The papers of New York City abstract expressionist painter William Baziotes and his wife Ethel measure 6.3 linear feet and date from circa 1900-1992, bulk 1935-1980. The collection includes William Baziotes biographical material, correspondence, writings, printed material, and photographs. The papers of Ethel Baziotes consists of correspondence mostly dated after her husband's death regarding exhibitions of his work, along with limited biographical material and writings.
Scope and Contents:
The papers of New York City abstract expressionist painter William Baziotes and his wife Ethel measure 6.3 linear feet and date from circa 1900-1992, bulk 1935-1980. The collection includes William Baziotes biographical material, correspondence, writings, printed material, and photographs. The papers of Ethel Baziotes consists of correspondence mostly dated after her husband's death regarding exhibitions of his work, along with limited biographical material and writings.
Biographical material on William Baziotes consists of a bibliography, teaching files, a sound recording of an interview, membership cards, sales records, a sketchbook, and other miscellaneous material. There is one folder regarding Ethel Baziotes containing a few certificates and her college diploma.
Correspondence consists of letters to William and Ethel Baziotes. Notable correspondents include Lawrence Alloway, Alfred Barr, Andre Breton, Clement Greenberg, Peggy Guggenheim, David Hare, Jean Helion, Maria and Robert Motherwell, Jackson Pollock, and others. There are also letters from the Samuel M. Kootz Gallery regarding the sales of William Baziotes's artwork and letters written by William Baziotes to his brother Christos. Letters to Ethel Baziotes include condolence letters as well as letters from museum and galleries regarding exhibitions of her husband's work.
Writings include William Baziotes's notes on various subjects, a list of book titles, and a transcript for a speech. Writings by others include essays about William Baziotes and other subjects.
Printed materials consist of clippings, announcements, magazines, and many exhibition catalogs, mostly on group exhibitions which included artwork by William Baziotes.
Photographs are of William Baziotes, Ethel Baziotes, family and friends, their residence, and his artwork. There are a also photographs of Meir Bernstein, Samuel Kootz, Paul Bodin, Maria Motherwell, Pablo and Maya Picasso, Rudi Blesh, Nathan Halper, Ethel Schwabacher, Clyfford Still, and others.
Arrangement:
The collection is arranged as 5 series.
Series 1: Biographical Material, 1933-1982 (Box 1; 0.3 linear feet)
Series 2: Correspondence, 1936-1988 (Boxes 1-2; 1 linear feet)
Series 3: Writings, circa 1950-1992 (Box 2; 0.2 linear feet)
Series 4: Printed Material, 1944-1992 (Boxes 2-7, 9; 4.1 linear feet)
Series 5: Photographs, circa 1900-1979, bulk 1940-circa 1963 (Boxes 7-9; 0.7 linear feet)
Biographical / Historical:
William Baziotes (1912-1963) was an abstract expressionist painter in New York City. Born in Pittsburgh, Pennsylvania, Baziotes moved to New York City in 1933, where he studied painting at the National Academy of Design, 1933-1936. He participated on the Works Progress Administration's Federal Art Project as a teacher, 1936-1938, and painted for the Easel Painting Project, 1938-1940.
In 1941 he married Ethel Copstein. He had his first one-man show at Peggy Guggenheim's Art of This Century Gallery in 1944. The Samuel M. Kootz Gallery, Inc. held a solo show for Baziotes in 1946 and continued to exhibit his works until 1958.
Baziotes taught at Subjects of the Artist, 1948; the Brooklyn Museum Art School and New York University, 1949-1952; the People's Art Center at the Museum of Modern Art, 1950-1952; and Hunter College, 1952-1962. Baziotes died in 1963.
Provenance:
The William and Ethel Baziotes papers were donated by Ethel Baziotes, widow of William Baziotes, in several installments from 1969 to 1993.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
The papers of abstract expressionist painters Jackson Pollock and wife Lee Krasner measure 16.1 linear feet and date from circa 1914 to 1984, with the bulk of the material dating from 1942 to 1984. The collection documents their personal and professional lives, as well as the legacy of Jackson Pollock's work after his death. Found are biographical material, correspondence, writings by Krasner and others, research material, business and financial records, printed material, scrapbooks, artwork by others, photographs, interview transcripts, audio and video recordings, and motion picture film.
Scope and Content Note:
The papers of abstract expressionist painters Jackson Pollock and wife Lee Krasner measure 16.1 linear feet and date from circa 1914 to 1984, with the bulk of the material dating from 1942 to 1984. The collection documents their personal and professional lives, as well as the legacy of Jackson Pollock's work after his death. Found are biographical material, correspondence, writings by Krasner and others, research material, business and financial records, printed material, scrapbooks, artwork by others, photographs, interview transcripts, audio and video recordings, and motion picture film.
The collection is divided into two series, the first of which focuses on Pollock and includes his scattered papers dating from circa 1914 to his death in 1956, as well as Krasner's papers dating from his death to 1984 about managing Pollock's legacy. This series includes biographical materials, including transcripts and audio recordings of an interview with William Wright in 1949; Pollock's and Krasner's correspondence with Thomas Hart Benton, Betty Parsons Gallery, Bill Davis, B. H. Friedman, Reginald Isaacs, Sidney Janis, Violet De Lazlo, Martha Jackson Gallery, Alfonso Ossorio, Tony Smith, and Clyfford Still, and with one another; Krasner's correspondence concerning Pollock's estate and artwork after his death; numerous writings about Pollock, including an original draft of Bryan Robertson's biography and an essay by Clement Greenberg.
James Valliere extensive research files on Pollock for a never-published biography were given to Krasner and filed in Series 1. These include scattered correspondence with Lee Krasner, and Pollock's family and friends, including Charles Pollock, Thomas Hart Benton, and Robert Motherwell. There are also transcripts of interviews Valliere conducted with Pollock's friends and colleagues, including James Brooks, Dorothy Dehner, Clement Greenberg, Reuben Kadish, Lee Krasner, Charles Maddox, Mrs. Sanford McCoy, Daniel T. Miller, Robert Miller, and Tony Smith. The original audio reels and duplicates exist for many and are filed here. Additional interviews were conducted with Willem de Kooning, Alfonso Ossorio, and Burton Rouche, but not transcribed - these are filed in Series 1.10, Audio Recordings and Motion Picture Film.
Also found in Series 1 are scattered business records documenting Krasner's handling of Pollock's estate and legacy; printed materials relating to Pollock, including published biographies, exhibition catalogs, and clippings; two scrapbooks; and a sketchbook by an unidentified artist. Numerous photographs of Pollock include childhood and family photographs, photographs of Pollock in his studio by Hans Namuth, Rudy Burckhardt, and Herbert Matter, photographs of Pollock with Lee Krasner, and exhibition photographs. Audio recordings and motion film in Series 1 include a 1964 16mm film about Pollock (VHS copies are available) and reel-to-reel recordings of untranscribed interviews of Pollock's friends and colleagues by James Valliere, including interviews with Willem de Kooning and Alfonso Ossorio. Additional transcribed interviews are filed in subseries 1.4.
Lee Krasner's papers documenting her own career are arranged in Series 2 and date from 1927-1984. Biographical materials include resumes and awards, school documents, family documentation, and exhibition lists. Her correspondence with artist friends and art colleagues is extensive and includes many letters from artists such as Philip Johnson, Ray Eames, Cleve Gray, and Hans Namuth. She also maintained correspondence with many art historians and critics, curators, gallery owners, collectors, arts-related and social organizations, admirers, and family members.
There are thirteen transcripts of interviews with Krasner by Bruce Glaser, Barbara Cavaliere, Andrew Forge, Emily Wasserman, Barbara Rose, and others. The original audio recordings for these transcripts are filed in series 2.10, along with other audio recordings for which there are no transcripts, including interviews by John Gruen, Delores Holmes, Mercedes Matter, the Martha Dean Radio Show, NBC Today Show, and WQXR radio. There are also audio recordings of Krasner's lectures in series 2.10.
Krasner's papers also include writings and reminiscences by Krasner; writings about Krasner; printed materials such as exhibition catalogs and clippings; and one scrapbook containing clippings and photographs. Numerous photographs are of Krasner, including portrait photographs taken by Hans Namuth; of Krasner with Jackson Pollock and family and friends, and of her exhibitions and artwork.
Users should note that Pollock's and Krasner's papers contain similar types of material that often overlap in subject matter, especially among the correspondence and photographs.
Arrangement:
The collection is arranged into 2 series:
Missing Title
Series 1: Jackson Pollock papers and Lee Krasner papers about Jackson Pollock, circa 1914-1984 (Box 1-7, 16, OV 18, FC 19-22; 7.4 linear feet)
Series 2: Lee Krasner papers, circa 1927-1984 (Box 7-15, 17; 8.6 linear feet)
Biographical Note:
Jackson Pollock was born in 1912, in Cody, Wyoming, the youngest of five sons. His family moved several times during his childhood, finally settling in Los Angeles. In 1930 he joined his older brother, Charles, in New York City, and studied with Regionalist painter Thomas Hart Benton at the Art Students League of New York. Pollock worked during the 1930s for the Works Progress Administration's Federal Art Project. During 1936 he worked in artist David Alfaro Siqueiros's Experimental Workshop. In 1938 he began psychiatric treatment for alcoholism, and his artwork was greatly influenced by Jungian analysis and the exploration of unconscious symbolism.
