Search Results

Creator:

Braunstein/Quay Gallery  Search this

Subject:

Braunstein, Ruth  Search this

Voulkos, Peter  Search this

Shaw, Richard  Search this

Kienholz, Edward  Search this

Reddin-Kienholz, Nancy  Search this

Hardy, Don Ed  Search this

32 Main St. Gallery  Search this

Braunstein Gallery (San Francisco, Calif.)  Search this

Quay Ceramics Gallery (San Francisco, Calif.)  Search this

Quay Gallery (San Francisco, Calif.)  Search this

Ruth Braunstein's Quay Gallery (San Francisco, Calif.)  Search this

Citation:

Braunstein/Quay Gallery records, 1956-2011. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Women art dealers  Search this

Theme:

Women  Search this

Art Gallery Records  Search this

Craft  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)8306

(DSI-AAA_SIRISBib)210477

AAA_collcode_braugall

Theme:

Women

Art Gallery Records

Craft

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210477

Creator:

Chicago Society of Etchers  Search this

Names:

Chicago Society of Etchers  Search this

Botke, Cornelius, 1887-1954  Search this

Dalstrom, Gustaf O. (Gustaf Oscar), 1893-1971  Search this

Fabri, Ralph, 1894-1975  Search this

Jensen, John Paul, 1904-  Search this

Kappel, Philip  Search this

Kloss, Gene, 1903-  Search this

Pescheret, Leon Rene, 1892-1961  Search this

Sykes, Maltby  Search this

Extent:

0.6 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1933-1972

bulk 1940-1959

Scope and Contents:

Primarily correspondence and a scrapbook kept by several of the Society's secretaries including F. L. Thompson and James Swann. Correspondence mostly with members concerning activities, sales, and exhibitions. Several letters inquire about the status of the Society and whether it will continue. The scrapbook, 1937-1972 (bulk 1937-1948), contains exhibition catalogs and announcements, letters, annual bulletins, membership lists, handwritten minutes of Board of Directors' meetings which detail expenses, suggestions for exhibition venues, membership and activities. Added to the scrapbook is the 1972 certificate of dissolution of the Society. A few miscellaneous financial records, printed materials, and price lists complete the collection.

Among the correspondents are: Cornelius Botke, Gustav Dalstrom, Gene Kloss, Philip Kappel, Roi Partridge, Leon R. Pescheret, and Maltby Sykes, as well as local Chicago artists.

Arrangement:

Arranged into series by record type: I. Correspondence II. Scrapbook III. Financial material; chronological thereunder.

Biographical / Historical:

Art society; Chicago, Ill., organized 1910; dissolved 1972.

Provenance:

Donated 1996 by Peter Jensen, son of printmaker John Paul Jensen, the last secretary of the Chicago Society of Etchers, who retained the records of the Society after its dissolution.

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.

Occupation:

Etchers -- Illinois -- Chicago  Search this

Printmakers  Search this

Topic:

Etching -- Illinois -- Chicago  Search this

Etching -- 20th century -- United States  Search this

Etching, American  Search this

Function:

Arts organizations -- Illinois

Identifier:

AAA.chicetch

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98f02fa45-f510-40d8-9440-53e7f2ef6591

EDAN-URL:

ead_collection:sova-aaa-chicetch

Creator:

Hobbs, Morris Henry, 1892-1967  Search this

Names:

Bromeliad Society  Search this

Chicago Society of Etchers  Search this

Louisiana Society of Etchers  Search this

New Orleans Art League  Search this

Arms, John Taylor, 1887-1953  Search this

Jacques, Bertha  Search this

Smith, Lyman B.  Search this

Extent:

4.7 Linear feet

Type:

Collection descriptions

Archival materials

Architectural drawings

Prints

Scrapbooks

Diaries

Photographs

Sketchbooks

Sketches

Date:

circa 1901-2014

Summary:

The papers of etcher Morris Henry Hobbs measure 4.7 linear feet and date from circa 1901-2014. His career as an artist in Chicago and New Orleans is documented through biographical material, correspondence, writings, professional files, printed material, photographs, artwork, and four sketchbooks.

Scope and Contents:

The papers of etcher Morris Henry Hobbs measure 4.7 linear feet and date from circa 1901-2014. His career as an artist in Chicago and New Orleans is documented through biographical material, correspondence, writings, professional files, printed material, photographs, artwork, and four sketchbooks.

Biographical material includes chronologies, biographical statements, and documentation on his home and studio. Correspondence includes letters to friends and family regarding art, travel, and botany. Of note are letters from the etchers John Taylor Arms and Bertha Jaques and botanist Lyman Smith. Writings consist of Hobbs' diary kept during World War I while serving in the U.S. Army, journal pages documenting his move to New Orleans, and garden notebooks. Professional files include documents relating to Hobbs' memberships and activities in the Bromeliad Society, Chicago Society of Etchers, Louisiana Society of Etchers, New Orleans Art League, and other organizations. Also included are exhibition records, price lists, and sales records.

Printed material includes clippings and exhibition announcements documenting his career as well as published versions of his etchings. Photographs and slides are of Hobbs, family and friends, trips abroad, and his properties in New Orleans and Mandeville, Louisiana. Artwork includes architectural renderings, sketches of Chicago, France, and New Orleans, and an annotated scrapbook containing original etchings. Four sketchbooks include figure drawings and landscapes in pencil and ink.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1918-2014 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1921-1993 (0.7 linear feet; Boxes 1 and 5)

Series 3: Writings, 1918-2014 (0.3 linear feet; Boxes 1-2)

Series 4: Professional Files, 1922-2014 (1.0 linear foot; Boxes 2-3)

Series 5: Printed Material, 1929-2014 (0.6 linear feet; Box 3)

Series 6: Photographs, circa 1901-1991 (0.6 linear feet; Boxes 3-4)

Series 7: Artwork, circa 1919-1950s (0.3 linear feet; Boxes 4-5)

Series 8: Sketchbooks, 1930s-1950s (0.2 linear feet; Box 4)

Biographical / Historical:

Morris Henry Hobbs (1892-1967) was an etcher in Chicago and New Orleans. Hobbs was born in Rockford, Illinois, and raised in Chicago. As a teenager he took classes at the Art Institute of Chicago and at the age of 17 was hired as a draftsman at an architectural firm. From 1918-1919, he served in France with the Allied Expeditionary Force. While there he contracted influenza which resulted in the loss of his hearing. After the war he lived in Toledo, Ohio, with his wife and two daughters and worked at an architectural firm. He also learned printmaking techniques from etcher J. Ernest Dean and began exhibiting his work. In 1927, he returned to Chicago with his family and in 1930 became director of the Chicago Society of Etchers. During his career he was active in many arts and printmaking organizations.

