Search Results

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2020-04-20T13:59:25.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_D-p96np-Pw4

Medium:

Red sandstone

Dimensions:

H x W x D: 33.8 × 26.9 × 25.5 cm (13 5/16 × 10 9/16 × 10 1/16 in)

Type:

Sculpture

Origin:

Mathura, India

Date:

2nd-3rd century

Period:

Kushan period

Topic:

Buddhism  Search this

Buddha  Search this

Kushan dynasty (1st century BCE - 299 CE)  Search this

India  Search this

figure  Search this

South Asian and Himalayan Art  Search this

head  Search this

Credit Line:

Purchase — funds provided by Rajinder K. Keith and Narinder K. Keith

Accession Number:

F2014.3

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye374c8d25e-4655-4812-ab4d-f6c76a02763e

EDAN-URL:

edanmdm:fsg_F2014.3

Creator:

Faulkner, Barry, 1881-1966  Search this

Subject:

Tonetti, Mary Lawrence  Search this

White, Lawrence Grant  Search this

Twain, Mark  Search this

Beal, Gifford  Search this

Saint-Gaudens, Augustus  Search this

Sweeney, James Johnson  Search this

Smith, Joseph Lindon  Search this

Platt, Charles A. (Charles Adams)  Search this

Parrish, Maxfield  Search this

Redfield, Edward Willis  Search this

Powers, Hiram  Search this

Kroll, Leon  Search this

Brush, George de Forest  Search this

Kent, Rockwell  Search this

Saint-Gaudens, Homer  Search this

Manship, Paul  Search this

Gibran, Kahlil  Search this

Thayer, Abbott Handerson  Search this

Grimes, Frances  Search this

Gugler, Eric  Search this

Hosmer, Harriet Goodhue  Search this

Bynner, Witter  Search this

Fraser, James Earle  Search this

Young, Mahonri Sharp  Search this

MacDowell Colony  Search this

Type:

Sketchbooks

Diaries

Scrapbooks

Sketches

Writings

Photographs

Travel diaries

Photograph albums

Place:

New Hampshire

Citation:

Barry Faulkner papers, circa 1858-1973. Archives of American Art, Smithsonian Institution.

Topic:

World War, 1914-1918  Search this

Artist colonies -- New Hampshire -- Peterborough  Search this

Artists' studios in art  Search this

Educators -- New Hampshire  Search this

Artists' studios -- New Hampshire  Search this

Painting, Modern -- 20th century -- New Hampshire -- Keene  Search this

Muralists -- New Hampshire -- Keene  Search this

Mural painting and decoration -- 20th century -- United States  Search this

Artists -- New Hampshire  Search this

Theme:

Diaries  Search this

Sketches & Sketchbooks  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8105

(DSI-AAA_SIRISBib)210276

AAA_collcode_faulbarr

Theme:

Diaries

Sketches & Sketchbooks

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210276

Dedicated to:

Washington, George  Search this

Washington, Martha  Search this

Publisher:

Sullivan, T.  Search this

Lithographer:

Duval, Peter S.  Search this

Artist; lithographer:

Hoffy, Alfred M.  Search this

Physical Description:

paper (overall material)

ink (overall material)

Measurements:

image: 11 1/4 in x 16 1/2 in; 28.575 cm x 41.91 cm

Object Name:

lithograph

Object Type:

Lithograph

Place made:

United States: Pennsylvania, Philadelphia

Depicted:

United States: Virginia, Mount Vernon

Date made:

1840

Subject:

Architecture, Historic Residences  Search this

Chronology: 1840-1849  Search this

Mourning  Search this

Credit Line:

Harry T. Peters "America on Stone" Lithography Collection

ID Number:

DL.60.2930

Catalog number:

60.2930

Accession number:

228146

See more items in:

Home and Community Life: Domestic Life

Clothing & Accessories

Art

Peters Prints

Domestic Furnishings

Morality & Religious Prints

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a1-38f8-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_325212

Maker:

Sarony, Major, & Knapp  Search this

Artist:

Botticher, Otto  Search this

Measurements:

image: 21 in x 37 1/2 in; 53.34 cm x 95.25 cm

Object Name:

Lithograph

Object Type:

Lithograph

Place made:

United States: New York, New York City

Date made:

1863

Subject:

Architecture  Search this

Eating  Search this

Patriotism and Patriotic Symbols  Search this

Chronology: 1860-1869  Search this

Pets  Search this

Uniforms, Military  Search this

Civil War  Search this

Furnishings  Search this

Baseball  Search this

Architecture, Domestic Buildings  Search this

Games  Search this

Dogs  Search this

Related event:

Civil War  Search this

Credit Line:

Harry T. Peters "America on Stone" Lithography Collection

ID Number:

DL.60.3741

Catalog number:

60.3741

See more items in:

Home and Community Life: Domestic Life

Clothing & Accessories

Military

American Civil War Prints

Art

Domestic Furnishings

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a7-25f0-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_326070

Creator:

Faulkner, Barry, 1881-1966  Search this

Names:

MacDowell Colony  Search this

Beal, Gifford, 1879-1956  Search this

Brush, George de Forest, 1855-1941  Search this

Bynner, Witter, 1881-1968  Search this

Fraser, James Earle, 1876-1953  Search this

Gibran, Kahlil, 1922-  Search this

Grimes, Frances, 1869-1963  Search this

Gugler, Eric, 1889-1974  Search this

Hosmer, Harriet Goodhue, 1830-1908  Search this

Kent, Rockwell, 1882-1971  Search this

Kroll, Leon, 1884-1974  Search this

Manship, Paul, 1885-1966  Search this

Parrish, Maxfield, 1870-1966  Search this

Platt, Charles A. (Charles Adams), 1861-1933  Search this

Powers, Hiram, 1805-1873  Search this

Redfield, Edward Willis, 1869-1965  Search this

Saint-Gaudens, Augustus, 1848-1907  Search this

Saint-Gaudens, Homer, b. 1880  Search this

Smith, Joseph Lindon, 1863-1950  Search this

Sweeney, James Johnson, 1900-  Search this

Thayer, Abbott Handerson, 1849-1921  Search this

Tonetti, Mary Lawrence  Search this

Twain, Mark, 1835-1910  Search this

White, Lawrence Grant  Search this

Young, Mahonri Sharp, 1911-1996  Search this

Extent:

2.82 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Diaries

Scrapbooks

Sketches

Writings

Photographs

Travel diaries

Photograph albums

Place:

New Hampshire

Date:

circa 1858-1973

Summary:

The papers of muralist, painter, and teacher Barry Faulkner measure 2.82 linear feet and date from circa 1858-1973. Faulkner's career; his relationships with family, friends, and fellow-artists; and his thoughts on art and artists are documented in biographical materials, correspondence, writings, sketchbooks, five diaries, two photograph albums and photographs, and one scrapbook. Correspondents include family members, Witter Bynner, Ann and Eric Gugler, Leon Kroll, Isabel Manship, James Johnson Sweeney, Maxfield Parrish and others. An unprocessed addition to the collection dating 1942 includes a one page letter mounted on board from Maxfield Parrish to Barry Faulkner.

Scope and Content Note:

The papers of muralist, painter, and teacher Barry Faulkner measure 2.82 linear feet and date from circa 1858-1973. Faulkner's career; his relationships with family, friends, and fellow-artists; and his thoughts on art and artists are documented in biographical materials, correspondence, writings, sketchbooks, five diaries, photograph albums and photographs, and one scrapbook. An unprocessed addition to the collection dating 1942 includes a one page letter mounted on board from Maxfield Parrish to Barry Faulkner.

Biographical materials include biographical sketches, awards, and records documenting Faulkner's military service. Also found are a list of medications, a list of Faulkner's writings, party guest lists, an address book, a calendar, and materials related to the posthumous publication of Sketches From an Artist's Life. Of special interest are oversized architectural drawings by Eric Gugler for Faulkner's Keene, New Hampshire house.

Correspondence includes letters from Faulkner's friends, family, fellow artists, and art organizations and institutions. Faulkner's correspondence with his parents document his 1900-1901 trip to Italy with the Thayer family. Of special interest is his correspondence with writer Witter Bynner about Faulkner's daily life in New Hampshire, his travels through Europe, his artistic practice and career, Bynner's writings, his opinions on artistic and literary works, and his service in World War One. Many of the letters to Bynner include sketches by Faulkner of Abbott Handerson Thayer, Rockwell Kent, Augustus Saint-Gaudens, Homer Saint-Gaudens, George de Forest Brush, Kahlil Gibran, and Mark Twain. Additional correspondents include sculptor Frances Grimes, architect Eric Gugler, painter Leon Kroll, and museum director James Johnson Sweeney.

Faulkner's writings are about art, artists, and the New Hampshire art community. Found are essays on Gifford Beal, George de Forest Brush, James Earle Fraser, Harriet Hosmer, Paul Manship, Charles Adams Platt, Hiram Powers, Edward Willis Redfield, Joseph Lindon Smith, Mary Lawrence Tonetti, Mark Twain, Lawrence Grant White, and Mahonri Young. Other writings discuss Faulkner's mural commissions, various aspects of New Hampshire history, and the history of the Dublin and Cornish art colonies whose inhabitants included George de Forest Brush, Augustus Saint-Gaudens, and Abbott Handerson Thayer. Of special interest is a manuscript for Faulkner's posthumously published memoir Sketches From an Artist's Life, and an unpublished manuscript titled A Neighborhood of Artists about the history and culture of the Connecticut River Valley.

Four sketchbooks by Faulkner contain drawings of landscapes, city scenes, architecture, people, nature, and studies of artwork by others. Also found are two loose sketches.

Five diaries document Faulkner's 1922-1924 trip through Europe, Africa, and Asia including stops in France, Italy, Egypt, and Turkey. Diaries record Faulkner's thoughts on architecture, tourist sites, and travel amenities. Found is one diary from 1956 that discusses social events, the Saint-Gaudens Memorial, the MacDowell Colony of artists, and various artists including Gifford Beal, Maxfield Parrish, Paul Manship, and Eric Gugler.

The bulk of printed material consists of clippings which document published writings by Faulkner, obituaries and published rememberances of Faulkner, local events in Keene, New Hampshire, and reproductions of Faulkner's artwork. Also found are exhibition catalogs of other artists, an announcement of Faulklner's death from the American Academy of Arts and Letters, and a publication illustrated with reproductions of Faulkner's murals for the National Archives.

Photographs include formal and informal images of Faulkner throughout his life, and photographs of his family and friends, his studio, and reproductions of his artwork. Also included are two photograph albums, one of which contains photographs of Faulkner during his youth and one that contains photographs primarily from the 1930s of Faulkner's Keene, New Hampshire house, himself, and his friends and family.

The collection also includes a scrapbook prepared for Faulkner's seventieth birthday containing photographs, cards, telegrams, and placecards with hand drawn illustrations which show the "taste and characteristics" of Faulkner.

Arrangement:

The collection is arranged into 8 series:

Missing Title

Series 1: Biographical Materials, 1914-1971 (Box 1, 3, RD1; 13 folders)

Series 2: Correspondence, 1900-1973 (Box 1; 0.5 linear feet)

Series 3: Writings, 1912-1966 (Boxes 1-2; 1.0 linear foot)

Series 4: Sketchbooks and Sketches, circa 1910s-1930s (Boxes 2-3; 8 folders)

Series 5: Diaries, 1922-1956 (Box 2; 6 folders)

Series 6: Printed Materials, circa 1858-1966 (Boxes 2-3; 8 folders)

Series 7: Photographs, 1892-1960s (Boxes 2-3; 15 folders)

Series 8: Scrapbook, 1951 (Box 3; 2 folders)

Biographical Note:

Francis Barrett Faulkner was born on July 12, 1881 in Keene, New Hampshire. He attended Phillips Exeter Academy and went on to study at Harvard College. Around this same time, Faulkner began an apprenticeship with his cousin and painter Abbott Handerson Thayer and painter George de Forest Brush. He also met sculptors James Earle Fraser and Augustus Saint-Gaudens, both of whom became Faulkner's lifelong friends.

In 1901, Faulkner traveled to Italy for the first time with Thayer and his family. He returned to New York in 1902 and studied at the Art Students League and Chase School. He also completed illustration work for Century magazine.