In 1943 Pollock had his first one-man exhibition at Peggy Guggenheim's New York gallery, Art of this Century, and continued to exhibit there over the next several years. A major turning point in Pollock's life and art was in 1945 when he married fellow artist Lee Krasner and moved to East Hampton, Long Island. There he developed his mature painting style, and became famous for his abstract pouring technique on large canvases. The height of his creativity spanned from 1947 to 1952, and his work was promoted by art critic Clement Greenberg. Along with other abstract expressionists including Hans Hofmann, Alfonso Ossorio, and Barnett Newman, he joined the Betty Parsons Gallery in 1947. He had his most successful one-man show in 1950 which was widely publicized and praised. This exhibition, combined with a 1949 feature article in LIFE magazine, made Pollock an American celebrity.
In 1952 Pollock moved his work to Sidney Janis Gallery and returned to earlier motifs in a search for new breakthroughs. The last few years of his life he suffered from mental and physical health problems, and in August, 1956 he died in a car accident. His wife, Lee Krasner, oversaw his estate and worked with many museums, including the Museum of Modern Art, on Pollock retrospective exhibitions.
Lee Krasner was born Lenore Krassner in 1908 in Brooklyn, New York to Russian immigrant parents. In 1926 she was admitted to the Women's Art School of The Cooper Union, and in 1928 she attended the Art Students League. After graduating from The Cooper Union in 1929, she attended the National Academy of Design until 1932. After briefly attending City College and Greenwich House, she worked for the Public Works of Art Project and the Temporary Emergency Relief Administration, and finally became an assistant in 1935 on the WPA Federal Art Project, Mural Division. From 1937 to 1940 she studied at the Hans Hofmann School of Fine Arts and began exhibiting with the American Abstract Artists group.
In 1942 Krasner met Pollock as they were both preparing to exhibit work in the same show. Although they married and she became immersed in his career, she continued to exhibit her own work with other abstract artists and from 1946 to 1949 worked on the Little Image painting series. In 1953 she began working on collages, a medium she would come back to again later in her career. After Pollock's death her work was greatly influence by her sadness and anger, creating a visible evolution of her style.
For the rest of her career, Krasner consistently exhibited her work in both group and solo exhibitions. She had her first retrospective at Whitechapel Gallery, London, in 1965, and in 1966, she joined Marlborough Gallery, New York which represented Pollock's work as well. In the 1970s and early 1980s Krasner won many awards for her achievement in the visual arts, including the Augustus St. Gaudens Medal and the Chevalier de l'Ordre des Arts et des Lettres. She returned to the medium of collage, and in 1976 joined the Pace Gallery, New York. In 1981 she joined the Robert Miller Gallery, New York. Lee Krasner continued creating art until her death in 1984.
Related Material:
Found in the Archives of American Art are the Charles Pollock Papers, 1902-1990, which includes correspondence, photographs, and other files relating to his brother, Jackson Pollock. Other resources in the Archives are oral history interviews with Lee Krasner, including a series of interviews conducted by Dorothy Seckler between 1964 and 1968, and interviews conducted by Barbara Rose in 1966 and Doloris Holmes in 1972.
Provenance:
The papers of Jackson Pollock were donated in 1983 by Lee Krasner through Eugene V. Thaw shortly before her death. Additional material about Pollock and the papers of Lee Krasner were donated in 1985 by Eugene V. Thaw, executor of Lee Krasner's estate.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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.
Walker, Hudson D. (Hudson Dean), 1907-1976 -- Photographs Search this
Walkowitz, Abraham, 1880-1965 -- Photographs Search this
Zorach, William, 1887-1966 -- Photographs Search this
Extent:
68 Items ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1953-1980
Scope and Contents:
REEL 1817: Photographs of: Will Barnet, Jose de Creeft (2), Sonia Delaunay, Walker Evans, Joseph Floch, Suzi Gablik (2), Adolph Gottlieb (also filmed on reel 1886, fr. 33-34), Lorrie Goulet, Minna Harkavy, William Hayter (2), Paul Jenkins, Lee Krasner (2), Lilliane Lijn, Jerry Sheerin (2), and Darthea Speyer (2). Also included is a group photo of Jose de Creeft, Jacques Lipchitz, George Biddle, Thomas Benton, and Ben Shahn at the American Academy of Arts & Letters Ceremonial, May 20, 1964.
REEL 1886: Photographs of: Barbara Adrian, Alexander Archipenko, Milton Avery, Will Barnet, Isabel Bishop, Louis Bosa, Henry C. Botkin, Byron Browne, John Carroll, George Constant, Julio de Diego, Edwin Dickinson, Marcel Duchamp, Joseph Floch, Lloyd Goodrich, Adolph Gottlieb, Lorrie Goulet, George Grosz, David Hare, Minna Harkavy, Hans Hofmann, Edward Hopper, Josephine Hopper, Morris Kantor, Leon Kroll, Jacob Lawrence, Julian Levi, Jack Levine, Reginald Marsh, A. Hyatt Mayor, Sigmund Menkes, Robert Motherwell, Edwin Root, James Rorimer (a cropped version erroneously microfilmed as Sidney Waintrob appears on reel 1817, fr. 1193), Moses Soyer, Raphael Soyer, Eugene Speicher, Saul Steinberg, James Johnson Sweeney, Hudson Walker, Abraham Walker, and William Zorach.
UNMICROFILMED Two photographs: Ellen K. Levy and McNeil Lowry.
Arrangement:
REEL 1817: Microfilmed with AAA's Photographs of Artists Collection II, and appear on microfilm in alphabetical order under artist with other unrelated photographs.
Biographical / Historical:
Photographic studio; New York, N.Y. Sidney J. and his brother A. L. (Bud) Waintrob specialized in photographing artists, curators and other art world personalities. They worked under the name Budd [Studio] before using Waintrob-Budd.
Provenance:
Photographs on reel 1817 and unmicrofilmed photos donated 1974-1987 by Sidney J. Waintrob; photographs on reel 1886 donated 1979-1980 by Samuel I. Hoffberg, whose relationship to Waintrob-Budd is unclear.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Rights:
Authorization to publish quote, or reproduce requires written permission from David Stekert. 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
The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
Scope and Content Note:
The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
The earliest documentation from 1895 to 1909 concerns the organization's history and founding and is located in Series 1: Board of Trustees. Also found in this series are meeting minutes, 1909-1963 and 1968. Interfiled with the board meeting minutes are minutes of the executive committee and other special and ad hoc committees, reports to the board, financial statements and reports, and lists of committee appointments and board membership. This series also contains the scattered correspondence and subject files of various officers. Although not a complete set of officers' files, Presidents' Frederick Allen. Whiting (1931-1936), Lawrence M.C. Smith (1948-1952), Thomas Brown Rudd (1952-1954), Daniel Longwell (1954-1956), James S. Schramm (1956-1958), and Roy R. Neuberger (1958-1961) are represented. Leila Mechlin served on AFA's board as secretary from its founding to 1929, and her files are a particularly rich resource for AFA's activities during its early years. Lawrence M.C. Smith's files documenting his years as board treasurer are also arranged in this series. Additional officers' correspondence is interspersed throughout the Alphabetical Files and other series.
General information about the scope of AFA's programs, affiliations, founding, functions, and proceedings are arranged in Series 2: Administrative Records. The first subseries, Alphabetical Files, houses a wide variety of subject files that contain memoranda, correspondence, printed materials, lists, reports, and other papers. These files document the AFA's general history and founding, organizational affiliations, buildings and moves, grants, federal and state government art programs, auctions and other fund-raising efforts, publicity and public relations, publications, and fiftieth anniversary celebration. The subject headings by which these files are arranged are, for the most part, the ones designated by the AFA. The second subseries, Staff Records, houses the scattered files of AFA's director, assistant director, registrar, and special state representative, Robert Luck.
During its most active period, the AFA sponsored or participated in several special programs and Series 3: Special Programs houses the files that document many of them. The first subseries consists of the files for the Artists in Residence program that was funded by the Ford Foundation. Awarded in 1963, the grant sponsored short-term teaching residencies for artists in museums throughout the United States. The host museums were encouraged to hold exhibitions of the artists' works. This subseries contains both the general files of the program, as well as individual files on the participating artists. During the late 1950s and early 1960s, the AFA and the Ford Foundation also sponsored additional programs for artists, including Grants in Aid, Purchase Awards, and the Retrospective Exhibitions Program. The files documenting these three programs are also arranged in Series 3, under the subseries Ford Foundation Program for Visual Artists. In the late 1950s, the AFA implemented the Museum Donor Program with benefactors and philanthropists Audrey Bruce Currier and Stephen Richard Currier. Through the administration of the AFA, the Curriers donated funds to selected institutions specifically for the purchase of contemporary American art. The Curriers preferred to remain anonymous throughout the program. Files documenting this program include correspondence, applications from the accepted institutions, rejections, a summary report, and clippings about the untimely deaths of Mr. and Mrs. Currier in 1967.
