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Jo Hanson papers

Creator:
Hanson, Jo  Search this
Names:
Women's Caucus for Art  Search this
Dickinson, Eleanor, 1931-  Search this
Hendrickson, Barbara  Search this
Extent:
4.1 Linear feet
1.06 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Photographs
Transcripts
Sound recordings
Interviews
Date:
circa 1969-2009
Summary:
The papers of San Francisco environmental artist and activist Jo Hanson measure 4.1 linear feet and 1.06 GB and date from circa 1969 to 2009. The papers document her professional activities through biographical material, project and exhibition files, printed and digital material, artwork, and photographs. Also found are files regarding her participation in the Women's Caucus for Art.
Scope and Contents:
The papers of San Francisco environmental artist and activist Jo Hanson measure 4.1 linear feet and 1.06 GB and date from circa 1969 to 2009. The papers document her professional activities through biographical material, project and exhibition files, printed and digital material, artwork, and photographs. Also found are files regarding her participation in the Women's Caucus for Art.

Of note within the collection is an oral history interview of Hanson, conducted by Eleanor Dickinson and Barbara Hendrickson in 2006-2007, as well was biographical documentation compiled for the interview. Hanson's installations "Crab Orchard Cemetery" and "Public Disclosure: Secrets From the Street" are also particularly well documented within this collection.
Arrangement:
The collection is arranged as 6 series.

Series 1: Biographical Material, circa 1976-2008 (0.6 linear feet; Box 1)

Series 2: Project and Exhibition Files, circa 1973-2009 (0.8 linear feet; Box 1-2)

Series 3: Women's Caucus for Art, 1977-2006 (0.4 linear feet; Box 2)

Series 4: Printed Material, 1971-2008 (0.4 linear feet; Box 2)

Series 5: Artwork, 1969-circa 1990s (0.4 linear feet; Box 3, 5)

Series 6: Photographs, circa 1969-2007 (1.7 linear feet; Boxes 3-5, 1.06 GB; ER01-ER02)
Biographical / Historical:
Jo Hanson (1918-2007) was an environmental artist and activist in San Francisco, California. She was known for turning urban trash into works of art. She exhibited her work at the Corcoran Gallery of Art in Washington, D.C., Fresno Art Museum, and the Oakland Museum of California, among other places. In 1974 her installation "Crab Orchard Cemetery" toured nationally and included a mix of sculpture, printmaking, photography, and sound. During the 1980s she served on the San Francisco Arts Commission and championed the work of underrepresented women and artists of color. In 1996 she helped establish WEAD, the Women Environmental Artists Directory.
Provenance:
The collection was donated in 2011 by Eleanor Dickinson, Hanson's friend.
Restrictions:
Use of original papers requires and appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Jo Hanson 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:
Women artists -- California -- San Francisco  Search this
Environmental artists  Search this
Topic:
Art -- Political aspects  Search this
Genre/Form:
Video recordings
Photographs
Transcripts
Sound recordings
Interviews
Citation:
Jo Hanson papers, circa 1969-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hansjo
See more items in:
Jo Hanson papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hansjo

Oral history interview with Dorr Bothwell, 1965 February 27

Interviewee:
Bothwell, Dorr Hodgson, 1902-2000  Search this
Interviewer:
McChesney, Mary Fuller, 1922-  Search this
Subject:
Clements, Grace  Search this
Feitelson, Lorser  Search this
Macdonald-Wright, Stanton  Search this
Federal Art Project (Calif.)  Search this
Public Works of Art Project  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Women artists -- California -- Interviews  Search this
Painters -- California -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12484
(DSI-AAA_SIRISBib)213363
AAA_collcode_bothwe65
Theme:
New Deal
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213363
Online Media:

David Ireland Papers

Artist:
Ireland, David, 1930-2009  Search this
Names:
American Academy in Rome  Search this
Arts Club of Chicago  Search this
California College of Arts and Crafts (San Francisco, Calif.)  Search this
Center for the Arts at Yerba Buena Gardens  Search this
Gallery Paule Anglim  Search this
Helmhaus Zürich  Search this
Mattress Factory  Search this
New Museum of Contemporary Art (New York, N.Y.)  Search this
Perth Institute of Contemporary Arts  Search this
San Francisco Art Institute  Search this
San Francisco Museum of Modern Art  Search this
Skowhegan School of Painting and Sculpture  Search this
Stanford University  Search this
Walker Art Center  Search this
Washington State Arts Commission  Search this
Western Washington University  Search this
Coppola, Eleanor  Search this
Grobart, Jeffrey  Search this
Lee, Margie  Search this
Lienhard, Marie-Louise  Search this
Marion, Paul  Search this
Tingle, Alta  Search this
Extent:
24.8 Linear feet
8.39 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Sketches
Interviews
Prints
Sound recordings
Drawings
Photographs
Date:
circa 1910s-circa 2009
bulk 1960-2005
Summary:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial recordings, photographic materials, artwork, and video and sound recordings.
Scope and Contents:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial sound recordings, photographic materials, artwork, and video and sound recordings.

Biographical material includes awards and certificates, address books and appointment books, artist's statements, resumes, chronologies, student university materials, passports, and sound and video recordings of interviews with Ireland. Correspondence is with friends, peers, universities, galleries, and museums, including Jeffrey Grobart, Eleanor Coppola, Margie Lee, Marie-Louise Lienhard, Paul Marion, and Alta Tingle, among others. Notes and notebooks contain incoming phone messages, notes to self, regarding projects and ideas, as well as various other notes and plans.

Installation projects and exhibition files constitute the bulk of the collection and document David Ireland's extensive projects and exhibitions around the world. Files are found for his Capp Street house project and Pacific Enterprises project in San Francisco; Boott Mills project in Lowell, Massachusetts; IKEA Emeryville Public Art Project in Emeryville, California; and several Washington State Arts Commission and Western Washington University projects. Other exhibition and installation locations found within the files include the American Academy in Rome; Yerba Buena Arts Center in California; Perth Institute of Contemporary Art in Australia; Helmhaus in Zurich, Switzerland; Arts Club of Chicago; SFMOMA; New Museum of Contemporary Art in New York; Walker Art Center in Minneapolis, Minnesota; and the Mattress Factory in Pittsburgh, among many others. The files contain a wide variety of materials, including sound and video recordings in various formats.

Teaching files document David Ireland's many roles as visiting artist, artist-in-residence, instructor, and conference and symposium panelist at the California College of Arts and Crafts, San Francisco Art Institute, Skowhegan School of Painting and Sculpture, and Stanford University Department of Art, among others. Travel files document Ireland's trips abroad, both independent of and as a result of installation and project obligations.

Personal business records are comprised of financial materials and documentation relating to Ireland's two early South African import and safari businesses as well grants and project proposals, various loan agreements, representation through Gallery Paule Anglim, property sales and tax documentation, inventory materials, and various other business materials. Also found within the collection are printed material and four commercial sound recordings. Photographs are of the artist, friends and family, Ireland's Oakland studio, and works of art. There is artwork by Ireland, including sketches, drawings, and prints, and a few pieces of artwork by other artists. In addition to sound and video recordings arranged in other series, there is one video recording and six sound cassettes that are either unidentified or have no additional context within the collection.
Arrangement:
This collection is arranged as 11 series.

Series 1: Biographical Material, circa 1950-circa 2009 (1.5 linear feet; Boxes 1-2)

Series 2: Correspondence, circa 1937-circa 2008 (4 linear feet; Boxes 2-6)

Series 3: Notes and Notebooks, circa 1965-circa 2008 (0.7 linear feet; Boxes 6-7)

Series 4: Installation Projects and Exhibition Files, circa 1960s-circa 2009 (11.6 linear feet; Boxes 7-18, OV26, OV27, 7.84 GB; ER01-ER15)

Series 5: Teaching Files, 1977-1998 (1.2 linear feet; Boxes 18-19)

Series 6: Travel Files, circa 1950s-circa 1994 (0.6 linear feet; Boxes 19-20)

Series 7: Personal Business Records, circa 1965-circa 2008 (1.1 linear feet; Boxes 20-21)

Series 8: Printed Material and Commercial Recordings, 1932-circa 2009 (2.3 linear feet; Boxes 21-23, 0.553 GB; ER16)

Series 9: Photographic Materials, circa 1910s-circa 2005 (1 linear foot; Boxes 23-24)

Series 10: Artwork, circa 1965-circa 2003 (0.2 linear feet; Box 24)

Series 11: Video and Sound Recordings, circa 1965-circa 1990s (0.4 linear feet; Box 25)
Biographical / Historical:
David Ireland (1930-2009) was a conceptual artist and sculptor who worked in San Francisco, California.

Ireland was born in Bellingham, Washington and attended Western Washington University. In 1953, he received a degree in industrial design and printmaking from the California College of Arts and Crafts (now California College of the Arts) in Oakland. He then served two years in the U. S. Army in Missouri, returning to live and work in Bellingham. For several years, Bellingham served as his launch point for extensive travels in Europe and Africa.

In the late 1950s, Ireland founded Hunter Africa, an artifacts import business. He moved the business to San Francisco in 1965 and also began a second business leading safaris in Africa. He married Bellingham native Joanne Westford and had two children, Ian Ireland and Shaughn Niland; they divorced in 1970.

Ireland attended the San Francisco Art Institute and received a graduate degree in 1974. There, he met other Bay Area artists involved in the conceptual movement there, including Tom Marioni, Paul Kos, Howard Fried, and Terry Fox.

Much of Ireland's artwork of the 1980s and 1990s centered on the transformation of his home at 500 Capp Street in San Francisco, where he dramatically physically and conceptually transformed the interior and exterior structure into a mix of architectural sculpture and environmental art piece. He bought a second home in 1979 to transform, and, in the 1980s, completed a renovation of the main building at the Headlands Center for Arts in Sausalito with artist Mark Thompson.