In 1907, Faulkner won the Rome Prize Fellowship from the American Academy in Rome. shortly thereafter, he left to study in Italy for three years, studying with George de Forest Brush and befriending sculptor Paul Manship. Upon his return in 1910, he started working on his first mural, commissioned by the wife of railroad executive E.H. Harriman. Having found his niche, Faulkner continued taking mural commissions until his career was interrupted by World War I and his service in the camouflage section of the army. Shortly after the war, he completed a mural for the marine headquarters in Quantico, Virginia.

Between 1923-1924, Faulkner worked in collaboration with Eric Gugler and Paul Manship to create the American Academy in Rome war memorial. Also following the war, Faulkner completed murals for the Eastman School of Music in 1922, the Rockefeller Center in 1932, and the National Archives in 1936. That same year, Faulkner bought and refurbished a house named "The Bounty" in Keene, New Hampshire, and built a studio nearby. In 1930, he was elected as a trustee of the American Academy in Rome.

During the 1940s, Faulkner created murals for numerous public buildings and sites around New Hampshire including the Senate Chambers in Concord, the Elliot Community Hospital, Keene National Bank, and the Cheshire County Savings Bank in Keene. During his final decades, Faulkner wrote an unpublished manuscript on the history of art in the Connecticut River Valley entitled A Neighborhood of Artists, and his posthumously published memoirs, Sketches of an Artist's Life. Faulkner died in 1966, in Keene, New Hampshire.

Related Material:

Found in the Nancy Douglas Bowditch papers at the Archives of American Art is correspondence, photographs, and printed materials related to Barry Faulkner. The Library of Congress, Manuscript Division also holds a small collection of Barry Faulkner's papers. Additional correspondence from Faulkner is found in the papers of Witter Bynner at the University of New Mexico and at Harvard University.

Provenance:

The collection was donated by Francis Faulkner, Barry Faulkner's nephew, in 1974. An addition to the collection was donated by Jocelyn Faulkner Bolle in 2014.

Restrictions:

The bulk of this collection has been digitized and is available online via AAA's website.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New Hampshire -- Keene  Search this

Topic:

World War, 1914-1918  Search this

Artist colonies -- New Hampshire -- Peterborough  Search this

Artists' studios in art  Search this

Educators -- New Hampshire  Search this

Artists' studios -- New Hampshire  Search this

Painting, Modern -- 20th century -- New Hampshire -- Keene  Search this

Muralists -- New Hampshire -- Keene  Search this

Mural painting and decoration -- 20th century -- United States  Search this

Artists -- New Hampshire  Search this

Function:

Artist colonies -- New Hampshire

Genre/Form:

Sketchbooks

Diaries

Scrapbooks

Sketches

Writings

Photographs

Travel diaries

Photograph albums

Citation:

Barry Faulkner papers, circa 1858-1973. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.faulbarr

See more items in:

Barry Faulkner papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99b300c09-9ef0-4fb6-a81d-7d8098df7fc7

EDAN-URL:

ead_collection:sova-aaa-faulbarr

Former owner:

Hagan, Earl F.  Search this

Ross, William  Search this

Ross, Jacquelyn  Search this

Provenance:

Tuckahoe Garden Club of Westhampton  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Westhampton Cottage Garden (Richmond, Virginia)

United States of America -- Virginia -- Richmond

Scope and Contents:

The folder includes worksheets and photocopies of sketches, plans and paintings.

General:

Located on less than 1 acres, this English-style garden evolved over the years as the creator, an artist, continually transformed and refined it. It is a strolling garden and leads the visitor from room to room. The entrance to the garden opens into the Chaise Garden, named for the two iron chaise lounges which anchor it. Passing through another gate at the far end, you come upon the Boxwood Oval. From this point you can stroll along the grass paths through the Perennial Garden or the gravel paths through the Woodland Gardens.

The Westhampton Cottage Garden is an artist's garden, created with an artist's passion and energy. In 1961, former owners William and Jacquelyn Ross moved into the house. Mrs. Ross, a painter and avid flower arranger, let the garden evolve as if it were a giant flower arrangement. When current owners purchased the house they opened up the boxwood oval in the back for space and circulation and transplanted the boxwood around the urn in the Chaise Garden. Plantings include dogwood, ferns, juniper, and oak-leaf hydrangea.

Persons associated with the garden include: Earl F. Hagan (former owner, 1935-?); William and Jacquelyn Ross (former owners, 1961-2008).

Related Materials:

Westhampton Cottage Garden. related holdings consist of 1 folder (19 digital images)

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Virginia -- Richmond  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File VA451

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Virginia

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb66ae6db9e-7ba1-4693-8dd8-e9e34e791084

EDAN-URL:

ead_component:sova-aag-gca-ref18901

Interviewee:

Jaramillo, Virginia, 1939-  Search this

Interviewer:

Franco, Josh T. (1985-)  Search this

Extent:

2 Items (video files (4 hrs. 36 min.), digital, mp4)

Type:

Collection descriptions

Archival materials

Interviews

Video recordings

Date:

2022 March 17-22

Scope and Contents:

An interview with Virginia Jaramillo conducted 2022 March 17–22, by Josh T. Franco for the Archives of American Art, at Jaramillo's studio in Hampton Bays, New York.­

An interview with Virginia Jaramillo conducted 2022 March 17–22, by Josh T. Franco for the Archives of American Art, at Jaramillo's studio in Hampton Bays, New York.­

Biographical / Historical:

Virginia Jaramillo (1939- ) is an abstract painter who has made her career in Los Angeles, California, New York City and Long Island, New York.

Restrictions:

This interview is open for research. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Art, Abstract  Search this

Women painters -- California -- Los Angeles -- Interviews  Search this

Women painters -- New York (State) -- New York -- Interviews  Search this

Latino and Latin American artists  Search this

Mexican American artists  Search this

Genre/Form:

Interviews

Video recordings

Sponsor:

Funding for this interview was provided by the Alice L. Walton Foundation.

Identifier:

AAA.jarami22

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d2df6639-5b2a-432d-814c-97da93ef6c14

EDAN-URL:

ead_collection:sova-aaa-jarami22

Creator:

Park Place Gallery Art Research, Inc.  Search this

Paula Cooper Gallery  Search this

Subject:

Smith, Tony  Search this

Thompson, Bob  Search this

Valledor, Leo  Search this

Campus, Peter  Search this

Cooper, Paula  Search this

Bartlett, Jennifer  Search this

Grosvenor, Robert  Search this

Forakis, Peter  Search this

Fleming, Dean  Search this

Di Suvero, Mark  Search this

Murray, Elizabeth  Search this

Melcher, Tamara  Search this

Magar, Anthony  Search this

Leonard, Zoe  Search this

Novros, David  Search this

Myers, Forrest Warden  Search this

Shields, Alan  Search this

Ruda, Edwin  Search this

Paula Johnson Gallery  Search this

Type:

Interviews

Transcripts

Citation:

Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, circa 1961-2018. Archives of American Art, Smithsonian Institution.

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)13392

(DSI-AAA_SIRISBib)264503

AAA_collcode_parkplag

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_264503

Creator:

Park Place Gallery Art Research, Inc.  Search this

Paula Cooper Gallery  Search this

Names:

Paula Johnson Gallery  Search this

Bartlett, Jennifer, 1941-  Search this

Campus, Peter, 1937-  Search this

Cooper, Paula, 1938-  Search this

Di Suvero, Mark, 1933-  Search this

Fleming, Dean  Search this

Forakis, Peter  Search this

Grosvenor, Robert, 1937-  Search this

Leonard, Zoe  Search this

Magar, Anthony, 1936-  Search this

Melcher, Tamara  Search this

Murray, Elizabeth, 1940-  Search this

Myers, Forrest Warden, 1941-  Search this

Novros, David, 1941-  Search this

Ruda, Edwin  Search this

Shields, Alan, 1944-  Search this

Smith, Tony, 1912-1980  Search this

Thompson, Bob, 1937-1966  Search this

Valledor, Leo, 1936-1989  Search this

Extent:

135.3 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Transcripts

Date:

circa 1961-2018

Summary:

The records of the New York artist-cooperative Park Place, the Gallery of Art Research, Inc. and the Soho contemporary art gallery Paula Cooper Gallery measure 135.3 linear feet and 0.001 GB and date from circa 1961 to 2018. The collection documents the founding of the Park Place Gallery and its artists through correspondence, artists' files, photographic materials, financial records, printed and digital materials, and scattered business records. The bulk of the collection is Paula Cooper Gallery records; nearly two-thirds of which are artists' files containing a variety of materials such as correspondence, printed materials, and photographic materials. Also found is additional business correspondence, business records, financial records, and printed materials for Paula Cooper Gallery, as well as a handful of records from Paula Johnson Gallery. There is an 85.5 linear foot unprocessed addition to this collection donated in 2023 that includes artist files, exhibition files, correspondence, audiovisual material, archtectural plans and miscellaneous business records from Paula Cooper Gallery. Materials date from circa 1970-2018.

Scope and Content Note:

The records of the New York artist-cooperative Park Place, The Gallery of Art Research, Inc. and the Soho contemporary art gallery Paula Cooper Gallery measure 135.3 linear feet and 0.001 GB and date from circa 1961 to 2018. The collection documents the founding of the Park Place Gallery and its artists through correspondence, artists' files, photographic materials, financial records, printed and digital materials, and scattered business records. The bulk of the collection is Paula Cooper Gallery records; nearly two-thirds of which are artists' files containing a variety of materials such as correspondence, printed materials, and photographic materials. Also found is additional business correspondence, business records, financial records, and printed materials for Paula Cooper Gallery, as well as a handful of records from Paula Johnson Gallery.

The collection is divided in three series, one series for each gallery represented in this collection. The records in each series are not comprehensive and do not represent the full scope of operations at each gallery. Due to the original arrangement of materials, some records related to Park Place Gallery are found in Series 3, and scattered records related to Paula Cooper Gallery are found in Series 2. Researchers are encouraged to reference both series.

Series 1, Paula Johnson Gallery records, contains six folders and includes an artist file for Bob Thompson; two ledger pages of accounts receivables; scattered exhibition announcements and flyers; two photographs of artwork by Vernon Lobb; tax records, and a handful of legal organizational records.

Park Place, The Gallery of Art Research, Inc. records are filed in Series 2 and is arranged in five subseries: correspondence, business files, artists' files, financial records, and printed materials. The correspondence is between gallery employees and clients, museums, and other galleries regarding artwork inquiries, sales and exhibitions. Business files are limited in scope and include documents related to the founding of the gallery, a guest book, and one folder of legal and financial records. Artists' Files for eight of the ten Park Place Gallery artists are found: Dean Fleming, Peter Forakis, Tony Magar, Tamara Melcher, Forrest Myers, David Novros, Edwin Ruda, and Leo Valledor. Not present in this collection are files for Mark di Suvero and Robert Grosvenor. Artists' Files contain a variety of materials including artists' statements, bibliographies, biographies, correspondence, exhibition flyers, interview transcripts, clippings and other printed materials, and photographic materials. Financial Records include check ledgers, a general ledger, paid bill receipts, sales invoices, tax forms, and other miscellaneous financial and banking records. Printed Materials include newspaper clippings, gallery announcements, an interview transcript, a handwritten gallery floor plan, and a poster for the 1964 Park Place Invitational Show drawn by Mark di Suvero with artists' names handwritten by Robert Grosvenor.

The bulk of the collection is the records of Paula Cooper Gallery, Series 3. This series contains similar materials as Series 2 and is arranged in the same five subseries. Correspondence includes responses to appraisal requests (1968-1997) and copies of outgoing gallery correspondence from 1985-1999. Business Files contain documentation related to advertising and renovations to the gallery, as well as an artwork inventory book from the early years of the gallery's operation. The bulk of this series is comprised of Artists' Files which contain varied materials such as correspondence with artists, museums, and galleries regarding installations, artwork fabrication, and other business; biographies and bibliographies; exhibition files; printed materials; and photographic materials of artwork and installations. There is considerable documentation for artists Jennifer Bartlett, Peter Campus, Zoe Leonard, Elizabeth Murray, Alan Shields and the estate of Tony Smith. Sales invoices, consignment records, payment ledgers, cancelled checks and other financial materials are found in Financial Records. Printed Materials are comprised of some newspaper and magazine clippings, an interview transcript, and a copy of a manuscript.

