The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.
Scope and Content Note:
The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.
Biographical material includes appointment calendars, awards and honorary degrees, interview transcripts, passports, resumes, wills, and scrapbooks. Scrapbooks were compiled by Falkenstein and focus primarily on her exhibitions at the Galerie Stadler and Gallery Meyer in 1959 and 1960. Also of interest are the "biography files" created and arranged by Falkenstein. These files contain material that she personally felt was the most important in documenting her activities each year. They include correspondence, exhibition catalogs, printed material, and invitations.
Measuring nine linear feet, correspondence is extensive and comprehensively documents Falkenstein's work, social life, relationships, and other business and personal activities. Correspondence dates from 1941 to 1997 and includes business letters and correspondence with friends and family. Her communications with friends, family, clients, gallery owners, collectors, museums, publishers, foundations, and grant agencies reveal many of her ideas and techniques. Individual correspondents include Ray Green, Peggy Guggenheim, Katharine Kuh, May O'Donnell, Ken Sawyer, Clyfford and Pat Still, Michel Tapie, Allan Temko, Mark Tobey, and Frans Wildenhain. Gallery and museum correspondence is with the San Francisco Museum of Art, Coos Art Museum, Los Angeles Museum of Art, Galerie Stadler (Paris), Gallery Mayer (Paris), Malvina Miller (New York), Martha Jackson Gallery (New York), Jack Rutberg Fine Arts (Los Angeles), Galerie Anderson-Mayer (Paris), and Bolles Gallery. Correspondence is also found in the Commission Files and Exhibition Files.
Personal and business records contain a wide variety of material documenting Falkenstein's business, financial, legal, professional, and personal transactions. Files are found for sales and prices, art inventories, smaller jewelry commissions, her work as a juror, her business with galleries, legal affairs and contracts, expenses, records of arts organizations to which she belonged, conferences, grants and fellowships, studio and house renovations, her Paris studio and Paris expenses, travel, donations, loans and consignments, conservation, art shipping, insurance, and taxes. Oversized visitor's logs contain comments from visitors to Falkenstein's studio in Venice, California.
Falkenstein maintained comprehensive documentation of her exhibitions from her first exhibition in the 1930s to the last one at the Merging One Gallery in 1996. Files include both a chronological record and individual record for nearly all of her exhibitions. Found with the files are correspondence, photographs, loan and shipping records, catalogs, announcements, clippings, articles, and other records. Most of the photographs related to exhibitions are found in the Photographs Series. The files for exhibitions at the Fresno Art Museum, Martha Jackson Gallery and Jack Rutberg Fine Art Gallery are particularly rich.
Commission files document nearly all of Falkenstein's public and private large-scale projects and often contain a visual record of the work, as well as correspondence, design notes, contracts, and expense reports. There is documentation of the St. Basils Church windows in Los Angeles; the Peggy Guggenheim gate in Venice, Italy; and the fountain at the California Savings and Loan, in Los Angeles; and many others. There is also a chronological record of her commissions. The bulk of the photographs of commissions are found in the Photograph series. Also, most of Falkenstein's jewelry design commissions are found in the Personal and Business Records series.
Falkenstein's work as a prolific writer, particularly in the 1940s and 1950s, is well-documented here through her numerous published articles in Arts and Architecture magazine, and the New York Herald-Tribune. Her work for Arts and Architecture was primarily written for the "Art Comments from San Francisco" section. She was living in Paris when she contributed an art news column to the New York Herald-Tribune. Also found here are five diaries and one journal dating from circa 1929-1978. The entries are inconsistent and concern mostly travel. The diaries from 1929 and 1934 are more personal. Falkenstein also maintained extensive notes and notebooks about artwork ideas, observations about art, research, and even drafts of letters. There are also many notes about various topics, including art and class notes. Additional writings are eclectic and cover a wide range of topics, including music, poetry, the script for Falkestein's film entitled Touching the Quick, and drafts of her unpublished book on murals. A handful of writings by others are found, most with annotations by Falkenstein.
Teaching files include Falkenstein's numerous lectures given while teaching at Mills College, Pond Farm Workshops, and California School of Fine Arts, and various symposiums and conferences. Also found are lesson plans, contracts, scattered correspondence, and notes. The files on her tenure at the Pond Farm Workshops are particularly interesting, with notes about her fellow teacher Frans Wildenhain and correspondence with workshop owners, Jane and Gordon Herr.