Also found in Series 3 are the files documenting AFAs working relationship with the first state arts council, the New York State Council on the Arts (NYSCA). In 1961, AFA and NYSCA implemented a traveling exhibition program in New York State. Found here are files for possible itineraries, proposals, publicity, loans, budgets, and the actual exhibition files. Additional AFA special programs documented in Series 3 include the Picture of the Month program of the mid-1950s and the Jean Tennyson Foundation Color Slide Lecture Program.
AFA Annual Convention files constitute Series 4. Beginning with the Third Annual Convention in 1912 and continuing through the 1963 Annual Convention, the files contain official proceedings, speeches, programs, clippings, correspondence, and press releases. Files are missing for 1913, 1915, 1918, 1922, 1923, 1925, 1926, 1931, 1936-1949, 1952, 1956, 1958, 1960, and 1962. There are also audio recordings in the form of reel-to-reel tapes for the 1951 Annual Convention.
Series 5: Exhibition Files forms the bulk of the collection at circa 62 linear feet and is arranged into twenty subseries. The first subseries, Exhibitions, General, houses primarily the records of the Board of Trustees Exhibition Committee and documents the AFA's earliest involvement with traveling exhibitions. These files contain reports, budgets, correspondence, memoranda, scattered exhibition catalogs, and photographs. They are primarily the files of the chair of the Exhibition Committee and include the files of Juliana R. Force, Eloise Spaeth, and Mrs. John Pope. Also found in this series is a subseries of Mrs. John Pope's records documenting circulating exhibitions from 1934 to 1955, arranged by state.
The remaining nineteen subseries of the Exhibition Files reflect either specific exhibition programs, many of which have unique numbers assigned by AFA to individual exhibitions, or other exhibition-related files, such rejected, canceled, and suggested exhibitions and miscellaneous installation photographs. The Annual Exhibitions files constitute the largest of the subseries and are numbered according to the system assigned by AFA, following a typical chronological order. Although the documentation for each exhibition varies widely by both type and amount, most of the files contain contracts and legal agreements, correspondence, memoranda, itinerary information, condition reports, publicity materials, catalogs, announcements, price lists, and other such information arranged into one or more files. The files were labeled "documentation files," "dispersal files," "report form files," "loan agreement files," and "publicity files" according to the filing system devised by AFA. Many of the files also house a significant amount of correspondence with museum officials, lenders, and artists.
Additional subseries document AFA's exhibition venues and partnerships with the Metropolitan Museum of Art, the Virginia Museum of Fine Arts, the New York State Council on the [UNK] Life magazine, and Addison Gallery. A complete list of all of the subseries, including specific exhibition programs, follows in the Series Outline.
The final three series of the collection are small: Printed Material, Miscellaneous Files, and Oversized Material. The printed material was donated much later to the Archives and dates from 1990 to 1993. Found here are scattered press releases, annual reports, and an exhibition program. Miscellaneous Files contain scattered records, 1926-1962, of the Architectural League of New York relating to national award programs. It is not clear why this small group of Architectural League records was found mixed with the AFA records but perhaps the collaboration between the two organizations on several special projects provides an explanation. Also found in Miscellaneous Files is a group of black and white lantern slides from a lecture series, "New Horizons in America." Oversized Material includes a portfolio, a work of art, and posters.
See Appendix for a list of artists exhibiting with the American Federation of Arts
Arrangement:
The collection is arranged into eight primary series based primarily on administrative units or program areas. Several of the series are further subdivided into subseries. While processing, it became clear that the two filing systems were redundant and overlapped in both subject area and type of material. Most of these files were subsequently merged into the now broader Alphabetical Files or into separate series. Oversized material may be found at the end of the collection arranged in a separate series.
In most cases, files related to one another by subseries or subject areas (in the case of the Alphabetical Files) or by individual name (in the case of officers and staff files) are arranged in chronological order. The entire subseries of Alphabetical Files in Series 2 is arranged by subject heading, as assigned by the AFA, or individual name. The Alphabetical Files originally formed two broad filing systems as established by the AFA: one for general correspondence arranged by subject; and one for director's and other staff correspondence, also arranged by subject.
Series 1: Board of Trustees, circa 1895-1968 (Boxes 1-3)
Series 2: Administrative Records, 1910-1966 (Boxes 4-8)
Series 3: Special Programs, 1950-1967 (Boxes 9-13)
Series 4: Annual Conventions, 1912-1963 (Boxes 14-16)
Series 5: Exhibition Files, 1934-1969 (Boxes 17-78)
Series 6: Printed Material, 1990-1993 (Box 78)
Series 7: Miscellaneous Files, 1926-1962, undated (Box 79)
Series 8: Oversized Materials, 1890, undated (Boxes 80-85)
Historical Note:
Founded in 1909 by Elihu Root, the American Federation of Arts (AFA) exists today as a national nonprofit museum service organization striving to unite American art institutions, collectors, artists, and museums. Elihu Root, then secretary of state in the administration of Theodore Roosevelt, spoke of his idea at the first meeting of the AFA held in New York at the National Academy of Arts. He envisioned an organization that would promote American art most often seen only by the elite in the major cities of the East and upper Midwest by sending "exhibitions of original works of art on tour through the hinterlands across the United States."
The American Academy in Rome, Corcoran Gallery of Art, Art Institute of Chicago, and Metropolitan Museum of Art were influential organizing member institutions. Individual members included such notables as William Merritt Chase, Charles L. Freer, Daniel C. French, Charles L. Hutchinson, Henry Cabot Lodge, J.P. Morgan, and Henry Walters. The founding of the AFA provided the American art world with a forum for communication and participation among artists, cultural institutions, patrons of the arts, and the public.
To accomplish its mission, the AFA established volunteer committees for membership, exhibitions, and publications. During its first year, the AFA began publishing Art and Progress (later changed to Magazine of Art) and the American Art Annual (now the American Art Directory). In 1909, the AFA also organized its first traveling exhibition, Paintings by Prominent American Artists, which was shown at museums in Fort Worth, New Orleans, Minneapolis, and New Ulm, Minnesota.
By the end of the first year, the headquarters of the organization moved to Washington, D.C., to facilitate lobbying the federal government for favorable art legislation. In 1913, the AFA lobbied successfully for the removal of the tariff on foreign art entering the United States. In 1916, the Federation met with the Interstate Commerce Commission to protest prohibitively high interstate taxes on traveling art exhibitions.
Throughout the next fifteen years, the AFA continued to grow in membership and influence. By 1919, membership included 438 institutions and 2,900 individuals. The AFA's annual conventions were held in major national art centers and were attended by members, chapter delegates, and the public. At the conventions, scholars, patrons, and curators lectured on and discussed subjects of national interest, thereby fostering an exchange of ideas. The AFA also sponsored periodic regional conferences to promote institutional cooperation and to discuss mutual problems and needs. To facilitate exhibition venues west of the Mississippi River, in 1921 the AFA opened regional offices at the University of Nebraska and at Stanford University. The AFA produced and circulated slide programs and lecture series to museums and educational institutions that fostered art education. By 1929, the Federation had developed forty-six slide-lecture programs that covered American mural painting, European and American contemporary art, and textiles.
During the 1930s, the Federation expanded its services by providing schools with teaching guides, student workbooks, slides, and films about art. In 1935, the AFA began publishing Who's Who in American Art, later publishing The Official Directory of Illustrators and Advertising Artists and Films on Art reference guides. To reach an even larger audience, the AFA began collaborating with the Metropolitan Museum of Art in New York to organize national circulating exhibitions to "bring the museum to the people."
One of AFA's priorities was to make American art more visible abroad. The Federation focused on encouraging the representation of American artists in foreign exhibitions, and in 1924 it lobbied successfully for additional American participation in the Venice Biennale. The AFA's focus on exhibiting American art abroad continued to expand, particularly following World War II. In 1950, recognizing that the AFA could assist in promoting American culture, the State Department awarded the AFA a grant for a German "re-orientation program" consisting of educational exhibitions shown in German museums. Additional government funding further enabled the AFA to organize American participation in exhibitions in India, Japan, Paris, Switzerland, and Rotterdam between 1950 and 1970. Later, the AFA collaborated with the United States Information Agency (USIA) to create the Overseas Museum Donor Program which permitted donations of American art to foreign institutions on a restriction-free, tax-deductible basis. During the 1950s, the AFA was a very active member of the Committee on Government and Art, a national committee with members from across the art and museum world concerned with government sponsorship of and legislation affecting art sales, commissions, and trade.
