This collection consists of reel to reel audio tapes relating to the United States space program. The material includes recordings of events, missions, press conferences, and other happenings from the Mercury, Gemini, and Apollo programs.
Scope and Contents:
This collection consists of a unique group of sound recordings collected by Michael Kapp, constituting an oral history of the U.S. space program from its theoretical beginnings through Apollo 13. Some recordings relating to foreign space programs are also included. The tape collection represents thousands of hours of recordings that were assembled over six years, including blockhouse recordings, launch sounds, telemetry, air-to-ground mission recordings, press conferences, and briefings. Space programs represented include Mercury, Gemini, Apollo, and various satellite programs. Recordings include interviews and mission commentary of numerous astronauts, as well as media figures, U.S. Presidents, Congressional leaders, and scientists.
This collection is arranged in two series:
The audio is organized in boxes and identified by the identification number assigned by Kapp. The transcripts are arranged by mission.
Biographical / Historical:
Michael Kapp was the producer of the Bill Dana "Jose Jimenez in Orbit" record album in the 1960s and provider of many of the music tapes broadcast to the Gemini crews from mission control.
Michael Kapp, Gift, 1969, NASM.XXXX.0138
No restrictions on access
Collection consists of records documenting one of the oldest advertising agencies created in Philadelphia. The company then moves to New York and expanses to international markets. During its history NW Ayer & Sons acquires a number of other advertising agencies and is eventually purchased. The largest portion of the collection is print advertisements but also
includes radio and television. NW Ayer is known for some of the slogans created for major American companies.
Scope and Contents:
The collection consists primarily of proof sheets of advertisements created by NW Ayer & Son, Incorporated for their clients. These materials are in series one through thirteen and consist primarily of print advertisements. There are also billboards, radio and television commercials. The advertisements range from consumer to corporate and industrial products. The majority of the advertisements were created for Ayer's New York, Chicago, Los Angeles and international offices. Printed advertisements created by Cunningham & Walsh, Hixson & Jorgensen and Newell-Emmett are also included among these materials. Researchers who are interested in records created by Ayer in the course of operating an advertising agency will find these materials in Series fourteen-nineteen.
Series fourteen consists of advertisements created by NW Ayer & Son to promote their services to potential clients.
Series fifteen are scrapbooks of some of the earliest advertisements created by the company. Series sixteen are publications. Some of the publications were created by Ayer while others were about Ayer or the advertising industry in general. Provides good background materials and puts the company in perspective. Series eighteen are the legal records. Materials relating to employees including photographs, oral histories etc. are found in series nineteen.
Series twenty is one of the smallest amounts of materials and includes information relating to the history of NW Ayer & Son.
The container lists for series one-thirteen are part of a database and are searchable. The list has been printed for the convenience of the researcher and is included in this finding aid. Series fourteen-twenty container lists are also a part of the finding aid but are not in a searchable format.
Series 1, Scrapbooks of Client Advertisements, circa 1870-1920, is arranged into three boxes by chronological date. There are two bound scrapbooks and one box of folders containing loose scrapbook pages. NW Ayer & Son compiled an assortment of their earliest ads and placed them into scrapbooks. Besides the earliest advertisements, the scrapbooks contain requests to run advertisements, reading notices and listings of papers Ayer advertised in. The early advertisements themselves range from medical remedies to jewelry to machines to clothing to education and more. Most of the advertisements in the bound scrapbooks are dated.
Series 2, Proofsheets, circa 1870-1930, NW Ayer was fond of creating scrapbooks containing proofsheets. The series contains proofsheets created between 1892 and 1930, organized into 526 boxes. For convenience of storage, access and arrangement, the scrapbooks were disassembled and the pages placed in original order in flat archival storage boxes. The proofsheets are arranged by book number rather than client name. Usually the boxes contain a listing of the clients and sometimes the dates of the advertisements to be found within the box.
Series 3, Proofsheets, circa 1920-1975, is organized into 532 oversize boxes, and contain proofsheets and tearsheets created between 1920 and 1972. Within this series, materials are arranged alphabetically by company name (occasionally subdivided by brand or product), and thereunder chronologically by date of production. Many major, national advertisers are represented, including American Telephone & Telegraph, Armour Company, Canada Dry, Cannon Mills, Carrier Corporation, Domino Sugar, Caterpillar tractor company, Ford Motor Company, General Electric, Goodyear, Hills Bros. Coffee, Ladies Home Journal, National Dairy, Plymouth (Chrysler Corporation), Steinway, TV Guide, United Airlines and the United States Army. Also contained in this series are three scrapbooks of client advertisements including Canada Dry, Ford Motor, and Victor Talking Machine.
Series 4, 2001 Addendum, circa 1976-2001, is organized into ninety three oversized boxes,one folder and contains proofsheets for select Ayer clients, created between 1975 and 2001. Within this series, materials are arranged alphabetically by client name and there under chronologically by date of production. Major national advertisers represented include American Telephone & Telegraph, Avon, the United States Army, DeBeers Consolidated Diamond Mines, Dupont, TV Guide, Sealtest, Kraft Foods, Gillette, General Motors, Cannon Mills.
Series 5, Billboards, circa 1952-1956, consists of mounted and un-mounted original art/mock-ups. Twenty-two pieces of original art created as mock-ups for Texaco billboards.
Series 6, Film and Video Commercials, 1967-1970,
Series 7, Radio and Television Materials, 1933-1993, undated, is arranged into eight boxes and includes radio scripts, television scripts, and story boards for commercials.
Subseries 7.1, Scripts and storyboards for Radio and Television Commercials, dates Scripts for radio and television commercials includes title, date, length of commercial, advertising agency, client information
NW Ayer's radio and television materials mainly focus on the American Telegraph and Telephone account. Some of Ayer's materials relate to Bell Telephone Hours.
Storyboards are used in television and film to assist the director in working with crew to tell the story. To show the viewer through the use of figures, visual effects and camera angles. When directors first start thinking about their storyboard they create a story in their mind. They think of all the camera angles, visual effects and how the figures will interact in their mind. They try to create an extraordinary story in their head to attract the viewer (YOU) In order for the storyboard to be entirely effective it can't be a passive document. When done properly, a storyboard serves as a central design, meeting the needs of many team members including graphics artists, video personnel and programmers.
Another function of a storyboard is to help the team communicate during the training development process. This communication is very important in working with a large team as in the movie King, produced in 1996. Figures help the director explain to the crew how they are going to record the film and how to present it to the audience. Sometimes the director wants special effects to be added to the film, but his budget might not be that big so the director will have to change the story to fit their budget.
The Visual Effects are an important part in the storyboards it adds a special touch of creativity to your film. Camera angles are an important expects in your film because the camera angles determine where the viewing audience will look. If you want your audience to look at a certain object you must turn their attention to it by focusing on that object and maybe you might try blocking something out. Then you will have your audience's attention and you may do whatever else you have to, it could be scaring them are just surprising them or whatever you do.
Also included is talent information and log sheets relating to the storage of the commercials.
Bell Telephone Hour Program, 1942-[19??], The Bell Telephone Hour, also known as The Telephone Hour, was a five minute musical program which began April 29, 1940 on National Broadcasting Company Radio and was heard on NBC until June 30, 1958. Sponsored by Bell Telephone showcased the best in classical and Broadway music, reaching eight to nine million listeners each week. It continued on television from 1959 to 1968.
Earlier shows featured James Melton and Francia White as soloists. Producer Wallace Magill restructured the format on April 27, 1942 into the "Great Artists Series" of concert and opera performers, beginning with Jascha Heifetz. Records indicate that the list of talents on the program included Marian Anderson, Helen Traubel, Oscar Levant, Lily Pons, Nelson Eddy, Bing Crosby, Margaret Daum, Benny Goodman, José Iturbi, Gladys Swarthout and .The series returned to radio in 1968-1969 as Bell Telephone Hour Encores, also known as Encores from the Bell Telephone Hour, featuring highlights and interviews from the original series.
National Broadcasting television specials sponsored by the Bell System, 1957-1987includes information relating to Science series, Bell system Theshold Series, Bell telephone hour and commercial and public sponsored programs
Series 8, Chicago Office Print Advertisements, 1954-1989, is arranged alphabetically by the name of the client in ninety boxes and six oversize folders. Clients include Illinois Bell Telephone (1955-1989), Microswitch (1969-1989), Teletype (1975-1984), John Deere (1974-1989) and Caterpillar (1966-1972) are particularly well represented. Other clients of interest include Dr. Scholl's shoes (circa 1968-1972), the Girl Scouts (1976-1980), Sunbeam Personal Products Company (1973-1981), Bell and Howell (1974-1983) and Alberto Culver shampoos (1967-1971), Honeywell, Incorporated, Blue Cross and Blue Shield Associations, Kraft, Incorporated, Sears, Roebuck and Company, and YMCA.
Series 9, Los Angeles Office Materials, 1950s-1987, include printed advertisements created by this office and information relating to the employees.
Subseries 9.1, Print Advertisements, 1977-1987, printed advertisements arranged in one box alphabetically by client. There is a sparse sampling of clients from this particular Ayer branch office. The majority of the advertisements contained within this series are from Pizza Hut (1986-1987). Also included are Computer Automation (1977-1978), State of the Art, Incorporated (1982) and Toshiba (1986).
Subseries 9.2, Personnel Files, 1950s-1970s, includes cards of employees who worked in the Los Angeles office. Information on the cards includes name, address, telephone number, birthday, date hired, departure date and why (retired, terminated, resigned, etc) and position. Not all cards have all information. There is also a photograph of the employees on the cards.
Series 10, Foreign Print Advertisements, 1977-1991, undated, NW Ayer maintained partnerships with international companies such as Sloanas Ayer in Argentina, Connaghan & May Paton Ayer in Australia, Moussault Ayer in Belgium, NW Ayer, LTD. in Canada, GMC Ayer in France, Co-Partner Ayer in Germany, Wong Lam Wang in Hong Kong, MacHarman Ayer in New Zealand, Grupo de Diseno Ayer in Spain, Nedeby Ayer in Sweden, and Ayer Barker in United Kingdom. This group of material is a small sampling of advertisements created from these International offices. It is arranged alphabetically by client. There are quite a few automobile advertisements (i.e. Audi, Fiat, General Motors, Mercedes-Benz, and Volkswagen). In addition there are numerous advertisements for various personal items from MacLean's toothpaste to Quick athletic shoes to Labello lip balm, etc. Most of the advertisements have the creator's name printed on the advertisements.
Series 11, Cunningham & Walsh, Incorporated Materials, 1915-1987, undated contains 98 boxes 11 folders materials from the New York advertising agency acquired by NW Ayer in the 1960s. The company began with Newel-Emmett, an agency of nine men which broke up in 1949. Two of the men Fred Walsh and Jack Cunningham formed this agency in bearing their names in 1950. The agency created "let your fingers for the walking campaign for American Telephone & Telegraph, Mother Nature for Chiffon, and Mrs. Olson for Folgers's coffee and let the good times roll for Kawasaki motorcycle. In 1986, NW Ayer Incorporated purchased Cunningham & Walsh Incorporated.
Subseries 11.1, Print Advertisements, 1915-1987, are contained in ninety eight boxes of primarily print advertisements arranged alphabetically by client name. Clients that are particularly well represented are Graybar (electrical implements, circa1926-1937), Johns-Manulle (circa1915-1971), Smith and Corono typewriters (circa 1934-1960), Sunshine Biscuit Company (circa 1925-1961), Texaco Company (circa 1936-1961), Western Electric (circa 1920- 1971) and Yellow Pages (circa 1936-1971). Cunningham and Walsh also represented several travel and tourism industry clients, including Cook Travel Services (circa 1951-1962), Italian Line (circa 1953-1961), Narragansett and Croft (circa 1956-1960) and Northwest Airlines (circa 1946-1955). There are photographs of Texaco advertisements dating from 1913-1962. There is also a scrapbook of advertisements from the Western Electric Company dating from 1920-1922.
Subseries 11.2, Radio and Television Advertisements, 1963-1967, consist of materials created for Western Electric. Materials are arranged in chronological order.
Subseries 11.3, Company Related Materials, 1962-1986, undated include client lists, information relating to NW Ayer purchase and annual report 1962.
Series 12, Hixson & Jorgensen Materials, 1953-1971, a Los Angeles advertising company, merged with Ayer in 1969. This series is housed in one box. Within the box are four scrapbooks and folders with a hodgepodge of materials relating to advertising. Of most interest are the scrapbooks. Two scrapbooks deal with Hixson and Jorgensen's self promotion ad campaign "the right appeal gets action" (1953-1957). The other two scrapbooks contain news clippings about the company and its activities (1959-1971).
Series 13, Newell-Emmet, 1942-1957, founded in 1919 and governed in the 1940s by a partnership of nine men. The partnership broke up in 1949 when the men went their separate ways. The materials consist of print advertisements for one of client, Permutit Company, a water conditioning company. The materials are arranged in one box in chronological order.
Series 14, House Print Advertisements, 1870-1991, 16 boxes consists of advertisements or self-promotion advertisements to campaign for new clients. The series is arranged chronologically by date into fifteen boxes. Within the series are two scrapbooks containing self promotion ads from 1888-1919 and 1892-1895. Numerous house ads relate to Ayer's "Human Contact" campaign. In addition to the self promotion ads, Ayer ran advertisements expounding about particular concepts or themes for example, one month the concept would "understand" while another month would be "teamwork" and yet another would be on "imagination". Some of the self promotion ads target specific groups like Philadelphia businessmen. Other advertisements incorporate the fine arts.
Series 15, Scrapbooks, 1872-1959, relates to company events, records and news clippings about Ayer's history. The six boxes are arranged by chronological date. Two of the boxes focus solely on the death of founder F.W. Ayer (1923). Another box houses a scrapbook that showcases Ayer's annual Typography Exhibition (1931-1959). One box contains a scrapbook that specifically deals with correspondences relating to Ayer's advertising. Yet another box's contents are folders of loose pages from scrapbooks that have newspaper clippings, order forms, correspondences and other company records. In one box, a bound scrapbook houses a variety of materials relating to Ayer and advertising (i.e. newspaper clippings, competitor's advertisements, NW Ayer's advertisements, correspondences for advertisements, clippings regarding the "theory of advertising."
Series 16, Publications, 1849-2006, are housed in thirty four boxes and are arranged into three main categories.
Subseries 16.1, House Publications, 1876-1994, covers diverse topics; some proscriptive works about the Ayer method in advertising, some commemorating people, anniversaries or events in the life of the agency. Materials consist of scattered issues of the employee newsletter The Next Step 1920-1921. The materials are arranged in chronological order by date of publication. Ayer in the News, The Show Windows of an Advertising Agency, 1915, book form of advertisements published on the cover of Printer's Ink, highlighting Ayer's relations with advertisers. The Story of the States, 1916, Reprint in book form of a series of articles published in Printer's Ink for the purpose of adding some pertinent fact, progressive thought and prophetic vision to the Nationalism of Advertising highlights major businesses, manufacturer, natural resources and other qualities or attractions of each state. The Book of the Golden Celebration, 1919, includes welcome address and closing remarks by founder F. Wayland Ayer, The Next Step, 1920 employee newsletter with photographs, employee profiles, in-house jokes, etc., Advertising Advertising: A Series of Fifty-two Advertisements scheduled one time a week. Twenty-seven, thirty and forty inches, a day of the week optional with publisher, 1924
Subseries 16.2, Publications about NW Ayer, 1949-2006, includes a book first published in 1939. Includes articles, documenting events and is arranged chronologically by date of publication.
Subseries 16.3, General Publications about Advertising, 1922-1974, are arranged chronologically by date of publication and relate primarily to the history of advertising.
Subseries 16.4, Publications about Other Subjects, 1948-1964, include four books about the tobacco industry primarily the history of the American Tobacco Company and Lorillard Company from the Cunningham and Walsh library.
Series 17, Business Records, circa 1885-1990s
Subseries 17.1, Contracts, 1885-1908, undated, are arranged alphabetically and span from 1885-1908. The majority of the contracts are with newspaper and magazine publishers from around the country.
Subseries 17.2, General client information, 1911-1999, undated, including active and cancelled lists with dates, client gains, historical client list, (should move this to series 20) Ayer Plan User Guide Strategic Planning for Human Contact, undated
Subseries 17.3, Individual Client Account Information, 1950s-1990s, undated, contain information used by Ayer to create advertisements for some of its clients. American Telephone &Telegraph Corporate Case History, American Telephone &Telegraph Corporate advertisement memo, commissioned artists for DeBeers advertisements, DeBeers information relating to the creative process and photography credits, a case history for DeBeers Consolidated Mines, Ltd., The Diamond Engagement Ring, Managing Communication at all levels, DuPont publications, JC Penny Marketing Communication Plan Recommendation, Leaf, Incorporated, Saturn presentation, and USAREC oral presentation.
Subseries 17.4, Potential Clients, 1993, includes grouping has a questionnaire sent to Ayer by a potential client. Questionnaire response for Prudential Securities, 1993 Prudential Securities advertising account review, 1993.
Subseries 17.5, Financial Records, 1929-1938, includes balance sheet, 1929 May 1 Balance sheet and adjustments Consolidated statement of assets and liabilities, Expenses 191936-37 Business review and expenses, 1937 and 1938 Business review and expenses comparative statement, 1937 and 1938.
Series 18, Legal Records, circa 1911-1982, Ayer's legal records are arranged by twelve subject groupings within four boxes. The twelve groupings are advertising service agreements (circa 1918-1982), bylaws, copyright claims, correspondences, international correspondences, dissolution of trusts, stock information, agreements between partners, incorporation materials, reduction of capital, property information and miscellaneous materials. The bulk of the materials are the advertising service agreements. These agreements are between Ayer and their clients and state the services Ayer will offer and at what cost. The bylaws are Ayer's company bylaws from 1969 and 1972. The copyright claims are certificates stating Ayer's ownership over certain published materials (i.e. "Policy", Media Equalizer Model, and Don Newman's Washington Square Experiment). The correspondences relate to either the voting trust and receipts for agreement or the New York Corporation. The international correspondences are from either Ayer's Canadian office or London office. The dissolutions of trusts contains materials about the dividend trust of Wilfred F. Fry, the investment trust of Winfred W. Fry, the voting trust, and the New York corporation. The stock information has stock certificates and capital stock information. The agreements between partners (1911-1916) specify the terms between F.W. Ayer and his partners. The incorporation materials (circa 1929-1977) deal with Ayer advertising agency becoming incorporated in the state of Delaware. The reduction of capital grouping is a notification that shares of stock have been retired. The property information grouping contains property deeds and insurance policy (circa 1921-1939), a property appraisal (1934), and a bill of sale (1948). The miscellaneous grouping contains a house memo regarding a set of board meeting minutes and a registry of foreign companies in Commonwealth of Pennsylvania (1929-1954).
Subseries 18.1, Advertising Service Agreements, 1918-1982
Subseries 18.2, Bylaw Materials, 1969-1972
Subseries 18.3, Copyright Claims, 1962-1969
Subseries 18.4, Correspondence, 1928-1933
Subseries 18.5, International Office Correspondence, 1947-1948
Subseries 18.6, Dissolution of Trusts, 1934-1937
Subseries 18.7, Stock Information, 1934-1974
Subseries 18.8, Agreements between Partners, 1911-1916
Series 19, Personnel Records, circa 1889-2001, are arranged into eight groupings within eight boxes. The groupings are employee card files, photographs, Ayer alumni, biographies, speeches, recollections, oral histories, and miscellaneous. Typed manuscript of book A Copy Writer Speaks by George Cecil, NW Ayer, Incorporated copy head 1920s-1950s
Subseries 19.1, Employee card files, circa 1892-1915; 1929-1963, consists of index cards with the name, age, job title, date and wage increases, date of hire/fire, as well as remarks about the employee's service and/or reasons for seeking or leaving the job. Materials are arranged alphabetically by the last name of the employee within three boxes.
Subseries 19.2, Photographs, circa 1924-1984, undated, are housed in two boxes. The photographs grouped together by subjects i.e. personnel, company events, Ayer buildings, and miscellaneous. This grouping primarily consists of personnel photographs. Includes a glass plate negative dated 1924 of NW Ayer.
Subseries 19.3, Ayer Alumni, circa 1989-98, include employees who have left Ayer. There is a listing of Ayer "graduates" and their current job. Emeritus, Ayer's alumni newsletter 1989-1996, makes up the majority of materials in this grouping. The newsletter keeps the alumni up to date with the happenings of Ayer and what has become of former Ayer employees. Emeritus is a quarterly newsletter devoted to the activities, thoughts and feelings of Ayer alumni a body of people who consists of retirees and former employees.
Subseries 19.4, Biographical Information, circa 1889-1994, undated, prominent members of Ayer's operations had biographical sketches completed of them. This was true for the bio sketches of Robert Ervin, Louis T. Hagopian, and George A. Rink. There is a substantial file on Dorothy Dignam ("Mis Dig"), a leading woman in the advertising world from the 1930s to the 1950s. Also of interest is a video ("The Siano Man") compiled by Ayer employees to commemorate Jerry Siano's retirement from Ayer in 1994. The series is arranged alphabetically by last name.
Subseries 19.5, Speeches, circa 1919-1931; 1975, contains speeches made by Wilfred W. Fry and Neal W. O'Connor. Wilfred W. Fry had various speaking engagements connected with Ayer. Contained in this group is a sampling of his speeches from 1919 to 1931. Neal O'Connor's speech "Advertising: Who Says It's a Young People's Business" was given at the Central Region Convention for the American Association of Advertising Agencies in Chicago on November 6, 1975. The speeches are arranged alphabetically by the speaker's last name.
Subseries 19.6, Recollections, 1954-1984, undated, are arranged alphabetically by last name. These are recollections from Ayer employees about the company and its advertisements. Some recollections are specifically about certain types of advertisements, like farm equipment while others reflect on F. W. Ayer and the company.
Subseries 19.7, Oral History Interview Transcripts, 1983-1985; 1989-1991, include interviews with key NW Ayer personnel, conducted by Ayer alumnae Howard Davis, Brad Lynch and Don Sholl (Vice President creative) for the Oral History Program. The materials are arranged alphabetically by the last name of the interviewee.
Subseries 19.8, Oral History Interview Audio Tapes, 1985-1990, include interviews on audiotape the materials are arranged alphabetically by the last name of the interviewee.