There are extensive photographs of Falkenstein, her family and friends, colleagues, commissions, exhibitions, and works of art. Included are many images of Falkenstein, of Falkenstien with her art, of Falkentstien working, and of Falkenstein's studio. There are numerous photographs of Falkenstein with friends, family, and colleagues in social or work settings. Also found are photographs of exhibition openings, installation views, and works of art exhibited. Additional photographs document Falkenstein's commissions, including images of her at work. Additional images of commissions may also be found in the Commission Series, but the bulk are filed here. There are numerous photographs of Falkenstein's works of art, including drawings, sculpture, jewelry, murals, lamps, and ceramics.
Falkenstein's papers include a large amount of sketches, sketchbooks, and drawings. Many of the sketches and drawings relate to her ideas about commissions and large sculpture, jewelry designs, and general sketches. Sketches are also found in the Commission Files. Also included are drawings by Mark Tobey and Michel Tapie, and others.
Finally, printed materials include general exhibition catalogs, newspapers clippings, and clippings of articles by and about Falkenstein. Also included are books that have been inscribed and signed by the author.
Arrangement:
The collection is arranged into 9 series:
Series 1: Biographical Materials, 1934-1997 (Box 1-4, 41; 4.3 linear feet)
Series 2: Correspondence, 1931-1997 (Box 5-13; 9 linear feet)
Series 3: Personal and Business Records, 1936-1997 (Box 14-17, 41, 46-49; 4.2 linear feet)
Series 4: Exhibitions, 1930-1996 (Box 18-21, 42, OV 50; 3.3 linear feet)
Series 5. Commissions, 1930-1992 (Box 21-22, OV 50-54 ; 2.0 linear feet)
Series 6: Writings, circa 1929-1993 (Box 22-26, 42, 55; 4.6 linear feet)
Series 7: Teaching Files, 1929-1995 (Box 26; .8 linear feet)
Series 8: Photographs, circa 1917-1997 (Box 27-35, 43, 55-56; 9.5 linear feet)
Series 9: Artwork, circa 1937-1995 (Box 36-37, 44, 57; 2.0 linear feet)
Series 10: Printed Materials, circa 1914-1990 (Box 37-40, 45, 58; 3.9 linear feet)
Biographical Note:
Claire Falkenstein (1908-1997) spent the majority of her life working as an artist, sculptor, jewelry designer, teacher, and writer in California.
Claire Falkenstein was born in 1908 and grew up in Coos Bay, Oregon. In 1920, Falkenstein and her family moved to Berkeley, California, where she attended high school and then college at the University of California at Berkeley, studying philosophy, anthropology, and art. She graduated in 1930. Falkenstein had her first solo show at the East-West Gallery in San Francisco in 1930, the only member of her class to have an exhibition before graduation.
During the early 1930s, Falkenstein studied at Mills College with modernist sculptor Alexander Archipenko. There she also met Bauhaus artists Laszlo Moholy-Nagy and Gyorgy Kepes. Falkenstein married her high school sweetheart, Richard McCarthy in 1936.
In 1944, Falkenstein had her first New York exhibition at the Bonestall Gallery. At that time, Falkenstein's primary mediums were stone and wood. However, she became increasingly experimental with new materials that included sheet aluminum, Cor-Ten steel, glass, plastics, and welded wire rods while maintaining a connection to organic and natural forms. Her work in jewelry design was an outlet for exploring these new materials, forms, and techniques on a small scale. As her work grew physically larger, so did her recognition and it was her work in sculpture that won her a faculty appointment at the California School of Fine Arts from 1947-1949. It was here that she met Patricia and Clyfford Still, Hassel Smith, and Richard Diebenkorn.
In 1948, Falkenstein was invited to exhibit at the Salon des Realites Nouvelle in Paris, her first European show. She eventually moved to Europe in 1950 and had studios in Paris, Venice, and Rome. While in Europe, Falkenstein executed a number of large scale commissions, including the stair screen for Galerie Stadler (1955), grotto gates for Princess Pignatelli's villa in Rome (1957), and the bronze, steel, and the glass gate at the Peggy Guggenheim Museum in Venice (1961). While in Paris, she became acquainted with noted art critic Michel Tapie, with whom she maintained a life-long friendship.
