Search Results

Author:

Christenberry, William 1936-2016  Search this

Physical description:

134 pages : chiefly illustrations (some color) ; 26 x 30 cm

Type:

Books

Pictorial works

Illustrated works

Place:

Alabama

Southern States

Hale County (Ala.)

Date:

1983

©1983

Topic:

Photography, Artistic  Search this

Artistic photography  Search this

American photography, 1950---Special subjects: Alabama--Hale County - Collections from individual artists  Search this

Call number:

TR647.C533 A6

TR647.C533A6

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_231400

Interviewee:

Parks, Gordon, 1912-2006  Search this

Interviewer:

Doud, Richard Keith  Search this

Subject:

Stryker, Roy Emerson  Search this

United States  Search this

New Deal and the Arts Oral History Project  Search this

Type:

Sound recordings

Interviews

Topic:

Art and race  Search this

Documentary photography  Search this

Photography  Search this

African American artists  Search this

African American photographers  Search this

Record number:

(DSI-AAA_CollID)11480

(DSI-AAA_SIRISBib)213717

AAA_collcode_parks64

Theme:

African American

Photography

New Deal

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213717

Interviewee:

Camp, Donald Eugene, 1940-  Search this

Interviewer:

Hunter, Anne S.  Search this

Subject:

Tyler School of Art  Search this

Type:

Interviews

Sound recordings

Topic:

Photography, Artistic -- United States  Search this

Recherché (Group)  Search this

African American artists  Search this

African American photographers  Search this

Record number:

(DSI-AAA_CollID)11494

(DSI-AAA_SIRISBib)214617

AAA_collcode_camp91

Theme:

African American

Photography

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_214617

Author:

Fischer, Diane Pietrucha  Search this

Bunzl, George 1895-1976  Search this

University of New Mexico Art Museum  Search this

Subject:

Bunzl, George 1895-1976  Search this

University of New Mexico General Library Special Collections Department Photograph collections  Search this

Physical description:

[8] p. : ill. ; 26 cm

Type:

Exhibitions

Pictorial works

Date:

1982

C1982

Topic:

Photography, Artistic  Search this

Call number:

TR647 .B847 1982

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_686791

Interviewee:

Camp, Donald Eugene, 1940-  Search this

Interviewer:

Hunter, Anne S.  Search this

Names:

Tyler School of Art  Search this

Extent:

166 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

1991 June 6

Scope and Contents:

An interview of Don Camp conducted 1991 June 6, by Anne Schuster Hunter, for the Archives of American Art Philadelphia Project.

Camp discusses his family, childhood and education; serving in the military; teaching himself photography; interest in the work of Eugene Smith and Roy de Carava; working for the Philadelphia "Bulletin"; the importance of the Bahai religion; graduate work at Temple University's Tyler School of Art; the development of his photographic style; racism and multiculturalism; and the artists' group Recherché.

Biographical / Historical:

Donald Eugene Camp (1940- ) is a photographer from Philadelphia, Pennsylvania.

General:

Originally recorded on 4 sound cassettes. Reformatted in 2010 as 7 digital wav files. Duration is 4 hr., 13 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics, and administrators.

Restrictions:

Patrons must use microfilm copy.

Occupation:

Photographers -- Pennsylvania -- Philadelphia  Search this

Topic:

Photography, Artistic -- United States  Search this

Recherché (Group)  Search this

African American artists  Search this

African American photographers  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.camp91

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-camp91

Author:

Bartletti, Don  Search this

Mumma, Phil  Search this

Oakland Museum  Search this

Subject:

Barletti, Don Exhibitions  Search this

Physical description:

71 p. : ill. ; 24 x 32 cm

Type:

Pictorial works

Place:

California

United States

Date:

1992

C1992

Topic:

Illegal aliens  Search this

Mexicans  Search this

Photography, Artistic--Exhibitions  Search this

Undocumented immigrants  Search this

Call number:

TR647.B2654 O2 1992

TR820 .B29 1992

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_465658

Creator:

Archives of American Art  Search this

Names:

Stieglitz, Alfred, 1864-1946  Search this

Extent:

33 Volumes (ill.)

Type:

Collection descriptions

Archival materials

Volumes

Date:

undated

Scope and Contents:

33 volumes of Camera Work, published between 1903 and 1917. This is an incomplete set gathered from various sources by the Archives of American Art. Fifty nos. were published in all.

Biographical / Historical:

Camera Work was a photography periodical published in New York, N.Y.; Alfred Stieglitz was editor. Containing work by major photographers, the magazine was a forum for modern critical thinking on photography and other art forms.

Publication, Distribution, Etc. (Imprint):

New York, A. Stieglitz.

Provenance:

Issues were donated by different donors and gathered by the Archives of American Art to form the collection. Donors or sources include Swann Auction Galleries, Elizabeth McCausland, Rosa E. Prigosen, and the Detroit Institute of Arts.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Topic:

Photography -- Periodicals  Search this

Photography, Artistic -- Periodicals  Search this

Identifier:

AAA.archamea3

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-archamea3

Creator:

Newlen, Robert R.  Search this

Names:

Eakins, Thomas, 1844-1916  Search this

Extent:

69 Pages ((on 1 partial microfilm reel))

Type:

Collection descriptions

Archival materials

Pages

Date:

undated

Scope and Contents:

Thesis (M.A.)-American University, Washington, D.C., 1979.

Biographical / Historical:

Robert R. Newlen was an art historian from Washington, D.C.