Subseries 19.9, Internal Communications, 1993-1999, includes information sent to employees relating to retirements, management changes, awards won by the company, promotions, potential new accounts, free items, grand opening of Ayer Café, donation events, sponsorship programs, holiday schedules, discounts for employees from clients, Ayer joins MacManus Group.
Subseries 19.10, General Materials, 1940; 1970, includes agency directory entry including a list of the employees, 1970s, annual banquet program for the Curfew Club May 22, 1940 a group formed by the Philadelphia employee in 1938. It sponsored numerous sports, social and educational activities. Groups were formed in public speaking, music appreciation and a series of talks on Monday evenings title the modern woman. The front page was a series of talks for general interest. A list of officers, 1991, Twenty five year club membership, 1973 December 1, List of NW Ayer graduates, 1970, List of Officers, 1991 May 31, Obituary for Leo Lionni, 1999 October 17, List of photographers of advertisements, 2001
Series 20, Background and History Information, 1817-1999, undated includes a chronology, 1817-1990, quick reference timeline, 1848-1923, loose pages from a scrapbook containing examples of correspondence, envelopes, advertisements dating from 1875-1878; slogans coined by NW Ayer & Sons, Incorporated, 1899-1990, history of management, 1909-1923, articles and photographs about the building and art galleries, 1926-1976, publications about the Philadelphia building, 1929, pamphlet relating to memories of NW Ayer & Sons, Incorporated, 1930s-1950s, television history, 1940-1948, Article about the history of the company, 1950 January, pocket guide, 1982, AdWeek reports about standings for advertising agencies, information relating to Human Contact which is NW Ayer's Information relating to Human Contact, undated which is their philosophy on advertising.
Series 21, Materials Created by other Advertising Agencies, 1945-1978, undated, consists of print advertisements collected by Ayer from other major advertising companies. The companies include Doyle Dane Bernback, Incorporated, Leo Burnett Company, Grey Advertising Agency, D'Arcy Ad Agency, Scali, McCabe, Sloves, Incorporated and Erwin Wasey Company. The materials are arranged in alphabetical order by client and include products from Ralston Purina and Van Camp (Chicken of the Sea), Kellogg, American Export Lines and No Nonsense Fashions.
Series 22, 2010 Addendum of Print Advertisements, circa 1879s-1999, undated, includes material given to the Archives Center in 2010. It is organized into seventy one oversized boxes and contains proofsheets of print advertisements for select Ayer clients. These are arranged alphabetically by client name and include substantial quantities of materials from American Telephone &Telegraph (1945-1996), Bahamas Ministry of Tourism (1967-1987), Carrier (1971-1981), Citibank (1973-1991), DeBeers (1940s-1960s and1990s), Electric Companies Advertising Program [ECAP] (1942-1970s), General Motors (1989-1998), J.C. Penney (1983-1986), Newsweek (1966-1975), and Proctor and Gamble (1980s-1890s). There are also numerous other clients represented by smaller quantities of materials.
Subseries 22.2, Print Advertisements on Glass Plate Negatives, 1879-1881, undated, include Cannon towels, Cheny Brothers silks, Cornish & Company organs and pianos, Enterprise Manufacturing Company, 1879 sad iron, an ad from Harper's Weekly 1881 for ladies clothing, Ostermoor & Company mattresses, Pear's soap, Porter's cough balsam, Steinway pianos.
Series 23, Microfilm of Print Advertisements, circa 1908-1985, consists of three boxes of printed advertisements for the American Telephone and Telegraph Company. Some of the same advertisements might also be found in series two, three and four.
The collection is arranged into twenty-three series.
Series 1: Scrapbooks of Client Print Advertisements, circa 1870-1920
Series 2: Proofsheets, circa 1870-1930
Series 3: Proofsheets, circa 1920-1975
Series 4: 2001 Addendum, circa 1976-2001
Series 5: Billboards, circa 1952-1956
Series 6: Audiovisual Materials
Series 7: Radio and Television Materials, 1933-1993, undated
Series 8: Chicago Office Print Advertisements, 1954-1989
Series 9: Los Angeles Office Materials, 1950s-1987
Subseries 9.1: Printed Advertisements, 1977-1987
Subseries 9.2: Personnel Files, 1950s-1970s
Series 10: Foreign Print Advertisements, 1977-1991, undated
Series 11: Cunningham & Walsh Incorporated Materials, 1915-1987, undated
Subseries 11.1: Printed Advertisements, 1915-1987
Subseries 11.2: Radio and Television Advertisements, 1963-1967
Subseries 11.3: Company Related Materials, 1962-1986, undated
Series 12: Hixson & Jorgensen Materials, 1953-1971, undated
Series 13: Newell-Emmet, 1942-1957
Series 14: House Print Advertisements, 1870-1991
Series 15: Scrapbooks, 1872-1959
Series 16: Publications, 1849-2006
Subseries 16.1: House Publications, 1876-1994
Subseries 16.2: Publications about NW Ayer, 1949-1995
Subseries 16.3: General Publications about Advertising, 1922-2006
Subseries 16.4: Publications about other Subjects, 1948-1964
Series 17, Business Records, circa 1885-1990s
Subseries 17.1: Contracts, 1885-1908, undated
Subseries 17.2: General Client Information, 1911-1999, undated
Subseries 22.2: Print Advertisements on Glass Plate Negatives, 1879-1881, undated
Series 23: Microfilm of Print Advertisements, circa 1908-1985
Biographical / Historical:
Founded in Philadelphia in 1869, NW Ayer & Son is one of the oldest and largest advertising agencies in America. For most of its history, it was the undisputed leader and innovator in the field of advertising. In 1876, NW Ayer & Son pioneered the "open contract", a revolutionary change in the method of billing for advertising which became the industry standard for the next hundred years. NW Ayer pioneered the use of fine art in advertising and established the industry's first art department. It was the first agency to use a full-time copywriter and the first to institute a copy department. The agency relocated to New York City in 1974. During its long history, the agency's clients included many "blue-chip" clients, including American Telephone & Telegraph, DeBeers Consolidated Diamond Mines, Ford Motor Company, Nabisco, R. J. Reynolds and United Airlines. However, in later years, the Ayer's inherent conservatism left the agency vulnerable to the creative revolution of the 1960s and 1970s, the advertising industry restructuring of the 1980s and the economic recession of the early 1990s. The agency was bought out by a Korean investor in 1993. In 1996, NW Ayer merged with another struggling top twenty United States advertising agency, Darcy, Masius, Benton & Bowles, under the umbrella of the McManus Group. Ayer continues to operate as a separate, full-service agency.
Through a series of buyouts and mergers, Ayer traces its lineage to the first advertising agency founded in the United States, a Philadelphia agency begun by Volney Palmer in 1841. Palmer began his career in advertising as a newspaper agent, acting as middleman between newspaper publishers and advertisers across the country. By 1849, Palmer had founded his own newspaper, V. B. Palmer's Register and Spirit of the Press, and had developed a complete system of advertising which included securing advertising space and placing ads in scores of commercial, political, religious, scientific and agricultural journals across the country. Palmer went one step further than the "space jobbers" of the day when he began offering "advertisements carefully drawn for those who have not the time to prepare an original copy." Always an enthusiastic promoter of advertising as an incentive to trade and American economic growth, Palmer promised advertisers that "every dollar paid for advertising in country newspapers will pay back twenty-fold" and encouraged skeptical consumers that "he who wishes to buy cheap should buy of those who advertise." When Palmer died in 1863, the agency was bought by his bookkeeper, John Joy, who joined with another Philadelphia advertising agency to form Joy, Coe & Sharpe. That agency was bought out again in 1868 and renamed Coe, Wetherill & Company. In 1877, Coe, Wetherill and Company was bought out by the newly formed NW Ayer & Son.
Francis Wayland Ayer was an ambitious young schoolteacher with an entrepreneurial streak. Having worked for a year soliciting advertisements on a commission basis for the publisher of the National Baptist weekly, Francis Ayer saw the potential to turn a profit as an advertising agent. In 1869, Ayer persuaded his father, Nathan Wheeler Ayer, to join him in business, and with an initial investment of only $250.00, NW Ayer & Son was born. Notwithstanding a smallpox epidemic in Philadelphia in 1871 and the general economic depression of the early 1870s, the agency flourished. The senior Ayer died in 1873, leaving his interest in the agency to his wife, but Francis W. Ayer bought her out, consolidating his interest in the company's management. In 1877, with Coe, Wetherill & Company (the successor to Palmer's 1841 agency) on the verge of bankruptcy and heavily indebted to Ayer for advertising it had placed in Ayer publications, Ayer assumed ownership of that agency. Thus did NW Ayer lay claim to being the oldest advertising agency in the country.
Both Nathan Wheeler and Francis Wayland Ayer began their careers as schoolteachers, and one of their legacies was a commitment to the cause of education: correspondence schools and institutions of higher learning were historically well-represented among Ayer clients. Just after World War I, the agency was heralded as "co-founder of more schools than any citizen of this country" for its conspicuous efforts to advertise private schools. Well into the 1960s, an "Education Department" at Ayer prepared advertisements for over three hundred private schools, camps and colleges, representing almost half the regional and national advertising done for such institutions. In fact, to its clients Ayer presented advertising itself as being akin to a system of education. In 1886, Ayer began promoting the virtues of the Ayer way advertising with the slogan, "Keeping Everlastingly at It Brings Success."
The agency's goals were simple: "to make advertising pay the advertiser, to spend the advertiser's money as though it were our own, to develop, magnify and dignify advertising as a business." Initially, Ayer's fortunes were tied to newspapers, and the agency began to make a name for itself as compiler and publisher of a widely used American Newspaper Annual. During the first years, Ayer's singular goal was "to get business, place it [in newspapers] and get money for it"; after several years as an independent space broker, however, Francis Ayer resolved "not to be an order taker any longer." This decision led NW Ayer and Son to a change in its mode of conducting business which would revolutionize the advertising industry: in 1876, Ayer pioneered the "open contract" with Diggee & Conard, Philadelphia raised growers and agricultural suppliers. Prior to the open contract, NW Ayer & Sons and most agencies operated as "space-jobbers," independent wholesalers of advertising space, in which the opportunities for graft and corrupt practices were virtually unlimited. In contrast, the open contract, wherein the advertiser paid a fixed commission based on the volume of advertising placed, aligned the advertising agent firmly on the side of the advertiser and gave advertisers access to the actual rates charged by newspapers and religious journals. The open contract with a fixed commission has been hailed by advertising pioneer Albert Lasker as one of the "three great landmarks in advertising history." (The other two were Lasker's own development of "reason-why" advertising copy and J. Walter Thompson's pioneering of sex appeal in an advertisement for Woodbury's soap.) Although the transition to the open contract did not happen overnight, by 1884, nearly three-quarters of Ayer's advertising billings were on an open contract basis. Since Ayer was, by the 1890s, the largest agency in America, the switch to direct payment by advertisers had a significant impact on the advertising industry, as other agencies were forced to respond to Ayer's higher standard. Just as important, the open contract helped to establish N W Ayer's long-standing reputation for "clean ethics and fair dealing" -- a reputation the agency has guarded jealously for over a century.
The open contract also helped to establish Ayer as a full service advertising agency and to regularize the production of advertising in-house. From that point forward, Ayer routinely offered advice and service beyond the mere placement of advertisements. Ayer set another milestone for the industry in 1888, when Jarvis Wood was hired as the industry's first full-time copywriter. Wood was joined by a second full time copywriter four years later, and the Copy Department was formally established in 1900. The industry's first Art Department grew out of the Copy Department when Ayer hired its first commercial artist to assist with copy preparation in 1898; twelve years later Ayer became the first agency to offer the services of a full time art director, whose sole responsibility was the design and illustration of ads.
Ayer's leadership in the use of fine art in advertising has roots in this period, but achieved its highest expression under the guidance of legendary art director Charles Coiner. Coiner joined Ayer in 1924, after graduating from the Chicago Academy of Fine Arts. Despite early resistance from some clients, Coiner was adamant that "the use of outstanding palette and original art forms bring a greater return in readership, in impact and prestige for the advertiser." To this end, Coiner marshaled the talents of notable painters, illustrators and photographers, including N.C. Wyeth and Rockwell Kent (Steinway), Georgia O'Keefe (Dole), Leo Lionni (DuPont), Edward Steichen (Steinway, Cannon Mills), Charles Sheeler (Ford), and Irving Penn (DeBeers). Coiner believed that there was a practical side to the use of fine art in advertising, and his success (and Ayer's) lay in the marriage of research and copywriting with fine art, an arrangement Coiner termed "art for business sake." Coiner's efforts won both awards and attention for a series completed in the 1950s for the Container Corporation of America. Titled "Great Ideas of Western Man" the campaign featured abstract and modern paintings and sculpture by leading U.S. and foreign artists, linked with Western philosophical writings in an early example of advertising designed primarily to bolster corporate image. In 1994, Charles Coiner was posthumously named to the American Advertising Federation's Hall of Fame, the first full time art director ever chosen for that honor.
Coiner and fellow art director Paul Darrow also created legendary advertising with the "A Diamond Is Forever" campaign for DeBeers; ads featured the work of Pablo Picasso, Salvador Dali and other modernist painters. The "A Diamond is Forever" tagline was written in 1949 by Frances Gerety, a woman copywriter at Ayer from 1943 to 1970. In 1999, Ad Age magazine cited "A Diamond is Forever" as the most memorable advertising slogan of the twentieth century.
Coiner also earned respect for his volunteer government service during World War II; he designed the armbands for civil defense volunteers and logos for the National Recovery Administration and Community Chest. As a founding member of the Advertising Council in 1945, Ayer has had a long-standing commitment to public service advertising. In the mid-1980s, Ayer became a leading force in the Reagan-era "War on Drugs". Lou Hagopian, Ayer's sixth CEO, brokered the establishment of the Partnership for a Drug-Free America, a media coalition which generated as much as a million dollars a day in donated advertising space and time to prevent the use and abuse of illegal drugs. Famous names appear among NW Ayer's clientele from the very earliest days of the agency. Retailer John Wanamaker, Jay Cooke and Company, and Montgomery Ward's mail-order business were among the first Ayer clients. The agency has represented at least twenty automobile manufacturers, including Cadillac, Chrysler, Ford, General Motors, Plymouth, and Rolls-Royce. Other major, long-term clients through the years have included American Telephone & Telegraph, Canada Dry, Cannon Mills, Hills Bros. Coffee Company, Kellogg's, R. J. Reynolds, Steinway and Sons, United Airlines, and the United States Army. By the time of Ayer's hundredth anniversary in 1969, some of these companies had been Ayer clients for decades if not generations, and the longevity of those relationships was for many years a source of Ayer's strength.
But the advertising industry began to change in the late 1960s and 1970s, due in part to a "creative revolution." Small advertising agencies won attention with provocative copywriting and art direction that more closely resembled art than advertising. Advances in market research allowed clients to more narrowly tailor their advertising messages to distinct groups of consumers, and this led to a rise in targeted marketing which could more readily be doled out to specialized small agencies than to larger, established firms like NW Ayer & Son. The civil rights and anti-war movements also contributed to increasing public skepticism with the values of corporate America, and by extension, with some national advertising campaigns. Older, more conservative firms like Ayer were hard pressed to meet these new challenges.
About 1970, in an effort to meet these challenges and to establish a foothold on the West Coast, Ayer bought out two smaller agencies--Hixson & Jorgenson (Los Angeles) and Frederick E. Baker (Seattle). The agency relocated from Philadelphia to New York City in 1974 in an attempt both to consolidate operations (Ayer had operated a New York office since the 1920s) and to be closer to the historic center of the advertising industry. Riding the wave of mergers that characterized the advertising industry in the late 1980s and 1990s, Ayer continued to grow through the acquisition of Cunningham & Walsh in 1986 and Rink Wells in 19xx.
During this transitional period, Ayer received widespread acclaim for its work for the United States Army, which included the widely recognized slogan "Be All You Can Be". Ayer first acquired the Army recruitment account in 1967 and with help from its direct marketing arm, the agency was widely credited with helping the Army reach its recruitment goals despite an unpopular war and plummeting enlistments after the elimination of the draft in 1973. Ayer held the account for two decades, from the Vietnam War through the Cold War, but lost the account in 1986 amid government charges that an Ayer employee assigned to the account accepted kickbacks from a New York film production house. Despite Ayer's position as the country's 18th largest agency (with billings of $880 million in 1985), the loss of the agency's second largest account hit hard.
NW Ayer made up for the loss of the $100 million dollar a year Army account and made headlines for being on the winning end of the largest account switch in advertising history to date, when fast food giant Burger King moved its $200 million dollar advertising account from arch-rival J. Walter Thompson in 1987. Burger King must have had drive-thru service in mind, however, and Ayer made headlines again when it lost the account just eighteen months later in another record-breaking account switch. Another devastating blow to the agency was the loss of its lead position on the American Telegraph and Telephone account. Ayer pioneered telecommunications advertising in 1908, when the agency was selected to craft advertising for the Bell System's universal telephone service. Despite valiant efforts to keep an account the agency had held for most of the twentieth century, and for which they had written such memorable corporate slogans as American Telephone &Telegraph "The Voice with a Smile" and "Reach Out and Touch Someone", the agency lost the account in 1996.
After a wave of mergers and acquisitions in the late 1980s, the economic recession of the early 1990s hit Madison Avenue hard, and Ayer was particularly vulnerable. Despite the agency's long history and roster of "blue-chip" clients, Ayer was not known for cutting-edge creative work. Moreover, though the agency had offices overseas, Ayer had never built a strong multinational presence, and many of the smaller international offices were sold during the financial turmoil of the 1980s. This left a real void in the new climate of global marketplace consolidation. By about 1990, earnings were declining (although Ayer was still among the top twenty United States agencies in billings), and the agency was suffering from client defections, high management turnover, expensive real estate commitments and deferred executive compensation deals, all fallout of the high-flying 1980s. This was the atmosphere in 1993, when W.Y. Choi, a Korean investor who had already assembled a media and marketing empire in his homeland, began looking for an American partner to form an international advertising network. Jerry Siano, the former creative director who had recently been named Ayer's seventh CEO, was in no position to refuse Choi's offer of $35 million to buy the now floundering agency. The infusion of cash was no magic bullet, however. Choi took a wait-and-see approach, allowing his partner Richard Humphreys to make key decisions about Ayer's future, including the purging of senior executives and the installation of two new CEOs in as many years.
The agency's downward trend continued with the loss of another longtime client, the DeBeers diamond cartel in 1995. Adweek reported that Ayer's billings fell from $892 million in 1990 to less than $850 million in 1995. Several top executives defected abruptly, and the agency failed to attract major new accounts. Ayer was facing the loss not merely of revenue and personnel, but the loss of much of the respect it once commanded. Ayer remained among the twenty largest U.S. agencies, but an aura of uncertainty hung over the agency like a cloud. A new CEO was appointed, and Mary Lou Quinlan became the agency's first woman CEO in 1995. A year later, Ayer and another struggling top twenty agency, D'arcy, Masius, Benton & Bowles, combined as part of the McManus Group of companies. In 1998, the McManus Group had worldwide billings of more than $6.5 billion.
Under the McManus Group, Ayer was able to expand its international operations and begin to rebuild a stronger global presence. Several important new clients were won in 1997 and 1998, including Avon, General Motors, Kitchenaid, several Procter & Gamble brands and, most notably, Continental Airlines worldwide accounts. Born in the nineteenth century, Ayer may be one of a very few advertising agencies to successfully weather the economic and cultural transitions of both the twentieth and twentieth first centuries. Ayer was eventually acquired by the Publicis Groupe based in Paris, France which closed down the N.W. Ayer offices in 2002.
Materials in the Archives Center
Warshaw Collection of Business Americana (AC0060)
Hills Bros. Coffee Incorporated Records (AC0395)
The collection was donated by N W Ayer ABH International, April 15, 1975 and by Ayer & Partners, October 30, 1996.
The collection is open for research use.
Physical Access: Researchers must use microfilm copy. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audiovisual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Technical Access: Viewing the film portion of the collection without reference copies requires special appointment, please inquire; listening to audio discs requires special arrangement. Do not use original materials when available on reference video or audio tapes.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproduction permission from Archives Center: reproduction fees may apply. Publication and production quality duplication is restricted due to complex copyright, publicity rights, and right to privacy issues. All duplication requests must be reviewed and approved by Archives Center staff. Potential users must receive written permission from appropriate rights holders prior to obtaining high quality copies.
The papers of LeRoy Neiman measure approximately 70.5 linear feet and date from 1938-2005. The collection includes biographical materials, correspondence, project files, printed material and artifacts documenting the career of the American painter LeRoy Neiman.
Scope and Content Note:
The papers of LeRoy Neiman measure approximately 70.5 linear feet and date from 1938 to 2005. The collection includes biographical materials, correspondence, project files, printed material and artifacts documenting the career of the American painter LeRoy Neiman.
Biographical material pertains to the artist's family, military service, education and teaching experience and representing galleries and publishers and includes artist biographies, awards, distinctions, and membership information.
Correspondence includes personal and business correspondence as well as collections of cards and literature on other artists, Neiman's notes and jottings, art work by children, and office records.
Project files document specific projects or art events in which Neiman was involved, including commissions, promotions, collaborations, serigraph printings, and publications.
Printed material includes newspapers, magazines, catalogs, fliers, invitations, brochures, press releases, film scripts and small posters.
Artifacts include three-dimensional items, clothing, souvenirs and LeRoy Neiman paraphernalia.
The collection is arranged as 5 series:
Series 1: Biographical Material, 1938-2004, undated (Boxes 1-3, 77; 3.3 linear feet)
Series 2: Correspondence, circa 1960s-2004, undated (Boxes 3-19)
Series 3: Project Files, 1949-2005, undated (Boxes 20-39, 78-81)
Series 4: Printed Material, circa 1940s-circa 2005, undated (Boxes 40-61, 82-83, OV 85)
Series 5: Artifacts, 1953-2002, undated (Boxes 69-76, 84)
LeRoy Neiman has been described as the most popular living painter in America. While strikingly original, his work reflects the varied influences of Toulouse-Lautrec, Dufy, the New York Social Realists, and the Abstract Expressionists. Probably best known as a portrayer of sporting and social events, he virtually invented the modern genre of sports art and remains its most accomplished and acclaimed practitioner.