During the 1940s and 1950s Falkenstein was a regular contributor to Arts and Architecture magazine, most often writing the "Art Comments from San Francisco" section. While in Paris, she also wrote a column on art news for the New York Herald Tribune.
Falkenstein returned to the United States in 1962, eventually renovating a studio space in Venice, California. It was here that she conceived her largest commissions. In 1965, Falkenstein received a commission from the California Savings and Loan to create a sculpture for a large fountain at the front of the bank in downtown Los Angeles. The copper tube fountain, entitled "Structure and Flow #2," was the first of many large scale public art commissions that Falkenstein completed during her years in California. Her most important commission in the United States, completed in 1969, was for the doors, rectory gates and grills and stained-glass windows for St. Basil's Church on Wilshire Boulevard in Los Angeles. The eight doors and fifteen rectory screens, including 80 foot high windows in the nave, were an expansion of the "never ending screen" concept that Falkenstein executed with the Pignatelli commission in Rome. She continued to use this motif in her work throughout her career.
Claire Falkenstein worked as an arts instructor, visiting artist, and guest lecturer at many colleges, workshops, and schools in California. Her first position was at Mills College from 1946-1947. Shortly thereafter, she was appointed to the faculty at the California School of Fine Arts and later taught in the Extension Divisions of the University of California, Berkeley. She taught classes at California State Polytechnic University, California State University at Davis, and the Anna Head School. Falkenstein also taught art at the Pond Farm Workshops in California, and lectured at numerous colleges and museums. She served on many juried art shows in Southern California.
Falkenstein was acquainted with many artists, writers, instructors, collectors, gallery owners, and critics. Close friends included Esther and Bob Robles, Clyfford and Patricia Still, Michel Tapie, Allan Temko, Mark Tobey, Frans Wildenhain, and other notable figures in the art world.
Falkenstein continued to complete large scale private and public commissioned sculptures during the 1960s through the 1980s, including work for the University of Southern California, Hyland Biological Laboratory, California State University at Dominquez Hills and the California State Department of Motor Vehicles. Throughout her career, Falkenstein's work was featured in numerous exhibitions across the country. Her sculpture and other artwork can be found in the permanent collections of the Museum of Modern Art, Solomon R. Guggenheim Museum, Smithsonian American Art Museum, Coos Art Museum, Harvard University Art Museum, University of Southern California Fisher Museum of Art, Los Angeles County Museum of Art, and the Tate Gallery.
Falkenstein died in 1997 at the age of 89.
Related Material:
The Archives of American Art also holds two oral history interviews with Claire Falkenstein. The interview on April 13, 1965 was conducted by Betty Hoag and the one on March 2 and 21, 1995 was conducted by Paul Karlstrom.
Provenance:
The Claire Falkenstein papers were donated in 1997 by Steffan Wacholtz and Nancy Kendall, trustees for the Claire Falkenstein Trust.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Claire Falkenstein papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
The papers of California printmaker and educator Roi Partridge measure 1.0 linear foot and date from 1909-2003, with the bulk of the material dated 1909-1984. Found here are scattered correspondence, notes and writings, a scrapbook, printed material, and photographs. Several of the documents date from the time Partridge was married to photographer Imogen Cunningham, particularly family correspondence and a travel log of family car camping trips to the west. The same travel log documents one sketching trip Partridge made with Eugen Neuhaus.
Scope and Content Note:
The papers of California printmaker and educator Roi Partridge measure 1.0 linear foot and date from 1909-2003, with the bulk of the material dated 1909-1984. Found here are scattered correspondence, notes and writings, a scrapbook, printed material, and photographs. Several of the documents date from the time Partridge was married to photographer Imogen Cunningham, particularly family correspondence and a travel log of family car camping trips to the west. The same travel log documents one sketching trip Partridge made with Eugen Neuhaus.
