries  Search this
Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this
Ehrich Galleries (New York, N.Y.)  Search this
Howard Young Galleries (New York, N.Y.)  Search this
Jill Newhouse (Gallery)  Search this
M. Knoedler & Co.  Search this
Macbeth Gallery  Search this
Milch Galleries  Search this
Norton Gallery and School of Art  Search this
R.C. & N.M. Vose (Firm)  Search this
Robert C. Vose Galleries  Search this
Hassam, Childe, 1859-1935  Search this
Hoffman, Malvina, 1887-1966  Search this
Jonniaux, Alfred, b. 1882  Search this
Ladd, Anna Coleman, 1878-1939 (sculptor)  Search this
Norton, William E., 1843-1916  Search this
Sargent, John Singer, 1856-1925  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Vose, Robert C. (Robert Churchill), 1911-1998  Search this
Vose, Robert Churchill, 1873-  Search this
Extent:
25.6 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Manuscript
Date:
circa 1876
1890s-1996
bulk 1920-1940
Summary:
The records of Vose Galleries of Boston measure 25.6 linear feet and date from circa 1876, 1890s-1996 with the bulk of materials dating from 1920s-1930s. Nearly 90 percent of the collection documents the gallery's handling of American paintings and portraits through incoming and outgoing business correspondence with artists, clients, galleries, and museums, including considerable correspondence with portrait artist Alfred Jonniaux and clients regarding commissioned portraits. Other materials include client files; artists' biographies; records of sales, consignments, framing, restoration, and banking, mostly from the 1940s-1960s; and scattered exhibition catalogs, newspaper clippings, and postcards. Also found is a handwritten manuscript regarding the 1876 Centennial Exhibition in Philadelphia, PA and a 1991 videotape about the Vose Galleries and its founding family.
Scope and Contents note:
The records of Vose Galleries of Boston measure 25.6 linear feet and date from circa 1876, 1890s-1996 with the bulk of materials dating from 1920s-1930s. Nearly 90 percent of the collection documents the gallery's handling of American paintings and portraits through incoming and outgoing business correspondence with artists, clients, galleries, and museums, including considerable correspondence with portrait artist Alfred Jonniaux and clients regarding commissioned portraits. Other materials include client files; artists' biographies; records of sales, consignments, framing, restoration, and banking, mostly from the 1940s-1960s; and scattered exhibition catalogs, newspaper clippings, and postcards. Also found is a handwritten manuscript regarding the 1876 Centennial Exhibition in Philadelphia, PA and a 1991 videotape about the Vose Galleries and its founding family.

Correspondence of note is with artists Childe Hassam, Malvina Hoffman, Alfred Jonniaux, and John Singer Sargent; galleries Ehrich Galleries, Clapp & Graham Co., M. Knoedler & Co., Macbeth Galleries, Milch Galleries, Newhouse Galleries, Arthur U. Newton Galleries, Norton Galleries, and Howard Young Galleries; the estates of Anna Coleman Ladd and William E. Norton; and the family of Abbott H. Thayer.

Researchers should note that the records do not comprehensively span the gallery's history or operations. The bulk of the collection is correspondence from Robert C. Vose's era running the Robert C. Vose Galleries in the 1920s-1930s and, lesser so, under Robert C. Vose, Jr.'s direction in the 1970s. There is little material in the collection which dates before the 1910s or the 1950s-1960s, other than correspondence regarding Alfred Jonniaux and some financial records. There is a handful of correspondence which covers the period of R.C. & N.M. Vose Gallery. Records loaned for microfilming should be consulted for materials outside of the bulk dates of this collection, especially for materials from the late 1800s-early 1900s.
Arrangement note:
The collection is arranged as 5 series:

Series 1: Correspondence, 1895-1996 (Boxes 1-23; 22.6 linear feet)

Series 2: Customer Files, 1912-1946 (Boxes 23-24; 0.8 linear feet)

Series 3: Art-Related Files, circa 1876, 1890s-1947 (Box 24; 7 folders)

Series 4: Financial Records, 1911-1962, 1991 (Boxes 24-25; 1.8 linear feet)

Series 5: Printed Materials, circa 1904-1990 (Boxes 25-26; 0.4 linear feet)
Biographical/Historical note:
Vose Galleries is a long time family run art gallery based in the Boston, Mass. area.