There is an 85.5 linear foot unprocessed addition to this collection donated in 2022 that includes artist files, exhibition files, correspondence, audiovisual material, architectural plans, and miscellaneous business records from Paula Cooper Gallery. Materials date from circa 1970-2018.

Arrangement:

The collection is arranged as 4 series:

Series 1: Paula Johnson Gallery, 1963-1967 (Box 1; 6 folders)

Series 2: Park Place, The Gallery of Art Research, Inc., 1961-1973, 1989 (Boxes 1-4, 50-51, OV 52; 4.1 linear feet)

Series 3: Paula Cooper Gallery, 1962-2006 (Boxes 4-49, 51; 45.7 linear feet, ER01; 0.001 GB)

Series 4: Unprocessed Addition, circa 1970-2018 (Boxes 53-138, OV 139-146; 85.5 linear feet)

Historical Note:

The artists' cooperative Park Place, The Gallery of Art Research, Inc. opened in November 1965 at 542 West Broadway, showing the work of ten young contemporary artists. The cooperative did not represent an art movement, but frequently exhibited large-scale, non-figurative, geometric paintings and sculptures.

Many of the gallery's artists had attended art school in California and shared similar ideas about art, community, and collaboration. Since 1962, they had been informally exhibiting together at 79 Park Place and other various New York City locations under the name Park Place Gallery. With the successes of their informal exhibitions, and the loss of their lease at 79 Park Place, the group formalized their cooperative under the umbrella non-profit, Art Research, Inc. in 1965.

The cooperative was comprised of five sculptors, five painters, and five collectors. Members included sculptors Mark di Suvero, Peter Forakis, Robert Grosvenor, Tony Magar, and Forrest Myers; painters Dean Fleming, Tamara Melcher, David Novros, Edwin Ruda, and Leo Valledor; and collectors Virginia Dwan, Allen and Betty Guiberson, J. Patrick Lannan, Vera List, and John and Lupe Murchison. The collectors each donated an artwork by one of the artists for sale in the gallery, as well as financed the gallery's annual operating budget. As compensation, each collector was given one major work of art by each artist every year.

Paula Cooper (nee. Johnson) joined Park Place Gallery in 1966 and she became director in late 1966-early 1967. Previously, from 1964-1966, she ran Paula Johnson Gallery, showing artwork by Bob Thompson and other young artists.

Park Place, The Gallery of Art Research, Inc. had its first group show in February 1966. In addition to showing art, the gallery occasionally held jazz sessions and other art-related gatherings. The gallery physically closed at the end of July 1967. However, Paula Cooper continued managing the sale of artwork and organized exhibitions at various locations. The final exhibition of Park Place Gallery artists was held at M.I.T. in late spring of 1968.

Paula Cooper opened Paula Cooper Gallery in Soho at 96 Prince Street in 1968. Her gallery is often credited as being the first gallery in Soho and thus paved the way for the migration of uptown galleries to the neighborhood. From the beginning, the gallery showed primarily conceptual and minimalist art and she continued representing some of the Park Place artists. Artists represented by Paula Cooper Gallery and found in this collection include Jennifer Bartlett, Dara Birnbaum, Peter Campus, Michael Hurson, Zoe Leonard, Robert Mangold, Elizabeth Murray, Cady Noland, Adrian Piper, Ulrich Rückriem, Edwin Ruda, Alan Shields, the estate of Tony Smith, Joseph White, Chris Wilmarth, Kes Zapkus, and many others. The gallery continues to operate in Chelsea on West 21st Street.

Sources consulted include "Reimaging Space: the Park Place Gallery Group in 1960s New York" by Linda Dalrymple Henderson, published by Blanton Museum of Art, 2008; and, "Art and Space: Park Place and the beginning of the Paula Cooper Gallery," by Liza Kirwin, 2007 (http://www.aaa.si.edu/exhibitions/paula-cooper).

Related Material:

Related collections found among the holdings of the Archives of America include a sound recording of a lecture given by Paula Cooper (Museum of Fine Arts, Boston sound recordings, May 18, 1983-February 8, 1984); audio tapes which include Paula Cooper (Bruce D. Kurtz video and audio recordings and papers, 1966-1995); and two silent 16mm films by Kenny Schneider (Park Place Gallery artists films, 1967.)

Provenance:

Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records were donated by Paula Cooper, director of the galleries, in thre accessions in 2006, 2009 and 2022.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.

Rights:

All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. Contact Reference Services for more information.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Interviews

Transcripts

Citation:

Park Place, the Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund

Identifier:

AAA.parkplag

See more items in:

Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw926d9e348-f361-4c9a-bec4-7cb8f9c08556

EDAN-URL:

ead_collection:sova-aaa-parkplag

Creator:

Smithson, Robert  Search this

Names:

Dwan Gallery (New York, N.Y.)  Search this

Holt, Nancy, 1938-2014  Search this

Insley, Will, 1929-2011  Search this

Johnson, Ray, 1927-  Search this

Kepes, Gyorgy, 1906-2001  Search this

Lippard, Lucy R.  Search this

Extent:

67.3 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Sketches

Scrapbooks

Moving images

Documentary films

Date:

1905-1987

bulk 1952-1987

Summary:

The papers of sculptor, painter, and author Robert Smithson and sculptor, filmmaker, and earthworks artist Nancy Holt measure 18.9 linear feet and date from 1905 to 1987, with the bulk of the material dating from 1952 to 1987. Also included is Smithson's personal library of books, vinyl records, and magazine, measuring 48.4 linear feet. The papers consist of Smithson's biographical material; business and personal correspondence, much of it with artists; interview transcripts; extensive writings and project files; financial records; printed material; a scrapbook of clippings; holiday cards with original prints and sketches; photographic material; and artifacts. Also found are project files related to Nancy Holt's motion picture film Pine Barrens and her seminal environmental work of art Sun Tunnels, including a video documentary about Sun Tunnels.

Scope and Content Note:

The papers of sculptor, painter, and author Robert Smithson and sculptor, filmmaker, and earthworks artist Nancy Holt measure 18.9 linear feet and date from 1905 to 1987, with the bulk of the material dating from 1952 to 1987. Also included is Smithson's personal library of books, vinyl records, and magazine, measuring 48.4 linear feet. The papers consist of Smithson's biographical material; business and personal correspondence, much of it with artists; interview transcripts; extensive writings and project files; financial records; printed material; a scrapbook of clippings; holiday cards with original prints and sketches; photographic material; and artifacts. Also found are project files related to Nancy Holt's film Pine Barrens and her seminal environmental work of art Sun Tunnels, including a video documentary about Sun Tunnels.

Biographical material includes Robert Smithson's curriculum vitae, personal identification and medical documents, eight engagement/day planners Smithson and Holt maintained from 1966 to 1973, and Smithson's funeral register.

Correspondence is primarily with Smithson's family, friends, fellow artists, and business associates discussing personal relationships, proposed art projects, and exhibitions. Correspondents of note include Carl Andre, the Dwan Gallery (Virginia Dwan), Dan Graham, Will Insley, Ray Johnson, Gyorgy Kepes, Sol Lewitt, Lucy Lippard, and Dennis Wheeler. There is also substantial correspondence received by Holt upon Smithson's death in 1973, and between Holt and the Herbert F. Johnson Museum of Art regarding Smithson's retrospective exhibition in 1982.

There are nine interview transcripts with Smithson discussing his works and his general philosophy on art, and one transcript of the Andrew Dickson White Museum's Earth Art Symposium (1969) featuring the following artists: Mike Hiezer, Dennis Oppenheim, Robert Smithson, Neil Jenney, Gunther Uecker, Jan Dibbets, Richard Long, and Hans Haacke.

Writings are substantial and include 73 drafts of published and unpublished essays by Smithson on art, artists, and works in progress. The series also includes poems by Smithson, six notebooks containing notes and sketches by Smithson, and drafts of writings sent to Smithson and Holt by friends and colleagues, including Carl Andre, Terry Atkinson, Dan Flavin, Dan Graham, and Jack Thibeau.

Project files contain correspondence, project instructions, diagrams and sketches, research materials, photographic material, and maps related to over 50 of Smithson's artworks. These include concepts, proposed projects, sculptures, non-sites, and earthwork projects, including Spiral Jetty, Broken Circle, and Spiral Hill.

Personal business records include gallery related loan arrangements and receipts for miscellaneous art supplies. Financial records include tax forms and preparation documents, including cancelled checks, receipts, statements, and related correspondence.

Printed materials include books, clippings, and periodicals related to Smithson, either containing writings or sketches by him, or containing articles reviewing his work. There are also exhibition announcements and catalogs of Smithson's group and solo shows from 1959 to 1985.

The scrapbook contains clippings of Smithson's published articles from 1966 to 1973 with annotated shorthand notes.

Artwork consists of Christmas cards collaged by Smithson, and sketches by Smithson and Leo Valledor.

Photographic materials include prints and negatives of Smithson with friends, promotional Hollywood movie stills, and original prints and copyprints of other artists' artwork.

Artifacts consist of a paper bag silkscreened with a Campbell's soup can (Warhol), promotional buttons (N.E. Thing Co.), various organic materials, and two art kits.

Nancy Holt's papers consist of correspondence, a grant application, printed materials, and project files and audio visual material related to her motion picture film Pine Barrens (1975) and her seminal environmental work of art Sun Tunnels (1975).

Arrangement:

The collection is arranged as 14 series:

Missing Title

Series 1: Biographical Materials, 1905-1974 (Box 1; 14 folders)

Series 2: Correspondence, 1959-1987 (Boxes 1-2, OV 21; 1.7 linear feet)

Series 3: Interview Transcripts, 1966-1973 (Box 2; 11 folders)

Series 4: Writings, 1959-1975 (Boxes 2-3; 1.1 linear feet)

Series 5: Project Files, circa 1950s-1982 (Boxes 4-5, Boxes 17-18, OV 20, OV 22-26, OV 36, RD 28-30, RD 32-35; 6.5 linear feet)

Series 6: Personal Business Records, circa 1967-1970s (Box 5; 4 folders)

Series 7: Financial Records, 1962-1972 (Box 6-7; 0.4 linear feet)

Series 8: Printed Material, 1955-1985 (Boxes 7-11, Box 18, RD 31; 5.6 linear feet)

Series 9: Scrapbook, 1966-1973 (Box 11, Box 16; 0.3 linear feet)

Series 10: Artwork, circa 1950s-1970s (Box 11; 4 folders)

Series 11: Photographs, circa 1950s-1970s (Box 11, Box 18; 5 folders)

Series 12: Artifacts, circa 1950s-1970s (Box 11, Box 14, OV 19; 0.5 linear feet)

Series 13: Nancy Holt Papers, circa 1960s-1980s (Box 12-13, 15, OV 27, FC 37-38; 1.9 linear feet)

Series 14: Robert Smithson Personal Library (Boxes 39-87; 48.4 linear feet)

Biographical Note:

Robert Smithson (1938-1973) was a sculptor, painter, author, and lecturer who was known as a pioneer of land and earthworks art, based primarily in New York City. Nancy Holt (1938-2014) was a land artist, conceptual artist, and filmmaker. Smithson and Holt were married from 1963 until Smithson's death in 1973.

Born in Passaic, New Jersey, Smithson expressed an early interest in art, enrolling in classes at the Brooklyn Museum School and the Art Student's League in New York while still attending high school. Smithson's early works were primarily paintings, drawings, and collages. In 1959, he exhibited his first solo show of paintings at the Artists' Gallery in New York and had his first solo international show in Rome with the Galleria George Lester in 1961.

During the early to mid-1960s, Smithson was perhaps better known as a writer and art critic, writing numerous essays and reviews for Arts Magazine and Artforum. He became affiliated with artists who were identified with the minimalist movement, such as Carl Andre, Donald Judd, Nancy Holt, Sol LeWitt, Robert Morris and others. In 1963, Smithson married sculptor and filmmaker Nancy Holt and a year later started to create his first sculptural works. In 1966, Smithson joined the Dwan Gallery, whose owner Virginia Dwan was an enthusiastic supporter of his work.