Among many other accomplishments, he was the first and only on-camera official artist for ABC-TV at the Olympics in Munich, 1972 and Montreal, 1976, and covered several other winter and summer Olympiads as an official artist. He was the first artist to create live, on-camera computer art while covering the 1978 Super Bowl in New Orleans for CBS-TV. In 1997 he was selected as the first official artist of the Kentucky Derby. But Neiman's interests range far and wide. As a painter, printmaker, and author, his subjects have included Parisian cafés, African safaris, famous bars, five-star restaurants, urban street scenes, the opera, political figures, jazz musicians, entertainers, stage and screen stars, gambling casinos, portraits, international stock exchanges, and much more.
For the past quarter-century, Neiman has created limited-edition serigraphs (silk-screen prints). Published and distributed exclusively by Knoedler Publishing, they are sold in selected galleries throughout the United States. By one estimate, the more than 150,000 Neiman prints that have been purchased to date have an estimated market value exceeding $400 million. Neiman is the author of twelve books: Horses, LeRoy Neiman Posters, Winners, which was also published in Japanese, Big Time Golf, LeRoy Neiman: An American in Paris, LeRoy Neiman on Safari, and LeRoy Neiman: Five Decades, all published by Harry N. Abrams, as well as Art and Life Style, Carnaval, Monte Carlo Chase, Casey at the Bat, and the newly-released limited edition LeRoy Neiman Sketchbook: Liston vs. Clay 1964/ Ali vs. Liston 1965, 2004. Knoedler Publishing has published The Prints of LeRoy Neiman, Volumes I-III, a catalogue raisonnes on Neiman's limited edition prints.
Over the years the artist has donated scores of his artworks to dozens of charitable causes and organizations. Through his work with the Good Tidings Foundation, two LeRoy Neiman Art Centers for Youth have been built in elementary schools in California. In 1995, he gave the School of the Arts at Columbia University in New York City an endowment of $6 million to create the LeRoy Neiman Center for Print Studies, dedicated to the study of fine art printmaking and the development of new methods of printmaking, and including a scholarship program. A 1998 donation led to the creation of the LeRoy Neiman Center for the Study of American Culture and Society at UCLA.
Neiman's work is represented in the Art Institute of Chicago, the Whitney Museum, the Minneapolis Museum of Art, the Hermitage of St. Petersburg and numerous other museums and public and private collections worldwide. A past member of the New York City Advisory Commission for Cultural Affairs, Neiman has received five honorary degrees and, among other honors, an Award of Merit from the American Athletic Union, a Gold Plate Award from the American Academy of Achievement, and a Lifetime Achievement Award from the Muscular Dystrophy Association, in addition to being named Boxing Artist of 1966 by Lonsdale, London.
1921 -- Born June 8 in St. Paul, Minnesota.
1942-46 -- Leaves high school to enlist in the army; serves four years in Europe.
1946 -- Studies at the St. Paul Gallery and School of Art with Clement Haupers.
1946-50 -- Student at the School of the Art Institute of Chicago; studies with Boris Anisfeld; studies liberal arts at University of Illinois and De Paul University, Chicago.
1950-60 -- Member of the Faculty, School of the Art Institute of Chicago, teaching figure drawing and fashion drawing.
1952 -- Exhibits in Twin City Show at Minneapolis Institute of Arts; wins Chicago Art Directors Award.
1953 -- Begins using enamel house paints; develops interest in drawing horse racing at Arlington Park; wins First Prize for painting "Idle Boats", a purchase prize, at Twin City Show, Minneapolis Institute of Art.
1954 -- Begins association with Playboy magazine illustrating Charles Beaumont story, which wins Chicago Art Directors Award; exhibits for first time in Chicago Artists and Vicinity Show, where he continues to show for next six years; wins Second Prize, Minnesota State Show; exhibits at Philadelphia Art Alliance.
1955 -- Instructor of painting at Elmwood Park Art League and North Shore Art League; exhibits at the Carnegie Pittsburgh International Exhibition of Contemporary Painting; creates the "Femlin" symbolic character which appears in Playboy for next 47 years; wins New York Art Directors Award.
1956 -- Included in "New Talent in America in 1956", published in Art in America, February 1956; delves deeper into Chicago sports scene, draws Chicago Bears, Blackhawks and boxing.
1957 -- Exhibits in Corcoran Gallery of Art "American 25th Biennial Exhibition", Washington, D.C.; awarded most popular prize out of 3,000 entries as well as the juried Clark Memorial Prize and Vicinity Show; first television appearance on Art Institute of Chicago TV show, "Artist's Choice"; painting instructor at School of the Art Institute of Chicago Summer Session and for two years at Ox-Bow Summer School, Saugatuck, Michigan teaching landscape painting; marries art student Janet Byrne.
1958 -- Exhibits at the "Society of Contemporary American Art Exhibition", Art Institute of Chicago, for three years; begins extensive travels for Playboy magazine, creating a feature on the high life called "Man at His Leisure", which appears regularly for the next 15 years; wins Municipal Art Award at "Chicago Artist and Vicinity Show", and Hamilton & Graham Cash Prize, Ball State Teachers College Drawing Show, Muncie, Indiana.
1959 -- Holds one-man show of racing scenes at Arlington Park Race Track, Chicago; shows in "Jazz Exhibition" and "Social Observation and Comment in Art Show" in Chicago.
1960 -- Paints at Squaw Valley Winter Olympic Games; travels six months through Europe covering sporting and social events, the Grand National Steeplechase, Epsom Derby, Ascot, and the Oxford-Cambridge boat race in England, Maxim's Tour d'Argent, the Lido and Folies Bergere in Paris, the Cannes Film Festival and St. Tropez, Fiesta de San Isidro bullfights in Madrid, the Grand Prix in Monaco auto race.
1960-1970 -- Executes over one hundred paintings and two murals for eighteen Playboy Clubs.
1961 -- Takes studio in Paris; does studies of Deauville social season and sketches the great restaurants of France; sketches Dublin Horse Show and cricket at Lord's in London; wins gold medal for oil painting at the "Salon d'Art Moderne", Paris.
1962 -- Sketches Bordeaux wine country, Paris fashion shows, racing at Longchamp, and Giraglia Yacht Race on Riviera; paints Regatta of the Gondoliers in Venice; does studies of Fellini directing "8 ½" and sketches at Cine Citta studios in Rome; visits U.S. to work on commission for 12 paintings of the Indianapolis 500.
1963 -- Returns from Paris; establishes a studio in New York; teaches painting at Arts and Crafts, Inc., Winston-Salem, North Carolina; holds first one-man exhibition in New York at Hammer Galleries; travels to Mexico with Shel Silverstein; sketches in Mexico City and Acapulco.
1964 -- Starts series of Muhammad Ali sketches and paintings which spans the next 15 years; sketches America's Cup Challenge at Newport, Rhode Island; returns to England to sketch London night life and Prince Phillip playing polo at Windsor; paints the Tour de France in Paris.
1965 -- Commemorates Sugar Ray Robinson with 8' x 6' portrait "Farewell to Boxing" unveiled at Madison Square Garden ceremony; paints portrait of Mae West and poet Marianne Moore.
1966 -- Sketches Kentucky Derby; in London paints personalities and scenes including the Beatles and Carnaby Street, Kenneth Tynan, Sir Ralph Richardson; paints surfing in California; executes mural for Swedish-Lloyd Ship, S. S. Patricia; creates art for film "Casino Royale"; sketches indoor polo for opening of Houston Astrodome.
1967 -- Sketches and paints leading figures in the arts, sports and entertainment world, including Leonard Bernstein, Joe Louis, Frank Sinatra, Brigitte Bardot and ballerina Suzanne Farrell; paints "24 Hours of LeMans", nudist scenes on the Dalmatian Coast of Yugoslavia, the Fiesta at Pamplona, the dolce vita of Rome.
1968 -- Paints the Kirov and Bolshoi ballets in Russia; is named artist-in-residence from the bench of the New York Jets football team; executes critical sketches of the 1968 Democratic National Convention in Chicago; paints Bobby Hull for Time magazine cover; contributed drawings for Harpers magazine articles on Cassius Clay and on Bobby Kennedy and race relations; initiates art class for Atlanta Poverty Program.
1969 -- Sketches civil rights figures and teaches art in Atlanta Poverty Program; creates poster for Kurt Weill Off-Broadway show and program cover for Oh! Calcutta; sketches New York City Ballet; appears regularly on TV as New York Jets artist-in-residence; collaborates with Dave Anderson on book, Countdown to Super Bowl; covers horse racing at Ascot and Longchamp, camel racing in Morocco.
1970 -- Paints backdrop for Broadway play Borstal Boy and does album cover for Fifth Dimension; exhibits in the Time magazine "Covers Show" at the National Portrait Gallery of the Smithsonian Institution, Washington D.C.; sketches sporting and social events in Dublin, and holds one-man show at the Abbey Theatre; travels with Hugh Hefner in Europe, Greece and Africa; sketches wildlife on safari in Africa; creates poster for Ali-Quarry fight, Ali's return to the ring in Atlanta; paints $100,000 baseball players for book, This Great Game; paints New York Stock Exchange.
1971 -- Has one-man exhibition at Museo de Bellas Artes in Caracas; travels to Monte Carlo, London, Paris and Switzerland; develops interest in printmaking; creates two-part TV program on the art of lithography and produces etchings and lithographs at Atelier Weber in Zurich; creates official poster and draws pre-fight sketches of Ali-Frazier Super Fight I at Madison Square Garden for The New York Times Magazine cover and post-fight sketches for ABC-TV; illustrates Jose Torres' book on Ali, Sting Like a Bee.
1972 -- Covers Fischer-Spasky world champion chess tournament at Reykjavik, Iceland and Munich Olympic Games, both on camera for ABC-TV; covers World Series for NBC-TV; creates serigraph of Knicks-Lakers championship game; paints Super Bowl for Time magazine cover; and cover for Golf Digest.
1973 -- Creates Super Bowl art for CBS-TV; sketches the Masters Golf Tournament for Golf Digest magazine; paints commission for Museum of Jazz; creates serigraph of Triple Crown winner Secretariat; sketches Foreman-Frazier fight in Jamaica; travels on multi-city tour and exhibit of Olympic serigraphs; nineteen serigraphs chosen by the Hermitage Museum, St. Petersburg, for its permanent collection.
1974 -- Has exhibition in Tokyo and sketches sumo, baseball and horse racing for Japanese TV; covers Stanley Cup hockey playoffs for NBC-TV; creates poster for Newport Jazz Festival and for next 5 years; creates poster for Ali-Foreman fight in Kinshasa, Zaire, and for Frank Sinatra concert at Carnegie Hall; Art and Lifestyle is published.
1975 -- Creates official St. Paul Bicentennial poster; given major retrospective at the Minnesota Museum of Art; creates official program cover for World Series; creates poster for Ali-Frazier III and paints cockfights in Manila; creates first of four annual posters for Robert F. Kennedy Pro-Celebrity Tennis Tournament; book The Artist's Limited Edition of Moby Dick is published.
1976 -- Paints mural on camera as ABC-TV Official Artist at Olympic Games, Montreal; paints on French Riviera; holds one-man show at Knoedler Gallery in London; exhibits in national invitational "Watercolor USA Show" at Springfield Art Museum, Missouri, and "Drawings USA Show" at the Minnesota Museum of Art; paints Harlem scene for Jazzmobile poster; paints Chris Evert for Saturday Evening Post cover.
1977 -- Holds one-man shows in Stockholm and Helsinki; works in Paris; paints NBA All-Star game; creates poster for Lacrosse USA.
1978 -- Performs first live execution of computer art for CBS-TV coverage of Super Bowl, New Orleans; creates poster for Bill Bradley senatorial campaign; creates poster for Ali-Spinks II match in New Orleans.
1979 -- Appointed Grand Marshal with Jesse Owens at The Drake Relays in Des Moines, Iowa; paints the Ginza, Kamakura Buddha, Mount Fuji in Japan, Royal Ascot in London, and Pan-Am Games in Puerto Rico, for CBS-TV; book Horses is published.
1980 -- Appointed Official Artist of the 1980 Lake Placid Winter Olympic Games and Official Artist of the Democratic National Convention, New York; paints commission for Caesar's Palace, Las Vegas; sketches Carnaval in Rio de Janeiro; presents painting commemorating signing of Arab-Israeli peace treaty at Camp David to President Carter at the White House; book Posters is published.
1981 -- Holds two-man exhibition with Andy Warhol at Los Angeles Institute of Contemporary Art, California; executes 24' x 16' portrait of Sylvester Stallone for Rocky film; creates art and appears as ring announcer in Rocky films II, III, IV and V; book Carnaval is published.
1982 -- Has one-man exhibition at Harrod's, and paints the "The Stock Exchange, London"; creates poster for Kool Jazz Festival; paints and exhibits in Tokyo.
1983 -- Has one-man exhibitions in Los Angeles, San Francisco and New Orleans; executes billboard, television commercial and program for Lido show at the Tropicana, Las Vegas; book Winners is published.
1984 -- Appointed Official Artist, Winter Olympics, Sarajevo, Yugoslavia and Summer Olympics, Los Angeles.
1985 -- Returns to Brazil to paint Gavea Golf and Country Club in Rio de Janeiro and stock exchange in Sao Paulo; named Honorary Marshal at St. Paul Winter Carnival; Japanese version of Winners is published.
1986 -- Appointed Official Artist, Goodwill Games in Moscow for Turner Broadcasting Network; paints America's Cup commission for the New York Yacht Club.
1987 -- Paints and makes video documentaries of Old St. Andrews in Scotland and the Riviera in France; paints Indianapolis 500 auto race commission; presents "Minute Man" poster to President Reagan at the White House.
1988 -- Holds one-man exhibitions in Japan and Moscow; executes mural for Golden Nugget, Las Vegas; paints commission for the Caribbean Classic at Caliente Racetrack in Tijuana, Mexico; paints and makes video documentary of "Napoleon at Waterloo"; book Monte Carlo Chase is published.
1989 -- Paints Frank Sinatra, Liza Minelli and Sammy Davis, Jr. at Royal Albert Hall, London; sketches the World Series at Candlestick Park in San Francisco during earthquake; does sketches and paintings and video documentary of New York's Central Park, and holds exhibition at the boathouse in the park.
1990 -- Executes commemorative painting for 100th anniversary of Los Angeles Dodgers; holds one-man exhibition for inaugural Grand Prix auto race in Denver; paints the Masters Golf Tournament in Augusta, Georgia; travels and sketches in Rome, Paris and Hong Kong.
1991 -- Executes commissioned paintings for 25th anniversary of Spectrum Stadium, Philadelphia, and 10th anniversary of Miami Grand Prix and of Joe Morgan and Jim Palmer for Baseball Hall of Fame induction; travels to Japan to paint geishas, the Ginza and golf; creates Michael Jordan serigraph and poster; works on sketchbooks and paintings in Paris and Berlin.
1992 -- Paints Tom Seaver for Baseball Hall of Fame induction; paints suite of four famous golf courses in conjunction with publication of Big-Time Golf; works on sketchbooks and paintings in Venice, Milan and Rome; honored by the Art Institute of Chicago as an outstanding alumnus; commissioned to paint Bobby Orr by Polaroid.
1993 -- Paints Reggie Jackson for Baseball Hall of Fame induction, Larry Bird for Boston Garden, and Iroquois Steeplechase, Nashville; creates poster for CBS-TV film Call of the Wild; holds one-man exhibition at the Kentucky Derby Museum; paints Frank Sinatra for cover of "Duets" album.
1994 -- Paints Pebble Beach Golf Clubhouse; creates poster for CBS-TV film The Yearling, attends and paints Super Bowl XXVIII in Atlanta; paints in Monte Carlo and Venice; goes on to paint safari in Kenya; sketches Luciano Pavarotti at Metropolitan Opera; paints Frank Sinatra for "Duets II" album; book An American in Paris is published.
1995 -- Paints Babe Ruth for the Baseball Hall of Fame, U.S. Open at Shinnecock Golf Course, and Rockefeller Center; creates 40-foot mural on Broadway theater for Tommy Tune's musical, Busker Alley; gives 30-year retrospective exhibition at the Kentucky Derby Museum; appointed a member of the New York City Advisory Commission for Cultural Affairs; honored by Playboy for the 40th anniversary of the Femlin character.
1996 -- Commissioned by United Nations to create six postage stamps for the Centennial Olympic Games in Atlanta; paints Super Bowl XXX in Phoenix, Arizona; honored by Boxing Writers and England's Lonsdale Boxing Club; paints "Hall of Famer" for the Baseball Hall of Fame's permanent art exhibition; creates serigraph of "The 3 Tenors", Placido Domingo, Jose Carreras, Luciano Pavarotti.
1997 -- Inauguration of the LeRoy Neiman Center for Print Studies at Columbia University, New York; introduction of LeRoy Neiman Selection Cigar; narrates and appears in film documentary on Cuba and cigars, Rhythm and Smoke; creates poster commemorating 50th anniversary of Jackie Robinson's breaking of racial barrier in Major League Baseball; creates first official Kentucky Derby poster; travels to South Africa to present commissioned portrait of President Nelson Mandela; book LeRoy Neiman on Safari is published.
1998 -- Inaugurates LeRoy Neiman Center for Study of American Culture and Society, UCLA, Los Angeles; unveils baccarat painting for Desert Inn, Las Vegas; exhibits and participates in seminar on Frank Sinatra at Hofstra University; paints and creates serigraph of Joe DiMaggio; creates label for Duval-Leroy champagne; creates official poster for Breeders' Cup, Louisville; cover art for Good Will Games New York official program, and for article in The Nation; honored at Ox-Bow Gala at the Art Institute of Chicago, and by Sportscasters.
1999 -- Creates art for Givenchy perfumes; presents portrait of Mark McGwire and creates serigraph edition commemorating record home run hitter. Paints John Elway and creates serigraph celebrating retirement from football; releases serigraph of Mickey Mantle; participates in Olympic Games seminar on Queen Elizabeth II ocean liner crossing; gambling prints installed in Salle Privée at Paris Casino in Las Vegas; creates poster for Taxicab Chronicles Off-Broadway play; visits Havana to sketch Cuban rhythms. Sketches Army-Navy game in Philadelphia for West Point commission.
2000 -- Creates boxing painting for use as poster for Heavyweight Explosion cable TV program; book The Prints of LeRoy Neiman 1991-2000 is published; releases serigraphs of Mike Piazza and Cal Ripken, Jr.; the first LeRoy Neiman Art Center for Youth is opened in San Francisco; commissioned to create artwork for 125th Preakness Stakes and 2000 PGA Championship Tournament at Valhalla Golf Course.
2001 -- Salutes Muhammad Ali as "Athlete of the Century" with oversized portrait and limited edition serigraphs. Commissioned to paint Mardi Gras official poster for 2002; commissioned to paint Phoenix Suns star Charles Barkley on retirement of uniform number; commissioned to paint UCLA basketball coach John Wooden; holds retrospective drawing exhibition at the Fairfield Public Gallery, Sturgeon Bay, Wisconsin; creates poster for 2001 All-Star Jockey Championship; attends 25th year reunion of ABC-TV coverage of 1976 Munich Olympics. Commissioned by New York City Fire Department to commemorate September 11 terrorist attack for benefit of NYFD Widows and Orphans Fund; creates image of NYFD fireman's helmet and for the first time allows an image to be used and sold on t-shirts; also donates original painting to auction for Widows and Orphans Fund. Honorary Chairman at the annual Bare Walls event at the School of the Art Institute of Chicago; the second LeRoy Neiman Art Center for Youth is opened in Watsonville, California; the largest serigraph yet by artist, "Circus", having image size of 43 ¾" x 65", is completed after 2 years work.
2002 -- Commissioned to paint Wayne Gretzky, Gold Medal winning coach of the Canadian Olympic Hockey Team; commissioned to create official tournament poster for the first U.S. Open to be held at a public golf course, Bethpage on Long Island, New York; illustrates "Casey at the Bat", published as a trade edition by Ecco Press, with Foreword by New York Yankees manager Joe Torre; creates the Tyson/Lewis poster for the boxing heavyweight championship fight in Memphis; creates the official poster and program cover for the Oscar de la Hoya/Fernando Valenzuela championship boxing match in Las Vegas; honored with a tribute dinner at the Friar's Club in New York City; painting of Earvin "Magic" Johnson and Larry Bird is unveiled during Johnson's induction ceremonies at the Basketball Hall of Fame; Gallagher's Steak House in New York City unveils a permanent collection of Neiman artwork portraying the city's greatest athletes; receives Lifetime Achievement Award for contributions to golf and sport art at the Art of Golf Festival at Pinehurst Resort in North Carolina; inducted into the New Jersey Boxing Hall of Fame.
2003 -- Unveiled commissioned painting of the racehorse Funnycide at Saratoga; opens exhibition "LeRoy Neiman on Safari" at the Wildlife Experience museum in Denver, CO; S.T. Dupont releases special edition LeRoy Neiman Golf pen and lighter set; mounts exhibition "LeRoy Neiman in Cuba" at the Pratt Institute; paints the Breeders Cup at Santa Anita; publishes book LeRoy Neiman: Five Decades with Harry N. Abrams.
2004 -- Commissioned to paint poster design for the 2005 Special Olympics in Nagano; paints portrait of Secretariat for the Secretariat Museum; paints program cover design for the Newport Jazz Festival and participates in a group exhibition at the festival; receives Medal of Honor at Ellis Island from NECO; paints portraits of Oscar De La Hoya and Bernard Hopkins for their fight program and presents the paintings to the fighters; completes a set of seven jazz lithographs at Columbia's Neiman Center for Print Studies; films a cameo appearance for Sylvester Stallone's television show "The Contender"; produces a set of five limited edition prints of Martha Graham for the Martha Graham Dance Company; publishes limited edition artist's book LeRoy Neiman Sketchbook: Liston vs. Clay 1964/Ali vs. Liston 1965 with powerHouse Books and Meridian Printing.
Appendix A: Notable Correspondents from Series 2: Correspondence
This appendix is an alphabetical listing of notable correspondents primarily from Series 2, but may include references to other series. The numbers following the entry indicate the series number, subseries number if appropriate, and date where the material is filed. For example: Abrams, Judith Ann - 2.1: 1983, 1991 indicates that the correspondence for that person is found in Series 2.1 in the 1983 and 1991 folders.