General and family correspondence consists largely of incoming letters with some copies and drafts of outgoing letters. General correspondence is mainly professional in nature and documents exhibitions, commissions, teaching, memberships in artists' organizations, and participation in the WPA Public Works of Art Project. A small number of letters from friends concerning personal and social matters are scattered throughout. Among the correspondents are Ansel Adams, Sherwood Anderson, John Taylor Arms, Hollywood Riviera Galleries, Dard Hunter, the Estate of Bertha Jacques [Elizabeth Linsky, executor], National Academy of Design, and Print Makers Society of California. Family correspondence includes letters to Roi Partridge from family members. Letters to Gryffyd's family are from Imogen Cunningham and Roi Partridge; letters from others about family members are also included.
Among the notes and writings are a travel log that documents car camping trips through California and New Mexico taken by Roi Partridge, Imogen Cunningham, and their three sons between 1924 and 1926. The volume also includes Roi's account of a 1926 sketching trip taken with Eugen Neuhaus along the California coast.
A scrapbook contains clippings and feature articles about Roi Partridge, along with exhibition announcements and reproductions. Additional printed material is about or mentions Roi Partridge and his family, Ansel Adams, and Imogen Cunningham. There are also family Christmas cards with reproductions of etchings and drawings by Roi Partridge.
Photographs are of people and art work, including photographs of Roi and May Ellen Partridge, and Donald Bear, the first Director of the Santa Barbara Museum of Art (Janet Lineberger - later Mrs. Gryffyd Partridge - served as his assistant in the early 1940s). There are numerous photographs and negatives of art work by Roi Partridge (with appraisal and catalog information), and a photograph of Peter Blos' portrait of Partridge.
Arrangement:
The collection is arranged into 5 series:
Series 1: Correspondence, circa 1909-1993 (Box 1; 0.3 linear ft.; reel 5028)
Series 2: Notes and Writings, 1924-1964 (Box 1; 5 folders.; reel 5028)
Series 3: Scrapbook, 1922-1977 (Box 1; 0.1 linear ft.)
Series 4: Printed Material, 1913-2003 (Box 1; 0.25 linear ft.; reel 5028)
Series 5: Photographs, 1940-1987 (Box 1; 0.3 linear ft.; reel 5028)
Biographical Note:
Roy George Partridge (later known as Roi) was born in Centralia, Washington, in 1888, the son of a newspaper publisher and a pianist mother who accompanied silent films in Seattle movie houses. His mother enrolled him in a drawing and painting course at age 10. By 1907, the family had moved to Kansas where Partridge enrolled in studio courses at the newly established Fine Arts Institute of Kansas City. From there he then went to New York City to study at the school of the National Academy of Design during 1909 and 1910.
In 1910, with an art student friend from Seattle and enough cash to last a month, Partridge traveled to Europe and through a severe economy and by selling his etchings, managed to stay for four years. Between 1910 and 1914, he studied etching with Brockhoff in Munich, and rented a studio in Paris from 1911-1914. Once he had produced a sufficient number of prints, his friends John Butler and Clare Shepard arranged for an exhibition of his work in Seattle. They were assisted by Imogen Cunningham who sent her photo to Partridge and began corresponding with him.
The outbreak of World War I forced Partridge's return to Seattle where he and Imogen Cunningham finally met face to face. They were married within a matter of months. In their early years together, Roi managed to earn a living selling his prints and Imogen worked for Edward S. Curtis, whose photographs of American Indians had not yet achieved recognition. The couple soon produced three sons, Gryffyd and twins Padraic and Rondal. The family soon moved to San Francisco where Partridge worked as an artist in an advertising agency that also employed Maynard Dixon. During this time, he became friendly with the young Dorothea Lange who worked at the shop where Partridge had his film developed. After their marriage, Dixon and Lange established a close, long term friendship with the Partridge family.
In 1920, Partridge joined the faculty of Mills College as an art instructor, teaching design, painting, printmaking, lettering, and photography for 26 years. Partridge was such a popular teacher that the number of art students rose sharply and, for a time, art became the institution's most popular major. He was named chairman of the Art Department in 1923, and served as the first director of the college's art gallery from 1925 through 1935.
Imogen Cunningham and Roi Partridge, both strong-willed and not given to compromise, divorced in 1934. They reconciled in the 1960s and remained on friendly terms until her death in 1976. Partridge's second wife, Marian Lyman, died in 1940. The following year, he married May Ellen Fisher, a teacher, who survived him.