In 1841, Joseph Vose purchased Westminster Art Gallery, a small Providence, Rhode Island art gallery founded by Ransom Hicks. At the age of 19 in 1850, Joseph's son Seth Morton Vose joined the gallery and five years later became director. The gallery's primary business until the late 1860s was frame making, gilding and art supplies. Seth Morton Vose had a passion for art, especially the French painters of the Barbizon School and he slowly began buying and exhibiting artwork. By 1882, the gallery regularly exhibited in Boston.

Seth's son Robert C. Vose joined the business in 1896, and managed the gallery's Boston office from 1897. Robert broadened the gallery's horizons by showing his fine stock of Barbizon, Dutch, English and American artists throughout America, while his younger brother, Nathaniel, and his cousin, Charles Thompson, handled the Boston gallery. During the next sixty-seven years, Robert C. Vose moved the gallery into a position of national prominence.

In 1924, Nathaniel left the gallery and established his own gallery in Providence. The Boston gallery's name changed to Robert C. Vose Galleries, and around the same time, took over the Carrig-Rohane framing company. In 1931-1932, Robert's three sons, Robert C. Vose, Jr., Seth Morton Vose II, and Herbert Vose, joined the firm. The gallery continued to show exhibitions in Boston, and the sons took turns joining their father on the road. The gallery's name was changed to Vose Galleries of Boston, Inc. in 1952. In 1963, Vose Galleries moved to their current location at 238 Newbury Street in Boston. Robert C. Vose passed away in 1964.

Robert C. Vose, Jr.'s sons, Abbot W. Vose and Robert C. Vose III, joined the gallery in 1968 and 1970, respectively. Robert C. Vose, Jr. passed away in 1998. The Vose Galleries of Boston continues to operate at Newbury Street under the direction of the sixth generation of the Vose family.
Related Archival Materials note:
The Archives of American Art holds several separately cataloged collections related to Vose Galleries of Boston, including the Carrig-Rohane Shop records (1903-1962); oral history interviews with Seth Morton Vose (July 24, 1986 - April 28, 1987) and Robert C. Vose, Jr. (June 27 - July 23, 1986); a sound recording and videotape of a Robert C. Vose, Jr. lecture at the Somerset Club (May 14, 1987); a sound recording of an interview with Robert C. Vose (March 1961); the Miscellaneous Art Exhibition Catalog collection containing Vose Galleries exhibition catalogs, circa 1900-1941; and, Robert C. Vose, Jr. typescripts and clippings, 1961, on microfilm reels 3480 and 4314.
Separated Materials note:
The Archives of American Art also holds material lent for microfilming.

Reel B1 contains a scrapbook compiled by Seth Vose and annotated by Robert Vose that contains clippings, 1886-1900, and an 1889 letter from author and critic Alfred Trumble; and a scrapbook compiled and annotated by Robert C. Vose spanning the years 1920-1940, 1897, and 1905, containing clippings and handwritten lists.

Reel 2380 includes numerous photographs, circa 1890-1964, of Seth Morton Vose, Robert C. Vose, Sr., artists, collectors, and dealers associated with Vose Galleries; a Macbeth Gallery "smoker" in honor of Emil Carlsen; a drawing of Charles Emil Heil by George F. Wing, and a charcoal drawing after Monticelli by Albion Harris Bicknell. Many of the photographs are annotated by Robert C. Vose.

Reels 3936-3940 are comprised of account books, 1871-1887; a journal, 1889-1903, a ledger, 1889-1901; invoice books, 1896-circa 1954, inventories of paintings and drawings in stock, 1884, 1892 and 1906; exhibition records, 1911-1982?; traveling exhibition records, 1915-1949; and a record of paintings sold, 1876-1894. Written permission is required to access these reels.

Reels 4593-4594 contain clippings, undated and 1891-1989, chiefly about purchases, sales and exhibitions, but also pertaining to art dealers, museums, artists, and art events.

Reel 4909 contains a scrapbook of clippings, announcements, programs, and other printed materials, 1882-1993.

Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
From 1965-1994, Vose Galleries of Boston loaned materials to the Archives of American Art for microfilming. Robert C. Vose, Jr. also donated records in several installments from 1974 to 1997.
Restrictions:
Use of original papers requires an appointment.
Rights:
Reels 3936-3940: Authorization to publish, quote or reproduce requires written permission from an officer of the Vose Galleries. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Artists -- United States -- Photographs  Search this
Picture frame industry -- Massachusetts -- Boston  Search this
Picture frames and framing  Search this
Art, Modern -- 20th century -- Massachusetts -- Boston  Search this
Art, Modern -- 19th century -- Massachusetts -- Boston  Search this
Function:
Art galleries, Commercial -- Massachusetts
Art galleries, Commercial -- Rhode Island
Genre/Form:
Video recordings
Manuscript
Citation:
Vose Galleries of Boston records, circa 1876, 1890s-1996, bulk 1920s-1930s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vosegall
See more items in:
Vose Galleries of Boston records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-vosegall
Online Media:

Louis A. Holman papers and Holman's Print Shop records, ca. 1870-1977

Creator:
Holman, Louis A. (Louis Arthur), 1866-1939  Search this
Holman's Print Shop  Search this
Holman, Louis A. (Louis Arthur), 1866-1939  Search this
Subject:
Cole, Timothy  Search this
Andrews, John  Search this
Datziel, John Sanderson  Search this
Heintzelman, Arthur William  Search this
Holman, Richard Bourne  Search this
Nash, Ray  Search this
Topic:
Prints, American  Search this
Wood-engraving  Search this
Prints -- Collectors and collecting -- Massachusetts -- Boston  Search this
Prints -- 19th century  Search this
Prints -- 20th century  Search this
Map printing  Search this
Art -- Collectors and collecting  Search this
Theme:
Art Market  Search this
Art Gallery Records  Search this
Record number:
(DSI-AAA_CollID)8138
(DSI-AAA_SIRISBib)210309
AAA_collcode_holmloui
Theme:
Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210309

Microscope

Maker:
W. Watson & Sons  Search this
Measurements:
case: 32 cm x 18.9 cm x 20.6 cm; 12 5/8 in x 7 7/16 in x 8 1/8 in
microscope: 28.8 cm x 17 cm x 19 cm; 11 5/16 in x 6 11/16 in x 7 1/2 in
Object Name:
microscope
Place made:
United Kingdom: England, London
Date made:
early 20th century
Subject:
Science & Scientific Instruments  Search this
Credit Line:
David W. Johnson
ID Number:
1985.3006.01
Catalog number:
1985.3006.01
Nonaccession number:
1985.3006
See more items in:
Medicine and Science: Medicine
Microscopes
Science & Mathematics
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-f0ae-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1366671
Online Media:

Lockheed Vega 5B, Amelia Earhart

Pilot:
Amelia Earhart  Search this
Manufacturer:
Lockheed Aircraft Company  Search this
Materials:
Fuselage: wooden monocoque
Wings: wooden cantilever
Dimensions:
Wingspan: 12.49 m (41ft.)
Length: 8.38 m (27ft. 6in.)
Height: 2.49 m (8ft. 2in.)
Weight: Empty 748kg. (1,650lbs.)
Gross: 1,315-1,450kg. (2,900-3,200lbs.)
Type:
CRAFT-Aircraft
Country of Origin:
United States of America
Date:
1927-1929
Credit Line:
Gift of the Franklin Institute
Inventory Number:
A19670093000
Restrictions & Rights:
CC0
See more items in:
National Air and Space Museum Collection
Location:
Steven F. Udvar-Hazy Center in Chantilly, VA
Hangar:
Mary Baker Engen Restoration Hangar
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv908b322a7-9925-4071-b2b2-26a162dc0fce
EDAN-URL:
edanmdm:nasm_A19670093000