Smithson's interest in land art began in the late 1960s while exploring industrial and quarry sites and observing the movement of earth and rocks. This resulted in a series of sculptures called "non-sites" consisting of earth and rocks collected from a specific site and installed in gallery space, often combined with photographs, maps, mirrors, or found materials. In September 1968, Smithson published the essay "A Sedimentation of the Mind: Earth Projects" in Artforum that promoted the work of the first wave of land art artists. Soon thereafter, he began creating his own large scale land art and earthworks.

From 1967 to 1973, Smithson's productivity was constant as he wrote, lectured, and participated in several solo and group shows a year, both at home and abroad. He explored narrative art as essay in "The Monuments of Passaic" and fully committed to his idea of visiting sites and using them as the basis for creating non-sites, Non-Site, Pine Barrens, (1968); incorporated and documented the use of mirrors at sites in Mirror Displacement, Cayuga Salt Mine Project (1968-1969); and created his first site-specific works through liquid pours of mud, asphalt, and concrete, including Asphalt Rundown (1969). In 1969, he also completed his first earth pour at Kent State University with his project Partially Buried Woodshed. Later that year, he created the sculptural artwork for which he is best known, Spiral Jetty (1969) on the Great Salt Lake in Utah. This was the first of his pieces to require the acquisition of land rights and earthmoving equipment, and would be followed two years later by Broken Circle and Spiral Hill in 1971.

On July 20, 1973, while surveying sites in Texas for the proposed Amarillo Ramp, Smithson died in a plane crash at the age of 35. Despite his early death, Smithson's writings and artwork had a major impact on many contemporary artists.

Nancy Holt began her career as a photographer and video artist. Today, Holt is most widely known for her large-scale environmental works, Sun Tunnels and Dark Star Park. Holt has also made a number of films and videos since the late 1960s, including Mono Lake (1968), East Coast, West Coast (1969), and Swamp (1971) in collaboration with her late husband Robert Smithson. Points of View: Clocktower (1974) features conversations between Lucy Lippard and Richard Serra, Liza Bear and Klaus Kertess, Carl Andre and Ruth Kligman and Bruce Brice and Tina Girouard. In 1978, she produced a film about her seminal work Sun Tunnels.

Related Material:

The Archives also holds several collections related to Robert Smithson and Nancy Holt, including an oral history interview with Robert Smithson conducted by Paul Cummings in 1972; an interview with Robert Smithson conducted by Tony Robbin in 1968; Robert Smithson letters to George B. Lester, 1960-1963; an oral history interviews with Nancy Holt conducted by Scott Gutterman in 1992 and Joyce Pomeroy Schwartz in 1993; and the Nancy Holt Estate records, circa 1960-2001.

Provenance:

The papers of Robert Smithson and Nancy Holt were donated by Nancy Holt in several accretions between 1986 and 2011.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art, Smithsonian Institution, holds the intellectual property rights, including copyright, to all materials created by Robert Smithson and Nancy Holt with the exception of the following items: two holiday cards found in box 11, folders 22-23. For these two items, copyright held by Holt/Smithson Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY. Requests for permission to reproduce should be submitted to ARS.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Conceptual artists -- New York (State) -- New York  Search this

Topic:

Earthworks (Art)  Search this

Filmmakers -- New York (State) -- New York  Search this

Women artists  Search this

Women filmmakers  Search this

Genre/Form:

Interviews

Sketches

Scrapbooks

Moving images

Documentary films

Citation:

Robert Smithson and Nancy Holt papers, 1905-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and the Alice L. Walton Foundation.

Identifier:

AAA.smitrobe

See more items in:

Robert Smithson and Nancy Holt papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96b7b3eff-59b4-4fed-a5db-394ea8d534bf

EDAN-URL:

ead_collection:sova-aaa-smitrobe

Creator:

Finch College. Museum of Art  Search this

Varian, Elayne H. (Elayne Hanley), 1913-1987  Search this

Subject:

Acconci, Vito  Search this

Glimcher, Arnold B.  Search this

Benglis, Lynda  Search this

Anderson, David K.  Search this

Bochner, Mel  Search this

Benyon, Margaret  Search this

Janis, Sidney  Search this

Castelli, Leo  Search this

Brooks, James  Search this

Jackson, Martha Kellogg  Search this

Hollander, Irwin  Search this

Insley, Will  Search this

Gottlieb, Adolph  Search this

Graham, Dan  Search this

Smith, Tony  Search this

Siegelaub, Seth  Search this

Richter, Hans  Search this

Parsons, Betty  Search this

O'Doherty, Brian  Search this

Nauman, Bruce  Search this

Kirby, Michael  Search this

Chase, Doris  Search this

Cross, Lloyd G.  Search this

Davis, Douglas  Search this

Dwan, Virginia  Search this

Feigen, Richard L.  Search this

Wise, Howard  Search this

Weiner, Sam  Search this

Sonfist, Alan  Search this

Mazur, Michael  Search this

Meyer, Ursula  Search this

Lichtenstein, Roy  Search this

Levine, Les  Search this

Type:

Transcripts

Interviews

Photographs

Sound recordings

Video recordings

Museum records

Citation:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975, bulk 1964-1975. Archives of American Art, Smithsonian Institution.

Topic:

Art dealers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Gallery directors  Search this

Gallery owners  Search this

Theme:

Art Gallery Records  Search this

Art organizations  Search this

Record number:

(DSI-AAA_CollID)8114

(DSI-AAA_SIRISBib)210285

AAA_collcode_finccoll

Theme:

Art Gallery Records

Art organizations

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210285

Creator:

American Academy in Rome  Search this

Names:

American Academy in Rome  Search this

American School of Architecture in Rome  Search this

American School of Classical Studies in Rome  Search this

Aldrich, Chester Holmes, 1871-1940  Search this

Boring, William, 1859-1937  Search this

Breck, George, 1863-1920  Search this

Dinsmoor, William B.  Search this

Egbert, J. C. (James Chidester), 1859-1948  Search this

Ely, Theo. N.  Search this

Faulkner, Barry, 1881-1966  Search this

Guernsey, Roscoe  Search this

Hewlett, James Monroe  Search this

Kendall, William M.  Search this

La Farge, C. Grant (Christopher Grant), 1862-1938  Search this

Marquand, Allan, 1853-1924  Search this

McKim, Charles Follen, 1847-1909  Search this

Mead, William Rutherford, 1846-1928  Search this

Millet, Francis Davis, 1846-1912  Search this

Morey, Charles Rufus, 1877-1955  Search this

Mowbray, H. Siddons (Harry Siddons), 1858-1928  Search this

Platt, Charles A. (Charles Adams), 1861-1933  Search this

Pope, John Russell, 1874-1937  Search this

Roberts, Laurance P.  Search this

Smith, James Kellum, 1893-1963  Search this

Stevens, Gorham Phillips, 1876-  Search this

Vedder, Elihu, 1836-1923  Search this

Vitale, Ferrucio, 1875-1933  Search this

Ward, John Quincy Adams, 1830-1910  Search this

Extent:

65.9 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1855-2012

Summary:

The records of the American Academy in Rome measure 65.9 linear feet and date from 1855 to 2012. The collection documents the history of the institution from its inception in 1894 as the American School of Architecture in Rome, through the end of World War II, and chronicles the contributions the academy has made to America's cultural and intellectual development. Nearly one-half of the collection consists of an unprocessed addition received in 2014 containing records that mostly post-date World War II and include correspondence and subject files of officers and executives based in the New York office of American Academy in Rome.

Scope and Content Note:

The records of the American Academy in Rome measure 65.9 linear feet and date from 1855 to 2012. The collection documents the history of the institution from its inception in 1894 as the American School of Architecture in Rome, through the end of World War II, and chronicles the contributions the academy has made to America's cultural and intellectual development. Nearly one-half of the collection consists of an unprocessed addition received in 2014 containing records that mostly post-date World War II and include correspondence and subject files of officers and executives based in the New York office of American Academy in Rome.

Items predating the 1894 founding of the American School of Architecture in Rome are personal papers and memorabilia of individuals associated with the institution.

Series 1: Predecessor Institutions, is composed of the records of the American School of Architecture in Rome, 1894-1898, and the American School of Classical Studies in Rome, 1895-1913. Records of the American School of Architecture in Rome include records of its Managing Committee, correspondence, financial records, and printed matter. Among the Managing Committee's records are notes and correspondence relative to the founding of the institution, minute books and reports; also, legal documents including records concerning its dissolution prior to being reorganized as the American Academy in Rome. Correspondence is mostly that of Vice President Charles F. McKim who handled administrative matters. Financial records include capital stock certificates, invoices and receipts. Printed matter consists of scholarship competition announcements.

Records of the American School of Classical Studies in Rome include records of its Managing Committee, Committee on Fellowships, publications, printed matter, and treasurers' records. The Managing Committee's records consist of the proposed resolution concerning its merger with the American Academy in Rome. Committee on Fellowship records are comprised of correspondence, reports, and fellowship applications. Publications records include correspondence and invoices. Printed matter includes general information, annual reports of the Managing Committee and Director, annual reports of the Committee on Medieval and Renaissance Studies, fellowship applications and examination questions, and the proposed consolidation agreement. Treasurers' records include the files of Alex. Bell and Willard V. King. Bell's sparse records consist of a budget, receipts for salary payments, an invoice, canceled checks, and correspondence. King's files, while more substantial than those that survive from Bell's tenure, are quite incomplete. They include correspondence, banking records, budgets and financial statements, investment records, invoices, and receipts for salaries and expenses.

Series 2: Board of Trustees Records, is comprised of legal documents, minutes, and reports; records of Trustee committees; records of officers; and records of individual Trustees. Legal documents, 1897-1926 and undated, consist of by-laws and amendments, certificate of incorporation, and constitution and amendments. Minutes and reports of the Board of Trustees, 1897-1947 and 1957, including those of its annual meetings, are carbon copies rather than the official minute books, and are incomplete. Reports of officers are incomplete, as well. Also included are reports of Officers'/Trustees' visits to Rome, and reports of the Director and Secretary in Rome submitted to the Board of Trustees.

Records of Trustee committees, 1905-1946 and undated, consist of reports and/or minutes arranged alphabetically by committee; these, too are incomplete, with many committees represented by a single report. Committees represented are: Building Committee, Carter Memorial Committee, Endowment Committee, Executive Committee, Finance Committee, Library Committee, McKim Memorial Committee, Nominating Committee, Committee on Publications. Committee on the School of Classical Studies records consist of its own minutes and reports, reports of its Advisory Council and the Jury on Classical Fellowships. Committee on the School of Classical Studies also include reports of officers and staff of the School of Classical Studies to the Committee on the School of Classical Studies as follows: Director, Professor in Charge, Annual Professor, Director of the Summer Session, Professor of Archaeology, Curator of the Museum, Editor, Librarian, and Committee on the Welfare of Women Students. Committee on the School of Fine Arts records consist of its own minutes and reports, reports of its Special Committee on the Plan and Expense of a Department of Music in the School of Fine Arts, and report of Fine Arts Program, Triptych Project with the Citizens Committee for the Army and Navy, Inc.; also, reports of officers and staff of the School of Fine Arts to the Committee on the School of Fine Arts as follows: Director, Professor in Charge, Associate in Charge, Annual Professor, Professor in Charge of the Department of Musical Composition. In addition, there are minutes and/or reports of the Committee of Twelve and Subcommittee of Five and the Special Committee on Villa Aurelia.

Records of Officers. 1898-1957 and undated, consist mainly of correspondence files and reports, with large numbers of transcriptions and carbon copies. Included are records of: Presidents Charles F. McKim, William R. Mead, Charles A. Platt, John Russell Pope, and James Kellum Smith; Vice Presidents Theodore N. Ely, George B. McClellan, and Henry James; Secretaries H. Siddons Mowbray (Secretary/Treasurer), Frank D. Millet, C. Grant La Farge, William B. Dinsmoor, and H. Richardson Pratt; and Treasurers William R. Mead, William A. Boring, Leon Fraser, and Lindsay Bradford Office files of President Mead, Secretaries Millet and La Farge, and Treasurer Boring are the most complete; files of other individuals, the Vice Presidents in particular, are often quite sparse.