David Ireland's work has been presented in more than forty solo exhibitions at venues that included the Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C.; The Museum of Modern Art and the New Museum of Contemporary Art, New York. He created major public projects and private commissions in Los Angeles, San Francisco, Philadelphia, Washington, D. C., and other cities. His work is included in the permanent collections of The Museum of Modern Art and the Whitney Museum of American Art in New York, San Francisco Museum of Modern Art, Los Angeles County Museum of Art, Oakland Museum of California, and University of California, Berkeley Art Museum and Pacific Film Archive, among others.
Provenance:
The David Ireland papers were donated in 2010 by the David Ireland Estate through Jock Reynolds, Special Trustee, The David Ireland Revocable Trust.
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. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The David Ireland 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:
Sculptors -- California -- San Francisco  Search this
Conceptual artists -- California -- San Francisco  Search this
Topic:
Artists' studios -- Photographs  Search this
Art -- Study and teaching  Search this
Installations (Art)  Search this
Public art  Search this
Genre/Form:
Video recordings
Sketches
Interviews
Prints
Sound recordings
Drawings
Photographs
Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ireldavi
See more items in:
David Ireland Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ireldavi

Imogen Cunningham papers

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

Enrique Chagoya papers

Creator:
Chagoya, Enrique  Search this
Names:
California State University, Hayward -- Faculty  Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1990-1995
Summary:
The papers of painter, printmaker, and educator Enrique Chagoya measure 0.8 linear feet and date from 1990 to 1995. The collection includes four dossiers compiled by Chagoya for evaluations of his professorship at California State University in Hayward, California. The dossiers contain resumes, student evaluations, correspondence, exhibition announcements and catalogs, clippings, transparencies of artwork, class syllabi, lists of accomplishments as an educator, and lists of exhibitions.
Scope and Contents:
The papers of painter, printmaker, and educator Enrique Chagoya measure 0.8 linear feet and date from 1990 to 1995. The collection includes four dossiers compiled by Chagoya for evaluations of his professorship at California State University in Hayward, California. The dossiers contain resumes, student evaluations, correspondence, exhibition announcements and catalogs, clippings, transparencies of artwork, class syllabi, lists of accomplishments as an educator, and lists of exhibitions.
Arrangement:
The collection is arranged as one series.

Series 1: Enrique Chagoya papers, 1990-1995 (Boxes 1-2; 0.8 linear feet)
Biographical / Historical:
Enrique Chagoya (1953- ) is a painter, printmaker, and educator in San Francisco, California.

Chagoya was born in Mexico City. His father, also an artist, encouraged Chagoya's interest in art from a young age. Chagoya studied political economics at the Universidad Nacional Autónoma de México. It was during this time that he worked in rural areas on development projects. The projects helped shape the political and social perspective that often appears in Chagoya's artwork. After emigrating to the U.S. in 1977, he began working as an illustrator and graphic designer. Chagoya attended the San Francisco Art Institute where he received his bachelor's degree in 1984 and received a master's degree from the University of California at Berkeley in 1987. He also taught at the University of California at Berkeley, as well as California State University at Hayward, and Stanford University.
Related Materials:
Also found at the Archives of American Art is an oral history interview with Enrique Chagoya conducted by Paul Karlstrom in San Francisco, California from July 25 to August 6, 2001 for the Archives of American Art.
Provenance:
The papers were donated by Enrique Chagoya in 2016.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The donor has retained all intellectual property rights, including copyright, that he may own.
Occupation:
Painters -- California -- San Francisco  Search this
Printmakers -- California -- San Francisco  Search this
Art teachers -- California -- San Francisco  Search this
Topic:
Hispanic American artists  Search this
Citation:
Enrique Chagoya papers, 1990-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.chagenri
See more items in:
Enrique Chagoya papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-chagenri

Dorr Bothwell papers

Creator:
Bothwell, Dorr  Search this
Names:
Pollock-Krasner Foundation  Search this
Adams, Ansel, 1902-1984  Search this
Adams, Virginia Best  Search this
Adnan, Etel  Search this
Chinn, Benjamen, 1921-2009  Search this
Falkenstein, Claire, 1908-1997  Search this
Howard, Charles, 1899-1978  Search this
Jackson, Martha Kellogg  Search this
Packard, Emmy Lou, 1914-1998  Search this
Extent:
10.6 Linear feet
1.72 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Sketchbooks
Photographs
Visitors' books
Interviews
Travel diaries
Scrapbooks
Collages
Sketches
Contracts
Awards
Diaries
Lecture notes
Date:
1900-2006
Summary:
The papers of California painter, printmaker, and art instructor Dorr Bothwell date from 1900-2006, and measure 10.6 linear feet and 1.72 GB. Found within the papers are biographical material, correspondence, personal business records, notes and writings, five diaries, art work and 19 sketchbooks, three scrapbooks, printed material, and print and digital photographs.
Scope and Content Note:
The papers of California painter, printmaker, and art instructor Dorr Bothwell date from 1900-2006, and measure 10.6 linear feet and 1.72 GB. Found within the papers are biographical material, correspondence, personal business records, notes and writings, five diaries, art work and 19 sketchbooks, three scrapbooks, printed material, and print and digital photographs.

Biographical material consists of biographical sketches, resumés, identity cards, award certificates, typescripts of autobiographical interviews, address books, and a file concerning UFOs, spirituality, and philosophy.

Correspondence consists of letters exchanged between Bothwell and her colleagues and friends discussing their art-related activities, travel, and birthday greetings. There are scattered letters from Ansel and Virginia Adams, Etel Adnan, Benjamin Chinn, Claire Falkenstein, and Emmy Lou Packard.

Personal business records include teaching contracts, contracts and royalty statements for the publication of Bothwell's book Notan, insurance records, income tax records, records concerning a grant from the Pollock-Krasner Foundation, estate records, card files, lists of art work, price lists, exhibition entry cards, receipts for the sale of art work, travel receipts, medical receipts, and consignment/sales records.

Notes and writings include three diaries, two travel journals, guest books, miscellaneous lists, schedules of classes for various organizations and art schools including the Ansel Adams Yosemite Workshop, typescripts of lecture notes, and miscellaneous notes. There are also scattered writings by Bothwell and others.

Seventeen sketchbooks, including several completed during Bothwell's travels, and one dated 1942 illustrated with daily drawings of her activities while preparing for World War II, are found within the papers. There are also miscellaneous drawings, collages, a serigraph It's Time for a Change, an etching by Martha Jackson, and a drawing by Charles Howard.

Three scrapbooks contain clippings, exhibition announcements and catalogs, programs, and photographs of art work. Scrapbook 3 contains materials concerning spiritualism and mysticism. Additional printed material consists of clippings, exhibition announcements and catalogs, press releases, brochures for art classes, the sale of art work, travel, and camera equipment, reproductions of art work, picture postcards, programs, books, and miscellaneous commercial business cards.

Photographs are of Bothwell, her mother and brother, her studio/residences, miscellaneous friends and colleagues including her former husband, sculptor Donal Hord, miscellaneous events, and art classes conducted by Bothwell. There are also photographs of art work by Bothwell and others, as well as numerous photographs and slides of travel various forms in nature that Bothwell would incorporate into her art work.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Material, 1939-2001 (Box 1, 11, 13, 15; 0.6 linear feet)

Series 2: Correspondence, 1942-2002 (Box 1-3, 13; 2.3 linear feet)

Series 3: Personal Business Records, 1925-2006 (Box 3-4; 0.7 linear feet)

Series 4: Notes and Writings, 1949-1998 (Box 4, 11, 14, 15; 0.8 linear feet.)

Series 5: Art Work, 1920-1994 (Box 4-5, 11, 13, 16, 17; 1.5 linear feet)

Series 6: Scrapbooks, 1926-1979 (Box 5, 11, 12; 0.5 linear feet)

Series 7: Printed Material, 1923-2000 (Box 5-7, 12, 13; 1.8 linear feet)

Series 8: Photographs, 1900-2001 (Box 7-9, 10; 2.4 linear feet, ER01-ER04; 1.72 GB)
Biographical Note:
Dorr Bothwell (1902-2000) worked primarily in California as a painter, printmaker, and art instructor.

Doris Bothwell was born on May 3, 1902 in San Francisco, and later changed her first name to Dorr in order to more easily enter the art business. Bothwell began her art studies in 1916 with her parents' friend Anna Valentien, a student of Rodin. Between 1921 and 1922, she studied at the California School of Fine Art, and continued her studies at the University of Oregon at Eugene. After attending the Rudolph Schaeffer School of Design in 1924, she established her own studio in San Francisco from 1924 to 1927. Also during this time Bothwell, with eight other artists opened the Modern Gallery on Montgomery Street, mounting her first solo exhibition there in 1927.

Between 1928 and 1929, Bothwell traveled to American Samoa, where she created paintings and drawings, and documented tapa (barkcloth) drawings for the Bishop Museum of Honolulu. She then spent a year of study in Europe, returning to San Diego, California in 1931 and marrying sculptor Donal Hord. Four years later, they divorced and she moved to Los Angeles where she worked for the pottery manufacturer Gladding McBean, joined the post-surrealist group around Lorser Feitelson and Helen Lundeberg and opened the Bothwell-Cooke Gallery.

Between 1936 and 1939, Bothwell worked in the mural division of the Federal Arts Project of Los Angeles, and learned the art of serigraph printing. She designed dioramas and mechanized exhibitions for the Los Angeles County Museum. In 1940 she also created murals in the Manning Coffee Restaurant in San Francisco.

After teaching color and design at the California School of Fine Art in San Francisco from 1944 to 1948, Bothwell was awarded the Abraham Rosenberg Traveling Scholarship that financed study in Paris from 1949 to the fall of 1951. In 1952 she taught textile design for mass production at the Parsons School of Design in New York City.

Returning to San Francisco, Bothwell taught again at the California School of Fine Art from 1953 to 1958, and at the San Francisco Art Institute from 1959 to 1960. From 1960 to 1961 she took a sabbatical in England and France, creating paintings for an exhibition. In 1962 she was asked to teach at the new Mendocino Art Center and she taught there until 1983. She was also asked by Ansel Adams to teach design and composition for photographers at his Yosemite Workshop summer sessions, which she did from 1964 to 1977.

From 1966 to 1967, Bothwell documented indigo dying techniques, strip weaving, and pottery in Western Nigeria and Tunisia. In 1968, she published her book, co-authored with Marlys Frey, NOTAN The Principle of Dark-Light Design. The book was reissued in 1991. Bothwell continued her travels from 1970 to 1971, when she studied 12th century enamels in England, France, and Holland, and conducted a symposium, "Notan Design," for the London Educational Authority. In 1974, she traveled to Bali, Java, and Sumatra, making a slide documentary on batik, woodcarving, and folk design.

In 1977 Bothwell moved to Joshua Tree, California, from Mendocino in Northern California, but moved back and forth between the two studio/residences until 1992 when she moved to her last residence on the desert at Apache Junction, Arizona. From 1979 to 1980, she taught composition at the Victor School of Photography in Colorado and a design course at the Women's Art Guild in Kauai, Hawaii. Following a tour of China with a watercolor artists' group in 1982, Bothwell conducted workshops at the Mendocino Art Center. In 1985, she traveled to Japan.