In 1938, Hobbs traveled to New Orleans for an extended visit, opened a studio space, and began a ten-year project of etching French Quarter scenes. A year later he moved to New Orleans permanently and became the first president of the Louisiana Society of Etchers. In 1942, he married Alice "Judy" Seddon. In 1948, he was hired as a designer for the architectural firm Favrot, Reed, Mathes and Bergman, and was employed there until his death. Also at this time, he and his wife establish a country home in Mandeville, Louisiana, where he built a greenhouse and cultivated tropical bromeliads. They kept an apartment in the French Quarter as a weekday residence.

In 1960, Hobbs began a series of watercolors depicting bromeliads and in the subsequent years traveled to Costa Rica, Guatemala, and Trinidad to collect specimens for a potential book project. He died in 1967 at the age of 75 and that year the Reinike Gallery held a retrospective of his work. His wife Alice Seddon Hobbs died in 1993 at the age of 95.

Provenance:

Donated in 2014 by Reed Isbell-Hobbs, widow of Morris Henry Hobbs' son William Hobbs.

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Occupation:

Etchers -- Illinois -- Chicago  Search this

Etchers -- Louisiana -- New Orleans  Search this

Topic:

Gardening  Search this

World War, 1914-1918  Search this

Genre/Form:

Architectural drawings

Prints

Scrapbooks

Diaries

Photographs

Sketchbooks

Sketches

Citation:

Morris Henry Hobbs papers, circa 1901-2014. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hobbmorr

See more items in:

Morris Henry Hobbs papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9de90464b-25e1-4b52-880a-48b63a3caf5a

EDAN-URL:

ead_collection:sova-aaa-hobbmorr

Collection Creator:

Hobbs, Morris Henry, 1892-1967  Search this

Extent:

1 Linear foot (Boxes 2-3)

Type:

Archival materials

Date:

1922-2014

Scope and Contents:

Professional files include documents relating to Hobbs' memberships and activities in the Bromeliad Society, Chicago Society of Etchers, Louisiana Society of Etchers, New Orleans Art League, and other organizations. Also included are exhibition records, price lists, and sales records. Additionally there are records documenting his career as an architectural draftsman. Files may include correspondence, publications, news clippings, lists of artworks, and event photographs. Some records dating after Hobbs' death in 1967 were maintained by his wife, Alice "Judy" Seddon Hobbs.

Collection Restrictions:

Use of original papers requires an appointment.

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:

Morris Henry Hobbs papers, circa 1901-2014. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hobbmorr, Series 4

See more items in:

Morris Henry Hobbs papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92fd5f416-5f10-480d-a35e-c98097bf7ca3

EDAN-URL:

ead_component:sova-aaa-hobbmorr-ref33

Collection Creator:

Hobbs, Morris Henry, 1892-1967  Search this

Container:

Box 2, Folder 25-26

Type:

Archival materials

Date:

1967-1978

Collection Restrictions:

Use of original papers requires an appointment.

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:

Morris Henry Hobbs papers, circa 1901-2014. Archives of American Art, Smithsonian Institution.

See more items in:

Morris Henry Hobbs papers

Morris Henry Hobbs papers / Series 4: Professional Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9fac9230c-c365-4157-b682-112a1064ff57

EDAN-URL:

ead_component:sova-aaa-hobbmorr-ref51

Creator:

Artists' Gallery (New York, N.Y)  Search this

Names:

Albers, Josef  Search this

Altoon, John, 1925-  Search this

Baizerman, Eugenie, 1899-1949  Search this

Baizerman, Saul, 1889-1957  Search this

Barrer-Russell, Gertrude  Search this

Beer-Monti, Federica, b. 1876  Search this

Bowden, Harry, 1907-1965  Search this

Chafetz, Sidney  Search this

Feldman, Walter, 1925-2017  Search this

Fromboluti, Sideo, 1921-  Search this

Giobbi, Edward  Search this

Golub, Leon, 1922-2004  Search this

Grillo, John, 1917-  Search this

Johnson, Lester, 1919-2010  Search this

Kaldis, Aristodimos, 1899-1979  Search this

Kruger, Louise, 1924-  Search this

Leepa, Allen, 1919-2009  Search this

Loberg, Robert Warren, 1927-1999  Search this

Margo, Boris, 1902-1995  Search this

Margules, De Hirsh, 1899-1965  Search this

Meert, Joseph, 1905-1989  Search this

Smithson, Robert  Search this

Stix, Hugh  Search this

Tofel, Jennings, 1891-1959  Search this

Weissauer, Rudolf, 1924-  Search this

Extent:

6.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1929-1967

Summary:

The Artists' Gallery records measure 6.6 linear feet and date from 1929 to 1967. The collection sheds light on the gallery's operations through adminstrative records, artist files, exhibition files, and printed material.

Scope and Contents:

The Artists' Gallery records measure 6.6 linear feet and date from 1929 to 1967. The collection sheds light on the gallery's operations through adminstrative records, artist files, exhibition files, and printed material.

Administrative records include correspondence, gallery daybooks, inventories, meeting minutes of the gallery's board of directors, and two essay drafts; financial records consist of accounting books, sales records, receipts, invoices, payments, and a ledger; and museum and gallery files include papers and correspondence related to exhibitions, loans of artwork, and shipments of artwork. Several photographs of staff, artists, and the gallery interior are found here as well.

Artist files include biographical information and correspondence between artists, Federica Beer-Monti, and Hugh Stix concerning exhibitions, artwork shipments, prices, and some personal matters. Some files also include photographs, exhibition catalogs and announcements, newspaper clippings, artist books, and price lists.

Exhibition files include price lists, correspondence, drafts of publicity material, visitor guestbooks, and lists of exhibitions and exhibiting artists. Printed material includes Artists' Gallery's brochures, flyers, and other mailings, exhibition announcements and catalogs, as well as gallery scrapbooks comprised of exhibition ephemera, newspaper clippings, and some photographs; an essay published by gallery founder Hugh Stix; exhibition material, newsletters, and miscellaneous publications from other museums and galleries; and books on artists Henri Gaudier and Beauford Delaney.