In 1952, the headquarters of the AFA returned to New York, sparking a period of innovation and expanded of programs. Throughout the 1950s, the AFA distributed films about art and co-sponsored the Films on Art Festival in Woodstock, New York. The AFA also introduced its Picture of the Month Program in 1954, renting original works of art to small American art and educational institutions. In 1956, the AFA organized the Art Collectors Club of America to provide fellowship for art collectors through meetings and activities. The club disbanded in the 1970s.
The Federation's exhibition programs continued to flourish during the 1950s and 1960s. Private and public financial support allowed the AFA to achieve many of its goals. In 1958, the Ford Foundation awarded an important grant to organize a series of traveling one-person shows and a series of monographs devoted to contemporary American artists. Milton Avery, Andrew Dasburg, José DeCreeft, Lee Gatch, Walter Quirt, Abraham Rattner, and others were among the artists who participated. Private foundation support for the AFA's Museum Donor Program provided an annual allowance that was distributed to regional museums for the pourchase of contemporary American art. Cooperative programs and joint venues also became popular during this period. For example, public support from the New York State Council on the Arts allowed the AFA to circulate exhibitions to small New York State communities, and the Virginia Museum of Fine Arts provided the AFA with five exhibitions for national tours.
Throughout its history, the American Federation of Arts has concentrated on its founding principle of broadening the audience for contemporary American art. Through its numerous exhibition and film programs, the AFA has succeeded in "breaking down barriers of distance and language to broaden the knowledge and appreciation of art." Annual exhibitions such as New Talent in the USA and Art Schools USA, organized by the AFA, brought before the public the most contemporary American artists and craftspeople, genres, and artistic forms of experimentation, exposing viewers to new ways of thinking and expression. In 1965, AFA produced The Curriculum in Visual Education, a series of films created to heighten the aesthetic awareness of children.
A vital part of American art history, the AFA was one of the first organizations to develop successfully the concept of traveling art exhibitions on a national and international level. The AFA was instrumental in assisting museums with circulating important juried exhibitions of contemporary art, such as the Whitney Annual and Corcoran Biennial. The AFA also recognized the importance of the exchange of cultural ideas, and it brought exhibitions of the European masters to the American public as well as exhibitions focusing on foreign contempoorary art, photography, and architecture. Many organizations and museums have followed the AFA's precedent, and traveling national and international venues are now commonplace.
Since 1909, women have served as officers and members of the Board of Trustees. Leila Mechlin was a founding participant and served as secretary from 1909 to 1933. Juliana R. Force and Eloise Spaeth both chaired the Exhibition Committee in the late 1940s. Women and artists of diverse backgrounds and nationalities were widely represented in the AFA's exhibition programs, most notably during the 1960s. In 1960, the AFA organized, with financial support from the Ford Foundation, a major Jacob Lawrence retrospective. Additional culturally diverse exhibitions included Contemporary Jewish Ceremonial Art (1961), The Heart of India (1962), 1,000 Years of American Indian Art (1963), and Ten Negro Artists from the United States (1966).
The AFA also had an impact on patronage in the arts. AFA exhibitions of contemporary art provided collectors with knowledge of new artists and avant-garde art forms, creating a broader demand and market for this type of work. Museums and collectors began purchasing work by new or obscure American artists whom they learned about through AFA exhibitions and programs.
The historical records of the American Federation of Arts offer the researcher a unique opportunity to study the development of American art and artists in the twentieth century as well as providing insight into trends in American culture.
Missing Title
1909 -- Founded in New York City. Began publishing Art and Progress (later retitled Magazine of Art) and the American Art Annual.
1910 -- Moved headquarters to Washington, D.C.
1913 -- Lobbied successfully for the removal of the tariff on art entering the United States.
1915-1916 -- Lobbied successfully against the Cummins Amendment and the Interstate Commerce Commission's prohibitively high interstate tax on traveling art.
1920 -- Organized a lobbying campaign for the development of a national gallery of art at its national convention.
1921 -- Opened two new offices at the University of Nebraska and at Stanford University.
1924 -- Arranged American participation in the Venice Biennale exhibition.
1927 -- Closed office at Stanford University.
1929 -- Organized American participation in exhibitions in France and Germany.
1933 -- Closed office at the University of Nebraska.
1935 -- Began publishing Who's Who in American Art.
1948 -- Published The Official Directory of Illustrators and Advertising Artists.
1949 -- Collaborated with the Metropolitan Museum of Art to circulate exhibitions from its collections.
1950 -- Participated in the U.S. government's German re-orientation program.
1951 -- Joined forces with the United States Information Agency (USIA) to create the Overseas Museum Donor Program. Published the reference guide Films on Art. Co-sponsored the Films on Art Festival in Woodstock, New York, through 1957.
1952 -- Moved headquarters to New York City.
1953 -- Magazine of Art liquidated.
1954 -- Introduced the Picture of the Month Program.
1956 -- Founded the Art Collectors Club of America.
1958 -- Received a Ford Foundation grant to finance a series of one-person shows of contemporary American artists.
1960 -- Created the Museum Donor Program.
1961 -- Received a grant from the New York State Council on the Arts to circulate exhibitions to small New York state communities.
1963 -- Received a grant from the Ford Foundation for the Artists in Residence program.
1964 -- Introduced the List Art Poster Program.
1965 -- Produced The Curriculum in Visual Education, a series of films that attempted to heighten the aesthetic awareness of children.
Appendix: List of Artists Exhibiting with American Federation of Arts:
The following is an alphabetical list of artists who exhibited with the American Federation of Arts; many are obscure. The alpha-numeric codes and numbers appearing with the artist's name represent specific AFA exhibition programs and, most often, AFA's exhibition numbering system. In cases where the AFA did not assign an exhibition number, Archives' staff have done so.
The primary reference source for the names and name variants is the American Federation of Arts Records. The names are documented in handwritten notes and lists, typed lists, and exhibition catalogs and announcements. The Archives of American Art name authority file was also consulted in questionable cases. The majority of names, however, were not found in either the AAA name authority file or standard bibliographic resources, and only in the AFA records.
Examples:
55-1: AFA annual exhibitions program
AD-1: Addison Gallery exhibitions
L-1: Life Magazine Exhibitions
ME-1: Misceallaneous exhibitions (numbers assigned by AAA staff)
NMA-1: Metropolitan Museum of Art exhibitions
NE-96: Contemporary Color Lithography
NY-1: New York State Council on the Arts exhibitions
VA-1: Virginia Museum of Fine Arts exhibitions
Missing Title
A. Quincy Jones, Frederick E. Emmons & Assoc: 62-34
The records of the American Federation of Arts (AFA) were donated to the Archives of American Art (AAA) over a thirteen-year period, with the bulk of the material arriving between 1964 and 1966. In 1979, Preston Bolton donated his letters and those from John de Menil, Ann Drevet, Lee Malone, and others regarding planning for the 1957 AFA annual convention held in Houston, Texas; convention committee minutes from 1956; and AFA newsletters. This material, as well as a 1979 gift from Louise Ferrari of transcripts from a panel discussion from the 1957 AFA convention in Houston, was microfilmed on AAA Reel 1780. All material previously microfilmed on Reel 1780 has been fully integrated into the collection and arranged within proper series and subseries. The provenance of the 1990-1993 printed material is unknown.
Restrictions:
Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Biographical material (1945-1965), letters (1917-1979), notes (1950-1970), writings (1944-1970), business records (1927-1977), art works (1932-1964), subject files (1952-1955), scrapbook (1927-1939), printed material (1923-1977), and photographs (1922-1968) documenting Botkin's career and his friendship with George and Ira Gershwin and other entertainment and artistic figures.
Among the correspondents and subjects of photographs or letters are: George and Ira Gershwin, their sister Frances Godowsky, Botkin's brother Benjamin, Botkin's daughter Toinette Botkin Laurent, and grandson Alexander Laurent, composer Harold Arlen, Fanny Brice and her son William Brice, artists Chaim Gross, Saburo Hasegawa, Hans Hofmann, Karl Knaths, Paul Manship, Paul Mocsanyi, Robert Motherwell, Louise Nevelson, Barnett Newman, Pablo Picasso, Wallace Putnam, Abrahmam Rattner, Hugo Robus, Arnold Schoenberg, Jack Shadbolt, John Von Wicht, and Abraham Walkowitz. Also included are photographs of Botkin's studio, night picnic in Provincetown attended by many artists; and material relating to American Abstract Artists, New School Art Center, Provincetown Art Association, and the Federation of Modern Painters and Sculptors. [See Finding Aid for information on location of items on the microfilm].
UNMICROFILMED: 3 untranscribed interviews of Botkin, 1 done for the "Today" show, NBC, June 4, 1965; 1 for Colette Roberts "Meet the Artist" Program, undated, and 1 by an unidentified interviewer. Also included is an untranscribed monologue, Oct. 11, 1970.