Records of individual Trustees, 1902-1946 and undated, consist of material relating to official Academy business that was created or maintained by each in his capacity as trustee. (Note: many of these individuals also served as officers or staff of the Academy, and their records documenting those functions will be found in the appropriate series.) Included in this subseries are the records of: Chester H. Aldrich, Gilmore D. Clarke, James C. Egbert, Barry Faulkner, Allan C. Johnson, William M. Kendall, C. Grant La Farge, Edward P. Mellon, Charles Dyer Norton, Charles A. Platt, John Russell Pope, Edward K. Rand, John C. Rolfe, James Kellum Smith, S. Breck Trowbridge, Ferruccio Vitale, John Quincy Adams Ward, Andrew F. West, and William L. Westerman. These records tend to be sparse; files maintained by James C. Egbert, Barry Faulkner, Allan C. Johnson, and Ferruccio Vitale are notable exceptions.

Series 3: New York Office Records, consists of records of staff, rosters, printed matter, photographs, personal papers, Association of Alumni of the American Academy in Rome, and miscellaneous records.

Records of staff, 1919-1950 and undated, include the office files of Executive Secretaries Roscoe Guersney, Meriwether Stuart, and Mary T. Williams; Librarian George K. Boyce; and Endowment Fund Campaign Secretaries Phillilps B. Robinson and Edgar I. Williams.

The rosters, 1895-1939 and undated, are printed forms completed by fellows and students, with occasional attachments (usually correspondence or photographs). Included are the rosters of the School of Fine Arts, School of Classical Studies, and School of Classical Studies Summer Sessions.

Printed matter, 1905-[1981?] and undated, has been classified as Academy produced and produced by others. Items produced by the Academy, 1905-[1981?], include general information including act of incorporation and by-laws, fundraising brochure, constitution, Directory of Fellows and Residents, histories of the institution, newsletter of the Director, and printed items relating to special events. Printed matter specifically relating to the School of Classical Studies includes annual announcements, the consolidation agreement, a directory, fellowship announcements and applications, lecture announcements, newsletters, and brochures about summer sessions. School of Fine Arts printed matter includes annual announcements, concert programs, exhibition checklists and catalogs, fellowship announcements and application forms, history, and newsletters.

Printed matter produced by others, 1905-1940 and undated, consists of three scrapbooks of news clippings and photographs compiled by the American Academy in Rome, extensive clipping files, and articles from miscellaneous publications. All of these items are about the American Academy in Rome, or by or about individuals associated with the institution. Also included is a poster for Leave Courses offered at the Academy for U. S. servicemen.

Photographs, 1891-1941 and undated, are organized into the categories of works of art, people, buildings, places, events, and miscellaneous. Works of art are by visiting students and fellows, Frank D. Millet, collaborative problems, Rome Prize Competitions in Architecture, Rome Prize Competitions in Landscape Architecture, and Prix de Rome Competition exhibitions. Photographs of people are both of individuals and groups; among the groups are summer school students and fellowship winners.

Buildings depicted are American Academy properties. Among them are the "New Building," including interior and exterior construction views; studios; and Villas Aurelia, Mirafiore, and Richardson. Also included is a group of photographs of Academy architecture students measuring buildings in Rome and Florence. Places pictured are views of the Academy property and surrounding areas.

Photographs of events include cricket games, Thanksgiving and Fourth of July dinners, Architectural League exhibition, and inauguration of the Manship Fountain. Miscellaneous photographs are of an architectural drawing for a proposed building.

Personal Papers, Memorabilia, and Ephemera, 1855-1923 an undated, were donated to the American Academy in Rome or otherwise left on its premises. None are official records generated by the institution. Included are: Ernest Lewis' photograph album/scrapbook; Allan Marquand's papers; Charles F. McKim's memorabilia, photographs, printed matter, and artifacts; Charles R. Morey's correspondence; and Elihu Vedder's Bible.

Records of the Association of the Alumni of the American Academy in Rome, 1913-1945 and undated), consist of a small number of scattered records including correspondence, fellows' war/government service information (compiled by Sidney Waugh), membership lists, and a newsletter.

Miscellaneous records, 1899-1926 and undated, are writings and architectural records. Writings consist of published and unpublished manuscript material about the American Academy in Rome and its history, and article by H. Siddons Mowbray advising on ornamentation, and text and illustrations for the Art and Archaeology issue on the Academy. Also included are fragments of unidentified letters. Architectural records [oversize] include property and floor plans of Villas Aurora, Chiaraviglio, Ferrari, and Ludovisi.

Series 4: Rome Office Records, consist of records of staff and personal papers. Records of staff, 1903-1947 and undated, include the office files of Directors H. Siddons Mowbray, George Breck, Jesse Benedict Carter, Gorham Phillips Stevens, James Monroe Hewlett, Chester H. Aldrich, Amey Aldrich [Acting Director, very briefly, perhaps unofficially], Charles R. Morey, and Laurance P. Roberts; and records of two members of the School of Fine Arts faculty, Frank P. Fairbanks, Professor of Fine Arts, and Felix Lamond, Professor of Music. Records of Carter, Stevens, Hewlett, and Aldrich appear to be fairly complete; records of early directors are sparse; those of Morey and Roberts appear to be missing significant portions; and those of Professors Fairbanks and Lamond consist of a few scattered items.

Also surviving are the personal papers of Director Gorham Phillips Stevens, 1912-1931 and undated), consisting of correspondence, financial records, and documentation of professional and charitable activities.

Series 5: Unprocessed Addition to the American Academy in Rome Records was received in 2014 and consists of 31.6 linear feet of the New York office's records for officers, directors, and executives.

Arrangement:

It was obvious that before they came to the Archives of American Art the records had been rearranged more than once, and in such a way that materials from many different departments had been intermingled. In keeping with archival theory and practice, the records were organized to reflect the structure and operation of the institution that created the records, making them more understandable and accessible to a wide variety of researchers.

In general, the records of each officer and staff member are arranged alphabetically, with general correspondence preceding the alphabetical sequence; arrangement within each file is chronological, unless noted otherwise.

Records of the American Academy in Rome are organized into five major series. Each series, except series 5, is divided into several subseries, with the arrangement described in detail in the series descriptions.

Missing Title

Series 1: Predecessor Institutions, 1894-1913 (box 1; 0.88 linear ft.; Reels 5749-5750)

Series 2: Board of Trustees Records, 1897-1957, undated (boxes 1-17, 35, 37; 15.25 linear ft.; Reels 5750-5777)

Series 3: New York Office, 1855-circa 1981, undated (boxes 17-32, 36; 15 linear ft.; 5777-5795)

Series 4: Rome Office, 1903-1943, undated (boxes 32-34; 3 linear ft.; 5795-5800)

Series 5: Unprocessed Addition to the American Academy in Rome Records, 1933-2002 (boxes 35-103; 31.6 linear ft.)

Historical Note:

While in Chicago to advise and work on the fine arts section of the 1893 World's Columbian Exposition, architects Charles F. McKim, Daniel Burnham, and Richard Howland Hunt, painters John La Farge and Frank Millet, and sculptors Augustus Saint-Gaudens, and Daniel Chester French, among others, met regularly. From their collaborative experience and discussions came the idea for an American school for artists in Europe. Charles F. McKim was especially enthusiastic. He strongly believed that collaborative experience should be available to future American artists, and perceived a real need for an American school in Europe--preferably in Rome, the very best place to study art, in his opinion.

By March of the following year, McKim was busy devising plans for the school and persuading like-minded architects and artists to assist. He proposed to finance the school by convincing institutions with traveling scholarships in the arts to send those students to Rome. Columbia University, University of Pennsylvania, and the Rotch Scholarship fund readily agreed to the scheme, and in ensuing years many others followed suit. In October, 1894, the American School of Architecture in Rome opened temporary quarters in the Palazzo Torlonia. The school consisted of its Director, Austin Lord, three fellows, and a visiting student; its "library" contained but one volume.

A move to the larger, more suitable Villa Aurora occurred in July 1895. Rent from two subtenants (the newly established American School of Classical Studies in Rome and the British and American Archaeological Society Library in Rome), along with a personal contribution from McKim, made this financially feasible.

The American School of Architecture in Rome was incorporated in the State of New York, 1895, and 10 shares of capital stock were issued. Despite substantial fundraising efforts in Chicago, New York, and Boston, severe financial problems continued. The American School of Classical Studies in Rome vacated the Villa Aurora in 1896--and with it went a sizeable portion of the School of Architecture's income. McKim frequently made up the deficit from his own pocket.

Eventually, it was decided that the American School of Architecture in Rome must be reorganized along the lines of the French Academy and that national sponsorship needed to be obtained through an act of Congress. In June of 1897, the American School of Architecture in Rome voted to dissolve itself and create the American Academy in Rome. The new institution would assume all assets and obligations, fellowships in painting and architecture were to be added to the program, and its Board of Trustees would include architects and artists. The Academy is not a school. Its fellows and visiting students, already professionally trained, go to Rome for further development and for collaboration and association with others. In the words of Director Gorham Phillips Stevens: "The object of the American Academy in Rome is not to afford opportunities for a few individuals to perfect themselves for the practice of their chosen professions. The ideal is to create an atmosphere in which a limited number of carefully selected artists and scholars may develop that synthesis of intellectual culture which will make them worthy to preserve and continue the great traditions of the past in order that the standard of art and literature may be handed on from year to year, constantly strengthened and improved."

Beginning in 1901, bills to make the American Academy in Rome a "national institution" were introduced in Congress on several occasions. A hearing was finally scheduled in 1905, and a revised bill that prohibited government funding and specified that U.S. officials may not be Trustees was signed into law. Serious efforts to create an Endowment Fund and secure better quarters were associated with the movement to obtain status as a national institution. The Academy was successful in meeting all of these objectives. In 1904, the Academy moved to the Villa Mirafiore (also known as Villa Mirafiori), which it soon purchased and renovated. The Endowment Fund raised well over a million dollars. Donors of $100,000 to the Endowment Fund, designated "Founders" of the American Academy in Rome, were: The Carnegie Foundation, Henry C. Frick, Harvard College, Charles F. McKim, J. P. Morgan, Sr., J. P. Morgan, Jr., The Rockefeller Foundation, John D. Rockefeller, Jr., William K. Vanderbilt, and Henry Walters. Other categories of donors were "Incorporators" (a new Act of Incorporation was required at the time the American Academy in Rome was chartered as a national institution) and "Life Members."

The American School of Classical Studies in Rome, which had been established by the Archaeological Society in 1895 and during its first year shared the Villa Aurora with the American School of Architecture in Rome, entered into a consolidation agreement with the American Academy in Rome in 1911. Their merger went into effect on the last day of 1912, and ever since, the American Academy in Rome has consisted of the School of Fine Arts and the School of Classical Studies, administered by a common director. The School of Classical Studies is composed of fellows and visiting scholars who are graduate students, secondary teachers, or professors engaged in research in the areas of archaeology, ancient art, philology, and humanistic studies. Women were a part of the School of Classical Studies from its beginning, but were not permitted to participate in the School of Fine Arts until well after World War II. Beginning in 1923, the School of Classical Studies instituted Summer Sessions which appealed to secondary teachers, and attracted an enrollment that was largely female.

Originally, the School of Fine Arts offered fellowships in architecture, painting, and sculpture. Fellowships in landscape architecture were added in 1915; in 1920, a Department of Music was established, and along with it fellowships in musical composition. Fellowships in art history were established in 1947. Unmarried men under age 30 were eligible to compete for the fine arts fellowships awarded annually (except for landscape architecture, awarded every third year); the duration of fellowships ranged from one to three years at various points in the institution's history. In residence along with fellows of the American Academy in Rome, might be holders of various traveling scholarships: the McKim Fellowship, the Columbia Traveling Scholarship, the Perkins Scholarship, the Robinson Traveling Scholarship (Harvard), the Rotch Scholarship, the Julia Appleton Scholarship, the Traveling Scholarship and Stewardson Memorial Scholarship (University of Pennsylvania), the Cresson Scholarship (Pennsylvania Academy of the Fine Arts), the Drexel Institute Traveling Scholarship, the Lazarus Scholarship (Metropolitan Museum of Art), the Lowell Scholarship (Massachusetts Institute of Technology), and the Rinehart Scholarship (Peabody Institute, Baltimore). Visiting students, who remained for a much briefer period than fellows or recipients of various traveling scholarships, were admitted to all lectures and granted use the library, but resided elsewhere. The Academy opened an Atelier in downtown Rome for visiting students in 1927, which operated until financial considerations forced its discontinuation seven years later.