Arrangement:

The collection is arranged as four series.

Series 1: Administrative Records, 1936-1965 (Box 1-2, 7; 1.6 linear feet)

Series 2: Artist Files, 1929-1967, bulk 1936-1962 (Box 2-4, 7-8; 1.8 linear feet)

Series 3: Exhibition Files, 1936-1962 (Box 4, 7, OV 9; 1.1 linear feet)

Series 4: Printed Material, 1931-1967 (Box 5-7; 2.1 linear feet)

Biographical / Historical:

The Artists' Gallery was established by Hugh Stix in 1936 in New York City. The goal of this non-profit gallery was to provide unknown or little-known artists a space to exhibit their work to gain public notoriety or be taken up by a commercial gallery. Stix hired Federica Beer-Monti, an Austrian socialite who was friends and acquaintances with many European artists, as director of the gallery. The painters and sculptors exhibited by the Artists' Gallery were voted on and selected by a rotating committee. Exhibitions were given without charge to the artist, and artists received the entire sale price of their work if sold. Some notable artists who exhibited at the Artists' Gallery included Josef Albers, Saul and Eugenie Baizerman, Byron Browne, Louis Eilshemius, Ben-Zion, Aristodemos Kaldis, De Hirsh Margules, and Hans Boehler. The gallery discontinued operations in the summer of 1962.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming on reel N737. Included are six letters, 1938-1939, from artist Louis M. Eilshemius to gallery director Federica Beer-Monti. Loaned materials were returned to the donor and are not described in the collection container inventory.

Provenance:

The Artists' Gallery records were donated and lent for microfilming in several installments from 1967 to 1998. Material on reels D313 and 79 were donated from 1967 to 1968 by Federica Beer-Monti; and she lent the Louis M. Eilshemius letters on reel N737 in 1968. The unmicrofilmed portion was donated in 1974 by Beer-Monti's niece, Greta Shapiro, who also lent the logbooks on reel 1042 for microfilming in 1976. In 1998, Shapiro's widower, Aaron, donated the material lent on reel 1042.

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.

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:

Artists -- United States  Search this

Gallery directors  Search this

Topic:

Art -- United States -- Exhibitions  Search this

Function:

Art galleries -- New York (State) -- New York

Citation:

Artists' Gallery Records, 1929-1967. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.artigall

See more items in:

Artists' Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw950d5668a-2076-4aaa-9769-3b5e9bbb7093

EDAN-URL:

ead_collection:sova-aaa-artigall

Creator:

Ruth White Gallery (New York, N.Y.)  Search this

Names:

Castanis, Muriel, 1926-2006  Search this

Gelb, Jan, 1906-1978  Search this

Kohlmeyer, Ida, 1912-1997  Search this

Seligmann, Kurt, 1900-1962  Search this

Skaling, Audrey  Search this

Extent:

7.1 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1933-1974

bulk 1956-1970

Summary:

The Ruth White Gallery records measure 7.1 linear feet and date from 1933 to 1974, with the bulk of the records dating from 1956 to 1970. Administrative records document the running of the gallery, and artist files shed light on the gallery's dealings with artists including Sylvia Bernstein, Jules Engel, Ida Kohlmeyer, Kurt Seligmann, Audrey Skaling, and many others.

Scope and Contents:

The Ruth White Gallery records measure 7.1 linear feet and date from 1933 to 1974, with the bulk of the records dating from 1956 to 1970. Administrative records document the running of the gallery, and artist files shed light on the gallery's dealings with artists including Sylvia Bernstein, Jules Engel, Ida Kohlmeyer, Kurt Seligmann, Audrey Skaling, and many others.

Administrative records include inventories, correspondence, provenance records, financial and shipping records, printed material, price lists, and photographs of artwork and exhibitions. Also found are gallery and museum files containing similar records, that document the gallery's relationship with other businesses and art institutions.

Artist files consist of biographical summaries and resumes, correspondence, some writings, price lists, invoices, exhibition ephemera, newspaper clippings, photographs of artwork, and scattered photos of artists.

Arrangement:

This collection is arranged as two series.

Series 1: Administrative Records, 1940-1974, bulk 1956-1970 (Box 1-3; 2.1 linear feet)

Series 2: Artist Files, 1933-1974, bulk 1956-1970 (Box 3-7, OV 8; 5 linear feet)

Biographical / Historical:

The Ruth White Gallery was established in 1956 near Central Park in New York City, and specialized in contemporary art. The gallery was affiliated with artists such as Muriel Castanis, Mildred Crooks, Jan Gelb, Ida Kohlmeyer, Ce Roser, Kurt Seligman, and Audrey Skaling. Kohlmeyer and Castanis had their first solo exhibitions at the gallery in 1959 and 1968 respectively, and Skaling and Kohlmeyer were both personal friends of Ruth White.

Separated Materials:

Material lent for microfilming on reel 34, Scrapbooks, 1956-1967, containing notices, clippings, and articles about artists represented by the gallery, was returned to the donor and is not described in the collection container inventory.

Provenance:

The collection was donated by the Ruth White Gallery between 1969 and 1975.

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.

Function:

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

Citation:

Ruth White Gallery records, 1933-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.ruthwhit

See more items in:

Ruth White Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9345f61ba-f1c4-4bb0-85a7-877dfcf56dc9

EDAN-URL:

ead_collection:sova-aaa-ruthwhit

Creator:

Arthur U. Newton Galleries  Search this

Names:

Marsh, Reginald, 1898-1954  Search this

Newton, Arthur U. (Arthur Ulysses), 1892-1978  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1934-1962

Summary:

The Arthur U. Newton Galleries records measure 0.2 linear feet and date from 1934 to 1962. This small collection consists of correspondence, an exhibition announcement card, photographs of artwork and the gallery's interior, and a plate proof of The Pickwick Papers, illustrated by Frederick Banberry.