Garvey, Steve and Cyndi - 2.1: 1979, 1981, 1983, 1986, 1989, 3.2. -- Winners -- , 1983, Harry N. Abrams
Gavea Golf Club - 2.1: 1985
Gere-Suson, Gary - 2.1: 1999
Gilbert, Patti - 2.1: 1992
Giorgio Beverly Hills - 2.1: 1985
Gore, Al - 2.1: 1987, 1993, 3.2: -- Big Time Golf -- , 1992
Gottlieb, Paul - 3.2. -- LeRoy Neiman: An American in Paris -- , 1994
Graham, Martha - 2.1: 1989
Graime, Arlene (US Olympic Committee) - 2.1: 1996
Grasso, Richard - 2.1: 1996
Gray, Joel - 2.1: 2003
Green Hills Farm - 2.1: 1987
Green, Tammie - 2.1: 1993
Greentree Stud, Inc. - 2.1: undated
Greenwich Workshop Gallery - 2.1: 1983
Gregory, Jack - 2.2: Jack Gregory 1993-98
Grenon, Robert - 2.2: Franklin Bowles Galleries
Guest, C. Z. - 2.1: 2003
Gwynne Gallery - 2.1: 1975, 1978
Hackett, Buddy and Sherry - 2.1: 1985, 1989, 1996, 1998
Halvorsen, Robert - 2.1: 1994
Hammer, Armand - 3.2. -- Winners -- , 1983, Harry N. Abrams, 1.2: Knoedler & Hammer Correspondence
Hammer, Michael - 3.2. -- LeRoy Neiman: An American in Paris -- , 1994, 3.2. -- Casey at the Bat -- , 2000, 1.2: Knoedler & Hammer Correspondence, see also Hammer, Armand Hammer, Victor - see Hammer, Armand
Hanson Art Galleries - 2.2: Hanson Art Galleries 1983-1991, 3.1: Hanson Art Galleries Solo Exhibition, New Orleans 1997, see also exhibitions: Hanson Art Galleries in index for more file references
Harden, Richard - 2.1: 1978, 3.1: Peace Treaty, 1980
Harriman, Ambassador Pamela - 3.2. -- LeRoy Neiman: An American in Paris -- , 1994
Hartman, David - 2.1: 1981
Harvey, Paul - 2.1: 1987
Haskell, Nikki - 2.1: 1997, 2001, 2002
Harris, Earl - 2.1: 1987
Harris, Franco - 2.1: 1990
Hatton, Pat - 2.1: 1993
Hawkins, Tommy - 3.1: Dodgers Centennial 1990
Healy, Katherine - 2.1: 1986
Hedgecock, Mayor Roger - 3.2. -- Winners -- , 1983, Harry N. Abrams
Hefner, Christie - 2.2: Playboy Enterprises 1980s, 3.1: Playboy's LeRoy Neiman Selection Cigars by Don Diego 1997
Hefner, Hugh - 2.1: 1983, 2.2: Playboy Enterprises, 3.2. -- Monte Carlo Chase -- , 1988, Van Der Marck Editions, Ltd.
Safir, Police Commissioner Howard - 3.1: New York City Marathon 1984-2001
Saltman, Sheldon - 2.1: 1976
San Francisco 49ers - 2.1: 1995, 2.2: DeBartolo Corporation and Associated Institutions 1989-1991
Santaniello, Carmine - 2.3
Sassi, Etienne - 3.2. -- LeRoy Neiman: An American in Paris -- , 1994
Scaffidi, Marie - 2.1: 1980s Undated
Scarpa, William and Cathy - 2.2: William and Cathy Scarpa 1991-99
Schmidt, Mike - 2.1: 1980
Schulberg, Budd - 2.1: 1997, 1999, 2000, 2004
Schuman, Rhoda - 2.1: 1992
Schumsky, Felicie - see Felicie, Inc.
Schuster, Gary and family - 2.1: 2000
Scully, Vin - 2.1: 1990, 2000
Schwartz, Louis O. - 1.1: Boxing Writers Association Marvin Kohn "Good Guy Award," 1996
Schwartz, Richard - 2.1: 2000
Schwarzenegger, Arnold - 2.1: 1990
Segal, Erich - 2.1: 1973
Seidman, Jay - 2.1: 2001
Seitz, Nick - 3.2. -- Big Time Golf -- , 1992
Serline, Ollie - 1.1: Family (Neiman Studio Archive only), 2.1: 1970s
Sharp Electronics Corporation - 2.1: 1988
Sherman, Allie - 2.1: 2002
Shula, Coach Donald - 2.1: 1991
Siering, David - 2.1: 1987
Sigmond, Aaron - 2.1: 1994, 1995, 1997
Silverstein, Shel - 2.2: Shel Silverstein
Sinatra, Barbara - 2.2: Sinatra family
Sinatra, Frank - 2.2: Sinatra family, 3.2. -- Monte Carlo Chase -- , 1988, Van Der Marck Editions, Ltd.
Sinatra, Nancy - 2.2: Sinatra family
Skelton, Red - 2.1: 1985
Snyder, Jimmy "the Greek" - 2.1: 1982
Solomone, Mickey - 2.1: 1989
Sony - 2.1: 1978
Sorenson, Jackie - 2.1: 1981
Spectrum, Philadephia - 2.1: 1991
Spectrum Fine Art - 2.1: 1978, 1983
Spitz, Mark - 2.1: 1986
Stack, Edward - 2.1: 1996
Staebler, Tom - 2.2: Playboy Enterprises
Stanley, Melvin - 2.1: 1993
Steffens, John L. - 2.1: 1996
Stein, Bill - 2.1: 1982
Steinbrenner, George - 2.1: 2004
Sterling, Donald - 2.1: 1997, 1998
Sugar, Bert - 2.1: 1977
Swoboda, Ron - 2.1: 2002
Symphony for United Nations - 2.1: 1991
TV Guide -- Magazine - 2.1: 1975, 1990, 1993
Talese, Gay - 2.1: 1992
Tate, Evelyn - 2.1: 1976, 1987
Tele Planning International, Tokyo - 2.2: Tele Planning International, Tokyo 1993-98
Tenenbaum, Harold and Judy - 2.1: 1984, 1986, 1988, 2.2: Harold and Judy Tenenbaum
Tiefel, William R. - 3.2. -- Monte Carlo Chase -- , 1988, Van Der Marck Editions, Ltd.
Tiger Tops Pvt. Ltd. - 2.1: 1982
Tigrett, John and Pat Kerr - 2.1: 1993, 1999, 3.1: Blues Ball 1997 -2001
Torrenzano, Richard - 3.1: Lady Liberty, 1985
Torykian, Richard - 2.1: 1997
Touvell, Audra - 2.1: 2002
Trenchard, Peter - 2.1: 2001
Trovato, Liz - 2.1: 1994
Trump, Donald - 2.2: Trump 1987-96, see also Trump in Index
Twentieth Century Fox Film Corportation - 2.1: 1976
United States Department of State - 2.1: 1984
United States Olympic Committee - 2.1: 1985
Universal Pictures - 2.1: 1991
University of Oklahoma - 2.1: 1982
Upstairs Gallery - 2.2: The Upstairs Gallery 1980-89
Valentine, Bobby and Mary - 2.1: 2002
Vorhaus, Louis - 2.1: 1992
war buddy (unnamed) - 2.1: 1997
Ward, Katherine Lecube - 2.1: 1984, 3.2. -- Monte Carlo Chase -- , 1988, Van Der Marck Editions, Ltd.
Warner Brothers Television - 2.1: 1990
Waterhouse, Alma Jones - 2.2: Alma Jones Waterhouse 1977-80
Webster, Jack - 2.1: 1979, 1983, 1990, 1992, 1994, 1995
Wein, George - 2.1: 1991, 1993, 1995, 2000
Weiner, Claire - 2.1: 1970s, 1985, 1987
Weisman, Maria - 2.1: 2002
Welch, Herb and Lisa - 2.1: 1989, 1992
Welzer, Irv - 2.1: 1977
Wenzel, Lee - 2.1: 1985
Whitaker, Jack - 2.1: 1996
The White House - see Harden, Richard or Clough, Susan, or search by name of President
White, Willye - 2.1: 1989
Williams, Ted - 3.1: Williams at Bat, 1980-91
Wilson, Senator Pete - 3.2. -- Winners -- , 1983, Harry N. Abrams
Winer, Jessica - 2.3
Wirin, R. Michael - 2.1: 1998
Wolf, Warner and Sue - 2.1: 2003
Wood, Jan - 2.1: 1997, 1998
Wrather Corporation (the Lone Ranger), Jack and Bonita G. Wrather - 2.1: 1977, 1988
Yarger, Timothy - 2.2: Franklin Bowles
Yellin, Lou - 2.1: 1991, 1992, 1998
Youngman, Henry - 2.1: 1992
Zabrin, Michael - 2.1: 1989, 1991
Zelaya, Jose - 2.1: 1972, 1976, 1977
Zeran, Ken - 2.1: 1990, 1991
Zimmer, Don (Coach, New York Yankees) and Soot - 2.1: 1997
Appendix B: History of LeRoy Neiman's Representation: Felicie Schumsky, Hammer Galleries, and Knoedler & Co.
Hammer Galleries, New York, had its first show of LeRoy Neiman works in 1963 and has represented him ever since.
Armand Hammer was the proprietor of Hammer Galleries, which he founded in 1929 upon returning from the Soviet Union with a load of Czarist art. His brother Victor was in charge of running the gallery.
Armand became the chairman of the Occidental Petroleum Corporation in 1957.
Maury Leibowitz became a partner with the Hammers at the gallery around the same time they began representing Mr. Neiman.
Hammer and O.P.C. bought the respected M.K. Knoedler & Co. gallery in New York in 1971 with Leibowitz as a partner. Knoedler merged with Modarco, a Swiss investment firm, during the 1970s after its purchase by O.P.C.
Knoedler-Modarco now has three divisions: M. Knoedler & Co. (founded in 1846), Knoedler Publishing (created for the sole business of publishing and distributing the prints and posters of LeRoy Neiman), and Hammer Galleries.
Felicie Schumsky was LeRoy Neiman's publisher and distributor before Knoedler. Felicie, Inc. is named alone in advertising until 1973, when ads appear naming FKH Editions as publisher (presumably 'Felicie Knoedler Hammer') and Hammer Galleries as gallery/distributor. This continues until 1975, when ads begin naming Knoedler as publisher and Hammer as gallery.
Hammer Graphics Gallery, a part of Hammer Galleries, was started in 1979 for the sole purpose of distributing and exhibiting the graphic work of LeRoy Neiman.
Victor Hammer died in July 1985, and Armand Hammer died in 1990 at age 92 (less than a year after losing his wife Frances), leaving his son Michael Hammer as the chairman and president of The Armand Hammer Foundation. Maury Leibowitz died in 1992.
Appendix C: A Listing of Major Public Collections of LeRoy Neiman WorksAnchorage Historical and Fine Arts Museum, Anchorage, Alaska
Art Institute of Chicago, Chicago, Illinois
Baltimore Museum of Fine Art, Baltimore, Maryland
Baseball Hall of Fame, Cooperstown, New York
Brooks Memorial Art Gallery, Memphis, Tennessee
Colorado Springs Fine Arts Center, Colorado Springs, Colorado
Delaware Art Museum, Wilmington, Delaware
Duke University Museum of Art, Durham, North Carolina
Eiteljorg Museum of American Indian and Western Art, Indianapolis, Indiana
Football Hall of Fame, Canton, Ohio
Grunwald Center, University of California, Los Angeles, Los Angeles, California
Armand Hammer Collection, Los Angeles, California
Harding Museum, Chicago, Illinois
Hayward Museum, Hayward, California
Hermitage Museum, Leningrad, USSR
Illinois State Museum, Springfield, Illinois
Indianapolis Museum of Art, Indianapolis, Indiana
Joslyn Museum, Omaha, Nebraska
Memorial Art Gallery, Rochester, New York
Meridian Museum of Art, Meridian, Mississippi
Michigan State University, Kesage Art Center Gallery, East Lansing, Michigan
Minneapolis Institute of Arts, Minneapolis, Minnesota
Minnesota Historical Society
Minnesota Museum of Art, St. Paul, Minnesota
Mobile Art Gallery and Museum, Mobile, Alabama
Museo de Bellas Artes, Caracas, Venezuela
National Museum of Sport in Art, New York, New York
Niagara University, Niagara, New York
Portland Museum of Art, Portland, Maine
Springfield Museum of Art, Springfield, Massachusetts
Tennis Hall of Fame, Newport, Rhode Island
Tucson Museum of Art, Tucson, Arizona
Tweed Museum of Art, University of Minnesota, Duluth, Minnesota
University Art Gallery, Binghamton, New York
University of California at Los Angeles, Los Angeles, California
University of Illinois, Champaign, Illinois
University of Oklahoma, Norman, Oklahoma
University of Oregon, Eugene, Oregon
University of South Florida, Tampa, Florida
University of Texas, Austin, Texas
Utah Museum of Fine Arts, University of Utah, Salt Lake City, Utah
Vanderbilt University, Nashville, Tennessee
Wichita State University, Wichita, Kansas
Whitney Museum. New York, New York
Wodham College, Oxford, England
Yuma Fine Arts Association, Yuma, Arizona
Appendix D: A Listing of LeRoy Neiman Serigraph Releases
This list corresponds to newspaper and magazine ads in files 3.3: Felicie Inc. - Advertising and 3.3: Knoedler & Co. - Advertising. This is not a complete inventory.
DateSerigraphUnknown -- Bar '21' (offset lithograph)
Unknown -- Delacroix Tiger
Unknown -- Elephant Family
Unknown -- Gorilla Family
Unknown -- Kenya Leopard
Unknown -- Lion Pride (offset lithograph)
Unknown -- Lion Couple
Unknown -- Polar Bears
Unknown -- Serengeti Leopard
Unknown -- Zebra Family
Unknown -- The Plaza Square
Unknown -- Stock Market (offset lithograph)
Unknown -- Neiman Montreal '76 (offset lithograph)
Unknown -- Winter Olympic Skier, Lake Placid 1980
Unknown -- P.J. Clark's
Unknown -- Olympic Slalom
Unknown -- Dublin Bar
Unknown -- Le Grand Cuisine
Unknown -- Little Hitter
Unknown -- Little Fielder
1975 -- Le Grand Escalier de l'Opera, 1969
1975 -- Toots Shor Bar
1975 -- Club House Turn
1975 -- Black Panther
1976 -- Sun Serve
1976 -- Satchmo
1976 -- High Seas Sailing
1976 -- Vegas Blackjack
1976 -- Golf Landscape
1976 -- Elephant Stampede
1976 -- Nadia
1976 -- America's Cup
1977 -- Marlin!
1977 -- High Altitude Skiing
1977 -- Basketball Superstars
1977 -- Café aux Deux Magots
1977 -- The Mallet Men
1977 -- Bengal Tiger
1977 -- Giraffe Family
1977 -- Show Jumper
1977 -- Outrigger Canoe Race
1978 -- Metropolitan Opera
1978 -- Moby Dick Portfolio
1978 -- Bucking Bronc
1978 -- The Wildcats
1979 -- Kentucky Derby
1979 -- Chateau Hunt
1979 -- Stretch Stampede
1979 -- Aegean Sailing
1979 -- American Bald Eagle
1980 -- Lake Placid, Eighty, 1980
1981 -- Stenmark
1981 -- The Race of the Year
1981 -- Tour de France
1981 -- Before the Race
1984 -- Rush Street Bar
1984 -- Regents Park
1984 -- Elephant Nocturne
1985 -- Six Golfers, 1984
1985 -- Lady Skier
1985 -- Harry's Wall Street Bar
1986 -- Nob Hill
1986 -- Buena Vista Bar
1986 -- America's Cup, Australia
1987 -- Great Dane
1987 -- Giants - Broncos Classic
1987 -- 24 Hours of Le Mans
1987 -- Bistro Garden
1987 -- Left Bank Café
1988 -- Diamond Head, Hawaii
1988 -- Napoleon at Waterloo
1988 -- Piazza del Popolo - Rome
1988 -- Monte Carlo Suite
1988 -- Harbor at Monaco
1988 -- Salle Prive - Monte Carlo
1988 -- Borzoi
1988 -- In the Pocket
1988 -- Magic (Johnson)
1988 -- Clubhouse at Old St. Andrew's
1989 -- Polo Lounge
1989 -- Superplay
1989 -- President's Birthday Party
1989 -- Chicago Key Club Bar
1990 -- Secretariat II
1990 -- Chicago Options
1990 -- April at Augusta
1990 -- Gaming Table
1990 -- The '21' Club
1991 -- Homage to Ali
1991 -- Ted Williams
1991 -- Café Rive Gauche
1991 -- Cougar
1991 -- The Bordello
1992 -- Hunt Rendezvous
1992 -- Kilimanjaro Bulls
1992 -- Paddock at Chantilly
1993 -- The Maulers
1993 -- Fouquets
Appendix F: A Listing of "Man at His Leisure" Features in Playboy MagazineDateSubject/Pages1958 April -- Painter of the Urban Scene, p. 49-51
1958 December -- The Pump Room, Ambassadors East, Chicago, p. 60-61
1959 January -- Le Café Chambord, p. 52-53
1959 June -- Romanoff's, p. 62-63
1959 December -- Moore County Hounds (Southern Pines), p. 68-72
1960 February -- Hialeah Race Course, p. 52-54
1960 June -- The Colony, p. 74-75
1960 August -- Forest Hills, p. 76-77
1961 January -- Squaw Valley, p. 84-87
1961 March -- Ernie's, p. 94-95
1961 June -- The S.S. United States, p. 60-61
1961 July -- Longchamp - Auteuil, p. 82-85
1961 September -- La Plaza de Toros, p. 109-111
1961 December -- Maxim's, p. 130-131
1962 January -- The French Riviera, p. 103-105
1962 March -- The Grand National Steeplechase, p. 94-95
1962 May -- The Cambridge-Oxford Boat Race, p. 96-97
1962 August -- Las Vegas, p. 86-89
1963 May -- Monte Carlo, p. 122-125
1963 July -- Air France, p. 102-103
1963 September -- Sardi's, World Billiard Championship, p. 150-151
1963 December -- Madison Square Garden, p. 169-171
1964 April -- Epsom Derby, p. 120-121
1964 August -- St. Tropez, p. 62-65
1964 October -- Chantilly, p. 144-147
1964 December -- The Lido, p. 159-193
1965 March -- The New York Playboy Club, p.116-117
1965 August -- The Girallia Yacht Race, p. 110-111
1965 December -- The Plaza, Manhattan, p. ?
1966 July -- The Royal Ascot, p. 110-113
1966 September -- The America's Cup, p. 168-169
1967 January -- Discotheques, p. 180-181
1967 June -- Surfing, p. 112-115
1967 November -- National Horse Show, p. 143-145
1967 Winter -- VIP Magazine, Assignment London
1968 January -- Rosati's, Via Venito, p.?
1969 January -- The Bolshoi Ballet, p. 199-201
1969 June -- Le Mans, p. 124-125
1969 August -- Yugoslavia, p. 126-129
1970 January -- Morocco, p. 203-207
1970 November -- Can-Am Race, p. 179-181
1971 January -- Jamaica, p. 191-193
1972 January -- Sotheby's Auction Room, p. 171-173
1973 January -- Super Bowl, p. 187-189
1973 July -- Summer of '72 - The Hamptons, p. 152-157
Playboy Magazine's "Neiman Sketchbook" Features
DateSubject/Pages1979 December -- Teofilo Stevenson, p. 221
1980 January -- Senator Ted Kennedy, p. 137
1980 February -- Roller Skating, p. 166 -167
1980 March -- Charles Mingus, p. 179
Appendix E: Exhibitions
Below is a chronological list of Neiman exhibitions. See the index for an alphabetical list of exhibitions (listed by name of venue under the item "exhibitions") and reference to locations of pertinent archive files.