Dorr Bothwell died on September 24, 2000 in Fort Bragg, California.
Provenance:
The Dorr Bothwell papers were donated in 1978 by the artist, and in 2002, 2009, and 2012 by the Dorr Bothwell Trust.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Dorr Bothwell 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:
Women artists -- California  Search this
Art teachers -- California  Search this
Artists' studios -- Photographs  Search this
Painters -- California  Search this
Surrealism  Search this
World War, 1939-1945  Search this
Genre/Form:
Drawings
Sketchbooks
Photographs
Visitors' books
Interviews
Travel diaries
Scrapbooks
Collages
Sketches
Contracts
Awards
Diaries
Lecture notes
Citation:
Dorr Bothwell papers, 1900-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bothdorr
See more items in:
Dorr Bothwell papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bothdorr

Emmy Lou Packard Papers

Creator:
Packard, Emmy Lou, 1914-1998  Search this
Names:
American Civil Liberties Union  Search this
Public Works of Art Project  Search this
Covarrubias, Miguel, 1904-1957  Search this
Edmunds, John, 1913-  Search this
Kahlo, Frida  Search this
Lange, Dorothea  Search this
O'Gorman, Juan, 1905-  Search this
O'Higgins, Pablo, 1904-  Search this
Refregier, Anton, 1905-  Search this
Reynolds, Malvina  Search this
Rivera, Diego, 1886-1957  Search this
Extent:
9.4 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketches
Photographs
Interviews
Diaries
Date:
1900-1990
Summary:
The Emmy Lou Packard papers measure 9.4 linear feet and date from 1900 to 1990, and focus on the career of painter, printmaker, muralist, and sculptor Emmy Lou Packard. Also found are extensive materials relating to Packard's personal and professional relationship with muralist Diego Rivera and painter Frida Kahlo, with whom Packard lived for one year in Mexico. Papers include correspondence, financial records, notes, writings, exhibition files, photographs, and printed material.
Scope and Contents note:
The Emmy Lou Packard papers measure 9.4 linear feet and date from 1900 to 1990, and focus on the career of painter, printmaker, muralist, and sculptor Emmy Lou Packard. Also found are extensive materials relating to Packard's personal and professional relationship with muralist Diego Rivera and painter Frida Kahlo, with whom Packard lived for one year in Mexico. Papers include correspondence, financial records, notes, writings, exhibition files, photographs, and printed material.

Biographical materials include resumes, personal forms, and certificates. Correspondence is with family, friends, and colleagues, including muralist Anton Refregier, songwriter Malvina Reynolds, and composer John Edmunds. There is one letter from Dorothea Lange. Also found is correspondence with various political and arts organizations, such as the American Civil Liberties Union and the Russian magazine Soviet Woman. Much of the correspondence discusses personal relationships and political and art-related activities. Additional correspondence with and concerning Diego Rivera and Frida Kahlo is arranged in Series 6.

Personal business records found within the papers include studio real estate and rent records, insurance records, price lists for artwork, consignment records, and miscellaneous receipts. There is one interview transcript of an interview with Packard for the Radical Elders Oral History Project. The papers include a series of notebooks/diaries, address lists, and other notes.

Packard's reference files and personal papers documenting her professional and close personal relationship with Diego Rivera and Frida Kahlo are arranged into a separate series. They include her research files for a planned book on the two artists, personal letters between Packard and the couple, as well as several interesting photographs. Also found in this series are notes, writings, and printed materials relating to Diego Rivera, Frida Kahlo, and other Mexican artists, such as Covarrubius, Juan O'Gorman, and Pablo O'Higgins.

The collection also includes typescripts and additional writings by Packard and others. Artwork consists of orginal drawings and prints by Packard and others not directly associated with projects. Exhibition and project files for many of Packard's commissioned projects are also found within the collection, including her files for the restoration of Anton Refregier's Rincon Annex Post Office mural in San Francisco and the Coit Tower murals in San Francisco. Many of the project files contain correspondence, reports, contracts, printed material, photographs, and artwork.

The papers also include photographs of Packard, her family, residences, artwork, friends, and colleagues, including Cesar Chavez, Juan O'Gorman, Malvina Reynolds, Charles Safford, Ralph Stackpole, and Tennessee Williams. Two scrapbooks are found, as well as additional printed materials such as clippings and exhibition announcements and catalogs. There are also two artifact items, a vinyl record of Malvina Reynolds and a political campaign button.
Arrangement note:
The collection is arranged into fifteen series.

Series 1: Biographical Material, 1942-1985 (Box 1; 1 folder)

Series 2: Correspondence, 1919-1990 (Box 1-3; 2.6 linear feet)

Series 3: Personal Business Records, 1945-1985 (Box 3; 21 folders)

Series 4: Interview Transcript, 1979 (Box 3; 1 folder)

Series 5: Notes, 1900-1985 (Box 3-4, 10; 1.1 linear feet)

Series 6: Reference Files on Diego Rivera and Frida Kahlo, 1929-1986 (Box 5, 10, OV 11; 0.9 linear feet)

Series 7: Writings by Packard, 1953-1984 (Box 6; 17 folders)

Series 8: Writings by Others, 1955-1984 (Box 6; 19 folders)

Series 9: Artwork, 1921-1976 (Box 6; 10 folders)

Series 10: Exhibition Files, 1950-1964 (Box 6, OV 11; 5 folders)

Series 11: Project Files, 1953-1985 (Box 6-7, 10, OV 11; 1.8 linear feet)

Series 12: Photographs, 1914-1982 (Box 8, 10; 0.8 linear feet)

Series 13: Scrapbooks, 1947-1950 (Box 8, 10; 0.2 linear feet)

Series 14: Printed Material, 1936-1988 (Box 8-9, 10; 1 linear foot)

Series 15: Artifacts, 1984 (Box 9-10, OV 11; 2 folders)
Biographical/Historical note:
Emmy Lou Packard was born in Imperial Valley, California on April 15, 1914, to Walter and Emma Leonard Packard. In the late 1920s she lived with her family in Mexico City where she became acquainted with Diego Rivera, from whom she received regular art criticism and encouragement. She graduated from the University of California, Berkeley and completed courses in fresco and sculpture at the California School of Fine Arts in 1940. That year and the next, Packard worked as a full-time painting assistant to Rivera on his 1,650 square-foot fresco at the World's Fair in San Francisco. During this project, Packard became very close to Rivera and Frida Kahlo and returned to Mexico with them and spent a year living with the couple.

From then on, except for in 1944-1945 working for a defense plant, Packard worked and grew in various aspects of her art. In addition to her work in fresco, Packard is known for her work in watercolor, oil, mosaic, laminated plastic, concrete, and printmaking, both in linocuts and woodblocks. She received numerous commissions that included installations for ships, hotels, and private homes for which she executed large woodcuts and mural panels. During the 1950s and 1960s, Packard was hired to restore several historic murals, most notably the Rincon Annex Post Office mural by Anton Refregier and the Coit Tower murals in San Francisco.

Between 1966 and 1967 she was commissioned by architects to design and execute a number of concrete and mosaic pieces, one of which went to the Mirabeau Restaurant in Kaiser Center, Oakland. She also designed and executed a mural for the Fresno Convention Center Theater during that same period. In 1973-1974, she designed and supervised a glazed brick mural for a public library in Pinole, California.

Packard had one-woman shows at the San Francisco Museum of Art, Raymond and Raymond Gallery (San Francisco), Addison Gallery of American Art (Andover, Mass.), Connecticut Academy of Fine Arts, Pushkin Museum (Moscow), and March Gallery (Chicago). Emmy Lou Packard died in 1998.
Related Archival Materials note:
Also found in the Archives of American Art is an oral history interview with Emmy Lou Packard conducted by Mary Fuller McChesney in 1964.
Provenance:
Emmy Lou Packard donated her papers to the Archives of American Art from 1984-1988.
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 Emmy Lou Packard 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:
Sculptors -- California -- San Francisco  Search this
Topic:
Works of art  Search this
Printmakers -- California -- San Francisco  Search this
Painters -- California -- San Francisco  Search this
Mural painting and decoration, American  Search this
Mural painting and decoration, Mexican  Search this
Muralists -- California -- San Francisco  Search this
Genre/Form:
Scrapbooks
Sketches
Photographs
Interviews
Diaries
Citation:
Emmy Lou Packard papers, 1900-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.packemmy
See more items in:
Emmy Lou Packard Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-packemmy
Online Media:

Agnes Albert letter from Edward Hopper

Creator:
Albert, Agnes  Search this
Hopper, Edward, 1882-1967  Search this
Extent:
1 Microfilm reel (1 item on partial microfilm reel)
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1955 February 4
Scope and Contents:
The microfilmed Agnes Albert letter from Edward Hopper is dated February 4, 1955. In it Hopper describes how he came to paint the watercolor House at San Mateo, and he gives his impressions of San Francisco and San Mateo.
Biographical / Historical:
Agnes Albert (1908-2002) was a pianist and arts patron in San Francisco, California.

Edward Hopper (1882-1967) was an American painter and printmaker.
Related Materials:
The Archives of American Art also holds the oral history interview with Edward Hopper, 1959 June 17.
Provenance:
Lent for microfilming 1977 by Agnes Albert.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters  Search this
Art patrons -- California -- San Francisco  Search this
Citation:
Agnes Albert letter from Edward Hopper. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.albeagne
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-albeagne

Eleanor Dickinson Pentecostal Videotape and Audiotape Collection

Producer:
Dickinson, Eleanor, 1931-  Search this
Collector:
Community Life, Div. of, NMAH, SI  Search this
Interviewee:
Mayes, Harrison  Search this
Extent:
0.5 Cubic feet (2 boxes, 6 videotapes, 1 audiotape)
Type:
Collection descriptions
Archival materials
Videotapes
Audiotapes
Place:
Appalachian Region
Date:
1967-1977
Scope and Contents:
Videotapes of Pentecostal ceremonies, such as snake handling, laying on of hands, baptisms, foot washing, casting out of devils, dancing in ecstasy; a video interview with Brother Harrison Mayes at his home in Middleburg, Kentucky; and an audiotape of revival meetings.
Arrangement:
Collection is arranged in one series:

Series 1, Audiovisual
Biographical / Historical:
Eleanor Creekmore Dickinson, artist, produced several exhibits as well as a book on Pentecostal worship in the South entitled Revival! She documented Pentecostal and Baptist ceremonies using videotape, audiotape, line drawings and velvet painting.

Dickinson was born February 7, 1931, in Knoxville, Tennessee. She was educated at the University of Tennessee (B.A., Fine Art, 1952); the San Francisco Art Institute (painting and printmaking, 1961-1963); the Académie Grande Chaumière, Paris (drawing, 1971); the University of California at Berkeley (history, 1967 and 1981), and the California College of Arts and Crafts (Master of Fine Arts in Video, 1982). She began teaching at the California College of Arts and Crafts as Professor of Art in 1971.

She has had numerous solo and group exhibitions, has received grants in connection with her work, and is represented in more than a dozen public collections, including the Corcoran Gallery of Art, the San Francisco Museum of Modern Art, the Library of Congress, and the Oakland Museum.