As the merger was being planned, J. P. Morgan, Sr., who was interested in both the American Academy in Rome and the American School of Classical Studies in Rome, began buying properties on the Janiculum, adjacent to Villa Aureilia. Villa Aurelia, built on the summit of the Janiculum in 1650, had been bequeathed to the American Academy in Rome in 1909 by Clara Jessup Heyland. Complications surrounding the gift of Villa Aurelia--including the will being contested by Mrs. Heyland's brother, and problems with unsettled tax assessments--were overcome in the interest of acquiring the outstanding building and its extensive grounds. Not long before his death in 1913, Morgan donated his neighboring land, and the American Academy in Rome continued to expand its Janiculum holdings through purchases and gifts from others. Morgan also agreed to provide a loan for construction of a new building. This building, designed by McKim, Mead, and White and known as the Main Building or Academy Building, opened in 1915; it served as the fellows' residence and work area, and included room for the library, offices, and space for exhibitions and other public events.

During World War I, the American Academy in Rome managed to remain open, although no new fellows arrived during the war years and the number of resident fellows and staff dwindled considerably. Most who remained were involved in some type of civilian war work, often with the Red Cross. In fact, Villa Aurelia was rented by the Red Cross in Italy for office space, and the Main Building was offered as a convalescent hospital, but the war ended before it could be put to that use.

After Italy declared war on the United States in 1941, the American Academy in Rome closed for the remainder of World War II. Those who had been awarded fellowships in classics just prior to the Academy's closing were given the option of using their stipends for study at home or waiting until conditions permitted travel to Rome. A very reduced staff stayed to care for the property and continue library cataloguing, coping with often severe wartime shortages of food and fuel. In addition, there were financial hardships. When bank accounts of enemy aliens were frozen and it was no longer possible to transfer funds from the United States, the Swiss Legation and Vatican arranged for loans to keep the Academy and its staff afloat. Funds that would have been awarded to new fellows during this period were put to use in other ways. In 1943, the American Academy in Rome made a grant to the Citizen's Committee for the Army and Navy, Inc. for competitions to award commissions to artists and art students throughout the country, funding more than 100 triptychs for chapels, as well as murals, medals, and sculpture. Seniors in American colleges and universities were eligible to compete for several scholarships for graduate work in classical studies awarded by the American Academy in Rome.

In 1945, the Academy was the site of Leave Courses on various aspects of Italian culture offered to servicemen. From the end of the war until the Academy reopened at the start of the 1946/47 academic year, G.I. Fellowships were offered to discharged soldiers wishing to study at the Academy, making the institution eligible to receive surplus equipment and rations. During this time intensive planning was underway for administrative changes and new programs.

test

1893 -- While in Chicago to collaborate on the fine arts section for the World's Columbian Exposition, architects Charles F. McKim, Daniel Burnham, Richard Howland Hunt, painters John La Farge, and Sculptors Augustus Saint-Gaudens, and Daniel Chester French, among others, met regularly and from their collaborative experience and discussions came the idea for an American school in Europe.

1894 -- American School of Architecture in Rome opened in temporary quarters at the Palazzo Torlonia with Austin Lord, Director, three fellows, and a visiting student.

1895 -- Villa Aurora leased with 2 subtenants, the American School of Classical Studies and the British and American Archaeological Society Library in Rome American School of Architecture incorporated and 10 shares of capital stock issued (2 each to McKim and Hunt, and 1 to Burnham, Kendall, Schermerhorn, Boring, Garland, and Dill) McKim visits Rome.

1896 -- Metropolitan Museum of Art, administrator of Jacob H. Lazarus Scholarship for the study of mural painting, agrees to send the winner to Rome American School of Classical Studies in Rome vacates Villa Aurora.

1897 -- American School of Architecture in Rome dissolved and reorganized as the American Academy in Rome; the assets (including the lease on Villa Aurora) of the American School of Architecture in Rome were transferred and its program expanded to include fellowships in painting and sculpture Samuel A. B. Abbott appointed first Director Rome Prize discontinued (for 9 years) due to lack of funds.

1898 -- Incorporated in New York State; trustees begin to focus on raising an endowment.

1904 -- Move to Villa Mirafiore (also known as Villa Mirafiori); occupied until 1914.

1905 -- Chartered by the Congress of the United States; a bill signed by President Roosevelt made the American Academy in Rome a national institution (receiving no government funding and barring U.S. officials from acting as Trustees).

1906 -- Purchase of Villa Mirafiore finalized; renovations begun.

1909 -- Villa Aurelia bequeathed to the Academy by Clara Jessup Heyland (used until 1932); there were protracted problems surrounding the acquisition of the property including a brother who contested the will and unsettled taxes.

1911 -- School of Classical Studies in Rome (established by the Archaeological Institute of America in 1895) and the American Academy in Rome announce their consolidation [the merger became effective on the final day of 1912].

1912 -- Lands on the Janiculum adjacent to Villa Aurelia, recently acquired by J. Pierpont Morgan, Sr., transferred to the American Academy in Rome.

1913 -- American Academy in Rome now consists of the School of Fine Arts and the School of Classical Studies. New York office moves to the Architect's Building, 101 Park Ave., remaining at this location until 1973. By this date, largely through the generosity of J. Pierpont Morgan, Sr., nearly all of the land bounded by Via Angelo Masina, Via Giacomo Medici, Via Pietro Riselli, and the Aurelian Wall on the Janiculum had been purchased and many improvements made to the properties near the Villa Aurelia. Construction begins on the new Academy building designed by McKim, Mead, and White and situated on the grounds of Villa Aurelia; financed through a loan from J. Pierpont Morgan, Sr. (after Morgan Sr.'s death, his son offered to cancel the loan at an amount equal to funds raised by the Academy for the purpose).

1915 -- First Fellowship in Landscape Architecture established; opening of new Academy building housing the fellows' residential quarters, work areas, library, offices, and spaces for public programs.

1917 -- Villa Aurelia rented to the Red Cross for office space, and the new Main building was slated to become a convalescent hospital, but the war ended before it could be put to use.

1919 -- New York office reorganized by Roscoe Guernsey, executive secretary; sale of Villa Mirafiore; Academic Council established in Rome.

1920 -- Department of Music and Fellowship in Musical Composition established.

1923 -- School of Classical Studies establishes summer sessions, largely attended by teachers.

1926 -- Second Fellowship in Landscape Architecture funded by Garden Club of America (later permanently endowed).

1927 -- Academy opens an Atelier in downtown Rome, providing studios for visiting students (operated until 1934).

1929 -- First Thomas Spencer Jerome lecturer appointed.

1941 -- Academy closes for duration of World War II; a skeletal staff remain behind to care for the property and continue library cataloguing; Italy declares war on the United States.

1942 -- After transfer of funds from the U.S. proved impossible and enemy aliens were prohibited from withdrawing their own funds from Italian banks, the Swiss Legation and Vatican offered assistance to the Academy by providing loans.

1943 -- Academy grant to Citizen's Committee for the Army and Navy, Inc., funded hundreds of triptychs; murals, medals, and sculptures also commissioned Academy awards scholarships in classical studies at American colleges and universities.

1945 -- "Leave courses," held at the Academy, consisting mainly of lectures by distinguished scholars still in Rome, instituted for U.S. servicemen.

1946 -- Regular program resumes at the start of the academic year.

1947 -- Fellowship in the History of Art established.

1965 -- Loan of printed matter for microfilming by the Archives of American Art (reels ITRO 2-3 and 11-13).

1973 -- New York office moves to American Federation of Arts building, 41 East 65th St. (until 1993).

1982 -- Gift of New York office records to the Archives of American Art.

1990 -- Gift of Rome office records to the Archives of American Art.

1993 -- New York office moves to Metropolitan Club, 7 East 60th St.

Related Material:

Papers of a number of former fellows, trustees, and other individuals associated with the American Academy in Rome are among the holdings of the Archives of American Art.

Chaloner Prize Foundation records, 1915-1974 (microfilm reels 5664-5669) were received with the American Academy in Rome records. They have been arranged and described as a separate collection.

Valentine, Lucia and Alan Valentine. The American Academy in Rome, 1894-1969. Charlottesville: University Press of Virginia, 1973.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming (reels ITRO 2-3, and ITRO 11-13) including annual reports, exhibition catalogues, a history of the American Academy in Rome, the American Academy in Rome at the World's Fair, and the Golden Gate Exposition and newsletter. Loaned materials were returned to the lender and can be found at the American Academy in Rome, Italy. This material is not described in the collection container inventory.

Provenance:

The material on reels ITRO 2-3 and ITRO 11-13 were lent to the Archives of American Art for microfilming by the American Academy in Rome in 1965. Records of predecessor institutions, the Board of Trustees, and the New York office, including photographs and personal papers, were donated in 1982 by the Academy president, Calvin G. Rand. In 1990, Rand also gifted the Rome office records and the personal documents of Gorham Phillips Stevens. An addition of New York office records was donated in 2014 by the Academy director, Adele Chatfield-Taylor.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Architecture -- Study and teaching  Search this

Architecture, Classical -- Study and teaching  Search this

Art -- Study and teaching  Search this

Art schools -- Italy -- Rome  Search this

Genre/Form:

Photographs

Citation:

American Academy in Rome records, 1855-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.ameracar

See more items in:

American Academy in Rome records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9eb425e5a-26de-478b-8ecc-8a9006e9dc52

EDAN-URL:

ead_collection:sova-aaa-ameracar

Creator:

Finch College. Museum of Art  Search this

Varian, Elayne H.  Search this

Names:

Acconci, Vito, 1940-  Search this

Anderson, David K., 1935-  Search this

Benglis, Lynda, 1941-  Search this

Benyon, Margaret, 1940-  Search this

Bochner, Mel, 1940-  Search this

Brooks, James, 1906-1992  Search this

Castelli, Leo  Search this

Chase, Doris, 1923-  Search this

Cross, Lloyd G.  Search this

Davis, Douglas  Search this

Dwan, Virginia  Search this

Feigen, Richard L., 1930-  Search this

Glimcher, Arnold B.  Search this

Gottlieb, Adolph, 1903-1974  Search this

Graham, Dan, 1942-  Search this

Hollander, Irwin  Search this

Insley, Will, 1929-2011  Search this

Jackson, Martha Kellogg  Search this

Janis, Sidney, 1896-1989  Search this

Kirby, Michael  Search this

Levine, Les, 1935-  Search this

Lichtenstein, Roy, 1923-1997  Search this

Mazur, Michael, 1935-2009  Search this

Meyer, Ursula, 1915-  Search this

Nauman, Bruce, 1941-  Search this

O'Doherty, Brian  Search this

Parsons, Betty  Search this

Richter, Hans, 1888-1976  Search this

Siegelaub, Seth, 1941-  Search this

Smith, Tony, 1912-1980  Search this

Sonfist, Alan  Search this

Weiner, Sam  Search this

Wise, Howard  Search this

Extent:

20.9 Linear feet

Type:

Collection descriptions

Archival materials

Transcripts

Interviews

Photographs

Sound recordings

Video recordings

Museum records

Date:

1943-1975

bulk 1964-1975

Summary:

The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.

Scope and Contents:

The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.

Administrative records include records relating to the general operation of the Contemporary Wing concerning fundraising, professional associations, budget, contact information for artists, donors, and lenders to exhibitions. Also found are records of the permanent collection of artworks acquired by the museum between 1964 and 1975 from contemporary artists and collectors of contemporary art.

Artist files contain basic biographical information on over 150 contemporary artists, with scattered correspondence, photographs, technical information about artworks, artist statements, and other writings. Artist files also include an incomplete run of artist questionnaires gathered by the New York Arts Calendar Annual for 1964.