Scope and Contents:

The Arthur U. Newton Galleries records measure 0.2 linear feet and date from 1934 to 1962. The small collection's correspondence files include letters sent to collectors, museums, and art associations, a price list of paintings by Walter Howlison Mackenzie "Zarh" Pritchard, and sales records. Photographs in the collection depict the gallery's interior and artwork by Thomas Hart Benton, John Steuart Curry, Reginald Marsh, William Mosby, and Jose Clemente Orozco from the exhibition, An Art Commentary on Lynching (1935). Also included is an exhibition announcement and a plate proof of The Pickwick Papers by Charles Dickens, illustrated by Frederick Banberry.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

The Arthur U. Newton Galleries was founded in New York by Arthur U. Newton. Newton dealt and exhibited works by modern and early-modern artists by the 1930s. He represented the works of some contemporary artists, including Walter Howlison Mackenzie "Zarh" Pritchard; and held the first one-man exhibition for William Hekking. In conjunction with the NAACP and the College Art Association, Arthur U. Newton galleries held an anti-lynching art exhibition, An Art Commentary on Lynching (1935). The exhibition featured works by Isamu Noguchi, Thomas Hart Benton, José Clemente Orozco, and Reginald Marsh.

Provenance:

The collection was donated in 1962 by Arthur U. Newton.

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.

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.

Function:

Art galleries, Commercial -- New York (State)

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.arthu

See more items in:

Arthur U. Newton Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw939ae2ee4-ed24-41fa-95ed-d73b0d77e6be

EDAN-URL:

ead_collection:sova-aaa-arthu

Creator:

New Arts (Art gallery)  Search this

Names:

Bess, Forrest, 1911-1977  Search this

Boynton, Jack, 1928-2010  Search this

Calcagno, Lawrence, 1913-  Search this

Cornell, Joseph  Search this

Emmerich, André  Search this

Ernst, Max, 1891-1976  Search this

Kuhlman, Walter  Search this

Plagens, Peter  Search this

Smith, Hassel, 1915-2007  Search this

Steinberg, Richard  Search this

Varda, Jean  Search this

Extent:

1.3 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1950-1979

Summary:

The New Arts records measure 1.3 linear feet and date from 1950 to 1979. The collection sheds light on the gallery's operations through correspondence, exhibition files, printed material, artists' files, and more.

Scope and Contents:

The New Arts records measure 1.3 linear feet and date from 1950 to 1979. The collection sheds light on the gallery's operations through administrative records and artists' files. Administrative records include artwork authentification records, correspondence with museums, galleries, and private collectors, exhibition files, ephemera from exhibitions held elsewhere, and editions of the Contemporary Arts Council calendar. Artists' files consist of correspondence, price lists, photos of artwork and installations, exhibition ephemera, reviews, some resumes, and more. Artists covered include Forrest Bess, James Boynton, Lawrence Calcagno, Joseph Cornell, Max Ernst, Walter Kuhlman, Peter Plagens, Hassel Smith, Richard Steinberg, and Jean Varda.

Arrangement:

The collection is arranged as two series.

Series 1: Administrative Records, 1952-1970 (Box 1; .4 linear feet)

Series 2: Artists' Files, 1950-1979 (Box 1-2, OV 3; .9 linear feet)

Biographical / Historical:

The New Arts was founded in 1956 in Houston, Texas by Kathryn Swenson. The gallery was initially established to exhibit and sell pre-Columbian artwork, the bulk of which came from Andre Emmerich's private collection. Swenson asked friend and museum specialist Jermayne MacAgy to help with the exhibition display, and then sometime in the next two years, the gallery began to show established local artists. Pre-Columbian shows persisted throughout The New Arts' existence, but the gallery shifted its focus towards exhibiting a wide range of contemporary painters and sculptors by the late 1950s. Artists exhibited at The New Arts include Jack Boynton, Forest Bess, Hassel Smith, Max Ernst, Walter Kuhlman, Lawrence Calcagno, Joseph Cornell, Peter Plagens, and Jean Varda.

The New Arts closed in 1974.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Marc Moldawer, Kathryn Swenson, and Robert Wilson conducted by Sandra Curtis Levy, August 15, 1984.

Provenance:

The collection was donated in 1979 by gallery owner and director Kathryn Swenson.

Restrictions:

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

Rights:

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 -- Texas

Citation:

The New Arts records, 1950-1979. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.newarts

See more items in:

The New Arts records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a39948fd-d2c8-40d2-b43e-791a3938ecb6

EDAN-URL:

ead_collection:sova-aaa-newarts

Collection Creator:

New Arts (Art gallery)  Search this

Extent:

.9 Linear feet (Box 1-2, OV 3)

Type:

Archival materials

Date:

1950-1979

Scope and Contents:

Found here is correspondence, price lists, photos of artwork and installations, exhibition ephemera, reviews, and scant resumes. Sketches made by Hassell Smith and one print by Max Ernst are also present.

Collection 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.

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:

The New Arts records, 1950-1979. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.newarts, Series 2

See more items in:

The New Arts records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f56206ed-af6a-4134-9b1d-a9164a622b34

EDAN-URL:

ead_component:sova-aaa-newarts-ref27

Collection Creator:

New Arts (Art gallery)  Search this

Extent:

.4 Linear feet (Box 1)

Type:

Archival materials

Date:

1952-1970

Scope and Contents:

Records include artwork authentification correspondence and appraisals, exhibition files, ephemera from exhibitions held elsewhere, and editions of the Contemporary Arts Council calendar. Correspondence found in this series is with museums, galleries, and private collectors, some sales and consignment records are also present. Andre Emmerich's correspondence mostly concerns the exhibition, sale, and research of pre-Columbian art. Exhibition files include correspondence, price lists, photographs of paintings by Gill Oliver, shipping documents, and newspaper clippings. Contemporary Arts Association records consist of reports, correspondence, clippings, and other printed ephemera; and the Contemporary Arts Museum printed material includes exhibition catalogs, invitations, and an annual report. Also present is one photograph of Jermayne MacAgy, obituary clippings, and a tribute letter to MacAgy written by Dominique de Menil.

Collection 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.

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:

The New Arts records, 1950-1979. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.newarts, Series 1

See more items in:

The New Arts records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99e644d60-c60f-448a-826e-65e982e2cb58

EDAN-URL:

ead_component:sova-aaa-newarts-ref7

Creator:

Dilexi Gallery  Search this

Names:

Ferus Gallery (Los Angeles, Calif.)  Search this

Blum, Irving, 1930-  Search this

Hopps, Walter  Search this

Newman, James, 1933-  Search this

Extent:

0.9 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1959-1969

Summary:

The Dilexi Gallery records measure 0.9 linear feet and date from 1959 to 1969. The collection sheds light on the gallery's operations through correspondence with artists, museums, and other galleries; several artist and exhibition files; and some photographs and printed material.