DateSolo ExhibitionsOct. 9-Nov. 6, 1959 -- F. Oehlschlaeger Gallery, Chicago
March 3-31, 1961 -- F. Oehlschlaeger Gallery, Chicago
Feb. 9-March 9, 1962 -- F. Oehlschlaeger Gallery, Chicago
March 1962 -- O'Hana Gallery, London
Nov. 27-Dec. 11, 1962 -- Galerie O. Bosc, Paris
Oct. 8-19, 1963 -- Hammer Galleries, New York
January-February, 1965 -- "Vie de France," Astor Tower French Center, Chicago
Nov. 23-Dec. 4, 1965 -- Hammer Galleries, New York
March 5-25, 1966 -- Gallery Richelle, St. Louis
1976 -- "LeRoy Neiman Retrospective 1949-75," Minnesota Museum of Art, St. Paul
Nov. 1967 -- Frank Sinatra Film Drawings Exhibition, Gallery of Modern Art, New York
Sept. 26-Oct. 7, 1967 -- Hammer Galleries, New York
Dec. 26-31, 1968 -- New York Jets Sketches, Hammer Galleries, New York
May 1-June 10, 1969 -- "LeRoy Neiman: Paintings and Drawings," Choate School, Wallingford, CT
May 1969 -- "LeRoy Neiman: Impressions of Atlanta," Heath Gallery, Atlanta, GA
Jan. 20-31, 1970 -- Hammer Galleries, New York
Oct. 19-Nov. 2, 1971 -- "Recent Graphics and Drawings", The Far Gallery, New York
April-May, 1972 -- Museo de Bellas Artes, Caracas
Dec. 1972 -- Circle Gallery, Chicago
Oct. 31-Nov. 11, 1972 -- Hammer Galleries, New York
Nov. 22, 1972-Jan. 7, 1973 -- "Sketches of the XXth Olympiad," Solo Exhibition, Indianapolis Museum of Art
Jan.-Feb. 1973 -- Circle Gallery, Los Angeles
1973 -- Circle Gallery, Dallas
March 24, 1973 -- The Hang -Up Gallery Open House
April-May 1973 -- Circle Gallery, New York
June 2-23, 1973 -- Brentano's Gallery, New York
Jan. 24-Feb. 5, 1974 -- "Ali - Frazier," Circle Gallery, New York
Feb. 3-March 17, 1974 -- Springfield Museum of Art
1974 -- Windsor Gallery, Los Angeles
April 30-May 11, 1974 -- Hammer Galleries, New York
June 22-July 6, 1974 -- Gallery Hawaii, International Market Place, Honolulu
Sept. 1974 -- Abercrombie & Fitch
1974 -- Tobu Gallery, Tokyo
Nov. 1974 -- Gilbert Gallery, San Francisco
Nov. 1974 -- Windsor Gallery, New York
Feb. 1975 -- Carol Condit Galleries, White Plains, NY
March 1975 -- Art Gallery -Studio 53 Ltd., New York
April 1975 -- "The Wide World of LeRoy Neiman," Windsor Gallery, Los Angeles
June-July 1975 -- Moby Dick Traveling Exhibition, Peter Foulger Museum, Nantucket
Aug. 1975 -- Moby Dick Traveling Exhibition, Sag Harbor, Long Island
Sept. 1975 -- Moby Dick Traveling Exhibition, Pittsfield, MA
July 1975 -- Waller's Gallery, Tampa, FL
Sept. 1975 -- Hess's Gallery, Allentown, PA
Nov. 1975 -- Meredith Long & Co., Houston
Dec. 4-26, 1975 -- Thomas Ward Galleries, St. Paul
Dec. 4, 1975-Jan. 24, 1976 -- Minnesota Museum of Art, St. Paul
Dec. 10, 1975-Jan. 10, 1976 -- Hammer Galleries, New York
Jan. 21-March 10, 1976 -- Indianapolis Museum of Art, Downtown Gallery at American Fletcher National Bank
Feb.-May 1976 -- Emerald Art Galleries, Coronado, CA
March 14-28, 1976 -- Jewish Community Center, Bridgeport, CT
June 1976 -- M. Knoedler & Co., London
Aug. 1976 -- Frank Oehlschlaeger Gallery, Chicago
Aug. 28-Sept. 27, 1976 -- Gallery Hawaii, Hyatt Recency
Sept. 12-Oct. 6, 1976 -- Niagara Art Center, Niagara Falls
1976 -- Art Gallery-Studio 53 Ltd., New York
Oct. 1976 -- Heit Galleries, Phoenix, AZ
Nov. 16-Dec. 4, 1976 -- "The Olympic Ring," Hammer Galleries, New York
Dec. 12-19, 1976 -- Fahlnaes Konstsalong, Sweden
March 1977 -- Gallery 100, Mishawaka, IN
March 1977 -- Upstairs Gallery, Beverly Hills
March 1977 -- Galerie Marc, San Francisco
Aug. 31-Sept. 11, 1977 -- Galerie Renee & Victor, Stockholm, Sweden
Sept. 1977 -- Bowles/Hopkins Gallery, San Francisco
Sept. 2-23, 1977 -- Casa Grafica, Helsinki, Finland
Oct.-Nov. 1977 -- St. Lawrence National Bank, Ogdensburg NY
Arledge, Roone - 2.2: ABC Correspondence, 3.1: Olympics Munich 1972, 3.1: "Recent Graphics and Drawings," The Far Gallery Solo Exhibition 1971, 3.1: Olympics, Montreal 1976 Roone Arledge, 1972 drawing - 4.1: 2003
Arliss - 4.1: 1996
Armory Art Fair, Washington DC - 4.1: 1977
Armstrong, Louis - see jazz
Army, U.S., service in - 1.1: Military Service
Army vs. Navy 1946, 2000 - 4.1: 2001
Arnstein, Vera Daphne - 4.1: 1990
Arrow shirts - see promotions
Art Aid - 4.1: 1986
L'art et l'automobile - 3.1: LeRoy Neiman Corvette 1984, 4.1: 1988, 2002, see also exhibitions
Art Brokerage Inc. - see Rose, Donna
Art Collection House Co., Ltd., Japan - 2.1: 1994, 1995
Art Directors Club of Oklahoma City - 4.1: 1967, VII
Art Expo - 4.1: Undated
Art for Education - 4.1: 1998
The Art of Gaming Through the Ages, by Arthur Flowers and Anthony Curtis, foreword by LeRoy Neiman - 3.1: The Art of Gaming Through the Ages, Huntington Press, 2000
Art Institute of Boston - 1.1: Honorary Degrees, 2.1: 1975, 4.1: 1975
Art Institute of Chicago - 1.1: Education and Teaching, 2.1: 1987, 1989, 1996, 3.1: "Drawing New Conclusions," Art Institute of Chicago group exhibition 1992, 4.1: 1978 ov, 2001, 2002, see also exhibitions
Auxiliary Board - 2.1: 1990
Barewalls, 2001 - 3.1: Art Institute of Chicago Reunion 2001
Art and Lifestyle, 1974 - see LeRoy Neiman: Art and LifeStyle, 1974, 3.2.1
ArtExpo New York - 2.1: 1989, 4.1: 1987, 1998, 2001
Art-o-gram: News of the art world for art dealers only - 4.1: 1977
Arthur Andersen & Co. - 4.1: 1981
Les Arts de France - 2.1: 1988
Arum, Bob and Lovee - 2.1: 1996, 1998, 4.1: 1996
Ascent, 1961 - 4.1: 1961
Ashford, Evelyn - see running
Aspen, CO - 4.1: 1993, 1994
Association for the Help of Retarded Children (AHRC) - 3.1: Thurman Munson and Thurman Munson Awards Dinner 1977-present
Fred Astaire - 3.1: Good Tidings Foundation 1998 -, 4.1: 1985
Athens International Festival - 4.1: 1993
Atlanta, GA - 3.1: Economic Opportunity Atlanta 1968
Atlanta International Film Festival - 4.1: 1974 and ov, V: 1974
Atlanta Magazine - 4.1: 1969, 1975, 1996
Atlanta's Poor People Art School - 4.1: 1969
Atlantic City, New Jersey - see also casinos, promotions, 3.1: Tour de Trump 1989
attorney - see Shaw, Robert
auction - 4.1: 1978, 1997, 1998, 1999
Augusta National Golf Club, The 16th at Augusta, 1992 - 4.1: 1994
auto racing -- - 4.1: 1982, 1983, 1989, 1999
Andretti, Mario - 4.1: 1975, 1992
Andretti, Michael - 4.1: 1992
Brayton, Scott - 4.1: 1996
Beni Hana Grand Prix - 2.1: 1978
Caesar's Palace Grand Prix, 1981 - 3.1: Caesar's Palace Grand Prix 1981-83
Caesar's Palace Grand Prix, 1982 - 3.1: Caesar's Palace Grand Prix 1981-83
Caesar's Palace Grand Prix, 1983 - 3.1: Caesar's Palace Grand Prix 1981-83
Can-Am Race - 4.2: -- Playboy -- 1970, see Appendix E
Dallas Grand Prix, 1984 - 2.2: Neiman-Marcus 1983-88, 3.1: Dallas Grand Prix 1984
Denver Grand Prix, 1990 - 3.1: Denver Grand Prix 1990-1991
Denver Grand Prix, 1991 - 3.1: Denver Grand Prix 1990-1991
boats - see sailing, or Showboats International; The Cambridge-Oxford Boat Race - 4.2: -- Playboy -- 1962, see Appendix E
Bochette, Liston - 2.1: 1981, 1984, 1985
bodybuilding -- - 4.1: 1977, 1982, 1990
Everson, Cory - 4.1: 1990
Schwarzenegger, Arnold - see Schwarzenegger, Arnold
Boek, Louis - 1.1: Military Service
Boggs, Bill - 4.1: 2002 ov., 2004
Bonaventure - see St. Bonaventure University
Bond, Julian - 4.1: 1969
Bonds, Barry - Barry Bonds, 2003 pastel - 3.1: Good Tidings Foundation, 1998-present book jacket illustrations - 3.1: folder 1, 3.1: Charlotte Chandler 1978-84, 4.1: 1973, 1982, 1988-89
Book of the Month Club - 3.2.5, 3.2. -- Winners -- , 1983, Harry N. Abrams , Text Drafts
by Mr. Neiman - see Publications files in Series 3.2
by others, containing Mr. Neiman's works - see Licensing Art and Design by Cynthia Revelli, Skip Singleton tennis books, see also book jacket illustrations
bookstores - see Publications files in series 3.2 for information on book signings at bookstores
Borg, Bjorn - see tennis
Borstal Boy - 2.1: 1984, 3.1: Borstal Boy 1970
Bosley, Thad - see Skoal Pinch Hitter
Bourgeois, Louise - 3.1: "Cig Art" Benefit Exhibitions 1996-2000
Bourne, Bob - 4.1: 1983
Bowe, Riddick - see boxing
Bowlers Journal - see bowling
Bowles, Franklin - see Bowles Galleries
Bowles Galleries - 1.2: Bowles Galleries, see exhibitions, see also Timothy Yarger Fine Art
bowling -- - 2.1: 1976
Anthony, Earl - 3.1: Million Dollar Strike, 1982
Carter, Don - 3.1: Million Dollar Strike, 1982
Esposito, Frank - 2.1: 1986, 1996, 3.1: Million Dollar Strike, 1982
Million Dollar Strike, 1982 - 3.1: Million Dollar Strike, 1982
Varipapa, Andy - 3.1: Million Dollar Strike, 1982
boxing -- - 3.1: Ali vs. Frazier I, 1971, 3.1: Ali vs. Frazier III "The Thrilla in Manila," 1975, 3.1: Ali vs. Spinks 1978, 3.1: Sportsman's Ball 1978, 3.1: Ali vs. Holmes 1980, 3.1: Duran vs. Leonard I, II, III 1980-89, 3.1: Hearns vs. Leonard 1981, 3.1: Tribute to Joe Louis (Holmes vs. Spinks) 1981, 3.1: Holmes vs. Cooney 1982, 3.1: Hagler vs. Hearns 1985, 3.1: Mike Tyson Portraits 1986-1990s, 3.1: Tyson vs. Spinks 1988, 3.1: McGirt vs. Whitaker 1993, 3.1: Tyson vs. Holyfield 1991-1996, 3.1: Holyfield -Lewis and Ali vs. Frazier I, 1971, 1999, 3.1: Lewis vs. Tyson 2002, 3.1: De La Hoya vs. Vargas 2002, 4.1: 1964, 1965, 1966, 1967, 1970, 1971, 1972, 1976, 1977, 1978, 1979, 1981, 1982, 1983, 1984, 1985, 1987, 1988, 1989, undated 1990s, 1990, 1991, 1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000, 2001, 2002
Ali, Muhammad - see Ali vs. Frazier, 3.1: Lewis vs. Tyson 2002, .2.1: 2001, 3.1: GOAT (Greatest of All Time - A Tribute to Muhammad Ali) Book by Taschen, 2004, 3.2.1, 3.2.16, 4.1: 1964, 1965, 1966, 1967, 1970, 1971, 1974, 1976, 1977, 1978, 1980, 1985 1991, 1994, 1995, 1997, 1998, 1999, 2000, 2001, 4.2: Playboy Ephemera 1960s, 4.2: The Ring Magazine as artist - 2.1: 1979, 4.1: 1966, 1967, 1970 ov, 1979
Muhammad Ali - Athlete of the Century, 2000 - 3.1: Muhammad Ali - Athlete of the Century, 2000-2002
Muhammad Ali - The Greatest Collector's Edition Magazine, 2002 - 4.1: 2002
Ali vs. Foreman, Zaire poster, 1974 - 4.1: 1974, 2000, 2002
Ali vs. Frazier
Ali vs. Frazier I, 1971 - 3.1: Ali vs. Frazier I, 1971
Ali vs. Frazier I, 1971, 1999 - 3.1: Holyfield -Lewis and Ali vs. Frazier I, 1999, 4.1: 2000
Ali vs. Frazier II etchings, 1974 - 3.1: Ali vs. Frazier I, 1971, 3.1: Circle Gallery 1972, 3.1: Ali vs. Frazier II, 1974, 3.1: Ali vs. Frazier III "The Thrilla in Manila," 1975, 4.1: 1990
Fight of the Century poster, 1971 - 3.1: Ali vs. Frazier I, 1971
Thrilla in Manila poster, 1975 - 3.1: Ali vs. Frazier III "The Thrilla in Manila," 1975, 4.1: 2000
Ali vs. Holmes, 1980 - 3.1: Ali -Holmes 1980, 4.1: 2000
Ali vs. Spinks, 1978 - 3.1: Ali vs. Spinks 1978, 4.1: 2000
Bobrick - 4.1: 1977
Bowe, Riddick - 4.1: 1993, 1995, 1996, 4.2: The Ring Magazine
Boxers Ball - 4.1: 1997
Boxing Beat Magazine - 4.1: 1988
Boxing Illustrated - 4.1: 1993
Boxing at the Ritz - 4.1: 1993
Boxing Writers Association of America - 1.1: Awards, 4.1: 1967, 1985, 2004
Brenner, Teddy - 2.1: 1978, 1979, 4.1: 1978, 4.2: The Ring Magazine
Camacho, Hector - 4.1: 1986, 1997
Chavez, Julio Cesar - 4.1: 1993, 1996
Julio Cesar Chavez, pastel - 4.1: 1996
Julio Cesar Chavez, 1996 drawing - 4.1: 1996
Clay, Cassius - see Muhammad Ali
Coetzee - 4.1: 1984
Cooney, Gerry - see Holmes vs. Cooney, 2.1: 1989, 2000, 4.1: 1981, 1987, 2001, 4.2: The Ring Magazine
De La Hoya, Oscar - 3.1: The Fight of the Millennium, 1999, 3.1: De La Hoya vs. Vargas 2002, 3.1: De La Hoya vs. Hopkins 2004, 4.1: 1995, 1997
Oscar De La Hoya, 1995 - 4.1: 1997
De La Hoya vs. Mosely poster 2000 - 3.1: De La Hoya vs. Mosley 2000
De La Hoya vs. Whitaker, 1997 - 4.1: 1997
Dundee, Angelo - 3.1: Angelo Dundee Tribute 2002
Duran, Roberto - 3.1: Duran vs. Leonard I, II, III 1980 -1989, 4.1: 1980, 1983, 1984, 1994, 1995, 4.2: The Ring Magazine
Ellis, Jimmy - 4.1: 1973 ov
F.I.S.T. - 2.1: 2000, 4.1: 2000, 2001
film, documentary - see Win a Few, Lose a Few, 1972
Foreman, George - see Ali vs. Foreman, 2.1: 1989, 4.1: undated, 1973, 1974, 1976, 1993, 1995, 1999, 4.2: The Ring Magazine
Foreman Frazier Fight - 4.1: undated
Foreman vs. Holmes, 1999 - 4.1: 1999
Frazier, Joe - see Ali vs. Frazier, 2.1: 1975, 4.1: undated, 1969 ov, 1971, 1972, 1973, 1976, 1981, 1992, 1998, 4.2: The Ring Magazine
Golden Gloves Championships - 4.1: 2000, 2001
Golota, Andrew - 4.1: 1996
Grant, Michael - see Lewis vs. Grant, 4.2: The Ring Magazine, 4.1: 2001
Trump Taj Mahal, Atlantic City - see Trump, Donald
Vegas Blackjack - 4.1: 1984, 1996
catalogue raisonnes - 3.2.5, 3.2.9, 3.2.14
Cavett, Dick - 2.1: 1999
"Celebration 2000" Exhibition - 3.2.14
Celebrity Night at Spago, 1993 - 3.1: Celebrity Night at Spago, 1993
Centaur Galleries, Las Vegas - see exhibitions
Center Art Galleries, Hawaii - 3.1: Center Art Galleries Exhibition, Hawaii 1985, 4.1: 1984, 1987
Central Park Boathouse - see restaurants
cereal box - see Wheaties
Chabot Galleries - 2.1: 1989
Chamberlain, Wilt - see 3.1: Basketball Superstars, 1975 -76, 3.1: Kareem Abdul -Jabbar, 1984, 3.1: Wilt Chamberlain 2000, 4.1: 1981
champagne - 3.1: Duval LeRoy Champagne 1999-2001
Champagne Taittinger - 3.1: 1993
Champagne...Uncorked! by Rosemary Zraly - 3.1: Saks Fifth Avenue 1994-1999, 3.1: Champagne...Uncorked! by Rosemary Zraly 1996
Champions vs. MS - 2.1: 1977
Le Champs- Elysses, 1992 - 4.1: 1996
The Champs-Elysees, la Voie Triomphale, 1994 - 4.1: 1997
Chandler, Charlotte - 3.1: Charlotte Chandler 1978-84, 3.1: March of Dimes' Gourmet Gala 1985
Channel Thirteen, New York - 2.1: 1984, 4.1: 1983
Charismatic - 4.1: 1999
charity - 2.1: Charities (all files), see also AIMS (Committee to Aid Multiple Sclerosis), American Cancer Society, American Diabetes Association, American Heart Association, Association for the Help of Retarded Children (AHRC), Boys & Girls Clubs of America, Boys Town of Italy, Carousel of Hope (Children's Diabetes Foundation), Champions vs. MS, Children's Hearing Institute, Citymeals-on-Wheels, Concern's Charity of Champions, Cystic Fibrosis Foundation, Doodle for Hunger, Good Tidings Foundation, Hope House Ministries, Hospital Relief Fund of the Caribbean, International Heart Foundation, International Sephardic Education Foundation, Jackie Robinson Foundation (under Robinson, Jackie), Jimmy Fund, Juvenile Diabetes Foundation, Leukemia Society of America, Make-a-Wish Foundation, Monmouth Park Charity Ball, Muscular Dystrophy Association, Myasthenia Gravis Foundation, National Multiple Sclerosis Society, North Shore Child and Family Guidance Association, Race to Erase MS, Rock for the Cure, Ronald McDonald House, Special Olympics, United Cerebral Palsy Association, United Way, 4.1: 1981, 1992, 1999; see also animals: rescue
Charlie Cosmetics - see promotions
Chavez, Julio Cesar - see boxing
chef - 3.1: James Beard 1985-87, see also Bennett, Chef John; Clark, Chef Patrick; Kopf, Stefan; Lomonaco, Chef Michael; food; restaurants; Soltner, Chef Andre
Chemical Bank - 2.2: Manufacturers Hanover and Chemical Bank, VII: Box 3
Cher - 4.1: 1981
chess - see Fischer, Bobby
Chicago Board of Trade, 1974-75 - 2.1: 1977, 1989, 4.1: 1977
Chicago Public Library - 4.1: 1955-59
Chicago Serigraphic Workshop - 2.1: 1977
children, artwork by - 2.2: Artwork from Children
children, letters from - 2.2: Mrs. Vladimir's Class 1975-85, 2.2: Hutchinson KS, Elementary Schools, 1976-78, 2.2: Mr. Silver's Class 1978-81, see also various letters in 2.1 Fan Mail files
Children at Heart - 4.1: 1996
Childrens Diabetes Foundation - 3.1: Carousel Ball 1982-present
Children's Hearing Institute - 4.1: 1994
China - 2.1: 1983
Chinaglia, Georgio - see soccer
Choate School - 4.1: 1969
Christie's - 4.1: 1978
Christina Galice Gallery - 2.1: 1990
churches -- - 4.1: 1964, 1965; The Organ at St. Paul the Apostle, 1965 - 4.1: 1965
etchings - 2.1: 1977, 3.1: Malletmen etching Certificate, 1977, 1.2: Bowles Galleries Correspondence 1970s, see also boxing: Ali vs. Frazier II etchings, 1974, and soccer: Soccer, 1989 etching, The Etchings of LeRoy Neiman, 1976 Knoedler booklet - 3.1: The Etchings of LeRoy Neiman, 1976 booklet (ov)
Eve Models, Ltd. - 4.1: 1971, 1974
Everson, Cory - see bodybuilding
Evert, Chris - see tennis
Ewbank, Weeb - 3.1: Gridiron Football News 1971-1973, 4.1: 1978
exhibitions -- - Note: Solo and group exhibitions are listed alphabetically by the venue name
Bowles/Sorokko Galleries, "LeRoy Neiman: Monte Carlo," San Francisco 1988 - 3.2. Monte Carlo Chase, 1988, Van Der Marck Editions, Ltd., Related Exhibitions
Bowles/Sorokko Galleries, Polo Lounge Debut, Beverly Hills, April 1989 - 3.1: Polo Lounge debut at Bowles/Sorokko Galleries, Beverly Hills 1989
Bowles/Sorokko Galleries, San Francisco, May 1990 - 3.1: Bay Area Baseball debut at Bowles/Sorokko, San Francisco 1990
Bowles/Sorokko, Beverly Hills, October 1990 - 4.1: 1990
Bowles/Sorokko Galleries, "The Prints of LeRoy Neiman 1980 -1990," Beverly Hills, 1991 - 3.2. The Prints of LeRoy Neiman, 1980-1990, 1991
Bowles/Sorokko Galleries, "LeRoy Neiman's San Francisco," San Francisco 1991 - 3.1: San Francisco Series 1991-93
Bowles/Sorokko Galleries, "LeRoy Neiman: Downtown," New York 1992 - 4.1: 1992
Bowles/Sorokko Galleries, "Big Time Golf," Beverly Hills, San Francisco, and New York, 1992 - 3.2. -- Big Time Golf -- , 1992, Publicity and Related Exhibitions
Bowles/Sorokko Galleries, City by the Bay Debut, San Francisco, 1993 - 3.1: San Francisco Series, 1991-1993
Bowles/Sorokko Galleries, "An American in Paris," Beverly Hills, San Francisco, and New York, 1994 - 3.2. -- LeRoy Neiman: An American in Paris -- , 1994, Related Exhibitions
Bowles/Sorokko Galleries, San Francisco, 1995 - 4.1: 1995
Bowles/Sorokko/Yarger Galleries, "Portraits of Our Times 1946-1996", Beverly Hills and San Francisco 1996 - 3.1: "Portraits of Our Times 1946-96" Solo Exhibition and Catalog, Bowles/Sorokko/Yarger Galleries, 1996
Brentano's Gallery, New York, 1973 - 4.1: 1973
Brentano's Gallery, New York, 1979 - 2.1: 1979, 4.1: 1979
Brentano's Gallery, New York, 1980 - 4.1: 1980
Butler Institute of American Art, Exhibition at "The Art Spirit" Event, April 1990 - 4.1: 1990
Carol Condit Galleries, White Plains, 1975 - 4.1: 1975
Casa Grafica, Helsinki, Finland, 1977 - 3.1: Casa Grafica Solo Exhibition, Helsinki, Finland, 1977
"Celebration 2000," 2000 - 3.2. -- The Prints of LeRoy Neiman -- , 1991-2000, 2001
Centaur Galleries, Las Vegas, 2000 - 4.1: 2000
Centaur Sculpture Galleries, "The Safari Suite," Las Vegas 1996 - 3.2. -- LeRoy Neiman On Safari -- , 1996, Related Exhibitions
Center Art Galleries, Honolulu, Hawaii, 1985 - 3.1: Center Art Galleries Exhibition, Hawaii, 1985
Halas, George - 3.1: Gridiron Football News 1971-73, George Halas, Jr. Sports Center - 4.1: 1979
Hall, Jim - 4.1: 1997
Hall of Famer, 1996 - 3.1: Saks Fifth Avenue 1994-1999, 4.1: 1998
Halle, David - 3.1: UCLA LeRoy Neiman Center for the Study of American Society and Culture, 1998-present; A Sociological Study of the Artist LeRoy Neiman, and 1000 Neiman Collectors by David Halle and Louis Mirrer - IC: A Sociological Study of the Artist LeRoy Neiman, and 1000 Neiman Collectors by David Halle and Louis Mirrer, 1990
Halmi, Robert - 3.2.12 and 4.1: undated ov
Hammer Galleries - see exhibitions, and Knoedler & Co.