Provenance:

Donated by Newlen, 1979.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Painters -- United States  Search this

Photographers -- United States  Search this

Topic:

Art and photography  Search this

Motion study  Search this

Photography, Artistic  Search this

Identifier:

AAA.newlrobe

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-newlrobe

Creator:

Cunningham, Imogen, 1883-1976  Search this

Names:

George Eastman House  Search this

Group f.64  Search this

Henry Art Gallery  Search this

Witkin Gallery  Search this

Aalto, Alvar, 1898-1976  Search this

Adams, Ansel, 1902-1984  Search this

Andreson, Laura  Search this

Bissantz, Edgar, 1901-  Search this

Bourke-White, Margaret, 1904-1971  Search this

Bristol, Horace  Search this

Bullock, Wynn  Search this

Butler, John Davidson, 1890-1974  Search this

Coburn, Alvin Langdon, 1882-1966  Search this

Feininger, Lyonel, 1871-1956  Search this

Graves, Morris, 1910-  Search this

Hellman, Lillian, 1905-1984  Search this

Kanaga, Consuelo, 1894-  Search this

Lange, Dorothea  Search this

Mann, Margery  Search this

Moholy-Nagy, László, 1895-1946  Search this

Newhall, Beaumont, 1908-1993  Search this

Newman, Arnold, 1918-2006  Search this

Noskowiak, Sonya, d. 1975  Search this

O'Keeffe, Georgia , 1887-1986  Search this

Partridge, Roi, 1888-1984  Search this

Schoener, Allon  Search this

Sheeler, Charles, 1883-1965  Search this

Steichen, Edward, 1879-1973  Search this

Steinert, Otto, 1915-  Search this

Strand, Paul, 1890-1976  Search this

Struss, Karl, 1886-  Search this

Toklas, Alice B.  Search this

Van Dyke, Willard  Search this

Weston, Edward, 1886-1958  Search this

White, Minor  Search this

Witkin, Lee D.  Search this

Zorach, William, 1887-1966  Search this

Extent:

5.9 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Illustrated letters

Photographs

Date:

1903-1991

Summary:

The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.9 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career.

Scope and Content Note:

The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.9 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career. 3.6 linear feet of correspondence comprise the bulk of the collection.

Arrangement:

The collection is arranged into ten series according to material type:

Series 1: Biographical Material, 1907-1981, undated (box 1; 4 folders)

Series 2: Correspondence, 1909-1991, undated (boxes 1-4; 3.6 linear feet)

Series 3: Personal Business Records, 1944-1976 (box 4; 15 folders)

Series 4: Notes, 1959-1968 (box 4; 10 folders)

Series 5: Teaching Files, 1964-1971 (box 5; 4 folders)

Series 6: Writings, circa 1910-1976 (box 5; 21 folders)

Series 7: Interview Transcripts, 1951, undated (box 5; 2 folders)

Series 8: Printed Material, 1903-1991 (boxes 5-7; 1.2 linear feet)

Series 9: Photographs, 1916-1976 (box 7; 12 folders)

Series 10: Oversized Material, 1947-1948, 1967, undated

Biographical Note:

Born in Portland, Oregon on April 12, 1883, Cunningham's family moved to Seattle in 1889. Inspired by Gertrude Kasebier's work, she purchased her first camera in 1901. After studying chemistry and botany at the University of Washington, she worked for the Edward S. Curtis Studio, Seattle, from 1907 to 1909. Receiving a scholarship, Cunningham studied for a year at the Technische Hochschule, Dresden.

Upon her return to Seattle in 1910, she opened a studio and had the first major exhibition of her work at the Brooklyn Institute of Arts and Sciences in 1912.

In 1915, Cunningham married printmaker Roi Partridge and gave birth to her first son, Gryffyd. Two years later, her family moved to California, where she gave birth to twin sons, Padraic and Rondal. In 1920, the family moved to Oakland, where her husband taught at Mills College. During the 1920s, she exhibited her art work and began photographing plant forms.

Along with Ansel Adams, John Paul Edwards, Sonya Noskowiak, Henry Swift, Willard Van Dyke, and Edward Weston, Cunningham formed the f/64 Group, a society of purist photographers in 1932. During the same year she began working for Vanity Fair and other magazines and began a career as a portrait photographer, including Martha Graham, Cary Grant, Morris Graves, Alfred Stieglitz, and Spencer Tracy as her subjects. She divorced her husband in 1934.

In 1947, Cunningham established a studio in her San Francisco home, and continued to exhibit extensively until her death on June 24, 1976.

Provenance:

The collection was donated to the Archives of American Art by Imogen Cunningham in 1974 and 1976, and by her son, Gryffyd Partridge, in 1991.

Restrictions:

The collection is open for research. Patrons must use microfilm copy.

Rights:

The Imogen Cunningham papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Topic:

Photography, Artistic  Search this

Photographers -- California -- San Francisco Bay Area  Search this

Photographers  Search this

Women photographers  Search this

Portrait photography  Search this

Genre/Form:

Interviews

Illustrated letters

Photographs

Citation:

Imogen Cunningham papers, 1903-1991. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.cunnimog

See more items in:

Imogen Cunningham papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-cunnimog

Interviewee:

Steichen, Edward, 1879-1973  Search this

Interviewer:

Cummings, Paul, 1933-1997  Search this

Type:

Sound recordings

Interviews

Topic:

Photography, Artistic  Search this

Photographers -- New York (State) -- New York -- Interviews  Search this

Record number:

(DSI-AAA_CollID)12496

(DSI-AAA_SIRISBib)213133

AAA_collcode_steich70

Theme:

Photography

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213133

Author:

Museo de Arte Moderno (Buenos Aires, Argentina) Asociación on Amigos  Search this

Museo de Arte Moderno (Buenos Aires, Argentina)  Search this

Physical description:

[156] p. : chiefly ill. (some col.) ; 24 cm

Type:

Exhibitions

Pictorial works

Place:

Argentina

Date:

1981

[1981]

Topic:

Photography, Artistic  Search this

Photography--Exhibitions  Search this

Call number:

TR646.A72 B9

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_160001

Creator:

Berman, Wallace, 1926-1976  Search this

Subject:

Heinecken, Robert  Search this

Hirschman, Jack  Search this

DeFeo, Jay  Search this

Herms, George  Search this

Jess  Search this

Hopper, Dennis  Search this

Jordan, Patricia M.  Search this

Johnson, Ray  Search this

Bengston, Billy Al  Search this

Di Prima, Diane  Search this

Fonda, Peter  Search this

Duncan, Robert Edward  Search this

Ginsberg, Allen  Search this

Wieners, John  Search this

McClure, Michael  Search this

Lamantia, Philip  Search this

Miller, Henry  Search this

Meltzer, David  Search this

Perkoff, Stuart Z.  Search this

Patchen, Kenneth  Search this

Sherman, Donald  Search this

Ruscha, Edward  Search this

Type:

Drawings

Sound recordings

Photographs

Topic:

Works of art  Search this

Poets  Search this

Collage  Search this

Art -- California -- San Francisco Bay Area  Search this

Assemblage (Art)  Search this

Beat generation -- California  Search this

Photography, Artistic  Search this

Record number:

(DSI-AAA_CollID)10771

(DSI-AAA_SIRISBib)214392

AAA_collcode_bermwall

Theme:

Art Movements and Schools

Lives of American Artists

Audio - Visual

Photography

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_214392

Creator:

Berman, Wallace, 1926-1976  Search this

Names:

Bengston, Billy Al  Search this

DeFeo, Jay, 1929-1989  Search this

Di Prima, Diane  Search this

Duncan, Robert Edward, 1919-  Search this

Fonda, Peter, 1940-  Search this

Ginsberg, Allen, 1926-  Search this

Heinecken, Robert, 1931-  Search this

Herms, George, 1935-  Search this

Hirschman, Jack, 1933-  Search this

Hopper, Dennis, 1936-  Search this

Jess, 1923-  Search this

Johnson, Ray, 1927-  Search this

Jordan, Patricia M., 1937-1989  Search this

Lamantia, Philip, 1927-  Search this

McClure, Michael  Search this

Meltzer, David  Search this

Miller, Henry, 1891-  Search this

Patchen, Kenneth, 1911-1972  Search this

Perkoff, Stuart Z.  Search this

Ruscha, Edward  Search this

Sherman, Donald  Search this

Wieners, John, 1934-  Search this

Extent:

5 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sound recordings

Photographs

Date:

1907-1979

bulk 1955-1979

Summary:

The Wallace Berman papers date from 1907 to 1979 (bulk 1955-1979). The collection measures 5 linear feet and presents a cursory overview of Berman's career as an assemblage artist and poet. The collection contains business correspondence, letters from other artists and writers of the Beat movement, writings by others, scattered artwork by Berman, photographs by Robert F. Heinecken, and sound recordings of poetry readings.

Scope and Content Note:

The Wallace Berman papers, 1907-1979 (bulk 1955-1979), measure 5 linear feet and present a cursory overview of Berman's career as an assemblage artist and poet. The collection is valuable not only for its documentation of the work of Wallace Berman, but for its documentation of the California beat movement of the late 1950s through the early 1970s.

Found are numerous letters, writings, poems, and other published material which portray the thoughts, attitudes, and trends popular in a prominent underground culture which eventually led to radical changes in America and American art. The collection contains business correspondence, letters from other artists and writers of the beat movement, writings by others, scattered artwork by Berman, and photographs by Robert F. Heinecken. In addition, the collection contains files for Berman's mail art publications Semina and S.M.S. Also of note is the large volume of printed material (2.7 feet), much of it in the form of books and other published material. Sound recordings include poets Michael McClure, Kenneth Patchen, David Melzer, and another unidentified writer performing their work.

Arrangement:

The collection is arranged into nine series which generally reflect material type.

With the exception of the letters in Series 1, each series is arranged chronologically. The original arrangement of the letters has been maintained, with a chronological arrangement of miscellaneous business letters and an alphabetical arrangement of the letters from Berman's more prominent colleagues.

Series 1: Letters, 1957-1979, undated (box 1, 0.5 linear feet)

Series 2: Notes from Interview, 1967 (box 1, 1 folder)

Series 3: Writings by Others, 1972, undated (box 1, 6 folders)

Series 4: Artwork, 1956-1976 (box 1, 4 folders)

Series 5: Semina, 1955-1967 (boxes 1-2, 26 folders)

Series 6: S. M. S., 1968 (box 2, 1 folders)

Series 7: Printed Material, 1907-1976 (boxes 2-5, 2.7 linear feet)

Series 8: Photographs, 1956-1976 (box 5, 6 folders)

Series 9: Sound Recordings, 1962-1965 (box 5, 6 folders)

Biographical Note:

Wallace Berman was born in 1926 in Staten Island, New York. In the 1930s, his family moved to the Jewish district in Los Angeles. After being expelled from high school for gambling in the early 1940s, Berman immersed himself in the growing West Coast jazz scene. During this period, he briefly attended the Jepson Art School and Chouinard Art School, but departed when he found the training too academic for his needs.

In 1949, while working in a factory finishing antique furniture, he began to make sculptures from unused scraps and reject materials. By the early 1950s, Berman had become a full-time artist and an active figure in the beat community in Los Angeles and San Francisco. Many art historians consider him to be the "father" of the California assemblage movement. Moving between the two cities, Berman devoted himself to his mail art publication Semina, which contained a sampling of beat poetry and images selected by Berman.