In addition to his professional activities, Partridge pursued a wide variety of other interests. During the 1920s, he, Imogen, and their boys took numerous camping trips throughout California and New Mexico. With his third wife, May Ellen, he became an avid folk dancer and enthusiastic gardener, raised chickens and chinchillas, and kept bees. They had the opportunity to travel to Hawaii and Japan. In Japan, Partridge expanded his Japanese print collection which was eventually donated to the Mills College Art Gallery.
Roi Partridge died in Walnut Creek, California, on January 25, 1984.
Related Material:
The Archives of American Art holds the papers of Imogen Cunningham, Partridge's first wife, which contain additional Partridge family correspondence and photographs. An untranscribed oral history interview of Roi Partridge conducted by Steve Steinberg in 1980 is also available.
Separated Material:
A portion of the gifts received from Gryffyd Partridge were separated and filed with the Imogen Cunningham papers, some of which had been earlier donated by Gryffyd.
Provenance:
Gryffyd Partridge donated his father's papers to the Archives of American art in 1992 and 1995. A final gift was received from Janet [Mrs. Gryffyd] Partridge in 2003.
Restrictions:
The collection is open for research. Patrons must use microfilm copy. Use of the unmicrofilmed portion requires an appointment.
Rights:
The Roi Partridge papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Printmakers -- California -- San Francisco Search this
Etchers -- California -- San Francisco Search this
Genre/Form:
Travelogs
Scrapbooks
Christmas cards
Drafts (documents)
Photographs
Notes
Citation:
Roi Partridge papers, 1909-2003 (bulk 1909-1984). Archives of American Art, Smithsonian Institution.
Arnold, Florence M. (Florence Millner), 1900-1994 Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Sketchbooks
Date:
1900-1994
Scope and Contents:
Biographical documents, correspondence, notes, scattered business records, art work, photographs, video interviews, and printed material.
REELS 3979-3980: Four resumes; award certificates; correspondence; notes, 1954-1975; receipts and certificates of authenticity for Arnold's silkscreens; miscellaneous business records; 45 preliminary drawings for paintings and prints in ink, pencil, crayon & watercolor on paper, mostly signed (28 x 21.6 cm. or smaller), 1960-1970; two spiral sketchbooks (17.4 x 12.3 cm.), 1947-1950, with charcoal, ink & pencil sketches of landscapes and still lifes, signed; newsletters; clippings, 1923-1980; press releases; exhibition announcements and catalogs, 1954-1980; programs; miscellaneous printed material; photographs and slides, undated and 1948-1980, of Arnold, her works of art, an exhibition in Rome, 1962, and two photographs of awards. Also included are two transcripts, and one videotape of interviews of Arnold conducted by D. M. Hackbarth and Dona Berkhimer, 1970, and by Anne Riley, 1974, and a videotaped interview with Lyn Gamwell, gallery director, Fullerton College, California, 1975.
ADDITION: Correspondence, photographs, exhibition announcements and catalogs, and clippings.
Biographical / Historical:
Serigrapher, painter; Fullerton, Calif. Died 1994. Arnold turned to painting and printmaking after 3 decades of teaching music. Her work is in the Hard-Edge tradition, and has been exhibited in the U.S., and in Madrid, Copenhagen, Florence, Rome, Milan and Venice. She is a charter member of the Los Angeles Museum of Art, and was involved in the Orange County (Calif.) Art Association.
Provenance:
Videos and material on reels 3979-80 donated 1975-1980 by Florence Arnold. Unmicrofilmed material donated 1994 by Arnold's daughter, Adrienne Chakerian.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
The Los Angeles Museum of Art / Roger Wong Gallery records measure 4 linear feet and date from 1966 to 1988. Owned by Roger Wong, the gallery was located in Los Angeles, California and primarily exhibited avant-garde art. Biographical materials, correspondence, artists' files, administration records, financial and legal records, printed materials, and photographs document the gallery's operations.
Scope and Contents:
The Los Angeles Museum of Art / Roger Wong Gallery records measure 4 linear feet and date from 1966 to 1988. Owned by Roger Wong, the gallery was located in Los Angeles, California and primarily exhibited avant-garde art. Biographical materials, correspondence, artists' files, administration records, financial and legal records, printed materials, and photographs document the gallery's operations.
Biographical materials include a few miscellaneous documents such as a passport and estate papers.