Biographical / Historical:
Painter; New York, N.Y. and Provincetown, Mass. Born in Boston and attended art schools there from 1913-1917. From 1917-1920, he attended the Art Students League and was employed as an illustrator for prominent magazines until 1929. Traveling abroad between 1926 and 1933, he attained his first one-man show in 1927 at the Billiet Galleries in Paris. Through his cousin, composer George Gershwin, Botkin became acquainted with people active in the performing arts, such as Harold Arlen, Fanny Brice, Harry Kurnitz, and Bert Lahr. Botkin was also involved in the American Abstract Artists, Artists Equity Association, Federation of Modern Painters and Sculptors, and Gallery 256 in Provincetown, Massachusetts.
Related Materials:
Henry Botkin papers also at Syracuse University.
Provenance:
Donated 1969-1982 by Henry Botkin and by his son Glenn and his assistant Rene Barilleaux. Many items were returned to Botkin after microfilming.
Restrictions:
Patrons must use microfilm copy. Use of untranscribed tapes requires an appointment at the Washington, D.C. office.
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:
All Photographs by Hans Namuth: All requests for image reproductions are to be sent to: Assistant Registrar for Rights & Reproductions; Center for Creative Photography. 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.
Collection Citation:
Hans Namuth photographs and papers, 1945-1985. 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:
All Photographs by Hans Namuth: All requests for image reproductions are to be sent to: Assistant Registrar for Rights & Reproductions; Center for Creative Photography. 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.
Collection Citation:
Hans Namuth photographs and papers, 1945-1985. Archives of American Art, Smithsonian Institution.
The papers of writer, art critic and collector Bernard Harper Friedman, 1926-2011, bulk 1943-2010, measure 30.6 linear feet. Extensive professional and personal correspondence, 41 diaries, a large number of his published and unpublished writings, and subject files document Friedman's career as a writer, relationships with cultural institutions and art world figures, and his personal life. Also included are biographical materials, interviews, printed material, 5 scrapbooks and photographs.
Scope and Contents:
The papers of writer, art critic and collector Bernard Harper Friedman, 1926-2011, bulk 1943-2010, measure 30.6 linear feet. Extensive professional and personal correspondence, 41 diaries, a large number of his published and unpublished writings, and subject files document Friedman's career as a writer, relationships with cultural institutions and art world figures, and his personal life. Also included are biographical materials, interviews, 5 scrapbooks, and photographs.
Biographical materials include educational records, documentation of Friedman's World War II service in the U.S. Navy, and birth, marriage, and death certificates.
Correspondence is with friends, family, artists, art world figures and institutions, writers, publishers, and literary agents. Among the correspondents are: John I. H. Baur, Harry Bertoia, Flora Biddle, Norman Bluhm, James Brooks, Fritz Bultman, Leo Castelli, William N. Copley, Jim Dine, Helen Frankenthaler, Brendan Gill, Robert Goodnough, Cleve and Francine Gray, Howard Kanovitz, Grace Knowlton, Stanley Kunitz, Conrad Marca-Relli, Mercedes Matter, Fred W. McDarrah, Rory McEwen, Robert Motherwell, Arnold Newman, Barnett Newman, Dorothy Norman, Alfonso Ossorio, Provincetown Fine Arts Work Center, Robert Richenburg, Barney Rosset, Philip Roth, Judith Rothschild, Irving Sandler, Salvatore Scarpitta, Jon Schueler, Sidney Simon, David Slivka, Clyfford Still, Myron Stout, Calvin Tompkins, and David Windham.
There are transcripts of interviews with B. H. Friedman, his daughter and wife conducted by the Yale University School of Medicine's "Adult Development Study," and 2 recordings of interviews with Friedman for radio broadcast.
Writings by Friedman include manuscripts of novels, short stories, plays, articles, monographs, and art criticism, some published versions of his work, and a variety of notes. Also found are recordings of lectures by B. H. Friedman and panel discussions in which he participated. Other authors represented are John Cage, W. B. Henry, and Jon Schueler. Friedman's diaries, 1948-1993 (41 volumes) record activities, thoughts, and events.
Subject files compiled by Friedman reflect professional and personal interests, activities, and projects. Many concern publicity for published writings or efforts to find publishers. Especially well documented is his interest in Jackson Pollock, Timothy Leary, and Alfonso Ossorio, and his affiliation with the Whitney Museum of American Art.
The majority of printed material is about or mentions Friedman. Five scrapbooks consist mainly of printed material.
Most photographs are of B. H. and Abby Friedman, their family, and friends. Among the individuals pictured are: Elise Asher, Cary and Norman Bluhm, Sandy Friedman, Joellen Hall, Doug Huebler, Howard Kanowitz, Stanley Kunitz, Lee Krasner, Sheridan Lloyd, Barnett and Annalee Newman, Alfonso Ossorio, Magda Salvesen, Salvatore Scarpitta, John Schueler, and Myron Stout. A photograph album records scenes from a 1979 performance of Whispers, a stage adaptation by Alan Wynroth from Friedman's novel of the same title.
Arrangement:
This collection is arranged as 9 series:
Missing Title
Series 1: Biographical Materials, 1926-2011 (Box 1; 0.2 linear feet)
Series 2: Correspondence, 1946-2011 (Boxes 1-15; 14.7 linear feet)
Series 3: Interviews, 1969-2001 (Box 15; 0.2 linear feet)
Series 4: Writings, 1940s-2010 (Boxes 16-23; 8 linear feet)
Series 5: Diaries, 1948-1993 (Boxes 24-25; 1.75 linear feet)
Series 6: Subject Files, 1940-2010 (Boxes 25-30; 4.45 linear feet)
Series 7: Printed Material, 1954-2010 (Box 30-31; 0.2 linear feet)
Series 8: Scrapbooks, 1960-2006 (Boxes 30-32; 0.8 lilnear feet)
Series 9: Photographs, circa 1950s-2008 (Box 30; 0.4 linear feet)
Biographical / Historical:
Bernard Harper Friedman (1926-2011), a writer best known as the author of the first biography of Jackson Pollock, was also an art critic and art collector involved in the cultural life of New York City.
Bernard Harper Friedman, known professionally as B. H. Friedman, was called Bob by family and friends. After interrupting his studies at Cornell University to serve in the U.S. Navy during World War II, he graduated in 1948 with a degree in English. Friedman and his new bride, fellow student Abby G. Noselson (1926-2003), returned home to New York City and he began a real estate career in his uncles' firm, Uris Buildings Corporation. While a businessman, Friedman spent much of his spare time writing. He produced fiction, plays, and criticism; Friedman's articles on art, literature and music appeared in a wide variety of periodicals. During this period, Friedman also pursued his interests in jazz, collecting abstract art, and psychedelic drug experiences with Timothy Leary.
His first published novel, Circles, about the Abstract Expressionist milieu, appeared in 1962. A year later, B. H. Friedman became a full-time writer. For nearly 20 years, he divided his time between New York City and Provincetown, Massachusetts, where he was affiliated with the Fine Arts Work Center as a director and consultant. During this period, he published several novels and two biographies: Jackson Pollock: Energy Made Visible and Gertrude Vanderbilt Whitney, written with Flora Biddle. More novels and short story collections were published, and staged readings of seven plays were presented between 1987 and 2007. Tripping, a memoir of using psychedlics with Timothy Leary, appeared in 2006.
A founding member of Fiction Collective, a nonprofit publishing group run by and for writers, Friedman was also a member of several national writers' organizations. He served as a trustee of the Whitney Musuem of American Art, 1961-1968, and then as honorary trustee. B. H. Friedman died from complications of pneumonia on January 4, 2011 in New York City.
Related Materials:
Also available is an oral history interview with Bernard Harper Friedman, 1972 November 10, conducted by Paul Cummings for the Archives of American Art.
Provenance:
The Bernard Harper Friedman papers were donated to the Archives of American Art in 2012 by his daughter, Daisy Friedman.
Restrictions:
The collection is ACCESS RESTRICTED; written permission is required. Use of original materials 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 critics -- New York (State) -- New York Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York Search this
REELS N591-N597: Photographs of the Museum, Juliana Force, Herman Moore; scrapbooks on the Whitney Studio Club, Whitney Studio Galleries and the Museum, 1927-1965.
REELS N599-N604: Notebooks of Edwin W. Dickinson; photographs and provenance information for works by Philip Evergood; a catalog of information and some photographs of Chinese ink drawings and other works by Reginald Marsh; and photographs and information on Bernard Reder, Jack Tworkov, Max Weber (portions also microfilmed on reel NY59-8 (fr. 497-658), reel NY59-9 (fr. 1-51), and William Zorach.