A resume and selected bibliography, compiled in 1986, are in the Archives Center's collection control files.
Related Materials:
Related artifacts in Division of Community Life, NMAH (see accessions 306082, 306787, 1981.0570, and 1978.0344); related materials in the SI Archives of American Art and the Library of Congress.
Provenance:
Collection donated by Eleanor Dickinson in 1980 and transferred to the Archives Center from the National Museum of American History Division of Community Life in 1986.
Restrictions:
Collection is open for research. No reference copies exist. Orginals are not accessable.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Baptists  Search this
Evangelistic work  Search this
Religion -- Videotapes  Search this
Religion and culture -- Videotapes  Search this
Foot washing (Rite)  Search this
Ecstatic dance  Search this
Imposition of hands  Search this
Foot -- Religious aspects  Search this
Revivals  Search this
Exorcism  Search this
Baptism  Search this
Snake cults (Holiness churches) -- Videotapes  Search this
Rites and ceremonies -- Videtoapes  Search this
Pentecostal churches  Search this
Genre/Form:
Videotapes
Audiotapes -- 1940-1980
Citation:
Eleanor Dickinson Pentecostal Videotape and Audiotape Collection, Archives Center, National Museum of American History. Gift of the artist.
Identifier:
NMAH.AC.0199
See more items in:
Eleanor Dickinson Pentecostal Videotape and Audiotape Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0199

Downtown Gallery records

Creator:
Downtown Gallery  Search this
Names:
American Folk Art Gallery  Search this
Boris Mirski Gallery (Boston, Mass.)  Search this
Ernest Brown & Phillips  Search this
Our Gallery (New York, N.Y.)  Search this
Breinin, Raymond, 1910-  Search this
Broderson, Morris, 1928-2011  Search this
Brook, Alexander, 1898-1980  Search this
Burlin, Paul, 1886-1969  Search this
Cahill, Holger, 1887-1960  Search this
Carlen, Robert, 1906-1990  Search this
Cikovsky, Nicolai, 1894-  Search this
Coleman, Glenn O., 1887-1932  Search this
Crawford, Ralston, 1906-1978  Search this
Davis, Stuart, 1892-1964  Search this
Demuth, Charles, 1883-1935  Search this
Doi, Isami, 1903-1965  Search this
Dole, William, 1917-  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Felix Landau Gallery  Search this
Fredenthal, David, 1914-1958  Search this
Garbisch, Edgar  Search this
Guglielmi, Louis, 1906-1956  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Halpert, Samuel, 1884-1930  Search this
Harnett, William Michael, 1848-1892  Search this
Hart, George Overbury, 1868-1933  Search this
Hartley, Marsden, 1877-1943  Search this
Karfiol, George  Search this
Karolik, Maxim  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lane, William H.  Search this
Laurent, Robert, 1890-1970  Search this
Lawrence, Jacob, 1917-2000  Search this
Lea, Wesley  Search this
Levi, Julian E. (Julian Edwin), 1900-1982  Search this
Levine, Jack, 1915-2010  Search this
Lewandowski, Edmund, 1914-  Search this
Marin, John, 1870-1953  Search this
Morris, George L. K., 1905-  Search this
Nakian, Reuben, 1897-1986  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Osborn, Robert Chesley, 1904-1994  Search this
Pascin, Jules, 1885-1930  Search this
Pattison, Abbott L. (Abbott Lawrence), 1916-1999  Search this
Pippin, Horace, 1888-1946  Search this
Pollet, Joseph C., 1897-1979  Search this
Rattner, Abraham  Search this
Rockefeller, Abby Aldrich  Search this
Saklatwalla, Beram K.  Search this
Shahn, Ben, 1898-1969  Search this
Sheeler, Charles, 1883-1965  Search this
Siporin, Mitchell, 1910-1976  Search this
Spencer, Niles, 1893-1952  Search this
Stasack, Edward  Search this
Steichen, Edward, 1879-1973  Search this
Steig, William, 1907-  Search this
Stella, Joseph, 1877-1946  Search this
Stieglitz, Alfred, 1864-1946  Search this
Storrs, John Henry Bradley, 1885-1956  Search this
Tam, Reuben  Search this
Tannahill, Robert Hudson  Search this
Tseng, Yu-ho, 1924-  Search this
Varian, Dorothy, 1895-1985  Search this
Walters, Carl, 1883-1955  Search this
Webb, Electra Havemeyer  Search this
Weber, Max, 1881-1961  Search this
Wilde, Isabel Carleton, 1877?-1951  Search this
Zajac, Jack, 1929-  Search this
Zerbe, Karl, 1903-1972  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, William, 1887-1966  Search this
Photographer:
Adams, Ansel, 1902-1984  Search this
Bry, Doris  Search this
Karfiol, Bernard, 1886-1952  Search this
Klein, Carl  Search this
Maya, Otto  Search this
Newman, Arnold, 1918-2006  Search this
Ray, Man, 1890-1976  Search this
Reynal, Kay Bell, 1905-1977  Search this
Siegel, Adrian  Search this
Sunami, Soichi, 1885-1971  Search this
Valente, Alfredo  Search this
Van Vechten, Carl, 1880-1964  Search this
Yavno, Max  Search this
Extent:
109.56 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Photographs
Motion pictures (visual works)
Date:
1824-1974
bulk 1926-1969
Summary:
The records of the Downtown Gallery date from 1824 to 1974 (bulk 1926-1969) and measure 109.56 linear feet. The records present a comprehensive portrait of a significant commercial gallery that operated as a successful business for more than forty years, representing major contemporary American artists and engendering appreciation for early American folk art. There is an unprocessed addition to this collection dating circa 1970 of a single financial/legal document.
Scope and Content Note:
The Downtown Gallery records constitute 109.56 linear feet on 167 reels of microfilm. The records are dated 1824 to 1974 with bulk dates from 1926 to 1969. There is an unprocessed addition to this collection dating circa 1970 of a single financial/legal document.

The Downtown Gallery was established in 1926 as Our Gallery and operated under the name Downtown Gallery from 1927 until 1973. Nineteenth-century material consists of items acquired by Edith Gregor Halpert for research purposes or to document works of art in the gallery's inventory. The few records postdating the closing of the gallery relate to the estate of Edith Gregor Halpert.

The extensive records of the Downtown Gallery present a comprehensive portrait of a significant commercial gallery that operated as a successful business for more than forty years, representing major contemporary American artists and engendering appreciation for early American folk art. Edith Halpert, the gallery's founder and director, was an influential force in the American art world for a large part of the twentieth century.

Personal papers are intermingled with the business records of the Downtown Gallery. Many of the artists represented by the gallery were Halpert's personal friends, and over the years she developed social relationships and friendships with many clients. These relationships are reflected by the contents of the records, especially the correspondence, some of which is purely personal. In addition, there are a small number of letters from relatives, photographs of Halpert's family, home and friends, and limited information about her country house and personal finances.

The Downtown Gallery records consist largely of correspondence with collectors, including Edgar and Bernice Chrysler Garbisch, Preston Harrison, Mr. and Mrs. Maxim Karolik, William H. Lane, Abby Aldrich Rockefeller, Beram K. Saklatwalla, Robert Tannahill, and Electra Havemeyer Webb; with dealers, including robert Carlen, Landau Gallery, Leicester Galleries, Mirski Gallery, and Isabel Carleton Wilde; and with large numbers of curators and museum directors, including many affiliated with university museums. In addition, there is correspondence concerning routine gallery business and administrative affairs.

Artist files and an extensive series of notebooks (American Folk Art Gallery notebooks, artist notebooks, and publicity notebooks) compiled by gallery staff contain a wide variety of material and are a rich source of information about individual artists and the Downtown Gallery's exhibition history.

Business records include exhibition records, stock records, sales records, transit records, financial records, lists of artwork and clients, legal documents, minutes, insurance records, research files, and architectural plans.

Writings by Edith Gregor Halpert consist of articles on American folk art, speeches, and short stories; also included are her school notebooks and "Daily Thoughtlets" compiled at age seventeen. All writings by other authors are on art subjects, and most are texts or introductions for exhibition catalogs.

Among the miscellaneous records are biographical material on Edith Gregor Halpert and Samuel Halpert, works of art by Edith Gregor Halpert and other artists, artifacts, and audiovisual materials. The artifacts include wooden weather vane molds and supporting documentation as well as awards presented to Halpert. Audiovisual materials are 16-mm motion picture films of the Westinghouse Broadcasting Corporation television series, America: The Artist's Eye, produced between 1961 and 1963 in association with Jensen Productions. An additional 16-mm motion picture film includes "tails out" footage of Charles Sheeler at home and at work, circa 1950. A copy of the program about Sheeler, along with the "tails out" material, is also on videocassette. In addition, there is a sound recording of a talk on collecting given by Halpert's client, folk art collector Maxim Karolik, in 1962.

Printed matter consists of items produced by the Downtown Gallery, including exhibition catalogs, checklists, invitations, announcements, and press releases. There are also news clippings about Halpert, the Downtown Gallery, and the Edith Gregor Halpert Collection; other art-related clippings are arranged topically. Miscellaneous printed matter not produced by the Downtown Gallery includes newsletters, press releases, publications of art organizations, and reproductions of artwork. A selection of twenty-five volumes from the personal library of Edith Gregor Halpert has been retained.

The photographs series includes images of people: Edith Gregor Halpert, family, friends, also many images of her dog, Adam, and views of her country home in Newtown, Connecticut. Other photographs of people include portraits of artists, most of whom were affiliated with the Downtown Gallery. There are also photographs of works of art (with a large number of black-and-white negatives, 35-mm color slides, and glass plate negatives) and of exhibitions, of the exterior and interior of the Downtown Gallery, and of an award presented to Halpert.

See Appendix B for a chronological list of Downtown Gallery exhibitions.
Arrangement:
It is not certain how well arranged the files were while still the property of the gallery, though Halpert's background as an efficiency expert and her talents as an organizer suggest that the gallery's records were well maintained. It is clear, however, that much of the original order has been lost; Halpert is known to have removed files, including many records concerning the Harnett-Peto controversy.

Correspondence (Series 1) is arranged chronologically, and Artist Files (Series 2) is arranged alphabetically. The remaining series are organized into subseries that reflect either a function or specific record type, and the arrangement of each is explained in the detailed series descriptions. Glass plate negatives are housed separately and closed to researchers.

The Downtown Gallery records are arranged into eight series:

Series 1: Correspondence, 1926-1974, undated (Boxes 1-22; 22 linear ft.; Reels 5488-5545)

Series 2: Artist Files, A - Z, 1917-1970, undated (Boxes 23-27; 5 linear ft.; Reels 5545-5558)

Series 3: Notebooks, 1835, 1874, circa 1880-1969, undated (Boxes 28-59; 32.5 linear ft.; Reels 5558-5603)

Series 4: Business Records, 1925-1974, undated (Boxes 60-94, OV 95, OV 96, OV 97; 34.5 linear ft.; Reels 5603-5636)

Series 5: Writings, 1917-1968, undated (Box 98; 1 linear ft.; Reels 5636-5638)

Series 6: Miscellaneous Material, circa 1835, 1883, 1913-1970, undated (Boxes 99-101, 103, OV 102, OV 104, FC 120-124; 3.25 linear ft.; Reels 5638-5639)

Series 7: Printed Matter, 1824-1865, 1920-1969, undated (Boxes 105-108; 4 linear ft.; Reels 5640-5647)

Series 8: Photographs, circa 1880-1960s, undated (Boxes 109-118, OV 119, MGP 4; 8.75 linear ft.; Reels 5647-5654)
Historical Note:
As a very young woman, Edith Gregor Halpert (1900-1970) attended art school sporadically while pursuing a business career that began in advertising and included work as a personnel manager and efficiency expert. She continued her business career after marrying artist Samuel Halpert (1884-1930) in 1918 and eventually became a highly paid executive with an investment firm. Well-invested bonuses provided the capital for Halpert to open her own business.