Correspondence is with family, gallery owners, art collectors, friends, and artists such as Chris Burden, Pat Patterson, and Gary Wood regarding personal and professional matters.
Administration records consist of mailing lists, membership information, publicity materials, and assorted forms.
Artists' files include resumes, correspondence, photographs, price lists, announcements, and other material. Notable artists are Julie Bozzi, Bill Gale, Joyce Lightbody, Marilyn Neher, Volker Stoecks, Annie-Mie Van Kerkhoven, and others.
Financial and legal records consist of agreements and contracts with artists as well as documents related to the business of running the gallery such as leases, invoices, expenses, receipts, and utility bills.
Printed materials include reviews and clippings about the gallery and some miscellaneous newsletters and articles.
Photographs is a small series with images of Roger Wong, the entrance of the gallery, an unidentified art performance, and other subjects.
Arrangement:
The collection is arranged as 7 series.
Series 1: Biographical Materials, 1966-1985 (0.1 linear feet; Box 1)
Series 2: Correspondence, 1969-1988 (0.6 linear feet; Box 1)
Series 3: Administrative Records, 1975-1982 (0.2 linear feet; Box 1)
Series 4: Artists' Files, 1974-1982 (1.1 linear feet; Boxes 1-2)
Series 5: Financial and Legal Records, 1973-1986 (1.7 linear feet; Boxes 3-4)
Series 6: Printed Materials, 1977-1988 (0.2 linear feet; Box 4)
Series 7: Photographs, 1974-1984 (0.1 linear feet; Box 4)
Biographical / Historical:
The Los Angles Museum of Art / Roger Wong Gallery specialized in avant-garde art and operated from the mid-1970s to the early 1980s.
Roger Wong (1945-1994) opened his eponymous gallery at 3808 Beverly Boulevard in Los Angeles, California around 1974. The Roger Wong Gallery often featured local artists and art installations. The gallery name was changed to the Los Angeles Museum of Art around 1978 and closed in 1982-1983.
Provenance:
The Los Angeles Museum of Art / Roger Wong Gallery records were donated in 1994 by John Chase, an art collector who was the recipient of all Roger Wong's art work.
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 Los Angeles Museum of Art / Roger Wong Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- Economic aspects Search this
Art galleries, Commercial -- California -- Los Angeles Search this
Valentiner, Wilhelm Reinhold, 1880-1958 Search this
Extent:
8 Items
Type:
Collection descriptions
Archival materials
Date:
1954-1957
Scope and Contents:
Letters from Wilhelm Reinhold Valentiner, the first director of the Getty Museum, to his assistant, Mary E. Adams. Five letters from 1954 regard the opening of the museum; the remainder were written while Valentiner was director at the North Carolina Museum of Art. Included are typescripts of the letters.
Biographical / Historical:
Mary Adams was assistant to Wilhelm Valentiner at the J. Paul Getty Museum, in 1954. She is the wife of printmaker Clinton Adams. Art historian Wilhelm Valentiner was born in Karlsruhe, Germany. He served as Director, Detroit Institute of Art, 1924-1946, Director-Consultant, Los Angeles Museum of Art, 1946-1954, Director, J. Paul Getty Museum, Santa Monica, Calif., 1954, Director, North Carolina Museum of Art, 1955-1958. Editor, Art in America, 1913-1931, and was the author of books on Dutch painting and modern sculpture.
Provenance:
Donated 1997 by Mary E. Adams.
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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Los Angeles Museum of Art / Roger Wong Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Los Angeles Museum of Art / Roger Wong Gallery records, 1966-1988. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Los Angeles Museum of Art / Roger Wong Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Los Angeles Museum of Art / Roger Wong Gallery records, 1966-1988. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Los Angeles Museum of Art / Roger Wong Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Los Angeles Museum of Art / Roger Wong Gallery records, 1966-1988. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Los Angeles Museum of Art / Roger Wong Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Los Angeles Museum of Art / Roger Wong Gallery records, 1966-1988. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Los Angeles Museum of Art / Roger Wong Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Los Angeles Museum of Art / Roger Wong Gallery records, 1966-1988. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Los Angeles Museum of Art / Roger Wong Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Los Angeles Museum of Art / Roger Wong Gallery records, 1966-1988. Archives of American Art, Smithsonian Institution.