REELS N604-N609: Exhibition catalogs, 1946-1966, for artists and groups shows at the Museum, including Robert Feke, William Rimmer, Ralph Blakelock, Albert Maurer, Albert Pinkham Ryder, Yasuo Kuniyoshi, Thomas Cole, Max Weber, Arshile Gorky, Mark Tobey, John Sloan, Loren MacIver, I. Rice Pereira, George Grosz, Reginald Marsh, Charles Burchfield, Morris Graves, Theodore Roszak, John Marin, Hans Hofmann, Bradley Tomlin, Stuart Davis, Milton Avery, Lee Gatch, Jose De Creeft, Maurice Prendergast, Edward Hopper, Hyman Bloom, Robert E. Jones, Balcomb Greene, Karl Zerbe, Arthur G. Dove, William Zorach, Philip Evergood, Bernard Reder, Herbert Feber, Oliver O'Connor Barrett,Arthur B. Davies, Jose De Rivera, Paul Burlin, Joseph Stella, Jack Tworkov, Ivan Albright, Stuart Davis, Edwin Dickinson, John Quidor, and Niles Spencer.
REELS N646-N694: Artists' files on: Oliver O'Connor Barrett,William Baziotes, George Bellows, Thomas Hart Benton, Peter Blume, James Brooks, Patrick Henry Bruce, Charles Burchfield, Paul Burlin, David Burliuk, Paul Cadmus, Mary Cassatt, Thomas Cole, Glenn Coleman, Jon Corbino, John Steuart Curry, Jo Davidson, Arthur B. Davies, Jose DeCreeft, Charles Demuth, Jose De Rivera, Arthur Dove, Guy Pène du Bois, Stuart Davis, Frank Duveneck, Ralph Earl, Eastman Johnson, The Eight, Philip Evergood, Robert Feke, Lyonel Feininger, Ernest Fiene, George Fuller, Lee Gatch, William Glackens, Arshile Gorky, Balcomb Greene, Chaim Gross, George Grosz, William Harnett, Marsden Hartley, Childe Hassam, John Heliker, Robert Henri, Hans Hofmann, George Inness, Leon Kelly, Franz Kline, Karl Knaths, Leon Kroll, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, Robert Laurent, Ernest Lawson, Jack Levine, Seymour Lipton, George B. Luks,
Stanton Macdonald-Wright, Loren MacIver, John Marin, Reginald Marsh, Alfred Maurer, K. H. Miller, Robert Motherwell, William Mount, Jerome Myers, Louise Nevelson, Georgia O'Keeffe (portions also microfilmed on reels NY59-13 (fr. 98-115, 406-424, 586-685), reel NY59-14 (entire), and reel NY59-15 (fr. 1-140, 145-153), I. Rice Pereira, Bernard Perlin, Joseph Pollett, Jackson Pollock, Reginald Pollack, Henry V. Poor, Richard Pousette-Dart, Maurice Prendergast, Abraham Rattner, Bernard Reder, Ad Reinhardt, William Rimmer, Larry Rivers, Hugo Robus, Theodore Roszak, Mark Rothko, Concetta Scarvaglione, Henry Schnakenberg, Ben Shahn, John Sloan, David Smith, Eugene Speicher, Theodoros Stamos, Joseph Stella, Maurice Sterne, Mark Tobey, Bradley Tomlin,Trajan, Allen Tucker, John Twachtman, Jack Tworkov, Abraham Walkowitz (also on reel NY/59-15) , Max Weber, James M. Whistler, Gertrude Whitney, Grant Wood, Alexander Wyant, Mahonri Young, and William Zorach.
REELS NWH 1-NWH 7: Artist files on Charles Sheeler, Bernard Karfiol, Louis Eilshemius; scatterred records of the Whitney Studio Club and Museum, 1914-1945, including minutes, Oct. 15, 1930, and Whitney Studio ledgers, 1928-1931; catalogs of one-man shows, 1932-1945; catalogs of annual painting exhibitions, 1932-1940, sculpture, watercolor and drawing exhibitions, 1933-1945, and group exhibitions, 1932-1945; and clippings, Oct. 1935-1936.
REELS NY59/8 (fr. 256-end)-NY59/10: Files on Max Weber, including biographical material, lists of work, and miscellany. Also found (NY59/8 frames 354-383) are ca.20 letters from Weber to Abraham Walkowitz, 1907-1924.
Biographical / Historical:
Whitney Museum of American Art is an American art museum in New York, New York. Founded by Gertrude Vanderbilt Whitney and formally opened in 1931. Previous to its opening as a museum it was known as the Whitney Studio Club (1914-28) and Whitney Studio Galleries (1928-30).
Provenance:
The Weber files on reels NY59/8-10 were lent for microfilming 1959 by the Whitney Museum of American Art; the remainder was lent 1964-1967; additional material from the Museum was lent at the same time, and subsequently donated, including the papers of Lloyd Goodrich, Juliana Force, Thomas B. Clarke, the American Art Research Council, and Gertrude Vanderbilt Whitney; these have each been cataloged separately. Portions of Weber, and O'Keeffe material that was microfilmed in 1959 were refilmed in 1967.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, Modern -- 20th century -- United States Search this
Artists -- Exhibitions -- New York (State) -- New York Search this
The papers of art critic, author, and historian, Robert Hughes measure 16.6 linear feet and date from 1952 to 2012. The collection provides a glimpse of Hughes' personal life and documents his extensive career through biographical material, personal and professional correspondence, interviews, journals, writings, project files related to books and television programs, research files, personal business records, printed material, and photographic material.
Scope and Contents:
The papers of art critic, author, and historian, Robert Hughes measure 16.60 linear feet and date from 1952 to 2012. The collection provides a glimpse of Hughes' personal life and documents his extensive career through biographical material, personal and professional correspondence, interviews, journals, writings, project files related to books and television programs, research files, personal business records, printed material, and photographic material.
Biographical material includes address books and day planners, stationery, sound recordings, memoirs, academic memorabilia, and a scrapbook documenting the National Gallery of Australia's tenth birthday in 1992. Correspondence includes letters, emails, and post cards from personal and professional contacts, including friends, family, colleagues, and fans. Interviews include video and sound recordings, transcripts, and clippings related to Robert Hughes interviewing others or Robert Hughes being interviewed for various publications and television programs. Journals include excerpts from the 1970s and sound recordings that document Hughes' travels around the world. Writings include notes, notebooks, and draft articles, essays, lectures, speeches, and manuscripts written by Hughes. Some of the lectures were recorded. Project files include clippings, transcripts, draft scripts, digital files, sound and video recordings, photographs, proposals, outlines, notes and correspondence related to various publications and television programs. Research files include notes, correspondence, drafts, clippings, translations, and a sound recording of Australian convict ballads. Personal business records include sound recordings, photographs, legal files, a description of events related to a 1999 car crash that left Hughes in critical condition, lists of travel expenses and publications, a lecture contract, email correspondence related to litigation, and legal files related to a defamation claim and some of Hughes' writings. Printed material includes clippings, exhibition announcements and catalogs, press releases, and a published poem. Photographic material includes slides, photographs, and negatives documenting Hughes' travels, friends, family, his Shelter Island home, self-portraits, and works of art.
Arrangement:
The collection is arranged as 11 series.
Series 1: Biographical Material, 1955-2007 (1.05 linear feet; Box 1, 16, 21)
Series 2: Correspondence, 1952-2012 (1.40 linear feet, Box 1-2, 21)
Series 2: Sub-Series 1: Personal, 1952-2012 (0.50 linear feet; Box 1, 21)
Series 2: Sub-Series 2: Professional, 1966-2012 (0.90 linear feet; Box 2, 21)
Series 3: Interviews, 1971-2006 (0.64 linear feet; Box 2, 17, 21-22)
Series 4: Journals, circa 1970-1987 (0.41 linear feet; Box 2, 22-23)
Series 5: Writings, 1960-2009 (2.05 linear feet, Box 1, 3-4, 23)
Series 6: Project Files, 1961-circa 2008 (7.74 linear feet, Box 5-9, 13-20, 23)
Series 7: Research Files, 1962-2000 (0.65 linear feet, Box 9-10, 23)
Series 8: Personal Business Records, 1972-2007 (0.30 linear feet, Box 10)
Series 9: Printed Material, 1959-2008 (0.51; Box 10-11, 14)
Series 10: Photographical Material, 1973-2006 (0.70 linear feet, Box 11)
Series 11: Unidentified Audiovisual and Born-Digital Materials (Box 11, 12, 23)
Biographical / Historical:
Robert Studley Forrest Hughes (1938-2012) was an art critic, author, and historian based in New York, New York. Born in Sydney, Australia, Hughes attended St. Ignatius College and Sydney University, where he studied art and architecture. After a stint as an abstract expressionist painter, Hughes worked as a political cartoonist before becoming a full-time art critic. He lived in Italy and London and traveled extensively throughout Europe before moving to New York City in 1970, where he lived until his death in 2012. Hughes was best known for the 1980s television series, "Shock of the New," where he explored the development of modern art, and for his longstanding position with TIME Magazine. Throughout his career, Hughes published several books, including his 2006 memoir where he recounted the story of his near fatal accident in 1999, and wrote and presented multiple documentary style television series and films.