Scope and Contents:

The Dilexi Gallery records measure 0.9 linear feet and date from 1959 to 1969. The collection sheds light on the gallery's operations through correspondence with artists, museums, and other galleries; several artist and exhibition files; and some photographs and printed material.

Artist files consist of price lists, resumes, loan records, financial documents, and some printed material. Two photographs and one slide of Jess Collin's artwork, a photograph of Leslie Kerr, and one unknown subject are also present. Correspondence files shed light on gallery sales, exhibitions, and loans of artwork; the careers and personal lives of artists, including Jess Collins, Roy De Forest, Tony DeLap, Norman Kantor, and Wilfrid Zogbaum; and the gallery's relations with other museums and galleries, in particular, Walter Hopps and Irving Blum of Ferus Gallery. Exhibition files include insurance documents, press releases, price lists, and artist instructions; items related to the exhibition, Second International Exhibition of Pilot Galeries (1966), include catalog drafts, shipping information, memos, press releases, and some printed ephemera. The bulk of correspondence related to the Second International Exhibition of Pilot Galeries and Dilexi Gallery's G. O. P. Show (1964) can be found in the collection's correspondence files. Also included are three oversized Dilexi exhibition posters for artists Richard Shaw, William Dubin, and Fred Martin; and one advertising poster by Ron Nagle.

Arrangement:

Due to the small size of this collection the records are arranged as one series.

Biographical / Historical:

The Dilexi Gallery was founded in San Francisco, California, in 1958 by ethnomusicologist and musician James Newman. The gallery exhibited a wide range of artists in various media, from abstract expressionists to portraitists. From 1962 to 1963, the gallery operated a satellite location in Los Angeles overseen by Rolf Nelson. From its beginning, Dilexi had a loose association with Ferus Gallery in Los Angeles, sharing artists, interests, and exhibitions until Ferus' closing in 1966. Artists frequently shown at Dilexi included Hassel Smith, Charles Ross, Roy De Forest, Tony Delap, Sidney Gordin, Wilfrid Zogbaum, and Deborah Remington. Newman closed his gallery in 1969, at which point he started the Dilexi Foundation to support non-traditional artists' projects, happenings, performances, and films.

Related Materials:

Also in the Archives of American Art is an oral history interview, 1974 May 13, with Dilexi Gallery founder and director James Newman.

Provenance:

The collection was donated in 1974 by James Newman, the founder and director of the Dilexi Gallery.

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.

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.

Function:

Art galleries, Commercial -- California

Citation:

Dilexi Gallery Records, 1959-1969. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.dilegall

See more items in:

Dilexi Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b7e37a37-4771-4e28-8d3c-a973040dd772

EDAN-URL:

ead_collection:sova-aaa-dilegall

Creator:

Hooks-Epstein Galleries  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1937, 1970-1980

Summary:

The Hooks-Epstein Galleries records measure 0.2 linear feet and date from 1937 to 1980. This small collection includes an exhibition list, 1970-1978, exhibition catalogs, a copy of the gallery policies, and a newspaper article about the business. Exhibition catalogs include shows for J. M. Sorg, Hib Sabin, Peter Paone, Sherry Sullivan, Lee Waisler, and more.

Scope and Contents:

The Hooks-Epstein Galleries records measure 0.2 linear feet and date from 1937 to 1980. This small collection includes an exhibition list, 1970-1978, gallery catalogs, a copy of the gallery policies, and a newspaper article about the business. Exhibition catalogs include shows for J. M. Sorg, Hib Sabin, Peter Paone, Sherry Sullivan, Lee Waisler, and more. Also present is a miscellaneous letter from 1937.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

Hooks-Epstein Galleries, Inc. was founded in Houston, Texas, in 1969, by sister-in-laws Geri Hooks and Evan Epstein. Later, Geri Hooks' husband, Charles, joined the business in 1974 around the same time that Epstein left the gallery. Hooks-Epstein began with exhibitions of prints and antique objects, but quickly moved on to specialize in works on paper and ultimately included fine art glass as well. Past artists shown in the gallery include Robert Pruitt, Kermit Oliver, Ward Saunders, Mark Greenwalt, Clara Hoag, Edward Lane McCartney, Kingsley Powers Onyeiwu, Toots Zynsky, Alex Gabriel Bernstein, and Bertil Vallien. Hooks-Epstein Galleries is among the longest running art galleries in Texas.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming in 1981 by Geri and Charles Hooks as part of AAA's Texas Documentation Project. Reels 3127-3128 contain files and two scrapbooks from exhibitions for artists Peter Chinni, Peter Paone, Sherry Sullivan, Zolita Sverdlove, Lee Waisler and others. The microfilmed material consists of resumes, correspondence, price lists, catalogs, press releases, and newspaper clippings; photographs of exhibition installations are also included. Loaned materials were returned to the donor after microfilming and are not described in the collection container inventory.

Provenance:

The collection was donated in 1981 by Geri and Charles Hooks.

Restrictions:

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

Rights:

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 -- Texas

Citation:

Hooks-Epstein Galleries records, 1937-1980. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.hookepsg

See more items in:

Hooks-Epstein Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9888907e5-5c77-42c4-92ee-e45c74ac34f6

EDAN-URL:

ead_collection:sova-aaa-hookepsg

Collection Creator:

Dilexi Gallery  Search this

Extent:

0.9 Linear feet (Box 1-2, OV 3)

Type:

Archival materials

Date:

1959-1969

Scope and Contents:

Artist files consist of price lists, resumes, loan records, financial documents, and some printed material. Two photographs and one slide of Jess Collin's artwork, a photograph of Leslie Kerr, and one unknown subject are also present. Correspondence files shed light on gallery sales, exhibitions, and loans of artwork; the careers and personal lives of artists, including Jess Collins, Roy De Forest, Tony DeLap, Norman Kantor, and Wilfrid Zogbaum; and the gallery's relations with other museums and galleries, in particular, Walter Hopps and Irving Blum of Ferus Gallery. Exhibition files include insurance documents, press releases, price lists, and artist instructions; and items related to the exhibition, Second International Exhibition of Pilot Galeries (1966), consist of catalog drafts, shipping information, memos, press releases, and some printed ephemera. The bulk of correspondence related to the Second International Exhibition of Pilot Galeries and Dilexi Gallery's G. O. P. Show (1964) can be found in the collection's correspondence files. Also included are three oversized Dilexi exhibition posters for artists Richard Shaw, William Dubin, and Fred Martin; and one advertising poster by Ron Nagle.