In November 1926, Halpert and business partner Berthe (Bea) Kroll Goldsmith opened Our Gallery at 113 West 13th Street for the purpose of promoting a group of progressive American artists, many of whom were friends of Edith and Samuel Halpert. The following year, at the suggestion of William Zorach, the gallery changed its name to Downtown Gallery--emphasizing its Greenwich Village location, unique for the time--and the name survived despite relocation to midtown Manhattan (to 43 East 51st Street in 1940, to 32 East 51st Street in 1945, and to the Ritz Tower Concourse at 465 Park Avenue in 1965).

The Downtown Gallery specialized in contemporary American art. An early gallery brochure states: "The Downtown Gallery has no prejudice for any one school. Its selection is driven by quality--by what is enduring--not by what is in vogue." Some of the artists affiliated with the Downtown Gallery from its early years were Stuart Davis, "Pop" Hart, Yasuo Kuniyoshi, Charles Sheeler, Max Weber, and William and Marguerite Zorach. In its original location, the gallery served as a place where artists (many of whom lived and worked in the neighborhood), collectors, and others interested in American art met in the evenings for coffee, conversation, and sometimes lectures or other formal programs. Holger Cahill (1887-1960) entered into a partnership with Halpert and Goldsmith in 1929 when they founded the American Folk Art Gallery, the first ever of its kind; the American Folk Art Gallery opened on the second floor of the Downtown Gallery in 1931. Folk art was an important feature of the gallery throughout its history, though the name American Folk Art Gallery does not appear to have been used consistently. Because the profit margin was high and Abby Aldrich Rockefeller bought avidly for her growing collection, folk art revenues subsidized contemporary art exhibitions and helped the gallery survive the Depression. The Daylight Gallery, also run by Halpert and Goldsmith, opened in 1930 in a separate structure behind the main gallery, and continued until the Downtown Gallery moved to East 51st Street in 1940. Its purpose was to exhibit painting and sculpture to best advantage in a gallery designed to diffuse light perfectly and to demonstrate how works of art may be used as architectural embellishments in a modern building. Other subsidiary galleries operated by the Downtown Gallery were the John Marin Room, opened in 1950 and run by John Marin, Jr., and the Ground-Floor Room, 1951, "dedicated to the adventurous, less experienced collector willing to gamble on his taste and ours."

From the beginning, Halpert endeavored to hold prices at reasonable levels; she employed aggressive marketing and advertising techniques learned from her career in business and banking, offering extended payment plans without interest to buyers of modest means. She recognized the value of placing representative works by Downtown Gallery artists in important art museums and public collections, even if a price reduction was necessary to achieve this goal.

After purchasing Goldsmith's share of the business in 1935, Halpert, needing to earn a profit, reorganized the gallery as a more overtly commercial venture. The roster of artists was reduced to twelve. Those eliminated tended to be younger artists, most of whom were supported by WPA work. Eventually, the roster expanded; new additions were usually artists not based in New York, whom Halpert learned of through her work as an adviser to the WPA Federal Art Project. Halpert had long courted Alfred Stieglitz's artists, and in the years following his death in 1946 a number of them affiliated with the Downtown Gallery. Another change was that the Downtown Gallery no longer represented only living American artists; the gallery began handling a number of estates, most notably that of Arthur Dove. In 1953, the roster of Downtown Gallery artists shifted dramatically when Halpert entered into an agreement with Charles Alan. Alan had been hired in 1945 with the understanding that he was being trained to run the Downtown Gallery upon Halpert's retirement five years in the future. Eight years later, it became apparent that Halpert was not going to retire; without consulting the artists, she transferred representation of all artists who had joined the Downtown Gallery since 1936 to the newly established Alan Gallery.

Exhibitions at the Downtown Gallery included both solo exhibitions and group shows usually built around a theme; most lasted about a month. Annual exhibitions (sometimes titled anniversary exhibitions) opened the exhibition season each fall and showcased the gallery's artists. The Downtown Gallery's Christmas show, a long-standing event that encouraged purchases of original art for holiday gift giving, was eagerly anticipated as it featured fine artwork at very reasonable prices. Between 1927 and 1935, the Downtown Gallery was the site of the American Print Makers Society annual exhibitions. During its forty-seven years in operation, the Downtown Gallery organized many important, influential exhibitions. American Ancestors (1931) presented American folk art as the precursor to and direct influence on the contemporary art featured by the Downtown Gallery. The title was used for a number of subsequent exhibitions and became a synonym for folk art. American Folk Art Sculpture: Index of American Design, Federal Art Project (1937) featured drawings by WPA artists recording objects that documented America's material culture and artistic heritage. Along with the Index of American Design drawings, the exhibition included a number of the original sculptures from the Downtown Gallery's inventory and borrowed from folk art collector Abby Aldrich Rockefeller.

William Harnett: "Nature-Vivre" (1939) reintroduced the nineteenth-century artist whose trompe l'oeil paintings had been collected by Halpert over a period of years expressly for this purpose. Between 1947 and 1949, a controversy ensued over paintings--some of which had been sold by the Downtown Gallery--with the signature of William Harnett but discovered by San Francisco Chronicle art critic Alfred Frankenstein to be the work of Harnett's student, John Peto. Halpert had purchased the questionable pieces in good faith, completely unaware of the added signatures, and she defended her attributions, despite evidence to the contrary. Frankenstein publicized his discovery widely; while neither Halpert nor the Downtown Gallery were named directly, their identity was apparent to his well-informed readers. The situation was further inflamed when additional articles by Frankenstein failed to include new evidence favorable to Halpert and the Downtown Gallery.

Another major exhibition was American Negro Art, 19th and 20th Centuries (1941-1942), the first show of its kind held at a commercial gallery. Held at the Downtown Gallery, the exhibition was sponsored by a committee of prominent citizens including Mayor Fiorello La Guardia, Archibald MacLeish, A. Philip Randolph, and Eleanor Roosevelt. Among its aims were to raise money for the Negro Art Fund, to promote museum acquisitions of work by black artists, and to encourage galleries to represent the living participants. In addition to providing its facilities, the Downtown Gallery donated all sales commissions to the Negro Art Fund and added Jacob Lawrence to its roster of artists.

Edith Gregor Halpert played important roles in a number of exhibitions and major art projects that were not connected with the Downtown Gallery. She served as organizer and director of the First Municipal Exhibition of American Art, Atlantic City, New Jersey, in 1929. Beginning in 1932, Halpert was extensively involved with Radio City Music Hall arts projects. She conceived, organized, and handled publicity for the First Municipal Art Exhibition (also known as the Forum Exhibition) sponsored by Mayor Fiorello La Guardia and held at Radio City Music Hall in 1934. As an adviser to the WPA Federal Art Project, Halpert spent the summer of 1936 in Washington, D.C., developing its Exhibition and Allocation Program, which registered works of art arriving from regional project centers and selected pieces for traveling exhibitions that circulated throughout the country. In 1937, she formed the Bureau for Architectural Sculpture and Murals, a central clearinghouse from which architects could review and select work by artists and sculptors experienced in working in architectural settings. Halpert served as curator of the art section of the American National Exhibition, sponsored by the United States Information Agency and the U.S. Department of Commerce; she traveled to the Soviet Union with the exhibition, installed the show, and gave daily gallery talks in Russian. In 1952, to promote art history, Halpert established the Edith Gregor Halpert Foundation. Its activities included assisting universities to fund scholarships for the study of contemporary American art and championing the rights of artists to control the sale and reproduction of their work. For her "outstanding contribution to American art," Halpert received the Art in America Award in 1959. She also received a USIA Citation for Distinguished Service in 1960, and the University of Connecticut awarded her its First Annual International Silver Prize for "distinguished contribution to the arts" in 1968.

In addition to being an art dealer, Edith Gregor Halpert was also a collector of contemporary American art and American folk art. For many years, Halpert and the Corcoran Gallery of Art, Washington, D.C., discussed a gift of a substantial number of paintings to form the nucleus of a new wing to be called the Gallery of 20th-Century American Art. After numerous disagreements and misunderstandings by both parties, the plan was abandoned. While negotiations were still in progress, the Edith Gregor Halpert Collection was exhibited in two installments, 1960 and 1962, at the Corcoran Gallery of Art. During the following two years, portions of her collection traveled to Santa Barbara, Honolulu, and San Francisco. Other exhibitions, drawn completely from the Edith Gregor Halpert Collection, include American Modernism: The First Wave, Painting from 1903-1933, presented at Brandeis University Museum of Art, 1963; Six Decades of American Art, shown at Leicester Galleries, London, 1965; Image to Abstraction, held at Amon Carter Museum, 1967; and Edith Halpert and the Downtown Gallery, exhibited at the University of Connecticut, 1968. The Edith Gregor Halpert Collection was eventually sold at auction by Sotheby Parke-Bernet, 1973.

Dr. Dianne's Tepfer's dissertation (1989) on Edith Gregor Halpert was an invaluable resource in arranging and describing the records of Downtown Gallery; her chronology was consulted often in constructing this Historical Note.