Hammer, Armand - 1.2: Knoedler & Co. and Hammer Galleries, 3.1: New York City Marathon 1984-2001, 3.1: Tretyakov Museum Solo Exhibition, Moscow 1988, 3.1: Tokyo exhibition 1988
Hammer, Michael - 1.2: Knoedler & Co. and Hammer Galleries
Hammer, Victor - 1.2: Knoedler & Co. and Hammer Galleries
Hammond, IN - see Mercantile Bank
Hampton, Kym - 4.1: 2000
The Hamptons, New York - 3.1: Hamptons notes 1972, 4.2: -- Playboy -- 1973, see Appendix E handball - see Jacobs, Jim
Hanson Gallery, New Orleans - see exhibitions, 3.1: Rex Proclamation Mardi Gras Painting 2002, 4.1: 1984, 1986, 1998, 2000, 2001, 2002, 2004
Hanson Gallery, San Diego - 4.1: 1987
Harbor Boat House, 1955 - 4.1: 1950s
Hardy, Joseph A. - 1.1: Collectors
Harlem Streets, 1981 - 3.1: Cities in Schools and Harlem Streets, 1981
Harlequin, lithograph - 3.1: Circle Gallery 1972, 4.1: 1989
Harlequin and a Nude, 1971 - 4.1: 1991
Harlequin with Sword, lithograph - 3.1: Circle Gallery 1972
Harlequin's Entry into Venice, 1971 mural - 3.1: "The Playboy Collection," Dyansen Gallery Traveling Exhibition 1989-90
Haring, Keith - 4.1: 1997
Harmon Galleries - see Foster Harmon Galleries
Harper's -- Magazine - 4.1: 1964, 1968
Harrod's, London - 4.1: 1982
Harry, Deborah - 2.1: 1978
Harry's Wall Street Bar - see bars
Hartack, Bill - 2.1: 1977
Harvard University - 4.2: Playboy Parodies - Harvard and Yale
Japan - 2.1: 1986, 1987, 2.2: CBS Sports Correspondence, 3.1: Hawaii and Japan 1974, 3.1: Japan Trip 1977, 3.1: Tokyo Exhibition 1983, 3.1: Tokyo Exhibition 1988, 3.2. -- Winners -- , 1983, Correspondence, Harry N. Abrams, 4.1: 1984
Armstrong, Louis - 3.1: "Louis Armstrong: A Cultural Legacy" traveling exhibition 1995, 4.1: undated 1990s
Louis Armstrong, 1963 - 4.1: 1965
Louis Armstrong, 1981 - 4.1: 1981
Louis Armstrong, 1976 - 3.1: Newport Jazz Festival 1975 -2004, 3.1: Kool Jazz Festival 1976, 4.1: 1979
London, England - 3.1: O'Hana Gallery Solo Exhibition, London 1962, 3.1: Knoedler London Exhibition 1976, 4.1: 1960 ov, 1961, 1962, 1966, see also Liverpool
The Lone Ranger, 1977 - 2.1: 1988, 3.1: The Lone Ranger, 1977
Long, Captain Elgen, The Adventurer, between 1971 and 1977 - 2.2: Gallery Mack 1975 -87, 4.1: 1982
Lonsdale International Sporting Club - 1.1: Awards
Los Angeles Institute of Contemporary Art (LAICA) - 3.1: Neiman/Warhol Exhibition at LAICA 1981-82
Louganis, Greg - see swimming and diving
Louis, Allyson - see Allyson Louis Gallery
Louis, Joe - see boxing
Nick Lowery, 1992 - 4.1: 1992, 1997
Lubel, William - 2.1: 1973
Lynch, David - 3.1: "Cig Art" Benefit Exhibitions 1996-2000
Maccioni, Sirio - 4.1: 2004
Mack, Barbara - see Gallery Mack
Madison Square Garden - 2.1: 1981, 4.1: 1966, 1967, 1968, 1969, 1971, 1987, 1992, 1994, 1999, 4.2: -- Playboy -- 1963, see Appendix E
Madison Square Garden (silkscreen) - 4.1: 1978
Madrid, Spain - 4.1: 1960 ov
A Magic Moment, 1990 - see Orlando Magic under "baseball"
magical creatures - see animals: unicorn
Mahoney, James - 2.1: 1983, 3.1: Pebble Beach Golf 1982-1995
Mailer, Norman - 4.1: 1982
Maitland, Vic - 2.2: NFL Alumni
Make-a-Wish Foundation - 4.1: 2000
Maki, Mary Ann - 2.1: 1993, 1995, 1997
Malave, Chu Chu - see boxing
Malinowski, Mark "Scoop" - 4.1: 2000
Malletmen, 1977 etching - see polo
Manager of the Year, 1992 - see LaRussa, Tony
Mandalay Bay - 3.1: De La Hoya vs. Vargas 2002
Mandela, Nelson - 3.1: Nelson Mandela Tribute 1997
Mangione, Chuck - 4.1: 2004
Manhattan Bride -- Magazine - 4.1: 1999
Manhattan Concert Club - 4.1: 2004
Manhattan Magazine - 1.1: Awards, 2.1: 1989, 3.1: LeRoy Neiman Center for Print Studies, Columbia University 1995 - present, 4.1: 1984, 1990, 1997, 1998, 1999 Manila, Phillipines - 3.1: Ali vs. Frazier III "The Thrilla in Manila," 1975
Manufacturers Hanover Trust Company - 2.1: 1978, 2.2: Manufacturers Hanover and Chemical Bank, 3.1: New York City Marathon 1984-2001, 3.1: Millrose Games 1986-1995, see also Chemical Bank and McCabe, Charles
marathon - see running
March of Dimes - 2.1: 1981, 1982, 3.1: March of Dimes' Gourmet Gala 1985, 4.1: 1974, 1981, 1983, 1985
The Organ at St. Paul the Apostle, 1965 - 4.1: 1965, 1967
Symphantasy - 3.1: Symphantasy 1988
Symphony for United Nations, 1991 - 2.1: 1991, 4.1: 1991
country - 4.1: 1994, see Tennessee
jazz - see jazz
opera - see opera
popular - 3.1: Fifth Dimension Album Art 1970-82, 3.1: Billboard Magazine First Annual Billie Awards 1993, 4.1: 1993, see The Beatles; Bennet, Tony; Blues Ball; Davis, Sammy; Iglesias, Julio; Jackson, Michael; Lennon, John; Paul, Les; Sinatra, Frank
musicals - see Times Square, 2001
Angels on Horseback - 4.1: undated 1980s
Golden Boy - 4.1: 1964
My Fair Lady - 3.1: Showstoppers Group Exhibition, MCNY 1983, 4.1: 1983
Oh! Calcutta - 4.1: 1967
Porgy and Bess - 3.1: Showstoppers Group Exhibition, MCNY 1983, 4.1: 1983
West Side Story - 3.1: Showstoppers Group Exhibition, MCNY 1983, 4.1: 1983
Mustang Ranch - 3.1: Mustang Ranch Brothel 1989
Myasthenia Gravis Foundation - 4.1: 1978
Myers, Farlan - 2.1: 1986
Mystic Seaport, CT - 3.2. -- Moby Dick -- , 1975, The Artist's Limited Edition
Mystic Rock, 1995 - 4.1: 1997
NAMTA - 4.1: 1984
NBC - see television
NECO (National Ethnic Coalition of Organizations) - 1.1: Awards, Citations and Miscellaneous Prizes
Nabisco - see promotions
Nahan, Kenneth - 4.1: undated
Naismith Memorial Basketball Hall of Fame - see basketball
Namath, Joe - 3.1: New York Jets 1966-, 4.1: 1968, 1972, 1973, 1982
Napoleon at Waterloo, 1988 serigraph - 4.1: 1988
Nash, Beau - 3.1: The Ambassadors, 1960s
The Nation -- Magazine - 2.1: 1998, 4.1: 1998
National Art Museum of Sport (NAMOS) - 2.1: 1972, 1979, 4.1: 1980, 2003 see also exhibitions
National Arts Club - 4.1: 1994
National Baseball Hall of Fame and Museum, Cooperstown, NY - see baseball
National Bowling Hall of Fame and Museum - see bowling - Million Dollar Strike, 1982
National Cowboy Hall of Fame - 2.1: 1999, 3.1: National Cowboy Hall of Fame 1985
National Fitness Classic - 4.1: 1982, 1983
National Multiple Sclerosis Society - 4.1: 1969, 1976, 1980, 1988
National Sports Collectors Convention - 4.1: 1992 ov.
Playboy -- Magazine and Man at His Leisure - see Appendix E, 2.2: Playboy Enterprises Inc. 1980s, 3.1: 1984 Olympics, Los Angeles, 4.1: 1959, 1966, 1999, 4.2: -- Playboy -- Magazine, V: Playboy Clubs 1961-63
The Plaza Hotel, New York - 4.2: -- Playboy -- 1965, see Appendix E
The Plaza Square, 1985 - 4.1: 1985, 1986
tapestry - 2.1: 1990
Poland - 2.1: 1976, 1987
Plunkett, Sherman - 4.1: 1967
Police Athletic League - 2.1: 1981
politics - 3.1: Bill Bradley 1978-2000, 3.1: Peace Treaty, 1980, 3.1: Peter Dawkins Poster 1988, 3.1: Rudy Giulianni and Commission on Cultural Affairs 1994-2001, 3.1: Nelson Mandela Tribute 1997, 4.1: 1960, 1968, 1988, 1989, 1992, see also Thurmond, Strom, and The White House
Sinatra, Frank -- - 1.1: New York Friars Club, 2.2: Sinatra Family Correspondence, 3.1: Hammer Galleries Solo Exhibition 1967, 3.1: Frank Sinatra Film Drawings Exhibition, Gallery of Modern Art 1967, 3.1: Leo Durocher 1974-94, 3.1: Frank Sinatra Portraits for Duets and Duets II Albums 1993-1995, 3.1: Hofstra Univ. Frank Sinatra Conference and Exhibition 1998, 3.1: Frank Sinatra Classic Duets Album Cover 2002, 4.1: 1979, 1983, 1989, 1998, see also golf, 4.2: Playboy Ephemera 1960s
Frank at Rao's, 2005 serigraph - 4.1: 2005
Frank Sinatra, 1993 - 3.1: Frank Sinatra Duets and Duets II Album Covers 1993-1995
Frank Sinatra at Carnegie Hall, 1974 - 3.1: Frank Sinatra at Carnegie Hall Poster 1974
Frank Sinatra as the Detective, 1967 - 3.1: Frank Sinatra Film Drawings Exhibition, Gallery of Modern Art 1967
Frank Sinatra at Madison Square Garden, 1974 drawing for poster - 4.1: 1974
Frank Sinatra at Royal Albert Hall, 1989 - 3.1: Frank Sinatra at Royal Albert Hall 1989
Singleton, Isaiah - 2.1: 1996
Singleton, Skip - see tennis: Intelligent Doubles and Intelligent Tennis
skating - see figure skating
skiing -- - 4.1: 1983, 1995, see also Olympics: skiing
Lady Skier - 4.1: 1998
Little Skier - 4.1: 1974
The Skier, serigraph - 3.1: Circle Gallery 1972
Skiing, etchings - 3.1: Circle Gallery 1972
Slalom, serigraph - 3.1: Circle Gallery 1972, 4.1: 1973
Squaw Valley - 4.2: -- Playboy -- 1961, V: 1960s, see Appendix E
Vail Race to Erase MS painting, 1994 - 4.1: 1995
Skoal Pinch Hitter of the Year Award - 3.1: Skoal Pinch Hitter 1985-1987
Slatkin, Leonard, Leonard Slatkin, 1980? - 4.1: 1980
Special Olympics -3.1: Special Olympics Nagano Japan 2005, 4.1: 1986, 1996, Mississippi Special Olympics - 2.1: 1977
The Spectrum, Philadelphia, PA - 2.1: 1991, 1996, 3.1: Philadelphia Spectrum Painting 1991, 4.1: 1992, V: Photographs
Spectrum Fine Art, New York - 3.1: "Ball, Bat, and Glove", Spectrum Fine Art, 1977, 4.1: 1978
Spelling, Aaron - 2.1: 1985
Spinks, Leon - see boxing
Spinks, Michael - see boxing
Spirit Foundation - 2.1: 1999
Spitz, Mark - see swimming and diving
The Sporting Life - 4.1: undated
The Sporting News - 3.1: Iona College Trustee Awards Dinner Dances 1984-95
sports - listed alphabetically by name of sport (i.e. "baseball," "soccer"), with teams listed under heading of appropriate; in some cases college and professional sports are indexed separately. Also search for names of specific athletes.
sports arenas - see Madison Square Garden, Philadelphia Spectrum
sports cards - see trading cards
Sports Collectors Digest - 4.1: 1997
Sports Commemorative Decanters - see promotions and collectibles
sportscasters - see also Cosell, Howard, and Rooney, Art
American Sportscasters Association - 1.1: Awards
Sportsman's Ball - 3.1: Sportsman's Ball 1978
Sportsman's Park, Chicago - 3.1: Sportsman's Park Mural, Chicago 1976
SportsWise Magazine - 2.1: 1980
Springfield Art Association, Illinois - 2.1: 1990
Stadium Tennis, 1981 - see tennis
The Stag's Head Bar, Dublin, 1961 - see bars
Stallone, Sylvester - see Rocky, 4.1: 1987
stamps - 4.1: 1974
"Health in Sports" stamps, 1988 - 3.1: United Nations "Health in Sports" Stamps 1988
"Sport and the Environment" stamps, 1996 - 3.1: United Nations "Sport and the Environment" Stamps 1996
"Superbowl History" Stamps, 1988 - 3.1: U.S. Postal Service Superbowl Stamps 1988
Taylor, Elizabeth - 3.1: Celebrity Night at Spago, 1993
Taylor, Lawrence - 4.1: 1996
television - 2.1: 1970, 1978, 4.1: 1972, 1974, 1975, 1977, 1979, 1980, 1985, 1994, 1995, 3.1: Call of the Wild 1993, see also ABC, CBS, American Federation of Television and Radio Artists, The Lone Ranger
ABC Sports - 2.2: ABC Sports
Ampex Video Art - 3.1: Superbowl XII, 1978, 4.1: 1980
Arlene Herson Show - 4.1: 1989
The Black Stallion television show - 2.1: 1990
CBS Sports - 2.2: CBS Sports, 3.1: Superbowl XII, 1978
Shukan T.V. Guide, Japan - 2.1: 1996, 3.1: 1984 Olympics, Los Angeles
TV Food Network - 2.1: 1993
TV Gallery with Ron Parris - 2.1: 1979, 4.1: 1979
T.V. Guide - 2.1: 1975
T.V. Guide Japan - 2.1: 1996, 4.1: 1984
TV Shopper - 2.1: 1979, 4.1: 1973, 1980
Tele Planning International, Tokyo - 2.2: Tele Planning International, Tokyo 1993-98
Today Show - 3.1: WNBC Traffic Helicopter 1981-93
WGBH TV Boston - 2.1: Charities 1994, Charities 1996
Wonderama TV Show - 4.1: undated 1970s
The Year of the Runner TV series, LeRoy Neiman host - 4.1: 1979
Tenenbaum, Judy and Harold - 2.1: 1984, 1986, 1988, 2.2: Harold and Judy Tenenbaum
Tennessee - 3.1: Women's Basketball Hall of Fame, 1993, 3.1: Iroquois Steeplechase, Nashville, TN, 1993, 3.1: Blues Ball 1997 -2004, see also Gregory, Jack; Morris, Gary and Elizabeth; Murphy, Libby; Perkins, Carl; Rudy, Jeanette Cantrell; Tigrett, John and Pat Kerr
tennis -- - 3.1: Nelson Mandela Tribute 1997, 3.2. -- Winners -- , 1983, Harry N. Abrams, 4.1: 1975, 1980, 1985, 1988-89, 1997, 1999
The Splendid Splinter - 3.1: Williams at Bat, 1980-1991, 4.1: 1993, 2002
Williams at Bat, 1980 painting and 1991 serigraph - 3.1: Williams at Bat, 1980-1991, 4.1: 1981, 1991, 2002
Win a Few, Lose a Few, 1972 boxing documentary film - 4.1: 1972
Windsor Gallery - 4.1: undated 1970s
wine -- - 4.1: 1997, see also champagne
labels - 3.1: David Frost Wines 2001, 4.1: 1992, 1996, see also golf: Atlanta National Golf Club California Merlot
Wine Country Film Festival - 3.1: Wine Country Film Festival 1990
Wine, Women, and Cigar, 1996 - see cigars
Winged Foot - see golf
Wingmead - 2.2: JoAnn Perse Gallery 1983-02
Winners, 1983 - 2.2: ABC Correspondence, 2.2: Neiman-Marcus 1983-88, 2.2: Sterling/Winters Company 1983-84, 3.1: Hanson Galleries New Orleans and Carmel, 1983-84, 3.2. -- Winners -- , 1983, Harry N. Abrams, 4.2: The Ring Magazine
Wisconsin - 2.2: Bobby Hinds 1990-2000
Wittnauer International - see Universal Geneve
Wolf, Martin B. - 4.1: 1964
Wolfberg, Lee - 4.1: undated 1980s
Wolfson, Mr. and Mrs. Robert L. - 4.1: 1967, 1980
Women of Excellence - 2.1: 1985
Women's Basketball Hall of Fame - 3.1: Women's Basketball Hall of Fame, 1993
An interview of Judy Chicago conducted 2009 August 7 and 8, by Judith Olch Richards, for the Archives of American Art, at Chicago's home and studio, in Belen, New Mexico.
Chicago speaks of her work since the late 1980s, having previously discussed her early life and works; printmaking projects with various print studios around the country; giving archived documents to important museums; creating a foundation with her husband Donald Woodman to protect the legacy of their art; the non-profit organization she started in 1978, Through the Flower; her studio practices and her most practiced techniques; keeping a regular schedule; her interest in collaborative projects such as The Dinner Party [1974-1979], the Birth Project [1980-1985], the Holocaust Project [1985-1993] and Resolutions: A Stitch in Time [1994-2000]; working with various textile and glass artists; feeling a kin with other female artists, like Nikki de Saint Phalle and Marisol Escobar; the responsibility she feels to share underrepresented information; her enjoyment of the process of making art and the hope that she creates art that is not bound by time; her relationships with galleries though the years including the ACA Galleries in New York and LewAllen Contemporary in Santa Fe; her intention in making art was not create proactive or controversial art; various teaching positions; her interest in combining text and images in works like Song of Songs [1997-1999]; her more current interest in glass; experimenting with the techniques of casting and etching to achieve her desired images; her want to change institutional policies that underrepresent women artists in museums and the absence of images of women by women artists. Chicago also recalls Henry Hopkins, Mary Ross Taylor, Susannah Rodee, John Bullard, Jack Lemon, Alice Neel, Edward Lucie-Smith, John Copeland, Harold Rosenberg, Carolee Schneemann, Jeffery Bergen, Audrey Flack, Joan Semmel, Nancy Youdelman, David McFadden, Viki Thomson Wylder, Tom Pruitt, Arlene LewAllen, Flo Perkins, Norman and Ruth Dobbins, Karen LaMonte, Lu Jie and others.
Biographical / Historical:
Interviewee Judy Chicago (1939- ) is a feminist artist and author who lives and works in Belen, New Mexico. Interviewer Judith Olch Richards (1947- ) is former executive director of iCI in New York, New York.
Originally recorded on 4 compact discs. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 40 min.
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Women sculptors -- New Mexico -- Interviews Search this
Interview of Al Hansen conducted 1973 November 6-13, by Paul Cummings, for the Archives of American Art.
Hansen traces his personal history, recalling his childhood and early education in Queens; his service in the armed forces; and jobs he held in social work, advertising, off-Broadway theater, and art galleries. He describes taking classes with John Groth at the Art Students League in the 1940s; with Reuben Nakian at Pratt in the 1950s; and with John Cage at the New School in 1958. He also discusses the rise of New York as an art center; his interest in film; his involvement in experimental sound and music; his approach to creating Happenings and that of other artists; organizing poetry readings at the Epitome Coffee Shop; his Hershey bar wrapper collages; the writing of his book, "A Primer of Happenings and Space Time Art," (New York: Something Else Press 1965); his interactions with Fluxus and George Maciunas; participating in the "Below Zero" show at the Reuben Gallery in 1959; attending the Destruction In Art symposium in London in 1966; and his recent exhibitions in Germany. People he recalls include Tony Smith; Pauline Goldfine [ph]; Dick Higgins; Wolf Vostell; Larry Poons; Allan Kaprow; Claes Oldenburg; Don McCarey [ph]; Jim Dine; George Brecht; Jackson Mac Low; James Waring; Marisol Escobar; Ivan Karp; Bob Watts; George Segal; Judith Dunn; Bob Dunn; Jan Müller; Nam June Paik; Raphael Ortiz; Charlotte Moorman; and Lettie Lou Eisenhauer.
Biographical / Historical:
Al Hansen (1927-1995) was an artist from New York, New York. Founder of Fluxus art movement and one of the first Happenings artists.
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Transcript available on the Archives of American Art website.
The John Bernard Myers papers span the period circa 1940s to 1987, bulk 1970-1987. The collection measures 2.0 linear feet and documents Myers's work as a writer, editor, and gallery director, and includes correspondence, writings, printed material, and photographs.
Scope and Content Note:
The John Bernard Myers papers, which measure 2.0 linear feet, date from circa 1940s to 1987, bulk 1970-1987, and document his work as a writer, editor, and gallery director.