In 1963, permanently settled in Topanga Canyon in the Los Angeles area, Berman began work on verifax collages (printed images, often from magazines and newspapers, mounted in collage fashion onto a flat surface, sometimes with solid bright areas of acrylic paint). He continued creating these works, as well as rock assemblages, until his death in 1976.

Provenance:

The Wallace Berman papers were donated by Tosh Berman, Wallace Berman's son, in 1992.

Restrictions:

The collection is open for research. Patrons must use microfilm copy. Use of audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

The Wallace Berman papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Occupation:

Assemblage artists  Search this

Topic:

Works of art  Search this

Poets  Search this

Collage  Search this

Art -- California -- San Francisco Bay Area  Search this

Assemblage (Art)  Search this

Beat generation -- California  Search this

Photography, Artistic  Search this

Genre/Form:

Drawings

Sound recordings

Photographs

Citation:

Wallace Berman papers, 1907-1979 (bulk 1955-1979). Archives of American Art, Smithsonian Institution.

Identifier:

AAA.bermwall

See more items in:

Wallace Berman papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-bermwall

Creator:

Robert Schoelkopf Gallery  Search this

Names:

Zabriskie Gallery  Search this

Andrejevic, Milet, 1925-  Search this

Aponovich, James, 1948-  Search this

Bailey, William, 1930-2020  Search this

Bell, Leland  Search this

Brassaï, 1899-  Search this

Cameron, Julia Margaret Pattle, 1815-1879  Search this

Cartier-Bresson, Henri, 1908-  Search this

Cornell, Joseph  Search this

Dawson, Manierre, 1887-1969  Search this

Driggs, Elsie, 1898-1992  Search this

Erlebacher, Martha Mayer  Search this

Evans, Walker, 1903-1975  Search this

Fiske, Gertrude, 1878-1961  Search this

Freund, Gisèle  Search this

Horton, William S., 1865-1936  Search this

Ito, Miyoko, 1918-1983  Search this

Lachaise, Gaston, 1882-1935  Search this

Laderman, Gabriel, 1929-  Search this

Ligare, David  Search this

Matthiasdottir, Louisa  Search this

Matulka, Jan, 1890-1972  Search this

Myers, Ethel  Search this

Nadelman, Elie, 1882-1946  Search this

Schoelkopf, Robert J., 1927-1991  Search this

Stella, Joseph, 1877-1946  Search this

Storrs, John Henry Bradley, 1885-1956  Search this

Wiesenfeld, Paul  Search this

Extent:

29 Linear feet

Type:

Collection descriptions

Archival materials

Gallery records

Illustrated letters

Photographs

Date:

1851-1991

bulk 1962-1991

Summary:

The collection comprises 29 linear feet of records that document the day-to-day administration of the Robert Schoelkopf Gallery from 1962 to 1991, with additional items predating the founding of the gallery from 1851 to 1961. The collection records artist and client relations, exhibitions, and daily business transactions through artist files, correspondence, printed matter, and photographic material.

Scope and Content Note:

The records of the Robert Schoelkopf Gallery comprise 29 linear feet of material from 1851 to 1991, with some items predating the founding of the gallery. The bulk of the records date from 1962 to 1991, providing researchers with fairly comprehensive coverage of the gallery's development and operations from its inception in 1962 until its closure in 1991. Items dated prior to 1962 relate principally to the period of transition during which Robert Schoelkopf ended his partnership with the Zabriskie Gallery and established his own business. There are also some items relating to artists of the nineteenth and early twentieth century.

The collection consists primarily of artist files documenting relations with contemporary artists, representation of deceased artists, and other works of art handled by the gallery. It also chronicles the gallery's exhibition schedule and the day-to-day administration of the business. The types of material that can be found here include correspondence, exhibition inventories, price lists, accounting and consignment records, shipping and insurance records, printed material, and photographs.

The collection is a valuable source of information on twentieth-century American art history, focusing primarily on early-twentieth-century modernists as well as an important group of American realist painters and sculptors from the latter half of the century. The collection illuminates, in detail, the developing market for these schools and, in the case of the latter group, provides personal insights from artists on the realist perspective.

The records also document the Robert Schoelkopf Gallery's significant contribution to the resurgence of interest in fine art photography during the 1960s and 1970s as reflected in an increase in the value of works by important American photographers such as Walker Evans.

Much of the outgoing correspondence from the gallery consists of copies of letters written by Robert Schoelkopf, with additional business being handled by assistant staff and, from the mid-1970s, Schoelkopf's wife, Laura Jane Schoelkopf. The records offer insight into the personalities of the Schoelkopfs and how their congenial and candid management style influenced their relationships with the contemporary artists they represented.

Arrangement:

Originally the collection was organized as one large file arranged alphabetically by folder title, with titles ranging from names of artists to general subject headings such as "Correspondence." During processing it became clear that the gallery delineated operations into three main functions: artist relations, client-dealer relations, and exhibitions. Consequently the collection is arranged as three main series based on these areas of concern. A small group of miscellaneous photographs of artists constitutes an additional series at the end of the collection.

Originally paper records throughout the collection were generally arranged chronologically, although this order was not strictly adhered to. Frequently, correspondence and memoranda were attached to related records going back several years. To preserve the relationship between such documents, records stapled together in this way have been left together. They are arranged in reverse chronological order and filed in the folder corresponding to the primary date (i.e., the date of the first and most recent paper in the group). Researchers should be aware that date ranges provided on folders refer to the primary dates of documents contained therein and that some items in the folder may predate that range. Otherwise, the general chronological scheme has been retained throughout the collection, with undated material placed at the beginning of the appropriate file.