1900 -- born Edith Gregoryevna Fivoosiovitch to Gregor and Frances Lucom Fivoosiovitch, Odessa, Russia

1906 -- arrived in New York City with recently widowed mother and older sister; family name changed to Fivisovitch

1916 -- employed as a comptometer operator at Bloomingdale's department store; studied drawing with Leon Kroll and Ivan Olinsky at the National Academy of Design; further shortened name to Fein

1916-1917 -- attended life drawing and anatomy classes taught by George Bridgeman at the Art Students' League; employed in foreign and advertising offices, R. H. Macy department store

1917 -- met artist Samuel Halpert at John Weichsel's People's Art Guild

1917-1918 -- employed as advertising manager, Stern Brothers department store

1918-1919 -- employed as systematizer (efficiency expert), investment firm of Cohen, Goldman

1918 -- married Samuel Halpert

1919-1920 -- employed as systematizer, investment firm of Fishman & Co.; attended writing courses, Columbia University

1921-1925 -- employed as personnel manager, systematizer, and head of correspondence at investment banking firm of S. W. Strauss & Co.; eventually appointed to the board of directors

1924 -- first exposed to folk art at the home of sculptor Elie Nadelman

1925 -- visited Paris with Samuel Halpert (June-September)

1926 -- visited Ogunquit, Maine, with Samuel and was further exposed to antiques and folk art; other summer guests included artists Stefan Hirsch, Bernard Karfiol, Walt Kuhn, Yasuo Kuniyoshi, Robert Laurent, Katherine Schmidt, Niles Spencer, and Marguerite and William Zorach; opened Our Gallery, devoted to modern American art, at 113 West 13th Street with business partner Berthe Kroll Goldsmith

1927 -- separated from Samuel, who moved to Detroit to teach at the Society for Arts and Crafts; changed name of Our Gallery to Downtown Gallery, at the suggestion of William Zorach

1928 -- Abby Aldrich Rockefeller first visited the Downtown Gallery; published George O. "Pop" Hart: 24 Selections from His Work by Holger Cahill, first of a projected series of ten Downtown Gallery monographs

1929 -- initiated divorce proceedings in Detroit; founded the American Folk Art Gallery, the first of its kind, with business; partners Berthe Kroll Goldsmith and Holger Cahill; served as organizer and director of the First Municipal Exhibition of American Art, Atlantic City

1930 -- divorce granted; present at the death of Samuel Halpert; opened the Daylight Gallery in a separate structure behind the Downtown Gallery specially designed to display works of art under optimal conditions; published Max Weber by Holger Cahill, second (and last) of the Downtown Gallery monographs

1931 -- opened the American Folk Art Gallery on second floor of the Downtown Gallery

1932 -- purchased house in Newtown, Connecticut; became extensively involved with Radio City Music Hall arts projects

1934 -- conceived, organized, and handled publicity for the First Municipal Art Exhibition, also called the Forum Exhibition, sponsored by Mayor Fiorello La Guardia and held at Radio City Music Hall

1935 -- bought Goldsmith's share of the business and, as sole owner, reorganized the gallery

1936 -- served as adviser to WPA Federal Art Project, charged with developing the Exhibition and Allocation Program

1937 -- formed Bureau for Architectural Sculpture and Murals

1939 -- organized Nature-Vivre; exhibition of paintings by the rediscovered William Harnett, rekindling interest in trompe l'oeil painting

1940 -- Downtown Gallery moved to 43 East 51st Street; cataloged and installed the Abby Aldrich Rockefeller Collection of American Folk Art at Williamsburg, Virginia

1941 -- American Negro Art, 19th and 20th Centuries

1945 -- Downtown Gallery moved to 32 East 51st Street; hired Charles Alan as assistant director

1946 -- Downtown Gallery began representing former Alfred Stieglitz artists Charles Demuth, Marsden Hartley, John Marin, and Georgia O'Keeffe

1947-1949 -- embroiled in controversy over paintings with the signature of William Harnett but discovered to be the work of Harnett's student John Peto

1950 -- opened the John Marin Room, operated by John Marin, Jr.

1951 -- opened the Ground-Floor Room, for works by new artists

1952 -- established the Edith Gregor Halpert Foundation

1953 -- transferred representation of newer Downtown Gallery artists to the Alan Gallery

1954 -- published The ABCs for Collectors of Contemporary Art by John I. H. Baur

1959 -- traveled to Moscow as curator of the art section, "American National Exhibition," and gave daily gallery talks in Russian; received Art in America Award

1960 -- exhibited selections from the Edith Gregor Halpert Collection at the Corcoran Gallery of Art, Washington, D.C.; awarded USIA Citation for Distinguished Service and the Merit Award Emblem

1962 -- second exhibition of the Edith Gregor Halpert Collection at the Corcoran Gallery of Art; began discussions, ultimately abandoned, for the transfer and installation of a large gift of paintings from the Edith Gregor Halpert Collection to a special wing of the Corcoran Gallery of Art

1963 -- American Modernism: The First Wave, Painting from 1903-1933, an exhibition based entirely on the Edith Gregor Halpert Collection, Brandeis University Museum of Art

1965 -- Downtown Gallery moved to smaller quarters, Ritz Tower Concourse, 465 Park Avenue; open by appointment only; Six Decades of American Art, from the Edith Gregor Halpert Collection, Leicester Galleries, London

1967 -- Image to Abstraction, an exhibition based entirely on the Edith Gregor Halpert Collection, Amon Carter Museum, Fort Worth, Texas

1968 -- the Downtown Gallery ceased to be the exclusive representative of Abraham Rattner, Ben Shahn, Georgia O'Keffe, and Max Weber, and the estates of Stuart Davis, and Marguerite and William Zorach were withdrawn from the gallery; Edith Halpert and the Downtown Gallery exhibition at the Museum of Art, the University of Connecticut; awarded the First Annual International Silver Prize medal for "distinguished contribution to the arts," University of Connecticut

1970 -- died, New York City

1970-1973 -- the Downtown Gallery continued limited operation under the direction of niece, Nathaly Baum

1972-1978 -- the Downtown Gallery records donated to the Archives of American Art by Nathaly Baum, executor of the Edith Gregor Halpert estate

1973 -- Sotheby Parke-Bernet auction sale of the Edith Gregor Halpert Collection

1997-1999 -- arrangement, description, and microfilming of Downtown Gallery records and publication of this finding aid funded by a grant from the Henry Luce Foundation, Inc.
Appendix B: Chronological List of Downtown Gallery Exhibitions:
Below is a chronological listing of Downtown Gallery exhibitions, culled from catalogs and checklists, invitations and announcements, press releases, newspaper reviews, advertisements, lists compiled by gallery staff, and The Archives of American Art Collection of Exhibition Catalogs (1979). Exhibition titles indicated on the announcement or used in a published review sometimes differ from the title of the corresponding exhibition catalog or printed checklist. Catalogs or announcements for most shows will be found with the printed matter produced by the Downtown Gallery (Series 7.1), in the publicity notebooks (Series 3.3.), and/or with artist files (Series 2). Microfilm reel and frame number(s) are noted in parentheses for catalogs or exhibition announcements recorded in The Archives of American Art Collection of Exhibition Catalogs that are not among the Downtown Gallery records.

Undated -- Jan. 24-Feb. 12: American Landscapes: Paintings and Water Colors Mar. 3-28 [1964?]: Abraham Rattner: New Paintings, 1961-1963 June: Art for 13,000,000 Sept. 17-27: Abraham Rattner: Stained Glass Window Designed for the De Waters Art Center, Flint, Michigan

1926 -- Nov. [6-?}: Opening Exhibition: Small Works by Leading American Contemporary Artists Dec. [4-?]: The Christmas Exhibition, $10-50

1927 -- Jan. 8-Feb. 4: American Marines Jan. 8-Feb. 4: Print Room Selection Nov. 26-Dec. 9: Frank Osborn: Sculpture Lamps Nov. 26-Dec. 9: Stuart Davis May [10-?]: Portfolio Selection, $5-25 Dec. 10-31: American Print Makers Exhibition Nov. 3-23: "Pop" Hart: One-Man Show Oct. 13-Nov. 3: Ogunquit Exhibition: Summer Work by 12 Ogunquit Residents Mar. 1-19: George C. Ault: Water Colors and Drawings Feb. [5-?]: George Overbury "Pop" Hart Apr. [11-?]: Spring Exhibitions: Pictures Suggestive of the Season Mar. 21-Apr. 9: Walt Kuhn Lighographs: `New Trapeze Ladies'

1928 -- Feb. 14-Mar. 4: Walt Kuhn: Recent Works Jan. 24-Feb. 12: 75 Years of American Landscapes Mar. 6-25: Samuel Halpert: Recent Work Dec. 10-31: American Print Makers 2nd Annual Exhibition Jan. 3-22: Joseph Pollett: Recent Paintings and Watercolors Oct. 7-28: Paris by Americans Oct. 29-Nov. 17: Max Weber: New Lithographs, $10-50 Nov. 19-Dec. 8: George C. Ault: Paintings, $30-300 Apr. 23-May 13: May Flowers May 19-June 13: Art for Everybody, $10-50 Mar. 26-Apr. 15: Ernest Fiene: Lithographs Apr. 2-22: Marguerite Zorach: Paintings and Drawings

1929 -- Nov. [19-?]: Glenn Coleman: Temperas June 3-14: Oils, Sculpture, Water Colors, Monotypes, Drawings, Pottery May [14-?]: Joseph Pollet: Watercolors May [14-?]: Lithographs by A. Walkowitz Mar. 26-Apr. 14: José Orozco: Paintings of New York City Apr. 23-May 14: Walt Kuhn: Loan Paintings Feb. 12-Mar. 23: Stefan Hirsch: Paintings Mar. 4-Apr. 14: Duncan Ferguson: Sculpture Jan. 21-Feb. 10: Drawings by 8 American Artists (Hart, Karfiol, Kuhn, Pascin, Walkowitz, Weber, M. Zorach, and W. Zorach) Jan. 2-20: Ann Goldthwaite: Recent Work Dec. 10-31: American Print Makers 3rd Annual Exhibition Oct. 29-Nov. 17: Joseph Pollet: Recent Paintings Oct. 7-28: Americans Abroad (Davis, Fiene, Ganso, Hart, Hirsch, Pascin, and Wilenchick)

1930 -- Oct. [25-?]: Reuben Nakian: Sculpture Nov. 18-Dec. 16: Glenn Coleman: Paintings Sept. 30-Oct. 25: Summer Landscapes, 1930: Paintings by American Contemporary Artists Summer: Important Painting and Sculpture by Leading American Artists in the Daylight Gallery May 26-July 1: Small Painting, Sculpture, and Drawings by Leading American Contemporary Artists, $100 or Less Apr. 19-May 10: Daylight Gallery Opening Exhibition Oct. [25-?]: Julia Kelly: Painting Apr. [8-?]: Ben Shahn: Paintings and Drawings Mar. 11-30: Wood Gaylor: Paintings Feb. [11-?]: Marguerite Zorach: Recent Paintings of New England and New York Jan. 28-Feb. 15: 33 Moderns: The Downtown Gallery Exhibition of Paintings, Sculpture, Watercolors, Drawings, and Prints by 33 American Contemporary Artists [at the Grand Central Galleries] Jan. [25-?]: Stuart Davis: Recent Paintings Dec. 8-31: American Print Makers 4th Annual Exhibition Jan. [2-?]: Abraham Walkowitz: Heads and Flowers May [10-?]: "Pop" Hart: Paintings from Africa and Europe