Personal and professional correspondence consist mainly of incoming letters from colleagues, friends, and admirers. Among the correspondence is business and fan mail concerning Tracking the Marvelous and Parenthése, letters from writer and English professor Guy Davenport, and invitations to speak and teach. Also included are letters to The New York Times and Art In America complaining about critic John Canaday's behavior and comments during a visit to the Tibor de Nagy Gallery.
Myers' published and unpublished writings are the collection's most significant series. These consist of manuscripts for his autobiography, Tracking the Marvelous, published in 1984 ; Forward and Backward: A Chronicle, circa 1976, about Mark Rothko's suicide and the subsequent lawsuit brought by his daughter against Marlborough Galleries (a revised version was published later as part three of Myers' autobiography); and Knowing What I Like, 1985, an unpublished collection of his own essays and criticism compiled and edited by Myers. Among his other writings are articles, essays, and reviews. Also included are his diariess dated 1969 and 1974-1983. Entries record daily activities and reactions to his experiences, news of friends, and reflections on his life and relationships. Excerpts from much earlier diaries (not part of the John Bernard Myers Papers) are quoted extensively in Tracking the Marvelous.
Printed Matter consists of writings by Myers - Tracking the Marvelous: A Life in the New York Art World; a selection of articles, essays, and criticism published mainly in art periodicals; and exhibition catalogs. Also included are a few articles about Myers and issues of publications he edited. Other printed matter consists of clippings on art subjects, exhibition catalogs, and miscellaneous publications.
Miscellaneous items are artwork, biographical information, minutes and memoranda of the Ingram Merrill Foundation, and transcripts of interviews conducted by and with Myers. Also included are records of the Southampton Artists' Theatre Festival, produced by John Bernard Myers, consisting of director's notes and notes and music for "Gertrude Stein's 'First Reader.'"
Photographs are of Myers and unidentified friends, interior views of his home in Brewster, N.Y. and one of the back yard. Also included are many photographs of puppets.
The collection is arranged into 5 series:
Series 1: Correspondence, 1960-1986, undated (box 1, 6 folders)
Series 2: Writings, 1959-1987, undated (boxes 1-2, 1.0 linear ft.)
Series 3: Printed Matter, 1951-1987, undated (box 2, 0.5 linear ft.)
Series 4: Miscellaneous, circa 1962-1987, undated (box 2, 0.25 linear ft.)
Series 5: Photographs, circa 1940s-1985, undated (box 2, 6 folders)
During his youth in Buffalo, New York, John Bernard Myers developed life-long interests in poetry, puppets, and painting. As a teenager, he wrote poetry and established his own marionette theater. He first learned about modern art and became especially interested in Surrealism through reading European magazines and exhibition catalogs in the library of the Albright-Knox Art Gallery. Through helping to edit Upstate, an avant garde literary magazine, he met many like-minded friends. Myers was deemed unqualified for military service due to ruptured eardrums, so instead went to work in an airplane factory. But his membership in the Young Communist League and participation in efforts led by a Socialist Workers party colleague to upgrade job assignments and pay for qualified minorities created problems and Myers soon departed. His final two years in Buffalo were spent working in a bookstore.
In 1944, Myers sent issues of Upstate to Parker Tyler, editor of View, whom he had met a few years earlier through mutual friends involved with the Communist party. A few months later Tyler offered him the position of managing editor of View, a magazine devoted to the Neo-Romantics and Surrealists in exile. Myers moved to New York City and remained with the magazine until it ceased publication in 1947. A large portion of his time at View was spent selling advertising space. Since this involved calling on gallery owners each month, he came to know many dealers, had the opportunity to study the exhibitions and meet many of the artists. During this period he began attending art history courses taught by Meyer Schapiro at the New School. His responsibilities at View also included assisting with editing and layout, and he became well-acquainted with Marcel Duchamp and André Breton when special issues devoted to them were published. His association with the magazine resulted in many invitations; Myers enthusiastically attended parties practically every night of the week, enlarging his already impressive circle of friends and acquaintance in the art and literary worlds.
Puppets were another of Myers' special interests. After View ceased publication in1947, he edited poetry and art publications, but to earn his living he resumed puppeteering. Around 1948 Myers met Tibor de Nagy, a cultured Hungarian immigrant with a background in banking and finance, who, for immigration purposes, needed a business that bore his name. The Tibor de Nagy Marionette Company gave performances at schools in and around New York City and staged elaborate productions for both children and adults at fine hotels. After several years of physically exhausting work with the marionette company and falling profits, the two decided to try another business venture.
Over the years, several of Myers' friends and acquaintances had suggested he open an art gallery. Myers was interested and had many appropriate contacts, but lacked sufficient capital and had no business experience. An old friend, Dwight Ripley, offered to back a gallery and in 1951 the Tibor de Nagy Gallery opened at 219 East 53rd Street with John Bernard Myers as the gallery director. Tibor de Nagy was the gallery's business manager, and at the same time pursued a full-time career in banking. Following the good advice of his friends Jackson Pollock,Lee Krasner, and Clement Greenberg, Myers decided to seek out and promote the artists of his own generation. Artists affiliated with the Tibor de Nagy Gallery included Helen Frankenthaler, Robert Goodnough, Red Grooms, Grace Hartigan, Alfred Leslie, Barnett Newman, Kenneth Noland, Fairfield Porter, and Larry Rivers.
Myers and de Nagy remained partners in the Tibor de Nagy Gallery for 19 years. In 1970 Myers left in to open a gallery which he ran for about five years under his own name. After retiring from the gallery, he was a private dealer and lecturer; he also served as a consultant to the Kouros Gallery. He continued to organize exhibitions including a Joseph Cornell exhibiton at A.C.A. Gallery in 1977, and "Tracking the Marvelous" at the Grey Gallery, New York University in 1981.
For more than thirty years after View ceased publication, a number of art and poetry publications benefitted from Myers' editorial skills. Among them were Prospero Pamphlets, a series of chapbooks produced between 1946 and 1948, featuring contemporary poets Wallace Stevens, Charles Henri Ford, Parker Tyler, and Paul Goodman. Brunidor Editions, a portfolio of graphics by Yves Tanguy, Joan Miró, Kurt Seligmann, Max Ernst, Wilfredo Lam, Matta, and William Stanley Hayter was issued in 1948. From 1953 until 1956, Tibor de Nagy Gallery published Semi-Colon, a poets' newsletter edited by Myers. Gallery Editions, a series of pamphlets paired the work of a poet and painter, among them: John Ashbury and Jane Freilicher, Frank O'Hara and Larry Rivers, Kenneth Koch and Nell Blaine, and Barbara Guest and Robert Goodnough. Myers devoted a great deal of time to Parenthése, a magazine of words and pictures, that was published between 1975 and 1979. In addition, he compiled and edited Poets of the New York School, an anthology with photographs by Francesco Scuvullo published by the University of Pennsylvania Art Department in 1968.
For much of his life, John Bernard Myers kept a diary recording daily activities and his reactions to an reflections on his experiences. His autobiography, Tracking the Marvelous: A Life in the New York Art World, published in 1984, quotes extensively from diaries written as early as 1939. He wrote many book reviews, exhibition reviews, and articles about art and art criticism that were published in Art in America, Arts, Artforum, Art and Literature, Art International, Art News, Art/World, Craft Horizons, and Smithsonian. Knowing What I Like, a selection of his own essays and articles that Myers compiled and edited in 1983, remains unpublished. He also wrote poetry and song lyrics.
John Bernard Myers died July 26, 1987.
1919 or 1920 -- Born, Buffalo, New York
circa 1939 -- Began puppeteering and eventually established his own puppet theater
circa 1942-1944 -- Assisted with editing Upstate, an avant garde literary magazine
1942 -- Rejected from military service due to ear problems; employed in airplane factory, and later at Ulbrich's Bookstore in Buffalo
1944-1947 -- Managing Editor, View, a magazine devoted to the Neo-Romantic and Surrealist artists in exile
1946-1948 -- Editor, Prospero Pamphlets, a series of chapbooks featuring Wallace Stevens, Charles Henri Ford, Parker Tyler, and Paul Goodman
1948 -- Editor, Brunidor Editions, portfolios of graphics featuring Yves Tanguy, Joan Miró, Kurt Seligmann, Max Ernst, Wilfredo Lam, Matta, and William Stanley Hayter; started a professional marionette company with Tibor de Nagy as business manager
1951 -- Tibor de Nagy Gallery opens at 219 East 53rd Street, backed by Dwight Ripley, with Myers as gallery director and de Nagy its business manager
1953 -- Tibor de Nagy Gallery moves to 24 East 67th St.
1953-1956 -- Editor, Semi-Colon, a poets' newsletter emphasizing brief prose and verse
1954-1970 -- Producer and Artistic Advisor, The Artists' Theater; during this time 36 plays by poets, with appropriate décors and music by modern painters and composers
1959-1970 -- Editor, Gallery Editions, a series of poetry pamphlets pairing poets and painters (Frank O'Hara and Larry rivers, Kenneth Koch and Nell Blaine, Barbara Guest and Robert Goodnough)
1968-1968 -- Producer, Southampton Artists' Theatre Festival, Long Island University
1970 -- Leaves Tibor de Nagy Gallery and opens John Bernard Myers Gallery at 50 West 57th Street
1974 -- Closes his gallery and in retirement becomes a private dealer
1975-1979 -- Editor, Parenthése, a little magazine of words and pictures
1981 -- Editor, Parenthése Signatures, each deluxe limited edition portfolios paired an artist and poet
1981 -- Tracking the Marvelous, exhibition at Grey Gallery, New York University
1984 -- Publication of Tracking the Marvelous: A Life in the New York Art World
1985-1987 -- Consultant to Kouros Gallery, New York
1987 -- Dies July 26, Danbury, Conn.
Other material relating to John Bernard Myers in the Archives of American Art includes an interview with Myers conducted by Barbara Rose, circa 1969.
The collection was a gift of the Estate of Ricky Dale Horton, 1990.
The collection is open for research. Use requires an appointment.
The John Bernard Myers 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 New York City and Paris art historian, educator, and gallerist Colette Roberts measure 10.2 linear feet and date from 1918 to 1971. Papers include correspondence, writings, teaching records, project proposals, gallery records from Grand Central Moderns Gallery, clippings, Roberts' printed articles, press releases, exhibition catalogs, posters, photographs, and a few works of art on paper. Also found are 124 interviews with contemporary artists conducted by Roberts.
Scope and Content Note:
The papers of New York City and Paris art historian, educator, and gallerist Colette Roberts measure 10.2 linear feet and date from 1918 to 1971. Papers include correspondence, writings, teaching records, project proposals, gallery records from Grand Central Moderns Gallery, clippings, Roberts' printed articles, press releases, exhibition catalogs, posters, photographs, and a few works of art on paper. Also found are 124 interviews with contemporary artists conducted by Roberts.
Significant correspondents include Sam Adler, Erwin Barrie, Hubert Damisch, George Deem, Mesdames de Harting and de Tinan, Lamar Dodd, Hélène Drude (Le Point Cardinal gallery), Arne Ekstrom, Albert M. Fine (Fluxus artist), Iqbal Geoffrey, R.G. Gilllet, Adolph Gottlieb, Cleve Gray, Leon Hartl, Jennett Lam, Alberto Cifolelli Lamb, Mike Nevelson, Norman Norotzky, Jacqueline Pavlowsky, Abe Rattner, Ad Reinhardt, H. Sandberg, Philippe Stern, Russell Twiggs, and Zuka.
Writings by Roberts include manuscripts and articles about artists, writings about her own art, personal writings, working notes from interviews and classes, reviews, and translations between English and French.
Among the personal records are Robert's files relating to teaching, charitable activities, and exhibitions. Also found are gallery records from Grand Central Moderns Gallery, including artist résumés, a card file of artworks with provenance information, exhibition catalogs and announcements, membership records, posters, publicity, and sales records.
Printed materials in the collection include clippings, Roberts' printed articles, press releases, and other exhibition catalogs and announcements. Photographs are of Roberts, artists, including Ad Reinhardt, classes, art spaces, and works of art. A small number of artworks on paper are also found, including Fluxus art stamps and a printed picture of Ray Johnson stamped "DOUGHNUT FESTIVAL."
Documentation of interviews with artists conducted by Roberts includes a card index file, a few transcripts, and the original sound recordings. Most of the recordings are interviews with artists that Roberts created during a class she taught at New York University between 1957 and 1971 called "Meet the Artist," including Mary Bauermeister, Romare Bearden, Dorothy Dehner, John Ferren, Ray Johnson, Ivan Karp, Thérèse Le Prat, Richard Lindner, Marisol, Seong Moy, Brian O'Doherty, Man Ray, Ethel Schwabacher, Hedda Sterne, Marie Helena Vieira da Silva, and many others. In preparation for magazine articles, Roberts conducted more extensive interviews with Chryssa, Marcel Duchamp, Adolph Gottlieb, and Louise Nevelson. A few of the recordings of Marcel Duchamp were not created by Roberts. In all, over 100 artists are represented in Roberts' interviews. Other recordings found include lectures and interviews conducted by people other than Roberts.
The collection is arranged as 8 series:
Series 1: Correspondence, 1918-1971 (Box 1, 0.5 linear feet)
Series 2: Notes and Writings, 1936-1970 (Box 1, 0.3 linear feet)
Series 3: Personal Records, 1944-1971 (Box 1-2, 11; 0.7 linear feet)
Series 4: Grand Central Moderns Gallery Records, 1952-1970 (Box 2-3, 11; 0.7 linear feet)
Series 5: Printed Material, 1938-1971 (Box 3-5, 11-12; 2.0 linear feet)
Series 6: Photographs, 1930-1971 (Box 5; 0.2 linear feet)
Series 7: Artwork, 1940-1969 (Box 5; 4 folders)
Series 8: Interviews with Artists, 1959-1971 (Box 5-10; 5.5 lienar feet)
Colette Roberts was a French artist, curator, gallery director, and scholar who emigrated to the United States in 1939, settling in New York City and remaining there until her death in 1971.
Roberts was born in Paris, France in 1910. She studied art with Roger Bissière at the Académie Ranson and with Henry Focillon at the Ecole du Louvre, and she later attended the Institut d'Art et Archeologie at the Sorbonne. Roberts came to the United States in 1939, settling in New York City, and became an American citizen three years later. In her early years in the United States, Roberts lectured and wrote on art and literature, and was active in various war-relief organizations, raising money and organizing benefits for organizations such as the American Red Cross and UNICEF. She was the gallery director for the National Association of Women Artists' Argent Galleries from 1947 to 1949, secretary to the curator of Far Eastern Art at New York's Metropolitan Museum from 1950 to 1951, and art editor for "France Amérique," the French-language newspaper in New York, beginning in 1953.
Roberts became gallery director of the Grand Central Moderns Gallery (New York, NY) in 1952 and remained in that position until 1968, when the gallery closed. The gallery was opened in 1946 by Erwin S. Barrie of the Grand Central Galleries for the promotion of living American artists. Among the artists represented there were Jennett Lam and Seong Moy. During this period she was also an instructor at New York University and Queens College, teaching art history and contemporary art. In 1957, she began a course at New York University called "Meet the Artist," for which she took her classes to the studios of working artists to see and discuss their work. In the early 1960s, she began to tape record her interviews of artists for this course, a practice which continued until her death in 1971. In 1968, Roberts worked briefly as Gallery Director for the A.M. Sachs Gallery (New York, NY), and as an oral history interviewer for the Archives of American Art.
Roberts wrote extensively on contempoary art, including articles and monographs on Mark Tobey (1960, Grove Press), Louise Nevelson (1964, The Pocket Museum), and Marcel Duchamp. She was a regular contributor to Aujourd'hui and Art and Architecture magazines.
Additional papers and recordings of Colette Roberts are held by Syracuse University Library Special Collections Research Center.
A copy of a 1967 oral history with Adolf Gottlieb conducted by Dorothy Seckler for the Archives of American Art oral history program, which was found in Roberts' papers, has been returned to the Archives' oral history collection.
The sound recordings and transcripts of interviews with artists, were donated by Colette Roberts in 1970. The remaining papers were donated by her son, Richard B. Roberts, in 1973.
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
The Colette Roberts papers and interviews with artists 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.
Art galleries, Commercial -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York -- Interviews Search this
The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and sound and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.
Scope and Content Note:
The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and audio and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.
The records document the gallery's daily business operations, exhibitions, spaces/buildings, collaborations and joint ventures with other galleries and museums, and its relationship with many artists, dealers, and clients. Artists particularly well-represented throughout the collection include Hanne Darboven, Dan Flavin, Jasper Johns, Donald Judd, Roy Lichtenstein, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner.
Records pre-dating the gallery's establishment in 1957 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of works of art, and scattered personal business records of Leo Castelli.
General Correspondence is extensive at circa 25 linear feet and consists primarily of the gallery's and Leo Castelli's named and subject correspondence files concerning the gallery's daily operations, exhibitions, artwork installation and fabrication, appraisals, inquiries, loans, sales, consignments, personal and business relationships with artists, and other topics. The general correspondence is arranged either by name of correspondent or topic, and is with museums and galleries, collectors, business associates, artists, employees, and friends. Notes, scattered photographs and slides, and printed materials are often found as enclosures. Leo Castelli's personal correspondence is also found here and consists primarily of solicitations, requests for advice, notes of thanks, congratulations, and invitations.
Letters written by artists in the gallery's stable are somewhat limited. There are scattered letters from artists Christo, Chryssa, Nassos Daphnis, Hanne Darboven, Marisol, Dan Flavin, Jasper Johns, Frederick Kiesler, Robert Morris, Hans Namuth, Bruce Nauman, Nam June Paik, Ray Parker, James Rosenquist, Edward Ruscha, Salvatore Scarpitta, Frank Stella, Cy Twombly, and Jack Tworkov. There are also letters about artists in this series filed under the artists' name.
Collectors and dealers represented within the correspondence include the De Menil family, Mrs. Henry Epstein, Ben Heller, Giuseppe Panza, Alan Power, John and Kimiko Powers, Robert and Carolyn Rowan, Robert and Ethel Scull, and Burton and Emily Tremaine. Museums and galleries for which there is considerable correspondence includes the Dwan Gallery, Ferus Gallery, the Jewish Museum, Museum of Modern Art, Sidney Janis Gallery, Stedelijk Museum, Whitney Museum of American Art, and the Ileana Sonnabend Galerie.
The materials arranged in General Correspondence were originally marked by the gallery as "correspondence" files upon accessioning, and, are thus arranged into their own series. However, in some cases, there appears to be little difference between the General Correspondence and the Administrative Files. Thus, researchers are encouraged to reference both series.
Administrative Files document a wide variety of the gallery's activities and business. Essentially, these are files that were arranged by the gallery according to subject or topic and cover almost all activities except specific exhibitions. These files include records and correspondence about buildings and space, advertising, appraisals, auctions, consignments, loans, miscellaneous business correspondence, index cards, business arrangements with artists, information about artists, interviews with artists (transcripts), history of the gallery, mailings, photograph requests, shipping, and other topics. Few items are in digital format. There are staff notebooks and files and Leo Castelli's notebooks and notes from the late 1950s through the early 1990s. Extensive outgoing chronological correspondence filed in this series dates from 1964-1977. Also found are transcripts of interviews with Leo Castelli, biographical material, some of it in digital format, and scattered photographs.
Researchers should note that the Administrative Files often overlap and complement the General Correspondence. However, they focus slightly more distinctly on gallery business activities and are arranged mostly by subject or topic, except for the chronological business correspondence. Researchers are encouraged to reference both series. For example, correspondence with and about Jasper Johns may be found in both series, but the administrative files most likely focus on a specific loan, consignment, or business activity or transaction.
Exhibition files provide a thorough history of the gallery's exhibitions, as well as the fabrication and installation of artwork for exhibitions. These files include correspondence, exhibition catalogs, guest books, lists of exhibitions by artist and by year, press releases, sketches and notes, and scattered financial records. Photographs document over 650 exhibitions at Leo Castelli Gallery, including The Ninth Street Show organized by Castelli in 1951, and over 200 exhibitions at other galleries.
Extensive artists' files comprise approximately 40% of the records and are a rich resource of printed and compiled information about the careers of over 120 artists and their relationship with Leo Castelli and the gallery. There are exhibition announcements and catalogs, flyers, invitations, magazine articles and clippings, newspaper clippings, posters, press releases, photographs, and a handful of books. Nearly half of the series is comprised of black and white photographs of artwork, presumably handled by the Leo Castelli Gallery.
Additional printed materials include exhibition announcements, flyers, invitations, magazine articles and clippings, newspaper clippings, press releases, and exhibition posters. Exhibition catalogs are filed with the exhibitions files. The general archives files provide a chronological history of the gallery and its exhibitions. There are also files concerning Leo Castelli and numerous art-related topics. Exhibition posters are found here as well.
Artwork is limited and includes a few works of art and signed posters. Artists represented here include photographer Gianfranco Gorgoni, Robert Morris, Bruce Nauman, Richard Serra and Andy Warhol, as well as others.
The records of the subsidiary Castelli Graphics New York consist of correspondence and administrative files relating to general operations and the sale and loan of prints. Also found are exhibition files, sales records, and scattered financial records. The series provides a wealth of information about Castelli Graphics collaborations with Multiples Inc. in the 1970s.
Also found in the collection are records of Castelli/Sonnabend Tapes and Films, a joint business venture between Leo Castelli Gallery and Sonnabend Gallery from 1974-1985. Records include correspondence, administrative files, exhibition files, artists' files, printed materials, sales and rental records, photographs, and financial records.
The importance and stature of Leo Castelli and the Leo Castelli Gallery to the arts community in New York City and beyond is documented by numerous awards and recognitions, such as framed and unframed certificates, plaques, statues, medals, and scattered photographs.
Nearly seven linear feet of photographs include professional black and white original prints, scattered color photographs, color transparencies, slides and negatives, and disassembled photo albums. The photographs primarily depict social and art events and functions; family and friends of Leo Castelli; and portraits of Leo Castelli and artists and of Leo Castelli with artists, including Richard Artschwager, Jasper Johns, Roy Lichtenstein, Bruce Nauman, Robert Rauschenberg, James Rosenquist, Salvatore Scarpitta, Richard Serra, Frank Stella, and Andy Warhol. Photographs of exhibitions and exhibition installations are filed with the exhibition files.