Louis A. Holman papers and Holman's Print Shop records

Creator:
Holman, Louis A. (Louis Arthur), 1866-1939  Search this
Holman's Print Shop  Search this
Goodspeed's Book Shop  Search this
Names:
Andrews, John  Search this
Cole, Timothy, 1852-1931  Search this
Datziel, John Sanderson  Search this
Heintzelman, Arthur William, 1891-1965  Search this
Holman, Richard Bourne, 1903-  Search this
Nash, Ray, 1905-  Search this
Extent:
2.7 Linear feet
Type:
Collection descriptions
Archival materials
Date:
ca. 1870-1977
Scope and Contents:
Letters, writings, a scrapbook, printed material, and files on printmakers documenting Holman's career as a Boston print dealer at Goodspeed's Book Shop and the Holman Print Shop.
Included are correspondence with customers, publishers, family, museums, galleries, and others concerning Holman's business and expertise in the field of prints, ca. 1890-1941; a typescript "What Does a Print Seller Look for in a Print?"; a scrapbook of clippings about the Holman Print Shop, 1931-1937; clippings; advertisements; and exhibition announcements and catalogs.
Also included are artist/subject files containing letters and printed materials on Joseph Andrews, Timothy Cole, John Sanderson Datziel, Arthur Heintzelman and the book Old Maps and Their Makers. Included in the Andrews file is a ledger book, ca. 1851-1869, with clippings on his "Plymouth Rock." The Cole file has letters from and about Cole, cancelled checks, biographical sketches, notes, lists of works, clippings, reproductions of work, a bookplate designed by Cole, and photographs of Cole.
ADDITION (1.4 linear ft.): Biographical material; memorabilia; diaries, 1925-1938, detailing the running of a print dealership; notes, writings, and lectures; business and financial records, among them guestbooks kept by Holman's Print Shop from its founding until its closing, recording signatures, remarks, and several caricatures from noted artists and collectors; printed material; Richard Holman's research file on John Foster's "A Map of New-England," including correspondence with several noted mid-20th century authorities on American printing and printmaking history, in particular Ray Nash; and photographs.
Biographical / Historical:
Illustrator, art editor, and print dealer; Boston, Mass. Holman was born on Prince Edward Island, Canada, and began work in the bookselling and publishing business in Canada. He moved to Boston in 1889, where he attended Cowles Art School and studied with the painter Charles Woodbury. Holman travelled extensively and contributed illustrations and articles to various popular magazines and worked as art editor of New England Magazine and the Youth's Companion. In 1915, he established a print department at Goodspeed's Book Shop, leaving in 1930 to open his own firm, Holman's Print Shop, where he was joined by his son, Richard Bourne Holman, who ran the firm after Louis' death in 1939 until 1977.
Provenance:
Donated 1991 and 1997 by William Greenbaum, a print dealer. According to Greenbaum, other business records of Holman's Print Shop may have been discarded.
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.
Occupation:
Engravers (printmakers)  Search this
Gallery owners  Search this
Art dealers -- Massachusetts -- Boston  Search this
Topic:
Prints, American  Search this
Wood-engraving  Search this
Prints -- Collectors and collecting -- Massachusetts -- Boston  Search this
Prints -- 19th century  Search this
Prints -- 20th century  Search this
Map printing  Search this
Art -- Collectors and collecting  Search this
Function:
Art galleries, Commercial -- Massachusetts
Identifier:
AAA.holmloui
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-holmloui

J. B. Neumann papers

Creator:
Neumann, J. B. (Jsrael Ber)  Search this
Names:
Artlover  Search this
Gehenna Press  Search this
New Art Circle (New York, N.Y.)  Search this
Albers, Josef  Search this
Baskin, Leonard, 1922-2000  Search this
Beckmann, Max, 1884-1950  Search this
Kandinsky, Wassily, 1866-1944  Search this
Morrison, Helen Balfour, 1901-1984  Search this
Namuth, Hans  Search this
Rattner, Abraham  Search this
Schmid, Elsa, 1897-  Search this
Photographer:
White, Clarence H., 1871-1925  Search this
Extent:
2.1 Linear feet (4 boxes)
Type:
Collection descriptions
Archival materials
Drawings
Photographs
Scrapbooks
Etchings
Date:
1905-1967
Summary:
The papers of gallery director, art dealer and publisher Jsrael Ber Neumann (1887-1961) measure 2.1 linear feet and date from 1905 to 1967. The papers document Neumann's career as the director of galleries in Berlin and Munich, Germany (1910-1924) as well as the New Art Circle gallery in New York City (1924-1952). Neumann was a respected art dealer, publisher of Artlover periodical, founder of Gehenna Press, and frequent lecturer. Found within his papers are correspondence with artists and museums, writings, printed materials mostly comprised of exhibition catalogues, artwork, and photographic materials.
Scope and Contents:
The papers of gallery director, art dealer and publisher Jsrael Ber Neumann (1887-1961) measure 2.1 linear feet and date from 1905 to 1967. The papers document Neumann's career as the director of galleries in Berlin and Munich, Germany (1910-1924) as well as the New Art Circle gallery in New York City (1924-1952). Neumann was a respected art dealer, publisher of Artlover periodical, founder of Gehenna Press, and frequent lecturer. Found within his papers are correspondence with artists and museums, writings, printed materials mostly comprised of exhibition catalogues, artwork, and photographic materials.