1931 -- Jan. 3-25: Jules Pascin Memorial Exhibition Jan. [27-?]: William Zorach: New Sculpture Feb. [14-?]: Joseph Pollett: Paintings Feb. 2-16: Isabella Howland: Paintings Dec. 14-31: American Ancestors: Masterpieces by Little Known and Anonymous American Painters, 1790-1890 Mar. 16-30: 7 Masters of Water Color (Demuth, Dickinson, Hart, Marin, Sheeler, Walkowitz, Zorach) Apr. [29-?]: Peggy Bacon: Caricature Portraits Mar. 31-Apr. 9: Stuart Davis: Recent Paintings Nov. [18-?]: Charles Sheeler: Recent Paintings May 12-31: Flowers: Paintings in Oil and Water Color by American Contemporary Artists Oct. 5-25: `Artists' Models,' Figure Paintings by Leading Contemporary American Artists June 2-22: Paintings, Water Colors, Drawings, Sculpture by Leading Contemporary American Artists Oct. 28-Nov. 17: Karl Knaths: Paintings Dec. 7-31: American Print Makers 5th Annual Exhibition

1932 -- May 31-June 30: Paintings and Sculpture by Outstanding American Artists Dec. 28-Jan. 14: William Zorach: Spirit of the Dance in Original Plaster Dec.: Christmas Exhibition: Drawings, Paintings, Sculpture, $10-100 Feb. 20-Mar. 3: Peggy Bacon: Recent Paintings (N433: 515) Jan. 5-18: American Modern Art [arranged by the Downtown Gallery at Knoedler & Co., Inc., Chicago] Oct. 4-22: Prelude to the Season: New Paintings and Sculpture by American Contemporaries Dec. 9-31: Carl Walters: Sculpture and Pottery in Ceramic Jan. 5-24: Alexander Brook: Recent Paintings Jan. [24-?]: Paintings by Contemporary American Painters Feb. 23-Mar. 7: Wood Gaylor: Recent Paintings Oct. 4-22: Bernard Sanders: Graphics Dec. 5-31: American Print Makers 6th Annual Exhibition Feb. [24-?]: Winter in Maine: Recent Watercolors by William Zorach Mar. 22-Apr. 3: Joseph Pollet: Recent Paintings Nov. 18-Dec. 9: Stefan Hirsch: Recent Work--New York and Mexico Apr. 5-17: The Passion of Sacco-Vanzetti: Gouaches by Ben Shahn Apr. 19-May 15: Pictures of New England by a New Englander: Recent Paintings of Dogtown, Cape Ann, Mass., by Marsden Hartley [errata slip stapled to cover of the copy filmed on Br10: 660-663 indicates the dates were changed to Apr. 26-May 15, 1932] May 17-29: 3 Painters: Baum, Botkin, Schultz Oct. 25-Nov. 13: Dorothy Varian: Recent Paintings

1933 -- Jan. 17-Feb. 4: Bernard Karfiol: Paintings and Drawings Mar. 21-Apr. 8: Major Works by Distinguished American Artists Feb. [28-?]: Watercolors by Stuart Davis Feb. 27-Mar. 18: Reuben Nakian: Sculpture Portraits of 10 Artists Feb. 7-25: Yasuo Kuniyoshi: Recent Paintings Oct. 3-14: American Ancestors, 2nd Exhibition: Masterpieces by Little Known and Anonymous American Artists: 1720-1870 May 23-June 30: Paintings and Sculpture: Recent Works by Leading American Contemporaries, at $100 May 2-20: Ben Shahn: The Tom Mooney Case Apr. 11-29: Nicolai Cikovsky: Recent Paintings Nov. 14-Dec. 14: Drawings and Rare Prints by "Pop" Hart Dec. 5-31: American Print Makers 7th Annual Exhibition Oct. 24-Nov. 11: Painting and Sculpture by Leading Contemporaries

1934 -- Jan. 23-Feb. 10: Alexander Brook: Recent Paintings Feb. 13-Mar. 3: Babe Ruth by Reuben Nakian Jan. 3-20: Ernest Fiene: Painter of the American Scene Dec. 13-31: Practical Manifestations in American Art Apr. 3-21: Katherine Schmidt: Paintings Apr. 25-May 12: Stuart Davis: Recent Paintings Dec. [3-?]: Group Show Mar. 13-31: Recent Paintings by Joseph Pollet Oct. 1-14: Hamilton Easter Field Art Foundation Collection of Paintings and Sculpture Oct. 23-Nov. 3: Marguerite Zorach: Paintings and Drawings May 15-June 15: Paintings and Sculpture: Selected Works by Leading American Contemporaries, Extraordinary Values at $100 Dec. 3-29: American Print Makers 8th Annual Exhibition Feb. 20-Mar. 3: Recent Work by Peggy Bacon Nov. 20-Dec. 8: Peggy Bacon: `Off with Their Heads,' Caricature Portraits of 38 Contemporary American Celebrities Nov. 6-17: American Drawings: Recent Work by Charles Sheeler, John Marin, Yasuo Kuniyoshi, Charles Locke, Stuart Davis, Alexander Brook

1935 -- May 1-18: Nakian: The New Deal in Portraiture Apr. 13-28: Reuben Nakian: Portrait Heads of the Present Administration May 21-June 14: Paintings and Sculpture by Leading American Artists Dec.: Carl Walters: Ceramic Sculpture and Pottery Mar. 12-30: Exhibition of 14 Paintings by 14 American Contemporaries Feb. 20-Mar. 9: Nicolai Cikovsky: Recent Paintings Apr. 10-27: Watercolor and Pastels by 14 American Artists Dec. 2-28: American Print Makers 9th Annual Exhibition Nov.: Ernest Fiene: Paintings Nov. [5-?]: American Folk Art: Recently Acquired Paintings and Sculpture Jan. 16-Feb. 2: Charles Burchfield and Charles Sheeler Dec. 11-28: Anne Goldthwaite: Murals of the South Jan. 16-Feb. 9: Bernard Karfiol: Watercolors and Drawings Oct. 22-Nov. 9: Opening Exhibition: Important Recent Painting and Sculpture May 21-June 14: $100 Exhibition: Extraordinary Values for Discriminating Collectors

1936 -- Oct. [28-?]: Tenth Anniversary Exhibition: American Art, 1800-1936 Dec. 13-24: American Print Makers 10th Anniversary Annual Exhibition (N428:304-305) Dec.: Christmas Gift Show Dec.: Ceramics by Carl Walters Feb. [25-?]: Watercolors by William Zorach Mar. 17-Apr. 4: Yasuo Kuniyoshi: Paintings May [5-?]: Joseph Pollet: Paintings May 26-June 12: Paintings and Sculpture: Recent Work by Leading American Contemporaries, Extraordinary Values at $100 Apr. 14-May 2: Portraits by 6 Contemporary and Early American Artists Jan. 30-Feb. 15: American Birds in Sculpture, 1785-1935 Jan. 6-25: Alexander Brooke: Paintings Dec. 2-31: Vital Statistics

1937 -- Dec. 7-31: Christmas Exhibition: Fine Works of Art as Original Gifts through June 25: Paintings and Sculpture, 1800-1937 Oct. 5-23: Paintings by 12 Younger Artists Oct. 19-Nov. 6: Fall Exhibition May 18-June 5: Joseph Steig: Watercolors May 5-29: Major Examples by Major Artists Apr. 13-May 1: Children in American Folk Art, 1725-1865: Children's Art, Their Portraits, and Their Toys Apr. [10-?]: Contemporary Americans Sept. 28-Oct. 9: American Folk Art Sculpture: Index of Design, WPA Federal Art Project Sept.: Drawings by the Index of American Design Oct. 20-Nov. 10: An Exhibition of Contemporary American Art from the Downtown Gallery of New York, Sponsored by the Atlanta Georgian and Sunday American at the High Museum of Art Mar. 9-27: The 1920s: Oils, Sculpture, Watercolors, and Drawings by 18 American Contemporaries Mar. 30-Apr. 10: Younger Artists Nov.: Dorothy Varian: Paintings Feb. 9-27: American Dogs: Recent Portraits in Oil of Champion Dogs by Fenelle and Paintings and Sculpture Portraying Dogs of the Period 1820-1860 from the American Folk Art Gallery Jan. [15-?]: David Fredenthal Feb.: Group Show

1938 -- Oct. 4-22: Americans at Home: 32 Painters and Sculptors Sept. 4-22: Folk Art Apr. [27-?]: David Fredenthal: Paintings May 25-June 17: Art for the Summer House, $15-100 Apr. 5-23: Preston Dickinson, 1891-1930: 13 Pastels Dec. 6-30: Christmas Exhibition Mar. 16-Apr. 2: Paintings by Americans: New Paintings by Karfiol, Kuniyoshi, Sheeler, and Recent Oils by Marin and O'Keeffe Nov. [15-?]: Louis Guglielmi: Paintings Feb. 15-Mar. 5: 50 American Watercolors and Pastels, 1800-1938 Dec. 6-30: Carl Walters: Ceramic Sculpture Jan. 18-Feb. 15: American Genre Paintings, 1785-1887 Nov. 2-20: John Stenvall: Paintings Jan. 5-22: Isabella Howland: 25 Sculpture Heads Jan. 25-Feb. 11: Nicolai Cikovsky: Paintings Nov. 1-12: American Ancestors: Masterpieces in American Folk Art, 1720-1860 Nov. [2-?]: Georgia O'Keeffe: Paintings

1939 -- Oct. 3-14: Paintings on Velvet, 1800-1840 Feb. [14-?]: Nathaniel Kaz: Sculpture Nov. 7-25: Contemporary American Genre: 27 Painters and Sculptors Mar. [7-?]: Katherine Schmidt: Paintings May [8-?]: Group Show Jan. 24-Feb. 11: Yasuo Kuniyoshi: Paintings Dec. 6-30: Carl Walters: Ceramic Sculpture Jan. [24-?]: Jack Levine: Paintings Mar. 28-Apr. 15: William Steig: Sculpture June 7-30: American Art, Past and Present Apr. 18-May 16: William Harnett: `Nature-Vivre' Oct. [17-?]: John Marin: 20 Drawings Jan. 4-21: Important New Paintings by American Artists: Cikovsky, Karfiol, Marin,, O'Keeffe, Sheeler, and Varian Dec. 6-30: Christmas Exhibition: Paintings, Drawings, and Sculpture, $100 or Less May [16-?]: Raymond Breinin: Paintings

1940 -- Jan. [3-?]: Mitchell Siporin: Paintings Jan. [23-?]: Rainey Bennett: Paintings Dec. 2-21: Charles Sheeler: `Power,' 6 Original Paintings Commissioned for Reproduction in the December 1940 Issue of Fortune(N433:550 551) Mar. [25-?]: Yasuo Kuniyoshi: Lithographs Mar. [25-?]: Group Show: Paintings Feb. [20-?]: Julien Levi: Paintings Mar. [18-?]: Gallery Group Dec. [9-?]: Christmas Exhibition Oct. 17-Nov. 16: Opening Exhibition [43 East 51st Street] May 13-24: Artist's Fund Exhibition Apr. 23-May 11: Review of the Season: Paintings by Leading American Artists