Collection 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.

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:

Dilexi Gallery Records, 1959-1969. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.dilegall, Series 1

See more items in:

Dilexi Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98d5c245f-eb73-4563-a0d8-1838ff0422b9

EDAN-URL:

ead_component:sova-aaa-dilegall-ref7

Creator:

David Gallery  Search this

Names:

Camblin, Bob Bilyeu, 1928-2010  Search this

David, Dianne, 1938 or 9-  Search this

Johnson, Lucas, 1940-2002  Search this

Extent:

0.5 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1963-1982

Summary:

The David Gallery records measure 0.5 linear feet and date from 1963 to 1982. This small collection sheds light on the gallery's operations through correspondence, photographs, printed material, exhibition ephemera, and several price lists. The collection also includes an etching by artist Lucas Johnson.

Scope and Contents:

The David Gallery records measure 0.5 linear feet and date from 1963 to 1982. The collection consists of correspondence with museums, friends, and artists, including Seymour Leichman and illustrated letters by Donald Roller Wilson; an essay, posters, announcements, and catalogs from exhibitions held at David Gallery; an etching made by Lucas Wilson; newspaper clippings, advertisements, and articles; and the resumes of artists Bob Fowler and Bruce Kleinsmith, also known as Futzie Nutzle. Photographs in the collection include images of artists Lucas Johnson, Forest Moses, Bob Fowler, Paul Maxwell, Bob Camblin, and others; events and exhibitions held at David Gallery; the gallery's exterior; an exhibition installation; and of Dianne David, the gallery's founder.

Arrangement:

Due to the small size of this collection the records are arranged as one series.

Biographical / Historical:

The David Gallery was founded in Houston, Texas in 1963 by Dianne David. The gallery exhibited mostly local painters and sculptors, and had a large influence on the Houston contemporary art scene. David was known for representing and exhibiting artists whose work and personality she liked personally. Artists shown at the gallery include Bob Camblin, Lucas Johnson, Donald Roller Wilson, Seymour Leichmann, and Bob Fowler, all of whom she became friends with. David closed her gallery in 1982.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming. Reel 3100 frames 1-138 consist of David Gallery exhibition announcements. Reel 3100 frames 143-583 consists of 14 artists' files compiled by Dianne David, which include correspondence, mostly letters received by Dianne David; printed material; sketches and 2 etchings by Bob Camblin; and photographs of artists, their works and 1 photo of the gallery. Artists' include: William C. Agee, Jack Boynton, Bob Camblin, Roy Fridge, James Kearns, Seymour Leichman, Jim Love, David McManaway, Robert Morris, Futzie Nutzle, Peter Paone, Mike Selig and Don Shaw. Materials were returned to the lenders after microfilming. Loaned materials were returned to the donor and are not described in the collection container inventory.

Provenance:

Microfilmed as part of the Archives of American Art's Texas project, material on reel 3100, frames 1-138 were lent for microfilming 1983 by Lester Giese; and reel 3100 frames 143-583 were lent for microfilming in 1983 by Dianne David, owner of the gallery. The records were donated in 1981 by Dianne David.

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.

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:

Art, American -- Texas -- Houston  Search this

Art -- Collectors and collecting -- Texas -- Houston  Search this

Function:

Art galleries, Commercial -- Texas

Citation:

David Gallery records, 1963-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.davigall

See more items in:

David Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9506b82f8-044e-49ee-92e8-1d0830584381

EDAN-URL:

ead_collection:sova-aaa-davigall

Collection Creator:

David Gallery  Search this

Container:

Box 1, Folder 6

Type:

Archival materials

Date:

1966-1967, undated

Collection 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.

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:

David Gallery records, 1963-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

David Gallery records

David Gallery records / Series 1: David Gallery Records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f79dec34-dbd7-4608-bab7-7f44e67e5d6b

EDAN-URL:

ead_component:sova-aaa-davigall-ref12

Creator:

Laurel Gallery  Search this

Names:

Avery, Milton, 1885-1965  Search this

Bentley, Claude Ronald, 1915-1990  Search this

Brandt, Grace Borgenicht, 1915-2001  Search this

Constant, George  Search this

Ernst, Jimmy, 1920-1984  Search this

Lassaw, Ibram, 1913-2003  Search this

Lenson, Michael, 1903-1971  Search this

Pach, Walter, 1883-1958  Search this

Peterdi, Gabor  Search this

Pytlak, L. (Leonard), 1910-1998  Search this

Ritter, Chris  Search this

Tourtelot, Madeline  Search this

Extent:

0.6 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1944-1951

Summary:

The Laurel Gallery records measure 0.6 linear feet and date from 1944 to 1951. The collection sheds light on the gallery's operations through scant correspondence, photographs, printed material, an exhibition inventory, and financial records.

Scope and Contents:

The Laurel Gallery records measure 0.6 linear feet and date from 1944 to 1951. This small collection sheds light on the gallery's operations through scant correspondence, photographs, printed material, an exhibition inventory, and financial records.

The collection includes letters from artists and museums to gallery director Chris Ritter, and some to the gallery's co-director, Grace Borgenicht; writings on artists Milton Avery, Gabor Peterdi, and Leonard Pytlak. Financial records consist of tax records, notes, bills, price lists, artist agreements, an account book, and a sales book. Also present is an inventory from the exhibition, The New York Society of Women Artists (1947); a scrapbook and loose newspaper clippings; photographs of artists and works of art; a plan for the gallery's marketing, pricing, and financials by Chris Ritter; and photographs, notes, and drafts related to the gallery's quarterly, Laurels.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

The Laurel Gallery was founded in New York City in 1946 by painter, printmaker, and educator, Chris Ritter. The gallery, located at 108 East 57th Street, was an active supporter of contemporary American art. Ritter occasionally exhibited his own work in the Laurel Gallery, but mostly exhibited the work of other avant-garde artists, including Jimmy Ernst, Grace Borgenicht (Laurel Gallery's co-director), Claude Bentley, George Constant, Ibram Lassaw, and others. In addition to exhbitions, the gallery published four portfolios of artists' prints and a quarterly magazine. Ritter closed the gallery in 1952, around the same time Borgenicht opened the Grace Borgenicht Gallery.