Printed material is arranged in chronological order, with undated material at the beginning of the folder, and may include press releases, exhibition announcements, exhibition catalogs, posters, clippings from newspapers, magazines, and journals, and other publicity material. Large amounts of printed material are broken down into several discrete folder units.

The most consistent labeling system for photographic material apparent throughout the collection was title of work of art. The majority of images are not dated with a printing date or the date that the work of art was produced, and although many of them have a processing number, these are by no means consistent and there are no master lists that can be used to interpret them. Consequently, images are arranged primarily by media type and then alphabetically by title. Untitled images are placed at the beginning of a media group; "the" in a title is ignored. Exceptions to this method are addressed in the appropriate series descriptions.

Files labeled "Photographs of Works of Art" will typically include any or all of the following: black-and-white copy prints, black-and-white transparencies, color transparencies, slide transparencies, Polaroid prints, color snapshots, contact sheets, and separation sheets. Often the same image will be duplicated in several different formats. Any notes on photographic material found in or on the original folder in which the material was filed have been preserved with the material or transcribed onto a sheet of acid-free paper that either encloses or is placed directly before the item to which the information applies.

The designation "General" indicates that a file may contain any or all of the types of material outlined above.

Series 1: Artist Files, 1851-1991, undated (Boxes 1-23; 23 linear ft.)

Series 2: General Business Files, 1960-1991, undated (Boxes 24-28; 4.74 linear ft.)

Series 3: Group Exhibition Files, 1960-1988, undated (Boxes 28-29; 1 linear ft.)

Series 4: Photographs of Artists, undated (Box 29; 0.25 linear ft.)

Historical Note:

Robert Schoelkopf, Jr., was born in Queens, New York, in 1927. He graduated from Yale College in 1951 with a bachelor of arts degree and then taught briefly at his alma mater while conducting graduate research in art history. Schoelkopf began his career in commercial art in 1957 as an independent dealer of American painting and sculpture and became a member of the Art Dealers Association of America in 1958. In 1959 he formed a partnership with Virginia Zabriskie, of the Zabriskie Gallery in New York, which lasted until 1962. The gallery exhibited late-nineteenth and early-twentieth-century American painting, together with contemporary painting of a somewhat conservative style.

In 1962 Schoelkopf signed a three-year lease for the fourth floor of a building at 825 Madison Avenue in New York, where he opened the Robert Schoelkopf Gallery. From the outset, Schoelkopf aimed to specialize in American painting of the nineteenth and twentieth century and sculpture of all schools. He predicted a burgeoning market for the Hudson River School in particular, believing that American painting was increasingly perceived as being worthy of serious attention. In a letter dated January 3, 1963, Schoelkopf congratulated John Spencer for his decision to collect nineteenth-century American paintings for the Allen Memorial Art Museum at Oberlin College, assuring him that "progressive chauvanism [ sic] will operate to elevate prices in American painting. Every year more colleges teach Art History, and soon they shall have reached the level of sophistication and development where they will be obliged (for face) to offer tuition in specifically American art - hitherto neglected of academicians.... I and many other dealers have plans for exhibitions of nineteenth-century American painting, especially the Hudson River School."

Schoelkopf's instincts regarding the Hudson River School were undoubtedly correct, and consequently nineteenth-century American painters formed a permanent mainstay of his inventory. He is perhaps remembered more, however, for his dedication to reviving interest in lesser-known American painters from the turn-of-the-century who were impressionist or modernist in style. Schoelkopf developed something of a reputation for unearthing forgotten talent that, while sometimes mediocre or inconsistent, was occasionally exceptional and certainly worthy of note. He was committed to reinstalling Joseph Stella in the pantheon of major American artists, representing Stella's estate from 1963 to 1971 and holding regular exhibitions of the artist's work from 1962 on. In 1969 the gallery held the first New York exhibition of the paintings of Manierre Dawson, who was subsequently acclaimed by the critics for his important and innovative contributions to modernism. In 1970 Schoelkopf began showing the work of Jan Matulka, an artist whose work had been neglected since the 1930s, and his enthusiastic representation of the Matulka estate paved the way for a retrospective at the Whitney Museum of American Art in 1979.

Schoelkopf's interest in turn-of-the-century artists also extended to sculptors such as John Flannagan, Ethel Myers, Elie Nadelman, and John Henry Bradley Storrs, and he directed considerable energy to furthering Gaston Lachaise's reputation as an artist of major stature. When Lachaise died at the peak of his career in 1935, his estate was left to his wife, Isabel, and in 1957 to Isabel's son, Edward. When Edward died shortly thereafter, John B. Pierce, Jr., a nephew of Isabel Lachaise, was appointed trustee of the estate and formed the Lachaise Foundation. In 1962 Pierce entered an agreement with Robert Schoelkopf and Felix Landau to represent Lachaise's sculpture on the East and West Coasts, respectively. In this capacity Schoelkopf helped to launch a major retrospective of the artist's work at the Whitney Museum of American Art in 1964 and a traveling exhibition that began circulating in 1967.

The gallery's other major commitment was to painting and sculpture by contemporary American realists, many of whom worked in a figurative style and explored elements of allegory and classical mythology in their work, presenting landscapes, still lifes, and portraits from a realist perspective. The bulk of the gallery's exhibitions were, in fact, of work by contemporary artists, including metaphysical still-life painter William Bailey, colorist Leland Bell, figurative painter Martha Mayer Erlebacher, landscape and narrative painter Gabriel Laderman, and Icelandic artist Louisa Matthiasdottir. William Bailey was one of the gallery's most commercially successful artists, and his first one-person exhibition in New York was held there in 1968. Demand for Bailey's paintings often far exceeded his output, and by the late 1970s Schoelkopf invariably sold out his exhibitions and had compiled a lengthy waiting list for his work.