Correspondence is between Neumann and friends, colleagues, and museums. There is also correspondence with notable artists, including Josef Albers, Leonard Baskin, Max Beckmann, Wassily Kandinsky, and Abraham Rattner, among others. There are also condolence letters from friends and colleagues to Elsa Schmid, Neumann's wife.

Scattered writings consist of typescript drafts of Neumann's speeches and one article on expressionism. There is also one speech written by curator Richard Klein.

Printed materials comprise the bulk of the collection and include a bound gallery guest register, a disbound scrapbook, exhibition catalogs and announcements, brochures, magazines, posters, and news clippings. There are many exhibition catalogs from Neumann's galleries in Berlin and Munich as well as from the New Art Circle gallery in New York. Artwork consists of two etchings and one drawing by an unknown artist or artists.

Photographic materials include black and white photographs and negatives, including notable portraits of Neumann by photographers Helen Balfour Morrison, Clarence White, and Hans Namuth.
Arrangement:
This collection is arranged as 5 series.

Series 1: Correspondence, 1925-1961 (0.2 linear feet; Box 1)

Series 2: Writings, 1919, 1954-circa 1960 (5 folders; Box 1)

Series 3: Printed Materials, 1910-1967 (1.7 linear feet; Box 1-4)

Series 4: Artwork, 1919-circa 1960 (3 folders; Box 3-4)

Series 5: Photographic Materials, 1905-circa 1950 (0.2 linear feet; Box 3-4)
Biographical / Historical:
J. B. (Jsrael Ber) Neumann (1887-1961) was a gallery director, art dealer and publisher. After immigrating to the U.S., Neumann founded the New Art Circle Gallery in New York City. Before then, he had art galleries in Berlin, Munich, Dusseldorf and Bremen, Germany.

J. B. Neumann was born in Austria in 1887. His father was an oil and lumber dealer. Neumann initially studied business but later apprenticed to a book and picture dealer when he was nineteen. While working as a clerk in a large bookstore in London, Neumann had the opportunity to work at the rare book dealer's table in the British Museum. The job allowed him to assess and handle fine and rare books, starting a lifelong passion, and Neumann went on to amass a substantial personal library.

In 1910, Neumann returned to Berlin, Germany and in 1911 opened a book and art shop where he exhibited the work of Edvard Munch and others. Neumann had many friends who were artists and in 1915-1916 he was secretary to the Berlin Secession, a prominent German artist association. By 1922 Neumann had branch offices in Bremen, Dusseldorf and Munich.

Neumann immigrated to America in 1923 and left the Berlin gallery to the directorship of Karl Nierendorf and the Munich gallery to Günther Franke. Neumann settled in New York City and one year later he opened a 57th Street gallery and bookshop, first called J.B. Neumann's Print Room and later the New Art Circle gallery. He supported numerous artists, including Wassily Kandinsky, Max Beckmann, Paul Klee, and Georges Rouault. Elsa Schmid, Neumann's wife, was an artist who worked in mosaics.

Neumann also worked as a publisher. He created the printing company Gehenna Press and published a series of periodicals including Bilderhefte (Berlin, 1920-1922) and Artlover (New York, 1926-1945, 1959). The New Art Circle gallery closed circa 1952 and, after working as its director for nearly three decades, Neumann became a consultant for museums and collectors. He was also a lecturer and he frequently spoke about art at universities, museums and galleries.