Provenance:
Donated in 2021 by Doris Downes, Robert Hughes' widow.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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 -- New York (State) -- New York Search this
Authors -- New York (State) -- New York Search this
Historians -- New York (State) -- New York Search this
Genre/Form:
Diaries
Interviews
Motion pictures
Scrapbooks
Sound recordings
Video recordings
Citation:
Robert Hughes papers, 1952-2012. Archives of American Art, Smithsonian Institution.
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.
Scope and Contents:
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.
The bulk of the collection consists of correspondence with many artists, writers and others, including Pat Adams, James Adley, Rudolf Arnheim, Jake Berthot, Dennis Congdon, George Herbert, Remo Guidieri, Barbara Howes, Fred Licht, Joan Punyet Miro, Carl Fredrik Reuterswärd, and Hedda Sterne, among others. Smaller amounts of letters are from Joseph Albers, Edward Albee, Richard Avedon, Richard Diebenkorn, David Driskell, Alberto Giacometti, Philip Guston, Lillian Hellman, Alger Hiss, Bernard Malamud, Joan Miro, Robert Motherwell, Lewis Mumford, Claes Oldenburg, and Vassilis Vassilikos.
Writings consist of transcripts of miscellaneous articles or those written for various publications. Research files include reference or research materials for books, exhibitions, individuals and various topics. Individuals and topics include Jacopo Luis Borges, Allan Kaprow, Richard Lindner, Seong Moy, Jean Tinguely, Mark Tobey, Jack Tworkov, Adja Yunkers; and Dadaism, poetry and symbolism.
The addition to the Dore Ashton papers (Series 8) includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material. Writings make up a significant part of the addition and contain hundreds of manuscripts, as well as lectures, notes, sixty notebooks, ten diaries, and writings by others. Writing project and subject files comprise over half of the addition and encompass a large collection of alphabetical files pertaining to artists, actors, writers, thinkers, and collaborators; work projects including writings, exhibitions, panels, symposia, and lecture series; as well as various other subjects and topics. The addition also contains teaching files related to Ashton's positions at the Cooper Union, the New School for Social Research, and Yale University. The photographic material in this series is also abundant and contains hundreds of original photographs of Ashton throughout all stages of her life, many with friends and family.
Arrangement:
The collection is arranged as 8 series.
Missing Title
Series 1: Biographical Materials, 1962-1978
Series 2: Correspondence, 1945-2010, undated
Series 3: Writings, 1952-1976, undated
Series 4: Research files, 1849, 1950-1984, 2009, undated
Series 5: Printed Materials, 1931-1981, undated
Series 6: Artwork, 1949, 1952, 1983, undated
Series 7: Photographs of Artwork, circa 1950-2010
Series 8: Addition to the Dore Ashton Papers, circa 1928-2013
Biographical / Historical:
Dore Ashton (1928-) is an art critic, author, and educator living in New York City. She wrote, contributed , and edited more than 30 books. Ashton was born in Newark New Jersey in 1928 and received an MA from Harvard University in 1950. Her many books and articles focus on late 19th and 20th century art and artists. Ashton was associate editor at Art Digest from 1952-1954, and critic for Arts and Architecture at the New York Times, 1955-1960. Starting in 1962 she held several lecturing posts at various institutions including the School of Visual Arts, Cooper Union, and the New School for Social Research. She was awarded a Guggenheim fellowship in 1964 and a National Endowment for the Humanities grant in 1980. Among Ashton's books are Abstract Art Before Columbus, 1956; Poets and the Past, 1959; A Joseph Cornell Album, 1974; Yes, But…A Critical Study of Philip Guston, 1976, About Rothko, 1983; The New York School: a Cultural Reckoning, 1973; Noguchi East and West, 1992; and David Rankin: The New York Years, 2013. Dore Ashton was the first critic to develop a comprehensive and eye-witness account of the history of the Abstract Expressions.
Ashton married artist Adja Yunkers (1900-1983) in 1953, and they had two daughters Alexandra (known as Sasha) and Marina. In 1985 she married writer Matti Megged (1923-2003).
Related Materials:
Among the holdings of the Archives is an oral history interview with Dore Ashton conducted November 21, 2010 by George W. Sampson, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts Project.
Dore Ashton papers are also located at Emory University Manuscript, Archives, and Rare Book Library.
Provenance:
The Dore Ashton papers were donated to the Archives of American Art by Dore Ashton May 27, 1982, May 8, 1997, June 2, 2011, and March, 25, 2016.
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:
Art critics -- New York (State) -- New York Search this
Art historians -- New York (State) -- New York Search this
Authors -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
Inventory cards track artwork entering and leaving the gallery. Each card lists a work's artist, title, date, media, and measurements. Most cards include a photograph of the artwork, and most cards further list the ultimate action taken regarding the work (sold, returned to artist or gallery, consigned, etc.), the list price or paid price, exhibition and catalog history, and the history of price quotes given for the work. The gallery used a number of abbreviations for the transactions on the inventory cards:
NFS - Not For Sale
RTA - Returned to Artist
o/c - On Consignment (from)
o/a - On Approval
OOG - Out of Gallery
O/L - On Loan (from)
TGF - Top Gallant Farm
There are no inventory cards tracking pre-Columbian art and artifacts in the collection. The cards represent works from both the New York gallery and Zurich gallery.
The cards are arranged into ten overlapping groups established by the gallery representing transactions, such as sales and consignments, loans, returns, and other general art movement. Within each category, most of the cards are alphabetized by artist and thereafter by title, but occasionally an artist's work is divided into categories (for example by media) before being arranged alphabetically by title:
Returned to Artist
Sold (pre-1993)
Sold
Sold and/or Returned to Artist
Returned to Artist
Sold
Old Top Gallant Farm Sculptures
Emmerich Private Sold
Last Active Inventory and Sales
Additional Cards
See Appendix for a list of artists' names represented by the Artist Inventory Cards in Series 8.1.
Appendix: Artists' Names Represented in Artist Inventory Cards in Series 8.1.:
Aakre, Richard
Abbott, Berenice
Abercrombie, Douglas
Adams, Ansel
Adams, Robert
Africano, Nicholas
Albers, Josef
Alechinsky, Pierre
Altoon, John
Amerine, Wayne
Andre, Carl
Annesley, David
Appel, Karel
Arakawa
Arbus, Diane
Arman
Arp, Jean (Hans)
Ashbaugh, Dennis
Atget, Eugene
Atkins, Anna
Audubon, J.J.
Avery, Milton
Bacon, Francis
Bailey, William
Baldus, Edouard
Ball, Lillian
Balthus
Bannard, Walter Darby
Barlett, Jennifer
Barth, Frances
Barth, Wolf
Bartolini, Luciano
Basquiat, Jean-Michel
Baziotes, William
Beasley, Barth
Bireline, George
Bleckner, Ross
Blossfeldt, Karl
Bocklin, Arnold
Boisseu
Boisson, L.
Bolotowsky, Ilya
Bolus, Michael
Bonnard, Pierre
Bonnet, Phi
Bradley, Peter
Beasley, Bruce
Becher, Bernd and Hillar
Bellocq, E.J.
Benazzi, Raffael
Benton, Fletcher
Best, Mary Ellen
Beuys, Joseph
Bill, Max
Boepple, Willard
Bogart, Bram
Borofsky, John
Boxer, Stanley
Botero, Fernardo
Boudin, Eugene
Bourke-White, Margaret
Brach, Paul
Brancusi, Constantin
Braque, George
Brassaï
Breed, Charles
Brui
Brush, Daniel
Buchwald, Howard
Buckley, Stephen
Bucklow, Christopher
Bush, Jack
Butterfield, Deborah
Calder, Alexander
Callahan, Harry
Cascella, Andrea
Caracciolo, Roberto
Caro, Anthony
Cezanne, Paul
Chadwick, Lynn
Chagall, Marc
Chamberlain, John
Chase, Louisa
Chillida, Eduardo
Christensen, Dan
Christo
Clifford, Charles
Close, Chuck
Cohen, Elaine Lustig
Conlon, William
Contino, Leonard
Crile, Susan
cummings, e.e.
Dahl-Wolfe, Louise
David, Michael
Davis, Gerald
Davis, Lynn
Davis, Ronald
de Amaral, Olga
de Chirico, Giorgio
de Clercq, Louis
de Kooning, Willem
Degas, Edgar
Dehner, Edgar
Delaunay, Robert
Delaunay, Sonia
Dembiczak, J.G.
de Valdivia, Marco
di Suvero, Mark
Diebenkorn, Richard
Dill, Guy
Dill, Lesley
Diller, Burgoyne
Dine, Jim
Disderi
Dorazio, Piero
Downes, Rackstraw
Drapell, Joseph
Drentwett
Dubuffet, Jean
Duchamp, Marcel
Duck-Hyun, Cho
Dufy, Raoul
Du Maine, H.