Elayne Varian's personal papers include curatorial records, a course schedule and syllabus related to her teaching activities, and various writings. Curatorial projects documented in Varian's papers include three programs produced outside of Finch College, including a juried show at the New York State Fair in 1967, a film series at Everson Museum of Syracuse University, and an exhibition at Guild Hall in East Hampton in 1973. Several of Varian's writing projects involved interviews, which are also found in this series in the form of sound recordings and transcripts. Interview-based writing projects include individual profiles on Brian O'Doherty and Babette Newberger, and interviews conducted for an article on the artist-dealer relationship published in Art in America (January 1970). Dealers interviewed for the latter project include Leo Castelli, Virginia Dwan, John Gibson, Richard Feigen, Arnold Glimcher, Fred Mueller, Martha Jackson, Sidney Janis, Betty Parsons, Seth Siegelaub, and Howard Wise. Artists interviewed include Roy Lichtenstein, Adolph Gottlieb, and Charles Ross.

Exhibition files, comprising the bulk of the collection, document exhibitions held in the Contemporary Wing during its existence from 1964 to 1975. Types of records found in the series include exhibition catalogs, correspondence, loan agreements, lists, contact information, insurance valuations of artworks, photographs, biographical information on artists, clippings, posters, press releases, and other publicity materials. In addition to the rich textual and photographic records found for exhibitions, numerous audiovisual recordings are also found, some of which were made in preparation for an exhibition, some document mounted exhibitions, and others are artworks themselves or components of artworks exhibited in the galleries. Interviews with artists, dealers, and others involved in exhibitions include Alan Sonfist, Mel Bochner, Hans Richter, Ruth Richards, James Brooks and Janet Katz, Margaret Benyon, Irwin Hollander (transcript only), David Anderson, Doris Chase, Will Insley, Michael Kirby, Les Levine, Ursula Meyer, Brian O'Doherty, Charles Ross, Tony Smith, Douglas Davis, Jane Davis, Russ Connor, Les Levine, Michael Mazur, Paul Gedeohn, and physicists Lloyd G. Cross, Allyn Z. Lite, and Gerald Thomas Bern Pethick. Video artworks, recordings of performances, or components of multimedia artworks are found by artists Vito Acconci, Kathy Dillon, Douglas Davis, Dan Graham, Les Levine, Bruce Nauman, Michael Netter, Eric Siegel, and Robert Whitman. A film of the Art in Process: The Visual Development of a Structure (1966) exhibition is found, and video recordings of artists Lynda Benglis, Michael Singer, and Sam Wiener form as part of the documentation for the Projected Art: Artists at Work (1971) exhibition.

Arrangement:

The collection is arranged as 4 series.

Missing Title

Series 1: Administrative Records, 1950-1975 (2 linear feet; Boxes 1-2, 22, OV 23)

Series 2: Artist Files, 1958-1975 (2.4 linear feet; Boxes 3-4, 22, OV 23, FC 27-28)

Series 3: Elayne Varian Personal Papers, 1965-1970 (1.3 linear feet; Boxes 5-6)

Series 4: Exhibition Files, 1943-1975 (14.9 linear feet; Boxes 6-22, OV 24-25, FC 26)

Biographical / Historical:

The Contemporary Study Wing of the Finch College Museum of Art, later called simply the "Contemporary Wing," was established in 1964 by the president of Finch College, Roland De Marco, as an extension the Finch College Museum of Art in New York City.

Its mission was to educate art history students at the Manhattan women's college who were interested in working with contemporary art. DeMarco, himself an art collector, hired Elayne Varian as director and curator of the contemporary wing. DeMarco met Varian in the New York office of the prominent international art dealership Duveen Brothers, where she had worked since the mid-1940s, most recently as an art dealer. Varian received her art education in Chicago, where she studied art history and education at the University of Chicago, and took classes in film at the Bauhaus and in fine art the Art Institute of Chicago. Sensitive to emerging art movements in galleries and studios around the city of New York, as the contemporary wing's curator, Varian quickly established a reputation for thoughtfully conceived, cutting-edge exhibitions which were consistently well-received by the press.

Under Varian, the Contemporary Wing carried out a dual mission of showing work of living artists and educating students and the public about the artwork and museum work in general. Varian used the galleries to provide practical training to students interested in a gallery or museum career throughout its existence. For several years, she also maintained an assistantship position for post-graduate museum professionals to gain experience in the field, many of whom went on to careers in museums across New York State.

The Contemporary Wing's best-known exhibitions formed a series of six shows called Art in Process, held between 1965 and 1972. Each of the Art in Process shows took a different medium, including painting, sculpture, collage, conceptual art, installation art, and serial art, and brought the process of art-making into the gallery with the artworks in various ways. For example, for Art in Process V (1972), the show about installation art, the galleries were open to the public for the entire process of its installation, allowing visitors to watch the works take shape. Another show entitled Documentation (1968) exhibited artworks with documentation such as artist's notes, sales records, and conservation records, bringing to light the value of record-keeping in the visual arts. Two exhibitions entitled Projected Art were also innovative, with the first (1966-1967) bringing experimental films from the cinema to the galleries, and the second (1971) showing artists' processes via footage and slides of artists working. Another show, Artists' Videotape Performances (1971), involved both screening of and creation of works in the gallery using a range of experiments with recent video technology. The museum also participated in an experimental broadcast of an artwork entitled Talk Out! by Douglas Davis, in which a telephone in the gallery allowed visitors to participate in its creation while it was broadcast live from Syracuse, NY. Other exhibitions that showcased experimentation in art included N-Dimensional Space (1970), on holography in art, Destruction Art(1968), on destructive actions being incorporated into contemporary art-making, and Schemata 7 (1967), a show about the use of environments in contemporary art, whose working title was "Walk-in Sculpture."

Other popular exhibitions at the Contemporary Wing included shows on Art Deco (1970) and Art Nouveau (1969). Several shows mined the private collections of prominent contemporary art collectors including Martha Jackson, Betty Parsons, George Rickey, Paul Magriel, Jacques Kaplan, Josephine and Philip Bruno, and Carlo F. Bilotti. A number of exhibitions featured contemporary art from overseas including Art from Belgium (1965), Art from Finland (1973), Seven Swedish Painters (1965), and Art in Jewelry (1966), which featured mainly international jewelry artists. Retrospective exhibitions of Hans Richter, Hugo Weber, and James Brooks were also held.

Hundreds of contemporary artists were shown at the Contemporary Wing in the eleven years of its existence, including many who came to be leading figures in contemporary art, and some who already were, including Andy Warhol, Roy Lichtenstein, Mel Bochner, Eva Hesse, Lynda Benglis, Bruce Nauman, Robert Morris, Lawrence Weiner, Robert Smithson, Sol Le Witt, Dan Flavin, Philip Pearlstein, and Yayoi Kusama, to name just a few.

The Contemporary Wing and the entire Finch College Museum of Art shut its doors in 1975, when Finch College closed due to lack of funds. The permanent collection was sold at that time, and the proceeds were used to pay Finch College employee salaries. Elayne Varian went on to the position of curator of contemporary art at the John and Mabel Ringling Museum in Sarasota, Florida. She died in 1987.

Related Materials:

Also found in the Archives of American Art is an oral history interview with curator Elayne Varian conducted by Paul Cummings, May 2, 1975.

Provenance:

The Archives of American Art acquired these records from the Finch College Museum of Art after it closed permanently in June 1975.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Video artists -- New York (State) -- New York  Search this

Museum administrators -- New York (State) -- New York  Search this

Museum curators -- New York (State) -- New York  Search this

Topic:

Art dealers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Gallery directors  Search this

Gallery owners  Search this

Genre/Form:

Transcripts

Interviews

Photographs

Sound recordings

Video recordings

Museum records

Citation:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.

Identifier:

AAA.finccoll

See more items in:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ed5f13a2-eeb3-452a-8735-204ff25576b5

EDAN-URL:

ead_collection:sova-aaa-finccoll

Collection Creator:

Finch College. Museum of Art  Search this

Varian, Elayne H.  Search this

Extent:

1 Sound tape reel (Includes transcript)

Container:

Box 5, Folder 16

Type:

Archival materials

Sound tape reels

Date:

1969 April

Collection Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.

See more items in:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art / Series 3: Elayne Varian Personal Papers / Writings / "New Dealing" for Art in America (1970 Jan)

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9af29f8dd-49cb-4107-b091-98410533034f

EDAN-URL:

ead_component:sova-aaa-finccoll-ref396

Collection Creator:

Finch College. Museum of Art  Search this

Varian, Elayne H.  Search this

Container:

Box 3, Folder 15

Type:

Archival materials

Date:

1968

Collection Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.

See more items in:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art / Series 2: Artist Files / General

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw995b48e8c-8ada-4da9-adb4-62ce07d9a513

EDAN-URL:

ead_component:sova-aaa-finccoll-ref117

Creator:

Smithson, Robert  Search this

Subject:

Insley, Will  Search this

Holt, Nancy  Search this

Lippard, Lucy R.  Search this

Johnson, Ray  Search this

Kepes, Gyorgy  Search this

Dwan Gallery (New York, N.Y.)  Search this

Type:

Interviews

Sketches

Scrapbooks

Moving images

Documentary films

Citation:

Robert Smithson and Nancy Holt papers, 1905-1987, bulk 1952-1987. Archives of American Art, Smithsonian Institution.

Topic:

Earthworks (Art)  Search this

Filmmakers -- New York (State) -- New York  Search this

Women artists  Search this

Women filmmakers  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7105

(DSI-AAA_SIRISBib)209239

AAA_collcode_smitrobe

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209239

Creator:

André Emmerich Gallery  Search this

Names:

Galerie André Emmerich  Search this

Sotheby Parke Bernet & Co.  Search this

Sotheby's (Firm)  Search this

Caro, Anthony, 1924-  Search this

Emmerich, André  Search this

Francis, Sam, 1923-1994  Search this

Frankenthaler, Helen, 1928-2011  Search this

Greenberg, Clement, 1909-1994  Search this

Hockney, David  Search this

Hofmann, Hans, 1880-1966  Search this

Louis, Morris, 1912-1962  Search this

Noland, Kenneth, 1924-2010  Search this

Olitski, Jules, 1922-2007  Search this

Pepper, Beverly  Search this

Extent:

311.4 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Visitors' books

Sound recordings

Video recordings

Scrapbooks

Etchings

Date:

circa 1929-2009

Summary:

The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich. A small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.

Scope and Content Note:

The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich.

The records document the gallery's daily business operations, exhibitions, and relationships with artists, dealers, clients, galleries, and museums. Artists particularly well-represented throughout the collection include Anthony Caro, Sam Francis, Helen Frankenthaler, David Hockney, Hans Hofmann, Morris Louis, Kenneth Noland, Jules Olitski, and Beverly Pepper.

Records pre-dating the gallery's establishment in 1954 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of artists, an original etching, and some of André Emmerich's personal records including biographical materials, correspondence, writings, and legal and financial records. Records post-dating the gallery's closure in 1998 are primarily residual business records related to the final disposition of artwork, clippings, photographs of André Emmerich and gallery staff, biographical materials, personal correspondence, writings, legal and financial records, and condolences received by Emmerich's wife upon his death in 2007.

Correspondence is primarily with galleries, museums and clients about business matters. Correspondence files also cover topics such as appraisals, authentications, offers of sale, artists seeking representation, image requests, job applications and recommendations. Also included are the New York gallery's copies of correspondence between the New York staff and the Zurich staff.

André Emmerich's appointment books document appointments, notes, and reminders about Emmerich's business and personal activities. Four appointment books relating to the birth of Emmerich's three sons and second marriage were kept by the family. The appointment books are access restricted and require written permission to use.

Administrative files include corporate records establishing the Andre Emmerich gallery's structure, records documenting the gallery's daily operations, advertising and publicity material, and records about the Sotheby's acquisition. There are also materials related to Top Gallant Farm, from its establishment to its closure. Travel records relate to André Emmerich's business trips and vacations along with some files on the travels of a several staff members at the gallery. Files about the operations of the Galerie André Emmerich in Zurich, Switzerland are included in the series as well.

Subject files relate to Emmerich's gallery business as well as personal and political interests, such as antiquities, art fairs and exhibitions, lecture research, art associations, and sculpture parks. There are several files on the art critic Clement Greenberg and former president of Gay Men's Health Crisis, Nathan Kolodner, who was also an art dealer and director of the Andre Emmerich Gallery.