Neumann died in Rye, New York on April 28, 1961. He is survived by his widow, Elsa Schmid (d. 1970); two sons, Peter and Albrecht; and a daughter, Mrs. Johanna Lam.
Related Materials:
The Archives of American Art also holds a collection of Josef Albers letters to J. B. Neumann, 1934-1947 on microfilm reel 911.

Additional J.B. Neumann papers are also located at the Museum of Modern Art in New York. The museum microfilmed a portion of these papers and donated a copy of that film to the Archives. This material may be viewed on reel NJBN5 at Archives of American Art offices, affliate centers, and via interlibrary loan.
Separated Materials:
Also available at the Archives of American Art are materials lent for microfilming (reels NJBN-1- NJBN-5) including correspondence with numerous artists, art critics, museum directors and others. The materials on reel NJBN-1- NJBN-4 were returned to Neumann's wife, Elsa Schmid and the original material on reel NJBN-5 is located at The Museum of Modern Art in New York, NY. Loaned material is not described in the collection container inventory.
Provenance:
Neuman's wife, Elsa Schmid and The Museum of Modern Art lent the Archives of American Art material for microfilming in 1966-1967. The rest of the J.B. Neumann papers were donated in several installments between 1973-2007 by Eva Lee (family friend), Joy Weber, Max Weber's daughter, Neil Richmond, and Hellie Neumann, J.B. Neumann's granddaughter.
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.
Occupation:
Gallery directors -- New York (State) -- New York  Search this
Art directors -- New York (State) -- New York  Search this
Publishers -- New York (State) -- New York  Search this
Topic:
Art, Modern -- 20th century -- United States -- History  Search this
Art -- Periodicals  Search this
Genre/Form:
Drawings
Photographs
Scrapbooks
Etchings
Citation:
J. B. Neumann papers, 1905-1967. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.neumjsra
See more items in:
J. B. Neumann papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-neumjsra

Nathan Halper business records

Creator:
Halper, Nathan  Search this
Names:
H.C. Gallery (Provincetown, Mass.)  Search this
H.C.E. Gallery (Provincetown, Mass.)  Search this
Kootz Gallery (N.Y.)  Search this
National Association of Women Artists (U.S.)  Search this
Sun Gallery (Provincetown, Mass.)  Search this
Avery, Milton, 1885-1965  Search this
Botkin, Henry, 1896-1983  Search this
Brodie, Gandy, 1925-1975  Search this
Caro, Anthony, 1924-  Search this
Cuddihy, John Murray  Search this
Gottlieb, Adolph, 1903-1974  Search this
Hartley, Marsden, 1877-1943  Search this
Hofmann, Hans, 1880-1966  Search this
Kootz, Samuel Melvin, 1898-1982  Search this
Motherwell, Robert  Search this
Smith, David, 1906-1965  Search this
Stankiewicz, Richard, 1922-1983  Search this
Extent:
4.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Gallery records
Visitors' books
Date:
1952-1979
Summary:
Records of four of Nathan Halper's Provincetown galleries measure 4.2 linear feet and date from 1952-1979. The records relate to Kootz Gallery, H-C Gallery, HCE Gallery, and Sun Gallery - all based in Provincetown. The bulk of the collection consists of correspondence with artists, estate executors, collectors, galleries, and museums. There are also scattered business and financial records documenting operations and sales, photographs and slides, printed materials, and one poem. Correspondents include Milton Avery, Anthony Caro, John Murray Cuddihy, Marsden Hartley, Hans Hoffman, Samuel Kootz, Robert Motherwell, David Smith, Richard Stankeiwicz, and many others.
Scope and Contents note:
Records of four of Nathan Halper's Provincetown galleries measure 4.2 linear feet and date from 1952-1979. The records relate to Kootz Gallery, H-C Gallery, HCE Gallery, and Sun Gallery - all based in Provincetown. The bulk of the collection consists of correspondence with artists, estate executors, collectors, galleries, and museums. There are also scattered business and financial records documenting operations and sales, photographs and slides, printed materials, and one poem. Correspondents include Milton Avery, Anthony Caro, John Murray Cuddihy, Marsden Hartley, Hans Hoffman, Samuel Kootz, Robert Motherwell, David Smith, Richard Stankeiwicz, and many others.