Durandelle, Louis-Emille
Durrant, Jennifer
Dzubas, Friedel
Edgerton, Dr. Harold
Egger, Marc
Eggleston, William
Embry, Norris
Ellis, Stephen
Emmerich, Tobias
Ernst, Max
Evans, Walker
Fautrier, Jean
Feeley, Paul
Feist, Harold
Ferber, Herbert
Ferrara, Jackie
Fessler, Cristina
Fischl, Eric
Flavin, Dan
Fleming, Linda
Fontana, Corsin
Fontana, Lucio
Ford, Hermine
Fornier, Paul
Foster, John
Fournier, Paul
Francis, Sam
Francis, Sherron
Franck
Frank, Robert
Frankenthaler, Helen
Freud, Lucian
Friedberg, Richard
Freres, Henry
Friedlander, Lee
Fuger
Funakoshi, Katsura
Fuss, Adam
Galanin, Igor
Giacometti, Alberto
Gibbons, Arthur
Gilliam, Sam
Ginnever, Charles
Giordani, Patrice
Glarner, Fritz
Gliko, Carl
Gonzalez, Julio
Goodnough, Robert
Gorchov, Ron
Gordon, Harry
Gorky, Arshile
Gossweiler, Christoph
Gottlieb, Adolph
Graffin, Daniel
Graham, John
Graubner, Gotthard
Graves, Nancy
Green, June
Greenleaf, Ken
Griefen, John Adams
Grill
Gris, Juan
Groover, Jan
Guston, Philip
Gutman, John
Hacklin, Alan/Allan
Hagemeyer, Johan
Hall, Lee
Hantai, Simon
Haring, Keith
Harman, Maryann
Hartley, Marsden
Hartung, Hans
Hatcher, Brower
Held, Al
Hendler, Raymond
Hennessy, Richard
Hepworth, Barbara
Herdeg, Christian
Hide, Peter
Highstein, Jene
Hirschfeld
Hitch, Stewart
Hockney, David
Hodgkin, Howard
Hoenigsberg, Helga
Hofmann, Hans
Hollega, Wolfgang
Honegger, Gottfried
Hope, Polly
Hopper, Edward
Horne, Bernard Shea
Hosiasson, Philippe
Hoyland, John
Hoyningen-Heune, George
Hughto, Darryl
Hughto, Margie/Marjorie
Humphrey, Ralph
Hutchinson, Jay
Hutchinson, Jaqueth
Indiana, Robert
Isherwood, Jon
Jenkins, Paul
Jensen, Bill
Johns, Jasper
Johnson, Meredith
Jorn, Asger
Kandinsky, Wassily
Kelly, Ellsworth
Kertesz, Andre
Keskeny, George
Kiesler, Frederick
Kisling
Klee, Paul
Klein, Yves
Klett, Mark
Kline, Franz
Knoop, Guitou
Koekoek, B.C.
Krasner, Lee
Kupka, Frantisek
Kuwayama, Tadaaki
Lack, Stephen
Landfield, Ronnie
Lange, Dorothea
Langlois and Martens
La Noue, Terence
Laurens, Henri
Leger, Fernand
Le Gray, Gustave
Lehman, Wendy
LeRoy, Jeanette
Letellier, B.
Lettron, J.
Levee, John
Levinson, Moss
Levitt, Helen
Lewitt, Sol
Liberman, Alexander
Lichtenstein, Roy
Lindner, Richard
Lipschitz, Jacques
Lipski, Donald
Lipsky, Pat
Lissitsky, El
Lipsky, Pat
Lohse, Richard Paul
Long, Richard
Longobardi, Nino
Louis, Morris
Lüthi, Bernhard
Lüthi, Urs
Lutz
Lydis, Mariette
MacWhinnie, John
Maillol, Aristide
Mairwöger, Gottfried
Mapplethorpe, Robert
Marden, Brice
Maril, Herman
Marin, John
On Consignment from Peter Marks
Martin, Agnes
Martins, Maria
Marx, G.L.
Maryan
Masullo, Andrew
Mathieu, Georges
Matisse, Henri
Matta, Roberto
McDermott & McGough, Messrs.
McDonnell, Joseph Anthony
McLaughlin, John
McLean, John
Meadmore, Clement
Megert, Christian
Miller, Robert
Milton, Peter
Miró, Joan
Misrach, Richard
Mitchell, Joan
Model, Lisette
Moholy-Nagy, Laszlo
Monet, Claude
Moore, Henry
Morandi, Giorgio
Moses, Ed
Motherwell, Robert
Mulder, George
Muller-Brittnau, Willy
Murray, Elizabeth
Muybridge, Eadweard
Nadar, (Felix Tournachon)
Nadelman, Elie
Nakian, Reuben
Natkin, Robert
Nemont, G.
Neugass, Fritz
Nevelson, Louise
Newman, Arnold
Newman, Barnett
Nezhdanov, Alexander
Nicholson, Ben
Nickson, Graham
Nixon, Nicholas
Noel, Georges
Noguchi, Isamu
Noland, Kenneth
Nolde, Emil
Offord, J. Milton
Oldenburg, Claes
Olitski, Jules
Olmec
Ono, Yoko
Orr, Eric
O'Sullivan, Timothy
Otterness, Tom
Outerbridge, Paul
Paik, Nam June
Parodi, Filippo
Penn, Irving
Pepper, Beverly
Perless, Robert
Perlman, Joel
Pettet, William
Pfaff, Judy
Picabia, Francis
Picasso, Pablo
Pissarro, Camille
Pollock, Jackson
Pomodoro, Arnaldo
Poons, Lawrence
Porter, Fairfield
Porter, Katherine
Poulos, Basilios
Press, Naomi
Quaytman, Harvey
Quigley, Edward
Quisgard, Liz Whitney
Rainer, Arnulf
Raush, Mark
Rauschenberg, Robert
Ray, Man
Recanati, Dina
Reddinger
Reinhardt, Ad
Richter, Gerhard
Rickey, George
Ridenhour, William
Rivers, Larry
Robb, Charles
Robbins, Bruce
Robert, Louis
Rockburne, Dorothea
Rodin, Auguste
Rosan, Larry
Rosen, Felix
Rosenthal, Tony
Rosenquist, James
Rossi, Rosalie
Rothko, Mark
Row, David
Rozen, Feliz
Rutherford, Louis M.
Ryan, Anne
Ryan, Kevin
Ryman, Robert
Saba, Richard
de Saint Phalle, Niki
Saito, Kikuo
Salemme, Attilio
Samaras, Lucas
Sander, August
Sander, Ludwig
Sanders, John
Santomaso, Giuseppe
Schapiro, Miriam
Schlemmer, Oskar
Schlesinger, Mark
Schumacher, Emil
Scott, Robert
Scott, Tim
Scott, William
Seery, John
Segal, George
Seligmann, Kurt
Sellers, Daniel
Serra, Richard
Shapiro, Joel
Shields, Alan
Signac, Paul
Simpson, David
Sisley, Alfred
Slone, Sandi
Smith, David
Smith, Hassel
Smith, Kimber
Smith, Tony
Sohanievich, Oleg
Sommer, Frederick
Sommer, Giorgio
Southall, Derek
Spence, Andrew
Stamos, Theodoros
Stankiewicz, Richard
Steichen, Edward
Steiner, Michael
Stella, Frank
Stephan, Gary
Stettheimer, Florine
Stevens, Peter
Still, Clyfford
Stoltz, David
Stone, Sylvia
Strand, Paul
Sugarman, George
Sugimoto, Hiroshi
Sultan, Donald
Sutton, Carol
Sutton, Pat Lipsky
Tajiri, Shinkichi
Talbot, William Henry Fox
Tanger, Susanna
Tatafiore, Ernesto
Thiebaud, Wayne
Thorne, Joan
Tillyer, William
Torres-Garcia, Joaquin
Truitt, Anne
Twombly, Cy
Tworkov, Jack
Unger, Mary Ann
Upton, Ann
Wagner, Merrill
Van Dongen, Kees
Van Gogh Manuscript
Van Stalbent, Adrien
Van Velde, Bram
Vasarely, Victor
Venet, Bernar
Verna, Germaine
Vicente, Esteban
Vuillard, Edouard
Waid, Mary Joan
Walsh, James
Ward, Cora Kelly
Warhol, Andy
Warren, Catharine
Wells, Lynton
Watkins, Charlton E.
Wegman, William
Wessel, Henry
Wesselman, Tom
Westfall, Stephen
Wiegmann, Jenny
Willette, Adolph
Williams, Neil
Williams, Roger
Willis, Thornton
Wilmarth, Christopher
Winogrand, Garry
Witkin, Isaac
Witkin, Joel-Peter
Woelfli, Adolf
Wofford, Philip
Wolfe, James
Wols, Alfred Otto Wolfgang
Wonner, Paul
Woodman, Betty
Woolf, Paul
Wotruba, Fritz
Yokoi, Teruko
Youngerman, Jack
Yunkers, Adja
Zerbe, Karl
Zimmerman, Daniel
Zox, Larry
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