In its early years the Robert Schoelkopf Gallery contributed considerably to the development of interest in fine art photography that fostered an increasingly lucrative market for photographic prints during the 1960s and 1970s. In 1965 Schoelkopf began incorporating photography into the gallery's exhibition schedule and, in the spring of 1974, opened a gallery dedicated to photography on the second floor at 825 Madison Avenue. Between 1965 and 1979 Schoelkopf's was the only serious New York gallery dealing in painting and sculpture that also regularly exhibited photography as fine art. His interests lay primarily in antiquarian photography and the work of nineteenth-century and twentieth-century masters including Eugéne Atget, Mathew Brady, James Robertson, and Carleton Watkins. Schoelkopf organized shows examining specific photographic processes, the photogravure and the cyanotype, and presented surveys of genres such as portrait and landscape photography. In 1967 he held the first exhibition in many years of the work of Julia Margaret Cameron, an important figure in the history of Victorian photography, timing it to coincide with a show at the Metropolitan Museum of Art that focused on Cameron as one of four Victorian photographers.

Schoelkopf also handled the work of several influential contemporaries, most notably Brassaï, Henri Cartier-Bresson, Walker Evans, and Gisèle Freund. The gallery held Freund's first exhibition in the United States in 1975 and was, for a time, the only place in New York where one could see and purchase prints by Cartier-Bresson. Schoelkopf began exhibiting Evans's work in 1966 and regularly thereafter, including a 1971 exhibition that coincided with a major retrospective at the Museum of Modern Art.

In the fall of 1976 the second-floor gallery space was turned over to Marcuse (Cusie) Pfeifer, then the gallery's director, who planned to use it to show the work of young photographers in a gallery under her own name. Schoelkopf continued to hold several photography exhibitions a year in the fourth-floor gallery but decided to concentrate primarily on nineteenth-century masters.

In March 1971 a fire in the building at Madison Avenue resulted in substantial water damage to the gallery space. Although very little of the inventory was destroyed, the incident forced Schoelkopf to close until September. This temporary loss of revenue compounded with a nationwide recession cut into Schoelkopf's financial resources and left him questioning his commission policy and his level of commitment to contemporary work in all media. A letter to artist Adolph Rosenblatt dated May 3, 1971, records how Schoelkopf had become increasingly disenchanted with "all contemporary work" and would begin taking 40 percent commission on sales, instead of 33.3 percent. "Beside the matter of enthusiasm is the matter of economics," Schoelkopf remarked, "and the last year and a half have been really dreadful for the art business."

This difficult period was followed immediately by more prosperous times. January 1973 proved to be the gallery's most successful month to date, encouraging Schoelkopf to purchase a house in Chappaqua, New York, later that year. In November 1974 Schoelkopf wrote to Anthony D'Offay that business "is as slow as it has ever been, but what sales we make are big ones" and revealed that auctions had, at that point, become his primary avenue for trade.

Around 1975 Schoelkopf's wife of eleven years, Laura Jane Schoelkopf, began working in the gallery. Although seemingly dubious of the work at first, she became a considerable asset to the business and reputedly complemented her husband's relationship with the gallery's contemporary artists through her warmth and hospitality, qualities often noted by artists who corresponded regularly with the couple.

The financial instability that characterized the 1970s undoubtedly influenced Schoelkopf's decision to cease exhibiting photography in 1979. By 1978 however, his investment in early-twentieth-century art appeared to be paying off. Jan Matulka, Joseph Stella, and John Henry Bradley Storrs had all been represented in exhibitions at major museums, and sales of their work had increased considerably. Gaston Lachaise's reputation continued to grow, and the traveling exhibition still circulated, garnering far more interest than had originally been anticipated.

Although contemporary artists continued to take up the largest portion of the gallery's changing exhibitions, Schoelkopf's interest in contemporary work was growing more conservative, tending toward a narrower focus on the narrative and allegorical. By 1979 he no longer exhibited contemporary sculpture, admitting to a lack of enthusiasm for the work of any of the current figurative sculptors and a dislike of all contemporary abstract work. In a letter to Lillian Delevoryas, dated March 17, 1982, he confessed, "With age has come a hardening of the aesthetic arteries perhaps. What we have been showing is realism, but getting tighter all the time."

In April 1984 the gallery was moved to 50 West Fifty-seventh Street, and, during the years that followed, the Schoelkopfs pared down the number of contemporary artists they represented, handling only those to whom they felt most strongly committed while continuing to specialize in nineteenth-century and early-twentieth-century American painting and sculpture. As the gallery approached its thirtieth anniversary, Schoelkopf's achievements were considerable. He had operated a successful New York gallery for almost three decades, rejuvenated the reputations of several important American artists, and was respected by artists and clients alike for the integrity, intelligence, and humor with which he conducted his business affairs. In 1987 he had been appointed to the board of trustees of the Williamstown Regional Art Conservation Laboratory. By this time he was also a member of the advisory board to the National Academy of Design, and in 1988 he became a co-trustee of the Joseph and Robert Cornell Memorial Foundation.

In March 1990, Robert Schoelkopf was diagnosed with leukemia and underwent a regimen of cancer treatment that resulted in a brief remission by the summer. Schoelkopf returned to work temporarily, but by 1991 his condition had worsened and he died in April of that year. Having known for some time that her husband's prognosis was poor, Laura Jane Schoelkopf had apparently decided that she would not continue the gallery in the event of his death. With the help of the youngest of their two sons, Andrew, she settled final accounts and assisted the gallery's contemporary artists in finding representation elsewhere before closing the business in August 1991.