Biographical material consists of one literary poem.

The bulk of the collection consists of correspondence with many artists, estate executors, gallery partners, collectors, galleries, and museums regarding works of art, sales, account balances, requests for information, and general updates.

Scattered business records are found for all four galleries and include a Kootz Gallery guest register, address books, corporation and partnership agreements for the Kootz, H-C, HCE, and Sun galleries, insurance policies, and a Kootz Gallery employee file. Both the guest register and address books were also used as general business related notebooks.

Financial material consists of inventory stock books, price lists and sales, checkbook registers, and general expense invoices/receipts for the four galleries. The undated stock books list artists' names, general artwork identification information, and prices. Additional sales information is found in price lists, correspondence, sales notebooks, and checkbook registers. Invoices and receipts also document general operating expenses.

Printed material includes newspaper clippings on the Provincetown art scene and major artists represented by Halper, three exhibition catalogs, and an event calendar from the National Association of Women Artists.

Photographic material consists of prints and slides of the Kootz, H-C, and HCE galleries; black and white and color prints of exhibitions by Harry Botkin, Adolph Gottlieb, Robert Motherwell, and Hans Hofmann; and black and white prints, color slides, and transparencies of select works of art shown at the galleries.
Arrangement note:
The collection is arranged as 6 series:

Series 1: Biographical Material, circa 1953-1970 (Box 1; 1 folder)

Series 2: Correspondence, 1952-1979 (Boxes 1-2; 1.3 linear feet)

Series 3: Business Records, 1953-1970 (Box 2; .7 linear feet)

Series 4: Financial Material, 1953-1970 (Boxes 3-4; 2 linear feet)

Series 5: Printed Material, 1952-1976 (Box 5; 3 folders)

Series 6: Photographic Material, 1953-1969 (Box 5; 11 folders)
Biographical/Historical note:
Nathan Halper (1907-1983) worked in Provincetown, Massachusetts as a contemporary American art dealer, writer, and James Joyce scholar.

Nathan Halper first moved to Provincetown, Massachusetts in 1936 where he met and eventually married his wife, Helen Marjorie Windust Halper. During the late 1940s and early 1950s, their circle of friends included artists, writers, and academics drawn to the Provincetown art colony. Through friendships with Adolph Gottlieb and Fritz Bultman, Halper was introduced to Hans Hofmann, his students, and other abstract expressionist artists.

In 1949, Halper was invited to give a talk on James Joyce at Forum 49, a Provincetown summer lecture series on the future of art organized by Weldon Kees and held in a gallery at 200 Commercial Street. Speakers ranged from Jackson Pollock to poet laureate Howard Nemerov, and the series also presented one of the first major exhibitions of abstract expressionism in America. In 1952, Halper became the treasurer of the Provincetown Art Association (est. 1914), an influential social nexus that connected artists, galleries, patrons, and the public through memberships and annual events.

In 1953, he entered into a partnership with New York art dealer Sam Kootz and helped establish the Kootz Gallery in Provincetown. Their stable initially consisted of abstract expressionists Kootz represented in New York: Robert Motherwell, Hans Hofmann, Adolph Gottlieb, Fritz Bultman, and William Baziotes. Halper and Kootz mutually agreed to dissolve their partnership in 1954 and Halper opened the H-C Gallery with John Murray Cuddihy in 1955. After Cuddihy's departure at the end of the 1956 season, Halper opened the HCE Gallery (1957-1967), a name inspired by Joyce's Finnegan's Wake. In 1962, Halper entered into a one year partnership with Noah Goldowsky to help finance and run the Sun Gallery.