Exhibition files contain numerous exhibition catalogs and printed materials related to exhibitions held or organized by the André Emmerich Gallery in Manhattan and Galerie André Emmerich in Zurich. The files contain materials ranging such as exhibition invitations, posters, printed materials, press releases, and guest books. Photographs of exhibitions can be found in the Photographic Materials series.

Artist files include biographical materials, clippings, correspondence, mailing lists, price lists, printed materials, and occasionally lectures, writings, and audiovisual materials for many of the artists represented or shown by André Emmerich Gallery. The General Correspondence files might contain duplicates or expanded versions of some of the correspondence. Photographs of artists can be found in the Photographic Materials series.

Artist accounts comprise account statements prepared periodically by the gallery documenting each artist's expenses and sales. Ledgers and general accounting files can be found in the Other Financial and Legal Records series.

Inventory records include inventory cards describing artwork entering and leaving the gallery and files containing various gallery inventories. Artist inventory cards, representing artists from both the New York and Zurich galleries, list the artist, title, date, media and measurements of an artwork. The cards also indicate whether the work was ultimately sold, returned to the artist, consigned, etc., and divided into categories accordingly. Inventory files show various gallery inventories.

Sales records document gallery sales and include paid invoices, records relating to Zurich sales, general sales records such as price lists and canceled sales, and Sotheby's Parke-Bernet auction reports. There are gaps in sales invoices in 1961-1964 and 1969-1971.

Purchase records include correspondence and invoices related to purchases and offers; annotated invoices for works of art bought by the gallery; André Emmerich, Inc. related purchase records; "Non-Modern" art related purchase records.

Consignment records include correspondence and consignment agreements documenting consignments to and from the André Emmerich Gallery; consignments from other galleries to André Emmerich, Inc.; and general consignment records.

Chronological files include copies of invoices or cover letters documenting the movement of artwork into and out of the gallery through sales, consignments, loans, and approvals. Records dating January through August 1968, January through March 1969, and September 1969 through July 1971 are missing.

Financial and legal records include client and partner account statements, resale and exempt organization certificates, accounting ledgers, and legal files related to disputes involving or of interest to the gallery.

Printed materials include auction catalogs and reports, books, and clippings describing André Emmerich, the galleries in New York and Zurich, Top Gallant Farm, and the art world. Also included is a large scrapbook created by the gallery containing clippings and gallery announcements dated 1955-1958. Clippings relating to particular artists can be found in the Artists Files series.

There are two pieces of original artwork in the collection. One is a 1974 print of a 1933 composite etching by Esther Dick Gottlieb, Adolphe Gottlieb, Edgar Levy, Lucille Corcos Levy, David Smith, and Dorothy Dehner Smith. The second is a 1998 lithograph by Louise Bourgeoise, called The Face of the Critic. The artist gave the lithograph as a gift in honor of Robert Hughes and the Archives of American Art and is numbered 61 out of a series of 300.

Photographic materials include prints, slides, negatives, and transparencies. Subjects include artists, André Emmerich, gallery installations, Top Gallant Farm, events, artists' studios, gallery staff, gallery space, and artwork. Photographs which show André Emmerich are indicated as such in the finding aid.

Audiovisual materials includes videocassettes and one audiocassette related to the art world. Videocassettes related to specific artists can be found in the Artists Files series. Videocassettes related to André Emmerich can be found in the André Emmerich Personal Papers and Records series. Videocassettes related to Top Gallant Farm and Sotheby's can be found in the Administrative Files series.

Personal papers and records relating to André Emmerich include biographical materials, personal correspondence, writings and lectures, and legal and financial records. The biographical materials include an address book, interviews and identifying documents. Writings include articles, edits, dissertations, lectures, etc. There are also some miscellaneous correspondence which is organized chronologically.

The small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.

Arrangement:

The collection is arranged as 19 series:

Missing Title

Series 1: General Correspondence Files, 1958-2006 (boxes 1-18, OV 314-315; 18.2 linear feet)

Series 2: André Emmerich Appointment Books, 1954-2007 (boxes 19, 325, 326; 1.7 linear feet)

Series 3: Administrative Files, 1954-2003 (boxes 20-31, 306, OV 314, OV 316-319; 11 linear feet)

Series 4: Subject Files, 1958-1967, 1971-2000 (boxes 31-32, 306, OV 318, OV 320; 2 linear feet)

Series 5: Exhibition Files, circa 1954-1998 (boxes 32-40, 306, 307, OV 318-322; 8.5 linear feet)

Series 6: Artists Files, 1929-1932, 1938-2007 (boxes 40-68, 307, 308, OV 320-323; 28 linear feet)

Series 7: Artist Accounts, 1958-1998 (boxes 68-81; 13.5 linear feet)

Series 8: Inventory Records, circa 1954-2000(boxes 82-128; 46.5 linear feet)

Series 9: Sales Records, 1959-1998 (boxes 128-168; 40 linear feet)

Series 10: Purchase Records, 1961-1966, 1972-1994 (boxes 168-170; 2 linear feet)

Series 11: Consignment Records, 1961-2002 (boxes 170-177; 7.7 linear feet)

Series 12: Chronological File of Incoming and Outgoing Artwork, 1968-1998 (boxes 178-185; 8 linear feet)

Series 13: Other Financial and Legal Records, 1956-1999 (boxes 186-202; 16.5 linear feet)

Series 14: Printed Materials, 1955-1960, 1965-2008 (boxes 202-204, 308, 309; 3 linear feet)

Series 15: Original Artwork, 1933, 1974, 1998 (box 205, 310; 0.7 linear feet (2 folders))

Series 16: Photographic Materials, circa 1930-1935, 1941-1998, circa 2005 (Boxes 205-296, 311-313, OV 324; 92.8 linear feet)

Series 17: General Audio and Video Recordings, 1985, 1990-1995 (Boxes 297-298; 1.3 linear feet)

Series 18: André Emmerich Personal Papers and Records, 1937-1940, 1946-2008 (Boxes 298-305, OV 321, OV 323; 7.7 linear feet)

Series 19: Addition to the The André Emmerich Gallery records and André Emmerich papers, 1956-2009 (Boxes 328-329, OV 330; 2.1 linear feet)

Historical Note:

André Emmerich (1924-2007) was one of America's most noted contemporary art dealers and opened the André Emmerich Gallery in New York in 1954. The gallery showcased contemporary art, particularly Color Field painting and monumental sculpture.

André Emmerich was born on October 11, 1924 in Frankfurt, Germany. From age 7 he was raised in Amsterdam before emigrating with his family to New York City in 1940. He studied at Oberlin College and developed an interest in pre-Columbian art and antiquities. After graduation, he spent ten years in Paris working as a writer and editor before returning to New York. He married Constance Emmerich and the couple had three sons, Adam, Noah, and Toby.

In 1954 Emmerich opened the André Emmerich Gallery at 18 East 77th Street and initially specialized in contemporary American and European art and pre-Columbian antiquities. In 1956, the gallery moved to 17 East 64th Street, and in 1959 to the Fuller Building at 41 East 57th Street. Emmerich wrote two books about pre-Columbian art, Art Before Columbus in 1963 and Sweat of the Sun, Tears of the Moon: Gold and Silver in Pre-Columbian Art in 1965.

In 1961, Emmerich learned that French and Company, a gallery advised by art critic Clement Greenberg, was closing its department of contemporary art. French and Company had represented Color Field painters Morris Louis, Kenneth Noland, and Jules Olitski. Emmerich immediately invited Louis and Noland to be represented by his gallery. In 1966 he extended the invitation to Olitski as well, and Helen Frankenthaler joined soon after. The gallery's reputation as one of the earliest and most important promoters of Color Field painters was launched.

In addition to Color Field painters, the gallery represented, among others, Pierre Alechinsky, Karel Appel, Milton Avery, Herbert Ferber, Sam Francis, John Graham, Al Held, David Hockney, Hans Hofmann, John Hoyland, Judy Pfaff, Miriam Schapiro, and Anne Truitt.

Until January 1983, sales of pre-Columbian art primarily went through an entity called André Emmerich Inc. (AE Inc.), while sales of contemporary went through the André Emmerich Gallery Inc. (AEG). In 1983, the two entities were merged and operated under the name André Emmerich Gallery Inc.

In 1971, Emmerich began operating a downtown gallery at 420 West Broadway, in SoHo, in space shared with Leo Castelli, Virginia Dwan, and Ileana Sonnabend. In 1972, Emmerich opened a branch of his gallery in Zurich. He incorporated the Galerie André Emmerich Gmbh primarily for the purpose of leasing gallery space in Zurich. Until February 1974, sales of Pre-Columbian art in Zurich were made by an entity called André Emmerich Gallery Inc., New York Filiale Zurich. The Galerie André Emmerich Gmbh was officially liquidated in May 1982. The Filiale was formally closed in October 1996. Galerie André Emmerich also enjoyed a short-lived joint venture with Gimpel & Hanover.

André Emmerich served as president of the Art Dealers Association of America from 1972-1974 and again from 1991-1994.

Emmerich opened a private 150 acre sculpture park, Top Gallant Farm, on his estate in Pawling, New York, in 1982, where he stored and exhibited monumental sculptures by artists his gallery represented including Anthony Caro, Beverly Pepper, Alexander Liberman, Alexander Calder, Mark di Suvero, George Rickey, and Keith Haring. David Hockney painted waves onto floor of the property's swimming pool in 1986. Emmerich operated the sculpture park until 1996.

Emmerich sold his gallery to Sotheby's in 1996. He continued to be affiliated with the gallery until Sotheby's closed the gallery in 1998. Emmerich then began work on his memoir, My Life With Art, excerpts of which have been published in Art News, the Wall Street Journal, and The New Criterion.

Andre Emmerich died in New York 2007 and is survived by his second wife, Susanne Emmerich.

Related Material:

Among the holdings of the Archives of American Art is an oral history interview with André Emmerich conducted by Mona Hadler on January 18, 1993.

Provenance:

The André Emmerich Gallery records and André Emmerich papers were donated to the Archives of American Art by André Emmerich in eight accretions between 1999 and 2002. Two additional accretions were donated by Emmerich's wife Susanne in 2008 and 2009; and by James Yohe, executive director (1990-1999), in 2009 and 2014.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Sculpture, Abstract  Search this

Color-field painting  Search this

Art -- Economic aspects  Search this

Artists' studios -- Photographs  Search this

Function:

Art galleries, Commercial -- New York (State)

Art galleries, Commercial -- Switzerland

Genre/Form:

Photographs

Visitors' books

Sound recordings

Video recordings

Scrapbooks

Etchings

Citation:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

Identifier:

AAA.andremmg

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw995f3b4aa-1b0f-46f4-8b5d-e0bf1191a740

EDAN-URL:

ead_collection:sova-aaa-andremmg

Medium:

Stone

Dimensions:

H x W x D: 60.8 x 44.9 x 25.4 cm (23 15/16 x 17 11/16 x 10 in)

Type:

Sculpture

Origin:

Cambodia

Date:

12th century

Period:

Angkor period

Topic:

Buddhism  Search this

Buddha  Search this

naga  Search this

ushnisha  Search this

Angkor period (802 - 1431)  Search this

Cambodia  Search this

South Asian and Himalayan Art  Search this

Credit Line:

Gift of Mr. and Mrs. John B. Bunker

Accession Number:

S1995.119

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

F|S Southeast Asia

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3b481195c-777e-4647-89e6-2bb0d778ec27

EDAN-URL:

edanmdm:fsg_S1995.119

Collector:

Albert S. Hitchcock  Search this

Place:

Virginia, United States, North America

Taxonomy:

Plantae Monocotyledonae Asparagales Orchidaceae

Published Name:

Spiranthes praecox (Walter) S. Watson

Gyrostachys sp.

Barcode:

01103693

Other Numbers:

other number applied to specimen : 356 L.S. Painter Herb.

USNM Number:

3618581

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Botany

Flowering plants and ferns

George Washington University Collection 2007

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/3884d1afe-93c5-422d-b553-124c8a4d3963

EDAN-URL:

edanmdm:nmnhbotany_10343288