Provenance:

The collection was donated by gallery founder Chris Ritter in 1974.

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:

Art, Modern -- 20th century -- History  Search this

Function:

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

Citation:

Laurel Gallery records, 1944-1951. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.laurgall

See more items in:

Laurel Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d03e273b-5447-443f-a3f3-0fcfd64c6077

EDAN-URL:

ead_collection:sova-aaa-laurgall

Collection Creator:

Laurel Gallery  Search this

Extent:

.6 Linear feet (Box 1-2)

Type:

Archival materials

Date:

1944-1951

Scope and Contents:

Correspondence includes letters from artists and museums to gallery director Chris Ritter, as well as some to the gallery's co-director, Grace Borgenicht; writings on artists include a biographical sketch of Milton Avery and autobiographical writings by Gabor Peterdi and Leonard Pytlak. Financial papers consist of tax records, notes, bills, price lists, several artist agreements, an account book, and a sales book. Also present is an inventory from the exhibition, The New York Society of Women Artists (1947); a scrapbook and loose newspaper clippings; photographs of artists and works of art; a plan for the gallery's marketing, pricing, and financials by Chris Ritter; and photographs, notes, and drafts related to the Laurel Gallery's quarterly, Laurels.

Collection 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.

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:

Laurel Gallery records, 1944-1951. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.laurgall, Series 1

See more items in:

Laurel Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a31688df-ce9b-4d92-a01d-4fe1d0e98798

EDAN-URL:

ead_component:sova-aaa-laurgall-ref5

Creator:

Gross McCleaf Gallery  Search this

Names:

Broderson, Morris, 1928-2011  Search this

Carles, Arthur B., 1882-1952  Search this

Day, Larry, 1921-  Search this

Emerson, Edith, 1888-1981  Search this

Gross, Estelle Shane, 1929-1992  Search this

Howard, Humbert, 1905-1990  Search this

Lueders, Jimmy C., 1927-1994  Search this

McCleaf, Marlin  Search this

Oakley, Violet, 1874-1961  Search this

Piper, Jane, 1916-1991  Search this

Pittman, Hobson Lafayette, 1899 or 1900-1972  Search this

Porter, Fairfield  Search this

Tyson, Carroll Sargent, 1878-1956  Search this

Weidner, Roswell, 1911-1999  Search this

Welliver, Neil  Search this

Extent:

0.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1947-1986

Summary:

The Gross McCleaf Gallery selected artists' files measure 0.8 linear feet and date from 1947 to 1986. The files consist of price lists, printed material, correspondence, exhibition catalogs and announcements, biographical summaries, newspaper clippings, and some photographs. Artists include Neil Welliver, Hobson Pittman, Edith Emerson, Humbert Howard, Jane Piper, and Fairfield Porter among others.

Scope and Contents:

The Gross McCleaf Gallery selected artists' files measure 0.8 linear feet and date from 1947 to 1986. The files consist of price lists, printed material, correspondence, exhibition catalogs and announcements, biographical summaries, and clippings. Some of the files include photos of the artist, works of art, and exhibition installations. Artists represented in the collection are Arthur B. Carles, Larry Day, Edith Emerson, Humbert Howard, Jimmy Lueders, Violet Oakley, Jane Piper, Hobson Pittman, Fairfield Porter, Carroll S. Tyson, Roswell Weidner, Neil Welliver, and Harold Weston.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

The Gross McCleaf Gallery was founded in 1969 in Philadelphia, Pennsylvania by Marlin McCleaf and Estelle Shane Gross. The gallery was originally named the Marlin McCleaf Gallery. After McCleaf's departure from the gallery in the early 1970s, Gross became the sole owner and changed the gallery's name to Gross McCleaf Gallery. Early artists exhibited at the gallery include Fairfield Porter, Neil Welliver, Rackstraw Downes, Red Grooms and his wife Mimi Gross, Jane Piper, and Larry Day. After Estelle Gross' death in 1992, Sharon Ewing became the gallery owner and director. Ewing retired in 2020 and Rebecca Segall took over as the gallery's owner and director.

Provenance:

The collection was donated by Estelle and Jay Gross in 1988.

Restrictions:

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

Rights:

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:

Women art dealers  Search this

Function:

Art galleries, Commercial -- Pennsylvania

Citation:

Gross McCleaf Gallery selected artists' files, 1947-1986. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.grosmccl

See more items in:

Gross McCleaf Gallery selected artists' files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9052b0be7-bd8e-4cc3-9fca-5f366e523a11

EDAN-URL:

ead_collection:sova-aaa-grosmccl

Creator:

Braunstein/Quay Gallery  Search this

Names:

32 Main St. Gallery  Search this

Braunstein Gallery (San Francisco, Calif.)  Search this

Quay Ceramics Gallery (San Francisco, Calif.)  Search this

Quay Gallery (San Francisco, Calif.)  Search this

Ruth Braunstein's Quay Gallery (San Francisco, Calif.)  Search this

Braunstein, Ruth, 1923-  Search this

Hardy, Don Ed  Search this

Kienholz, Edward, 1927-  Search this

Reddin-Kienholz, Nancy  Search this

Shaw, Richard  Search this

Voulkos, Peter, 1924-2002  Search this

Extent:

36.9 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1956-2011

Summary:

The Braunstein/Quay Gallery records measure 36.9 linear feet and date from 1956 to 2011. The records consist of administrative records, artist files, exhibition and event files, and financial records that shed light on the gallery's operations through correspondence, price lists, inventories, printed material, born digital material, photographs, and more.

Scope and Contents:

The Braunstein/Quay Gallery records measure 36.9 linear feet and date from 1956 to 2011. The records consist of administrative papers, artist files, exhibition and event files, and financial records that shed light on the gallery's operations through correspondence, price lists, inventories, printed material, born digital material, photographs, and more.

Administrative records consist of property records, advertising files, papers related to professional organizations, non-profits, 139 Spring Street Inc., and scant personal and professional papers from Ruth Braunstein. Correspondence files include letters exchanged between Braunstein and collectors, museums and galleries, artists, conservationists, and printers. Photographs found here depict the gallery's physical space as well as images captured during events, exhibitions, and installations from the 1960s to 1980s.