After the dissolution of the Kootz Gallery, Halper continued to represent Motherwell and, for a short time, Gottlieb in the Provincetown area, but quickly added other artists to the HCE stable. Through its relationship with New York dealers, such as Martha Jackson Gallery, Andre Emmerich Gallery, and Waddington Galleries, HCE was able to exhibit and sell works by Milton Avery, Gandy Brodie, Anthony Caro, Edwin Dickinson, Marsden Hartley, Hans Hoffman, Wolf Kahn, William King, Jan Muller, Elie Nadelman, David Smith, Richard Stankiewicz, Tal Streeter, and Anthony Vevers, among others.
Related Archival Materials note:
Also found in the Archives of American Art are the Kootz Gallery records and oral history interviews with Nathan Halper conducted by Dorothy Seckler, July 17, 1963 and by Robert Brown, July 8-August 14, 1980. Columbia University also holds Nathan Halper's papers concerning his literary scholarly work.
Provenance:
The Nathan Halper business records were donated by Nathan Halper in 1979. Additional materials were donated in 1983 and 1984 by his wife Helen Marjorie Windust Halper.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
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:
Art dealers  Search this
Gallery directors -- Massachusetts -- Provincetown  Search this
Topic:
Art -- Massachusetts -- Provincetown  Search this
Art, Modern -- 20th century -- United States  Search this
Function:
Art galleries, Commercial -- Massachusetts
Genre/Form:
Photographs
Gallery records
Visitors' books
Citation:
Nathan Halper business records, 1952-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.halpnath
See more items in:
Nathan Halper business records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-halpnath
Online Media:

"The Epic of Diego Rivera's Mural Painting-A 20th Century Odyssey," Lecture in Philadelphia, Pennsylvania

Collection Creator:
Catlin, Stanton L. , 1915-1997  Search this
Container:
Box 7, Folder 11
Type:
Archival materials
Date:
1986
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Stanton L. Catlin papers, 1911-1998, bulk 1930-1994. Archives of American Art, Smithsonian Institution.
See more items in:
Stanton L. Catlin papers
Stanton L. Catlin papers / Series 3: Writings and Notes
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-catlstan-ref316

James Mahaffey Cold Fusion Collection

Creator:
Mahaffey, James A.  Search this
Collector:
National Museum of American History (U.S.). Division of Medicine and Science  Search this
Donor:
Georgia Tech Research Institute  Search this
Names:
Georgia Institute of Technology  Search this
Fleischmann, Martin  Search this
Pons, Stanley  Search this
Extent:
1 Cubic foot (1 box)
Type:
Collection descriptions
Archival materials
Patents
Reports
Audio cassettes
Photographs
Slides (photographs)
Letters (correspondence)
Laboratory notes
Abstracts
Videocassettes
Articles
Date:
1989 - 1992
Scope and Contents:
The collection contains archival materials relating to the subject of cold fusion, and experiments conducted to corroborate the supposed discovery of the phenomenon. The collection includes Mahaffey's heavily illustrated laboratory notebook, dating from the beginning of the experiment on April 8, 1989 through April 20, 1989, documenting the experiment's research plan, budget, ingredients and instruments used, the time line and Mahaffey's and his fellow scientists' observations; and a report, April 30, 1989, on the results of Georgia Tech Research Institute's experiments. These two items were donated by GTRI. Additional items, donated by Mahaffey include: letters and emails to Mahaffey, photographs and slides used in a lecture, copies of papers given and bibliographies on the subject, abstracts of accounts of cold fusion research presented at a Santa Fe workshop, audio recordings of the same conference, a patent, articles, and video recordings of press coverage.
Arrangement:
Collection is unarranged.
Biographical / Historical:
Physicist at Georgia Tech Research Institute. He, and others at GTRI made efforts to replicate results reported by two scientists, Stanley Pons and Martin Fleischmann, in which they asserted they'd discovered a way to achieve nuclear fusion at room temperature (so-called "cold fusion.") Despite their high hopes at the beginning of the project, Mahaffey and his team soon concluded that they were unable to achieve cold fusion.
Provenance:
The collection was donated by the Georgia Institute of Technology and James A. Mahaffey, 2016.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Science -- History  Search this
Nuclear reactions  Search this
Research  Search this
Chemistry  Search this
Low-energy nuclear reactions  Search this
Electrochemistry  Search this
Cold fusion  Search this
Genre/Form:
Patents -- 20th century
Reports -- 20th century
Audio cassettes -- 20th century
Photographs -- 20th century
Slides (photographs) -- 20th century
Letters (correspondence) -- 20th century.
Laboratory notes -- 20th century
Abstracts -- 20th century
Videocassettes -- 20th century
Articles -- 20th century
Citation:
James Mahaffey Cold Fusion Collection, 1989-1992, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1393
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1393

Modify Your Search







or


Narrow By