Provenance:

Twenty-seven linear feet of records were donated to the Archives of American Art by Laura Jane Schoelkopf, Robert Schoelkopf's widow, and the Coe Kerr Gallery in 1991 and 1992. An additional gift of 3.4 linear feet was donated by Laura Jane Schoelkopf in 1996. The collection was reduced slightly during processing.

Restrictions:

The collection is open for research. Use requires an appointment.

Rights:

The Robert Schoelkopf Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Topic:

Art, Modern -- 20th century  Search this

Works of art  Search this

Photography, Artistic  Search this

Realism in art  Search this

Art, American  Search this

Art galleries, Commercial -- New York (State) -- New York  Search this

Genre/Form:

Gallery records

Illustrated letters

Photographs

Citation:

Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.robeschg

See more items in:

Robert Schoelkopf Gallery records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-robeschg

Creator:

Liebman, Aline Meyer, 1879-1966  Search this

Subject:

O'Keeffe, Georgia  Search this

Stieglitz, Alfred  Search this

Strand, Paul  Search this

Weston, Edward  Search this

Adams, Ansel  Search this

Benton, Thomas Hart  Search this

Bluemner, Oscar  Search this

Borglum, Gutzon, 1867-1941  Search this

Lachaise, Gaston  Search this

Marin, John  Search this

Macdonald-Wright, Stanton  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Type:

Scrapbooks

Topic:

Art -- Collectors and collecting  Search this

Art, Modern -- 20th century -- United States -- Collectors and collecting  Search this

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

Modernism (Art) -- Collectors and collecting  Search this

Photography, Artistic -- Collectors and collecting  Search this

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

Record number:

(DSI-AAA_CollID)9850

(DSI-AAA_SIRISBib)212345

AAA_collcode_liebalin

Theme:

Women

The Art Market

Photography

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_212345

Creator:

Chanin, Arnold, 1934-  Search this

Subject:

Arnold, Chuck  Search this

Arnold, Florence M. (Florence Millner)  Search this

Bassler, Robert Covey  Search this

Bell, Larry  Search this

Bengston, Billy Al  Search this

Benjamin, Karl  Search this

Berlant, Anthony  Search this

Bieser, Natalie  Search this

Block, Irving  Search this

Brigante, Nicholas P.  Search this

Burkhardt, Hans Gustav  Search this

Casanova, Aldo John  Search this

Chann, George  Search this

Crutchfield, William  Search this

Csengeri, George  Search this

Cytron, Dan  Search this

De Miranda, Yvonne  Search this

Danieli, Edie  Search this

Danieli, Fidel  Search this

Diebenkorn, Richard  Search this

Dimitrov, Lucienne Bloch  Search this

Dimitrov, Steve  Search this

Eversley, Frederick  Search this

Faiss, Fritz  Search this

Falkenstein, Claire  Search this

Finch, Keith  Search this

Finkelstein, Max  Search this

Fricano, Tom S.  Search this

Gebhardt, Harold  Search this

Gebhardt, Peter Martin  Search this

Gibson, George  Search this

Gino, Robert  Search this

Hanzakos, Claire  Search this

Hanzakos, Mike  Search this

Hartman, Donald  Search this

Jackman, Sandra  Search this

Johnston, Ynez  Search this

Krasnow, Peter  Search this

Kohn, Edmond  Search this

Kohn, Gabriel  Search this

Lagerberg, Don  Search this

Levi, Linda  Search this

Macdonald-Wright, Stanton  Search this

Mains, Brian  Search this

Mason, LaNelle  Search this

McLaughlin, John  Search this

Mesches, Arnold  Search this

Miller, Judith  Search this

Mullican, Lee  Search this

Murrill, Gwynn  Search this

Plagens, Peter  Search this

Richards, Bruce  Search this

Saar, Betye  Search this

Schifrin, Arnold  Search this

Schwarts, Jilda  Search this

Steinberg, Harry  Search this

Strombotne, James  Search this

Stussy, Jan  Search this

Stussy, Maxine Kim  Search this

Thompson, J. B.  Search this

Treiman, Joyce  Search this

Tunberg, William  Search this

Valerio, James  Search this

Gustavus Vasa  Search this

Vilumsons, Alex  Search this

Wagner, Gordon  Search this

Woelffer, Emerson  Search this

Wullner-Faiss, Janet  Search this

Topic:

Artists -- California -- Photographs  Search this

Photography  Search this

Record number:

(DSI-AAA_CollID)11161

(DSI-AAA_SIRISBib)209533

AAA_collcode_chanarno

Theme:

Audio - Visual

Photography

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209533

Creator:

Liebman, Aline Meyer, 1879-1966  Search this

Names:

Museum of Modern Art (New York, N.Y.)  Search this

Adams, Ansel, 1902-1984  Search this

Benton, Thomas Hart, 1889-1975  Search this

Bluemner, Oscar, 1867-1938  Search this

Borglum, Gutzon, 1867-1941  Search this

Lachaise, Gaston, 1882-1935  Search this

Macdonald-Wright, Stanton, 1890-1973  Search this

Marin, John, 1870-1953  Search this

O'Keeffe, Georgia , 1887-1986  Search this

Stieglitz, Alfred, 1864-1946  Search this

Strand, Paul, 1890-1976  Search this

Weston, Edward, 1886-1958  Search this

Extent:

1.3 Linear feet

0.4 Linear feet (Addition)

Type:

Collection descriptions

Archival materials

Scrapbooks

Date:

1906-1978

Scope and Contents:

Correspondence, photographs, business and financial records, printed matter, scrapbooks, and exhibition catalogs document Mrs. Liebman's acquisition of modern American art, European painting and decorative arts, her interest in and support of photography, her encouragement of individual artists, the inception and early history of the Museum of Modern Art, and her own painting career.