Artist files mostly include resumes or biographies, correspondence, price lists, newspaper clippings, exhibition announcements, press releases, and catalogs. Folders might also include press packets, a mixture of personal and professional correspondence; CDs, DVDs, photographs, slides, and negatives of artists, artwork, and gallery installations; exhibition material such as loan agreements, announcements and catalogs, reviews, and notices of sale; shipping and transportation papers; and financial records.

Exhibition and event files shed light on group exhibitions held at Braunstein/Quay and events and exhibitions held elsewhere that involved artwork or artists with Braunstein/Quay. Folders might include contracts and agreements, loan and shipping records, correspondence, printed material, photographs, born digital materials, financial papers, and artist resumes. Also found here are press releases, catalogs, announcement cards, and scant clippings from Braunstein/Quay's exhibitions. Financial records consist of artist statements, sales records, and bills for shipping, framing, conservation, and utilities.

Arrangement:

The collection is arranged as four series.

Series 1: Administrative Records, 1961-2009 (Box 1-4; 3.5 linear feet)

Series 2: Artist Files, 1956-2011 (Box 4-29, 39; 25.2 linear feet)

Series 3: Exhibition and Event Files, 1961-2010 (Box 29-33; 4.4 linear feet)

Series 4: Financial Records, 1965-1996 (Box 33-39; 3.8 linear feet)

Biographical / Historical:

Braunstein/Quay Gallery was a contemporary art gallery founded in 1961 in San Francisco, California, by Ruth Braunstein. An early proponent of sculptural clay, fiber art, art furniture, glass, and ceramic work as fine art, the gallery dealt with contemporary art in various mediums. Some of Braunstein/Quay's most well-known artists include Peter Voulkos, Richard Shaw, Robert Brady, John Altoon, Bruce Conner, and Mary Snowden.

Ruth Braunstein and Verna Are began renting a gallery space in Tiburon, California, in July 1961 under the name Gallery 32. Verna Are's expertise was in furniture and interior design items, while Braunstein's was contemporary fine art. Later in the summer of 1961, Braunstein changed the name to The Quay Gallery. She credited architect Raphael Soriano as having come up with the name. In the early 60s, Braunstein developed relationships with others in the California art community, namely David Stuart, Jackie Anhalt, Felix Landau, and Rolf Nelson. Early artists at the gallery included Hal Riegger, Doris Aller, Igor Medvedev, Win NG, Jim Melchert, and Elton Bennet.

In May 1965, Braunstein moved the gallery to San Francisco. After fellow gallerist Jim Newman closed his gallery near Braunstein's in 1968, Braunstein began showing several of Newman's artists, including Richard Shaw, Bruce Conner, Jeremy Anderson, and Sidney Gordon. In 1968, the gallery had its first show of Peter Voulkos's work after agreeing to pay him a stipend for one year. Voulkos and Braunstein's relationship continued into the 2000s.

In 1970, Braunstein went into business with collector Rena Bransten to start Quay Ceramics Gallery. Silvia Brown was involved with the business for one year, and later, Bransten's daughter, Trish, became partners with Braunstein after her mother left. Ruth Braunstein still operated her art gallery, then named Braunstein Gallery, which had moved from its original location on Jerome Street to Sutter Street in San Francisco. Quay Ceramics Gallery was located next door. Several administrative changes and name variations occurred over the next few decades, but Braunstein kept its gallery space on Sutter Street until 1999.

In 1975, Ruth Braunstein joined gallerists Phyllis Kind from Chicago, Carl Solway from Cincinnati, and Ed Thorp from Santa Barbara to establish a gallery in New York called 139 Spring Street, Inc. They opened with a show of Peter Voulkos and Sam Tchakalian. Only Voulkos artwork sold; bought by fellow art dealer Grace Borgenicht. The partners dismantled the gallery coop four years later.

Braunstein/Quay promoted the San Francisco art scene and the careers of many artists for 50 years. In addition to the artists mentioned above, other artists influenced by Braunstein/Quay include Dominic DiMare, Gyongy Laky, Myra Block, Elin Elisofon, Robilee Frederick, Bean Finneran, David Anderson, Kimberly Austin, Arthur Okamura, Dennis Oppenheim, and Kyle Reicher. Braunstein/Quay, known to represent Braunstein's perspective on what she connotated as 'fine art,' exhibited works in the 1990s by tattoo artist Don Ed Hardy, and held a group show exhibiting works by tattoo artists, Out of Skin: Work by Tattooers (1996). Other unique shows included a group exhibition dedicated to dog imagery, The Dog Show, A Group Exhibition (1988); a group exhibition of book art, Redefining the Book (1994); and an exhibition of photographs of actress and Andy Warhol associate, Candy Darling, Candy Darling, Always a Lady (1997). In 2010, Cabrillo Gallery held a retrospective of Braunstein's career as a gallerist, Ruth Braunstein and the Braunstein Quay Gallery, 1961-Present.

Ruth Braunstein was born in Minneapolis in 1923. She pursued a career in modern dance, dancing professionally in Washington D.C. and at the Minneapolis Dance Center. She married Theodore Braunstein in 1943. They moved to San Francisco, California, in 1960 and had two children, born two years apart. Aside from her career as a gallerist, Braunstein gave lectures, juried art competitions, participated in workshops, and was involved in various professional art organizations. In the early 1970s, Ruth Braunstein, along with a group that included Michael Wallace, Jim Willis, Buzz Sawyer, and Helen Henninger, founded the San Francisco Art Dealers' Association. The association put on a series of Introductions exhibitions every July for artists who had never shown in San Francisco; these exhibitions ran until 2002. Braunstein was also a committee member for ArtTable and on the board of Fiberworks. She passed away in September, 2016.

Provenance:

The collection was donated in several installments from 1974 to 2011 by gallery director and owner Ruth Braunstein.

Restrictions:

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

Rights:

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

Occupation:

Art dealers -- California -- San Francisco  Search this

Art dealers -- New York (State)  Search this

Topic:

Women artists  Search this

Women art dealers  Search this

Function:

Art galleries, Commercial -- California

Citation:

Braunstein/Quay Gallery records, 1956-2011. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.braugall

See more items in:

Braunstein/Quay Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94f7ea069-6662-4862-aa7b-3e2f82d90858

EDAN-URL:

ead_collection:sova-aaa-braugall