Sound and video recordings include sound and video art, performances, interviews with artists and Leo Castelli, recordings from and of exhibitions, and television publicity recorded on sound cassettes, phonograph records (vinyl and lacquer), videocassettes (U-matic, VHS, Betamax), and videocartridges. Artists represented include Vito Acconci, Robert Barry, Barbara Bloom, Hannah Collins, Hanne Darboven, Dan Flavin, Laura Grisi, Jasper Johns, Jeff Koons, Roy Lichtenstein, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Ed Ruscha, Salvatore Scarpitta, Doug and Mike Starn, and Lawrence Weiner, among others.
See Index for list of Exhibitions at the Leo Castelli Gallery and Castelli Graphics
The collection is arranged as 11 series:
Series 1: Correspondence, 1948-1999, bulk 1957-1997 (24.4 linear feet; Boxes 1-23, 191, OVs 233-236)
Series 2: Administrative Files, 1941-1999, bulk 1970s-1990s (17.3 linear feet; Boxes 24-39, 192-193, OVs 237-238, 0.001 GB; ER01-ER02)
Series 3: Exhibition Files, 1951-1999, bulk 1957-1998 (18.7 linear feet; Boxes 40-56, 192, 194-196, 308-309, OVs 239-241, 280)
Series 4: Artists Files, 1913-1999, bulk 1960s-1990s (80.8 linear feet; Boxes 57-133, 197-208, OVs 242-243)
Series 5: Printed Materials, 1949-1998 (23.5 linear feet; Boxes 134-153, 209-211, OVs 244-274, 276, 300, RDs 301-306)
Series 6: Artwork, circa 1960s-1990s (1.8 linear feet; Boxes 153, 212-213, OVs 275, 277-278, RD 307)
Series 7: Castelli Graphics, circa 1950-1999, bulk mid 1970s-early 1990s (16 linear feet; Boxes 154-169)
Series 8: Castelli/Sonnabend Tapes + Films, 1969-1998 (5.6 linear feet; Boxes 170-174, 214, OVs 279-281)
Series 9: Awards and Recognition, 1962-1998 (6.9 linear feet; Boxes 175-176, 215-228, OVs 282)
Series 10: Photographs, circa 1880-1997, bulk 1960s-1990s (6.6 linear feet; Boxes 177-180, 229-231, OVs 283-299)
Series 11: Sound and Video Recordings, 1959-2000 (9.7 linear feet; Boxes 181-190, 232)
Leo Castelli (1907-1999) was one of America's most noted contemporary art dealers and opened the Leo Castelli Gallery in New York City in 1957. The gallery showcased cutting edge American contemporary art, including Surrealism, Abstract Expressionism, Neo-Dada, Pop Art, Op Art, Color Field painting, Hard-edge painting, Lyrical Abstraction, Minimal Art, Conceptual Art, and Neo-expressionism, among other movements.
Leo Castelli was born as Leo Krauss on September 4, 1907 in Trieste, of Italian and Austro-Hungarian Jewish origin. He married art dealer Ileana Sonnabend in 1932 and the couple lived in Paris up until World War II. They had a daughter, Nina Castelli Sundell. In Paris, Castelli opened his first gallery in 1939. At that time, he was interested in the European Surrealists.
For years after Castelli moved to New York, he worked in his father-in-law's garment business. However, he organized his first American exhibition in 1951, the famous Ninth Street Show of 1951, a seminal event of Abstract Expressionism.
In 1957, he opened the Leo Castelli Gallery in his townhome on E. 77th Street between Madison and Fifth Avenues in New York City. Castelli initially featured European Surrealism, but also curated exhibitions of American Abstract painters, including Jackson Pollock, Willem de Kooning, Cy Twombly, Friedel Dzubas, and Norman Bluhm.
In 1958, Castelli discovered Pop artists Robert Rauschenberg and Jasper Johns and forged a life-long nurturing relationship with both artists. The gallery then began focusing more on Pop Art, Minimalism and Conceptual Art. Beginning in the early 1960s, Castelli's stable included Richard Artschwager, Lee Bontecou, Chryssa, John Chamberlain, Ronald Davis, Dan Flavin, Donald Judd, Ellsworth Kelly, Joseph Kosuth, Roy Lichtenstein, Robert Morris, Bruce Nauman, Larry Poons, James Rosenquist, Ed Ruscha, Salvatore Scarpitta, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner.
Leo and Ileana divorced in 1959, and Ileana returned to Europe. She later moved back to New York and opened a gallery close to Castelli's. The two remained close and together they established the joint venture of Castelli-Sonnabend Films and Tapes to accommodate artists interested in new media.
In the 1970s Leo Castelli opened a downtown SoHo branch of the Leo Castelli Gallery at 420 West Broadway. In the 1980s he opened a second larger downtown exhibition space on Greene Street also in SoHo.
Leo Castelli's second wife was Antoinette Castelli, with whom he also opened Castelli Graphics, an art gallery devoted to prints and photographs, mostly those by Castelli artists. The couple also had a son together, Jean-Christophe Castelli. In 1995 Leo Castelli married Italian art historian Barbara Bertozzi Castelli. She directs the Leo Castelli Gallery today, showing many of the same artists of the gallery's past.
Leo Castelli's unparalleled eye for quality, combined with his extraordinary skill for nurturing and promoting new art and artists, secured his position as one of the most respected and influential advocates of contemporary art for nearly five decades.
List of Exhibitions:
Below is a chronological listing of over 850 exhibitions and events held at the Leo Castelli Gallery from 1957 to 1999; included are exhibitions at 4 E 77 St (1957-1989), 65 Thompson (1989-1994), 108th St Warehouse (1968-1970), 142 Greene St (1980-1988), 420 W Broadway (1971-1999), and 578 Broadway (1988-1997). Castelli Graphics exhibitions from 1969-1996 and Castelli/Sonnabend Tapes and Films exhibitions from 1974-1984 are also included and are noted when known.
Note that this list is not comprehensive. In particular, Castelli Graphics exhibitions from the 1980s and early 1990s are incomplete. Sources used to compile this index include exhibition schedules and lists, installation photographs, announcements, clippings, and other printed materials from the Leo Castelli Gallery records, and the Leo Castelli Gallery website (www.castelligallery.com).
Exhibitions are listed in chronological order by title, if known, and gallery address.
1957 SeasonFeb. -- First Exhibition: de Kooning, Delaunay, Dubuffet, Giacometti, Hartley, Leger, Mondrian, Picabia, Pollock, David Smith, van Doesburg; 4 E 77 St
Mar. 4-23, 1957 -- Jon Schueler; 4 E 77 St
Mar. 25 - Apr. 13, 1957 -- Viseux; 4 E 77 St
Apr. 15 - May 4, 1957 -- Paul Brach; 4 E 77 St
May 6-25, 1957 -- New Work: Bluhm, Budd, Dzubas, Johns, Leslie, Louis, Marisol, Ortman, Rauschenberg, Savelli; 4 E 77 St
1957-1958 SeasonOct. 1-26, 1957 -- Norman Bluhm; 4 E 77 St
Oct. 28 - Nov. 16, 1957 -- Horia Damian; 4 E 77 St
Nov. 18 - Dec. 14, 1957 -- Marisol; 4 E 77 St
Dec. 17, 1957 - Jan. 18, 1958 -- Collector's Annual; 4 E 77 St
Jan. 20 - Feb. 8, 1958 -- Jasper Johns; 4 E 77 St
Feb. 10 - Mar. 1, 1958 -- Friedel Dzubas; 4 E 77 St
Mar. 4-29, 1958 -- Robert Rauschenberg; 4 E 77 St
Apr. 1-26, 1958 -- Giuseppe Capogrossi; 4 E 77 St
Apr. 29 - May 31, 1958 -- Pioneers 1910-1950: de Kooning, Delaunay, Domela, Dubuffet, Giacometti, Hartley, Kandinsky, Leger, Miro, Picabia, Pollock, Schwitters, Smith, van Doejburg; 4 E 77 St
1958-1959 SeasonSept. 30 - Oct. 25, 1958 -- Angelo Savelli; 4 E 77 St
Oct. 28 - Nov. 22, 1958 -- Group Exhibition: Bluhm, Brach, Dzubas, Johns, Marisol, Rauschenberg, Schueler; 4 E 77 St
Nov. 25 - Dec. 20, 1958 -- Esteban Vicente, Drawings; 4 E 77 St
Jan. 6-24, 1959 -- Nassos Daphnis; 4 E 77 St
Jan. 27 - Feb. 14, 1959 -- Salvatore Scarpitta, Extramurals; 4 E 77 St
Feb. 17 - Mar. 7, 1959 -- Al Newbill; 4 E 77 St
Mar. 10-28, 1959 -- Gabriel Kohn; 4 E 77 St
Mar. 31 - Apr. 18, 1959 -- Norman Bluhm, Jean Dubuffet, and Robert Rauschenberg; 4 E 77 St
Apr. 21 - May 9, 1959 -- Jon Schueler; 4 E 77 St
May 12-30, 1959 -- Group Exhibition: Brach, Dzubas, Johns, Sander, Twombly; 4 E 77 St
1959-1960 SeasonOct. 6-17, 1959 -- Opening Exhibition of the New Gallery: Bluhm, Brach, Daphnis, Johns, Kohn, Rauschenberg, Sander, Scarpitta, Stella, Twombly; 4 E 77 St
Oct. 20 - Nov. 7, 1959 -- Work in Three Dimensions: Chamberlain, Follet, Giles, Johns, Klein, Kohn, Marisol, Nevelson, Ortman, Rauschenberg, Scarpitta; 4 E 77 St
Nov. 10-28, 1959 -- Ludwig Sander; 4 E 77 St
Dec. 1-26, 1959 -- Paul Brach; 4 E 77 St
Jan. 5-23, 1960 -- William Giles; 4 E 77 St
Jan. 26 - Feb. 13, 1960 -- Norman Bluhm; 4 E 77 St
Feb. 15 - Mar. 5, 1960 -- Jasper Johns; 4 E 77 St
Mar. 8-26, 1960 -- Nassos Daphnis; 4 E 77 St
Mar. 29 - Apr. 16, 1960 -- Robert Rauschenberg; 4 E 77 St
Apr. 19 - May 7, 1960 -- Salvatore Scarpitta; 4 E 77 St
May 10-28, 1960 -- Edward Higgins; 4 E 77 St
May 31 - June 25, 1960 -- Summary 1959-1960: Bluhm, Bontecou, Daphnis, Higgins, Johns, Kohn, Langlais, Rauschenberg, Sander, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St
1960-1961 SeasonSept. 27 - Oct. 15, 1960 -- Frank Stella; 4 E 77 St
Oct. 18 - Nov. 5, 1960 -- Cy Twombly; 4 E 77 St
Nov. 9 - Dec. 3, 1960 -- Lee Bontecou; 4 E 77 St
Dec. 6, 1960 - Jan. 7, 1961 -- Robert Rauschenberg, 34 Illustrations for Dante's Inferno; 4 E 77 St
Jan. 10-28, 1961 -- Frederick Kiesler; 4 E 77 St
Jan. 31 - Feb. 25, 1961 -- Jasper Johns, Drawings and Sculpture; 4 E 77 St
Feb. 28 - Mar. 18, 1961 -- Jack Tworkov; 4 E 77 St
Mar. 21 - Apr. 8, 1961 -- Bernard Langlais; 4 E 77 St
Apr. 11-29, 1961 -- Yves Klein, Le Monochrome; 4 E 77 St
May 2-20, 1961 -- Ludwig Sander; 4 E 77 St
May 23 - June , 1961 -- Sculpture and Relief: Bontecou, Chamberlain, Higgins, Scarpitta; 4 E 77 St
1961-1962 SeasonSept. 22 - Oct. 14, 1961 -- An Exhibition in Progress: Bontecou, Chamberlain, Daphnis, Higgins, Johns, Langlais, Moskowitz, Rauschenberg, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St
Oct. 17 - Nov. 4, 1961 -- Nassos Daphnis; 4 E 77 St
Nov. 7 - Dec. 5, 1961 -- Robert Rauschenberg; 4 E 77 St
Dec. 8, 1961 - Jan. 10, 1962 -- Group Exhibition: Bontecou, Johns, Langlais, [Lichtenstein], Scarpitta, Tworkov; 4 E 77 St
Jan. 13 - Feb. 6, 1962 -- John Chamberlain; 4 E 77 St
Feb. 10 - Mar. 3, 1962 -- Roy Lichtenstein; 4 E 77 St
Mar. 10 - Apr. 5, 1962 -- Robert Moskowitz; 4 E 77 St
Apr. 7-21, 1962 -- Group Exhibition: Bontecou, Chamberlain, Daphnis, Higgins, Rauschenberg, Scarpitta, Stella; 4 E 77 St
Apr. 28 - May 19, 1962 -- Frank Stella; 4 E 77 St
May 26 - June 30, 1962 -- Drawings: Bontecou, Johns, Lichtenstein, Moskowitz, Rauschenberg, Stella, Tworkov; 4 E 77 St
1962-1963 SeasonSept. 22 - Oct. 13, 1962 -- Group Exhibition: Chamberlain, Higgins, Johns, Klapheck, Rauschenberg, Scarpitta, Stella, Tinguely, Tworkov; 4 E 77 St
Oct. 16 - Nov. 7, 1962 -- John Chamberlain and Frank Stella; 4 E 77 St
Nov. 10 - Dec. 6, 1962 -- Lee Bontecou; 4 E 77 St
Dec. 8, 1962 - Jan. 9, 1963 -- Gerald van de Wiele; 4 E 77 St
Jan. 12 - Feb. 7, 1963 -- Jasper Johns; 4 E 77 St
Feb. 9 - Mar. 7, 1963 -- Jack Tworkov; 4 E 77 St
Mar. 9-30, 1963 -- Nassos Daphnis; 4 E 77 St
Apr. 2-25, 1963 -- Group Exhibition: Chamberlain, Higgins, Kiesler, Lichtenstein, Moskowitz, Rauschenberg, Stella, Twombly; 4 E 77 St
Apr. 27 - May 16, 1963 -- Salvatore Scarpitta; 4 E 77 St
May 20 - June 30, 1963 -- Group Drawing Exhibition: Bontecou, Daphnis, Johns, Lichtenstein, Moskowitz, Rauschenberg, Stella, Tworkov, van de Wiele; 4 E 77 St
1963-1964 SeasonSept. 28 - Oct. 24, 1963 -- Roy Lichtenstein; 4 E 77 St
Oct. 26 - Nov. 21, 1963 -- Robert Rauschenberg; 4 E 77 St
Nov. 23, 1963 - Jan. 2, 1964 -- Edward Higgins; 4 E 77 St
Jan. 4 - Feb. 6, 1964 -- Frank Stella; 4 E 77 St
Feb. 8 - Mar. 12, 1964 -- Group Exhibition: Chamberlain, Johns, Lichtenstein, Rauschenberg, Stella; 4 E 77 St
Mar. 14 - Apr. 9, 1964 -- Cy Twombly; 4 E 77 St
Apr. 11-30, 1964 -- John Chamberlain; 4 E 77 St
May 2 - June 3, 1964 -- Introducing Artschwager, Christo, Hay, Watts; 4 E 77 St
June 6-30, 1964 -- Group Exhibition: Chamberlain, Lichtenstein, Rauschenberg, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St
1964-1965 SeasonSept. 26 - Oct. 22, 1964 -- Group Exhibition: Artschwager, Lichtenstein, Rosenquist, Stella, Warhol; 4 E 77 St
Oct. 24 - Nov. 19, 1964 -- Roy Lichtenstein, Landscapes; 4 E 77 St
Nov. 21 - Dec. 28, 1964 -- Andy Warhol, Flower Paintings; 4 E 77 St
Jan. 9-27, 1965 -- John Chamberlain, Paintings; 4 E 77 St
Jan. 30 - Feb. 24, 1965 -- Richard Artschwager; 4 E 77 St
Feb. 27 - Mar. 24, 1965 -- Nassos Daphnis; 4 E 77 St
Mar. 27 - Apr. 14, 1965 -- Salvatore Scarpitta, Racing Cars; 4 E 77 St
Apr. 17 - May 13, 1965 -- James Rosenquist, F-111; 4 E 77 St
May 15 - June 9, 1965 -- Robert Rauschenberg, Oracle; 4 E 77 St
1965-1966 SeasonOct. 2-21, 1965 -- Group Exhibition: [Chamberlain], Johns, Lichtenstein, Poons, Rauschenberg, Stella, [Warhol]; 4 E 77 St
Oct. 23 - Nov. 17, 1965 -- Robert Bart; 4 E 77 St
Nov. 20 - Dec. 11, 1965 -- Roy Lichtenstein, Brushstrokes and Ceramics; 4 E 77 St
Dec. 14, 1965 - Jan. 5, 1966 -- Benefit Drawing Exhibition for the Foundation for the Contemporary Performance Arts; 4 E 77 St
Dec. 14, 1965 - Jan. 5, 1966 -- Group Exhibition; 4 E 77 St
Jan. 8 - Feb. 2, 1966 -- Jasper Johns; 4 E 77 St
Feb. 5 - Mar. 2, 1966 -- Donald Judd; 4 E 77 St
Feb. 12 - Mar. 2, 1966 -- Cy Twombly, Drawings; 4 E 77 St
Mar. 5 - Apr. 2, 1966 -- Frank Stella; 4 E 77 St
Apr. 6-27, 1966 -- Andy Warhol, Wallpaper and Clouds; 4 E 77 St
Apr. 30 - May 25, 1966 -- James Rosenquist; 4 E 77 St
May 28 - June 13, 1966 -- Christo, Storefront; 4 E 77 St
June 14-30, 1966 -- Group Exhibition: Bontecou, Johns, Judd, Lichtenstein, Poons, Rauschenberg, Rosenquist, Stella, Warhol; 4 E 77 St
1966-1967 SeasonOct. 8 - Nov. 8, 1966 -- Lee Bontecou; 4 E 77 St
Nov. 12 - Dec. 3, 1966 -- Edward Higgins; 4 E 77 St
Dec. 6-10, 1966 -- Benefit Group Exhibition for Experiments in Art and Technology, Inc.; 4 E 77 St
Dec. 7, 1966 - Jan. 5, 1967 -- Stanley Landsman; 4 E 77 St
Dec. 14, 1966 - Jan. 5, 1967 -- Group Exhibition: Artschwager, Lichtenstein, Rosenquist, Warhol; 4 E 77 St
Apr. 20 - May 18, 1996 -- James Rosenquist, Horizon Home Sweet Home; 420 W Broadway
Apr. 20 - May 24, 1996 -- Roy Lichtenstein, Eight New Prints; 578 Broadway
May 28 - July 26, 1996 -- Ralph Gibson, Infanta; 420 W Broadway
May 28 - July 26, 1996 -- Group Drawing Exhibition, Works on Paper: Chryssa, Daphnis, Darboven, Johns, Lichtenstein, Morris, Nauman, Rauschenberg, Ruscha, Serra, Stella, Sonnier, Therrien, Weiner; 420 W Broadway
June 1 - July 26, 1996 -- Summer Group Show: Johns, Kosuth, Lichtenstein, Ruscha, Stella, Therrien; 578 Broadway
1996-1997 SeasonSept. 14 - Oct. 12, 1996 -- Gianfranco Gorgoni, 25 Years of Artists Portraits; 578 Broadway
Feb. 15 - Mar. 15, 1997 -- Lawrence Weiner, Then Now + Then; 420 W Broadway
Mar. 1-22, 1997 -- Dan Flavin; 578 Broadway
Mar. 22 - Apr. 26, 1997 -- Keith Sonnier, Alternating Currents; 420 W Broadway
Mar. 29 - Apr. 5, 1997 -- The Printmaking Workshop Benefit Exhibition and Auction; 420 W Broadway
Apr. 17 - May 17, 1997 -- Columbia University MFA Exhibition; 420 W Broadway
May 3 - June 7, 1997 -- Edward Ruscha, Cityscapes and "O" Books; 420 W Broadway
July - Sept., 1997 -- Summer Group Show: Kosuth, Morris, Serra; 420 W Broadway
1997-1998 SeasonSept. 27 - Oct. 18, 1997 -- Joseph Kosuth; 420 W Broadway
Oct. 25 - Nov. 15, 1997 -- 40 Years of Exploration and Innovation Part 1: Bontecou, Chryssa, Cornell, Johns, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Twombly, Warhol; 420 W Broadway
Nov. 22 - Dec. 13, 1997 -- 40 Years of Exploration and Innovation Part 2: Daphnis, Flavin, Judd, Kelly, Morris, Serra, Stella, Therrien, Waldman; 420 W Broadway
Jan. 10-31, 1998 -- 40 Years of Exploration and Innovation Part 3: Barry, Darboven, Dibbets, Grisi, Huebler, Kosuth, Nauman, Scarpitta, Sonnier, Starn Twins, Weiner; 420 W Broadway
Feb. 7 - Mar. 14, 1998 -- Dan Flavin, Some Drawings and Installations of Fluorescent Light; 420 W Broadway
Mar. 28 - Apr. 25, 1998 -- Hannah Collins, True Stories; 420 W Broadway
May 2 - June 6, 1998 -- Mike and Doug Starn, Black Hole Sun Burned; 420 W Broadway
June 24 - Aug. 29, 1998 -- Summer Show; 420 W Broadway
1998-1999 SeasonSept. 26 - Oct. 31, 1998 -- Robert Morris, The Rationed Years; 420 W Broadway
Nov. - Dec., 1998 -- Joseph Kosuth, Richard Serra, Keith Sonnier; 420 W Broadway
Jan. - Feb. 1999 -- Robert Rauschenberg, Arcadian Survey; 420 W Broadway
Available in the Archives of America Art are three oral history interviews with Leo Castelli. Paul Cummings interviewed Castelli between May 14, 1969 and June 8, 1973; Barbara Rose in July, 1969; and Andrew Decker on May 22, 1997.
The Archives of American Art also holds items lent for microfilming (reel N68) including printed material. Lent material was returned to the lender and is not described in the collection container inventory.
Leo Castelli loaned printed material for microfilming in 1968. Leo Castelli's wife, Barbara Bortuzzo Castelli, and his children, Nina Castelli Sundell and Jean-Christophe Castelli, donated the Leo Castelli Gallery records to the Archives of American Art in 2007.
Use of original records requires an appointment.
The Leo Castelli 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.