REEL 4203: Correspondence with Ansel Adams, Oscar Bluemner, Gutson Borglum, Gaston Lachaise, Stanton Macdonald-Wright, John Marin, the Museum of Modern Art, Alfred Stieglitz and An American Place, Paul Strand and Edward Weston, among many others. Among the business records are receipts for works of art purchased by Mrs. Liebman. Photographs show a photography exhibition opening (1935). Printed matter, mainly newspaper clippings and gallery announcements, relates to artists represented in the Liebman Collection, exhibitions which included loans from the Liebman Collection, and events in which Aline Meyer Liebman participated. Four scrapbooks (1936-1947), comprised of printed matter, correspondence, and photographs, relate to Aline Meyer Liebman's career as a painter. Six exhibition catalogs date from 1921 to 1935. Other material concerns Edgar Degas, Artistide Maillol, Pablo Picasso, Diego Rivera, and Gino Severini.

ADDITION (NOT MICROFILMED): Letters, 1906-1978; invoices for paintings purchased, 1929-1931; financial statements; photographs of Liebman's apartment, works in the Liebman Collection, paintings by Aline Meyer Liebman, and exhibition installations; and a catalog of Parke-Bernet's 1955 Liebman sale.

Biographical / Historical:

Aline Meyer Liebman (1879-1966) was a painter, art patron, and collector of modern art from New York, N.Y. Born in Los Angeles, Calif., Aline Meyer Liebman studied at Barnard College, and with Stefan Hirsch and Henry Mosler. She exhibited at Walker Galleries (1936), San Francisco Museum of Modern Art (1937), Bennington College (1937), Portland Museum (1939), and Weyhe Gallery (1943), among others.

Provenance:

Donated 1986 and 1989 by Margaret Liebman Berger, Aline Meyer Liebman's daughter.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

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

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

Painters -- United States  Search this

Photographers -- United States  Search this

Topic:

Art -- Collectors and collecting  Search this

Art, Modern -- 20th century -- United States -- Collectors and collecting  Search this

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

Modernism (Art) -- Collectors and collecting  Search this

Photography, Artistic -- Collectors and collecting  Search this

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

Genre/Form:

Scrapbooks

Identifier:

AAA.liebalin

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-liebalin

Interviewee:

Abbenseth, William, 1898-1972  Search this

Interviewer:

McChesney, Mary Fuller, 1922-  Search this

Subject:

Cunningham, Ben  Search this

Dannenbaum, Ray  Search this

Danysh, Joseph A.  Search this

Hirsch, Hy  Search this

Ryan, Beatrice Judd  Search this

Group f.64  Search this

Index of American Design  Search this

Federal Art Project (Calif.)  Search this

New Deal and the Arts Oral History Project  Search this

New York World's Fair  Search this

Type:

Sound recordings

Interviews

Topic:

Federal aid to the arts  Search this

Photography, Artistic -- California -- San Francisco  Search this

Photographers -- California -- San Francisco -- Interviews  Search this

Photography -- Study and teaching  Search this

Record number:

(DSI-AAA_CollID)13069

(DSI-AAA_SIRISBib)213230

AAA_collcode_abbens64

Theme:

Photography

New Deal

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213230

Interviewee:

Abbenseth, William, 1898-1972  Search this

Interviewer:

McChesney, Mary Fuller  Search this

Creator:

New Deal and the Arts Oral History Project  Search this

Names:

Federal Art Project (Calif.)  Search this

Group f.64  Search this

Index of American Design  Search this

New Deal and the Arts Oral History Project  Search this

New York World's Fair (1939-1940 : New York, N.Y.)  Search this

Cunningham, Ben, 1904-1975  Search this

Dannenbaum, Ray  Search this

Danysh, Joseph A., 1906-1982  Search this

Hirsch, Hy  Search this

Ryan, Beatrice Judd  Search this

Extent:

13 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1964 November 23

Scope and Contents:

An interview of William Abbenseth conducted 1964 November 23, by Mary Fuller McChesney, for the Archives of American Art.

Abbenseth discusses his training in photography; his WPA assignments including photomurals of San Francisco architecture, for the Index of American Design, and the California Housing Authority, the Artists at Work series, documentation of the New York World's Fair, and other projects; his relationship with Benjamin F. Cummingham, Ray Dannenbaum, Joseph A. Danysh, Hy Hirsch, and Beatrice Judd Ryan; and his involvement with the f/64 Group.

Biographical / Historical:

William Abbenseth (1898-1972) was a photographer in San Francisco, California.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 54 minutes.

Provenance:

Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Federal aid to the arts  Search this

Photography, Artistic -- California -- San Francisco  Search this

Photographers -- California -- San Francisco -- Interviews  Search this

Photography -- Study and teaching  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.abbens64

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-abbens64

Author:

Freeman, Roland L. 1936-  Search this

Driskell, David C  Search this

Beck, Tom 1947-  Search this

University of Maryland, Baltimore County Library  Search this

Subject:

Freeman, Roland L. 1936-  Search this

Physical description:

[24] p. : ill. ; 21 cm

Type:

Books

Pictorial works

Place:

Maryland

Baltimore

Baltimore (Md.)

Date:

1979

C1979

Topic:

Photography, Artistic  Search this

African Americans  Search this

Call number:

TR647.F8385 U5 1979

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_477000