1941 -- Dec. 9-Jan. 3, 1942: American Negro Art: 19th and 20th Centuries Sept. 16-Oct. 11: American Folk Sculpture: Weather Vanes in Metal and Wood: 18th and 19th Centuries [?]-June 27: Summer Exhibition and William Harnett May 6-30: What Is Wrong with This Picture? Nov. 13-Dec. 6: Yasuo Kuniyoshi: Recent Paintings (Br10: 699-700) Nov. 11-Dec. 6: Bernard Karfiol Oct. 21-25: American Folk Art Sale Oct. 7-Nov. 1: New Examples by Leading American Artists Apr. 8-26: Spring: New Paintings by Outstanding Americans Feb. 25-Mar. 22: Masterpieces in American Folk Art Jan. 7-Feb. 1: The Painter Looks at Music Feb. 4-21: 13 American Paintings

1942 -- Oct. 13-31: Paintings, Cartoons, Photographs of the St. Louis Post Office Murals by Mitchell Siporin and Edward Millman Dec. 22-Jan. 9, 1943: Inter-American Folk Arts, 1700-1900: Paintings and Sculpture by Little Known and Anonymous Artists of Argentina, Chile, Colombia, Ecuador, Haiti, Mexico, Peru, U.S.A. Jan. 7-24: Watercolors and Drawings by Leading American Artists Feb. 3-28: Julian Levi Mar. 3-28: Battles & Symbols of the U.S.A.: Exhibition of Paintings and Sculpture by American Folk Artists Apr. 7-May 2: Spring Exhibition: New Paintings and Newly Discovered Paintings by William M. Harnett Apr. 7-May 2: American Folk Art May 5-29: Yasuo Kuniyoshi: Retrospective Loan Exhibition, 1921-1941 (Br10: 703-705) June 10-26: Paintings, Sculpture, Drawings by Leading American Artists Sept. 22-Oct. 10: Opening Exhibition: New Paintings and Sculpture

1943 -- Jan. 12-30: Breinin: Recent Paintings (D55: 77) Mar. 2-27: William Zorach: Selected Sculpture (D57: 632-634) Mar. 31-Apr. 24: Spring Exhibition and American Folk Art June 8-25: Summer Exhibition: American Art Oct. 5-30: 18th Annual Exhibition: American Art Oct. 27-Nov. 20: Recent Paintings in Encaustic by Karl Zerbe Nov. 23-Dec. 11: Demuth, Dickinson, "Pop" Hart, Pascin

1944 -- Nov. 14-Dec. 2: Ben Shahn: Paintings in Tempera (Br10: 707-708) Feb. 1-12: Exhibition of Paintings and Sculpture Apr. 11-May 6: Spring: New Important Paintings & Sculpture by Leading Americans Feb. 15-Mar. 11: Horace Pippin May 31-June 30: Summer Exhibition May 9-27: William Zorach Oct. 3-28: 19th Annual Exhibition: American Art Sept. 13-30: American Folk Art from the Collection of Mrs. Isabel C. Wilde

1945 -- Jan. 3-20: Suba: First One-Man Exhibition of Paintings Mar. 6-31: Julian Levi Feb. 13-Mar. 3: George L. K. Morris: Paintings, 1944 and 1945, and Sculpture, 1934-1945 (Br10: 712-714) May 1-26: 19th Annual Spring Exhibition Apr. 3-28: Yasuo Kuniyoshi: New Paintings and Drawings Oct. 15-Nov. 3: Loan Exhibition Oct. 15-Nov. 3: 20th Anniversary [opening of new quarters on East 51st Street] Dec. 4-29: Christmas Exhibition Nov. 6-Dec. 1: 20th Annual Exhibition: American Art Dec. 4-29: Jacob Lawrence: John Brown, A Series of 22 Paintings in Gouache

1946 -- Dec. 3-31: Christmas Exhibition Sept. 4-21: Masterpieces in American Folk Art: Recently Discovered Examples Sept. 24-Oct. 19: 21st Annual Exhibition: New Paintings by Leading American Artists June: New Important Paintings by Leading Americans July 2-Aug. 30: Summer Exhibition: Recent Paintings and Sculpture... Combined with a Selection of Important American Folk Art Mar. 26-Apr. 13: Paul Burlin May 7-25: 6 Artists Out of Uniform: New Post-War Paintings by 6 Important Americans Jan. 29-Feb. 16: Stuart Davis Retrospective Exhibition: Gouaches, Watercolors, Drawings, 1912-1941 (N126: 369-370)

1947 -- Apr. 1-26: Spring 1947 Apr. 29-May 17: Boston/New York: First Exchange Exhibition [Boston portion at Downtown Gallery and New York portion at Boris Mirski Gallery, Boston] Feb. 4-Mar. 1: Important New Drawings Mar. 4-29: William Zorach Jan. 7-25: Arthur Dove Nov. 11-29: Niles Spencer Dec. 2-27: Christmas Exhibition Sept. 23-Oct. 18: 22nd Annual Exhibition Sept. 3-20: 20th-Century American Watercolors Aug. 12-29: Exhibition of American Folk Art: Recent Acquisitions June 10-Aug. 8: American Art, 1800-1947 and American Folk Art May 20-June 7: National Parks: A Fortune Portfolio

1948 -- Sept. 28-Oct. 23: 23rd Annual Exhibition Sept. 8-28: The American Family: Folk Paintings, 1750-1850 Aug. 10-Sept. 2: Marin - New York (N126: 407-408) June 29-Aug. 6: Art for the 8,060,000 May 10-20: Mexican Folk Art Apr. 13-May 1: William Harnett Centennial Exhibition Mar. 22-Apr. 3: American Art: A Multiple Exhibition Arranged by the Association of Dealers in American Art [Downtown Gallery participating] Jan. 20-Feb. 7: Paintings by Stuart Davis, Yasuo Kuniyoshi, Jack Levine, John Marin, Ben Shahn Dec. 7-31: Christmas 1948 Nov. 16-Dec. 14: Jacques Maroger: Recent Paintings (N126: 411-412) undated: American Art... 20th Century Image to Abstraction [Amon Carter Museum; entire exhibition drawn from the collections of Edith Gregor Halpert and the Downtown Gallery] Dec. 7-31: William Zorach

1949 -- Nov. 15-Dec. 3: Reuben Tam Dec. 6-24: Christmas Exhibition May 10-28: Mexican Folk Art July 6-29: Art and/or Money Sept. 7-24: Important Paintings and Sculpture by Little Known and Unknown Artists of the 18th and 19th Century Oct. 3-22: 24th Annual Exhibition Mar. 15-Apr. 2: Paul Burlin Apr. 5-23: The Artist Speaks Apr. 25-10: 26 Teenage Artists Presented by Seventeen Magazine May 3-21: Arthur G. Dove: Watercolors, 1929-1946 (N126: 424) Sept. 7-24: American Folk Art

1950 -- Apr. 25-May 13: In 1950... Jan. 23-28: Creative Art for Commerce Dec. 5-23: Christmas Exhibition Oct. 24-Nov. 11: Jacob Lawrence (D56: 298-300) May 16-June 2: A Museum Collection: American Folk Sculpture Apr. 4-22: Yasuo Kuniyoshi Sept. 26-Oct. 21: 25th Annual Exhibition: New Paintings and Sculpture June: Art for 13,000,000 Jan. 31-Feb. 18: Ralston Crawford Dec. 27-Jan. 27, 1951: John Marin Mar. 14-Apr. 1: In 1940... Feb. 21-Mar. 11: Aquamedia

1951 -- Dec. 11-29: Christmas Exhibition May 1-19: Newcomers: Paintings by Artists from 15 States Nov. 20-Dec. 8: O. Louis Guglielmi Apr. 3-28: Spring 1951 Oct. 2-27: 26th Annual Exhibition: New Paintings and Sculpture by Leading American Artists July 10-Aug. 17: Summer Exhibition: American Art Sept. 5-22: Contemporary American Drawings June 12-29: Masterpieces in American Folk Art Mar. 13-31: Charles Sheeler: Paintings, 1949-1951 Feb. 20-Mar. 1: William Zorach: Sculpture, 1947-1951

1952 -- Oct. 28-Nov. 15: Niles Spencer Oct. 14-Nov. 15: The Ground-Floor Room 2nd Annual Exhibition Dec. 9-27: Stuart Davis and Yasuo Kuniyoshi Mar. 11-29: Ben Shahn: Paintings (D56: 1075-1076) Mar. 4-20: Recent Arrivals Jan. 2-26: John Marin: Oils and Watercolors June 3-27: Art for the 67% May 12-29: Lithographs, Woodcuts, Theorems, Serigraphs, and Other Prints by Leading American Artists Apr. 22-May 10: Arthur G. Dove Apr. 1-19: Spring '52 Oct. 1-25: 27th Annual Exhibition Nov. 18-Dec. 16: Shop for Art Early at the Downtown Gallery Sept. 9-27: American Amateur Art of 100 Years Ago July 1-Aug. 1: Pertaining to Summer: An Exhibition of Painting and Sculpture by Leading American Artists

1953 -- Jan. 7-Feb. 14: Performance: A New Series of Paintings in Tempera by Jacob Lawrence Feb. 17-Mar. 7: Celebrating the Tercentenary of New York, MDCLIII - MCMLIII: Paintings of New York by Leading American Artists Apr. 21-May 9: David Aronson May 12-29: 8 Younger Artists Mar. 10-28: Paul Burlin Mar. 31-Apr. 18: Reuben Tam Nov. 17-Dec. 7: Art in the Office Dec. 8-31: Art Gems for Christmas Sept. 22-Oct. 17: 28th Annual Exhibition: Recent Paintings and Sculpture Oct. 20-Nov. 14: Yasuo Kuniyoshi: Ink Paintings

1954 -- Sept. 14-Oct. 2: Artists of Chicago May 25-June 25: Summer 1954 Nov. 9-20: Skowhegan School of Painting and Sculpture: A Benefit Exhibition by Its Faculty and Visiting Artists for the Scholarship Fund Oct. 5-30: 29th Annual Exhibition: New Paintings and Sculpture Nov. 23-Dec. 24: Christmas Exhibition Apr. 6-May 1: Dove and Demuth: Watercolor Retrospective May 4-22: American Folk Art: Painting and Sculpture Feb. 2-27: International Exhibition: American, Belgian, British, Canadian, French, Italian, Mexican Painters under 40 Mar. 2-31: Stuart Davis: Recent Paintings

1955 -- Mar. 20-Apr. 23: Georgia O'Keeffe May 24-June 11: Gallery Purchases: Contemporary Art Apr. 26-May 21: Spring 1955 Sept. 13-Oct. 1: Painters of Los Angeles June 14-30: Gallery Purchases: American Folk Art Nov. 1-26: Arthur Dove: Collages Oct. 4-29: 30th Annual Exhibition Dec. 28-Jan. 21, 1956: William Zorach: A Selection, 1914-1955

1956 -- May 1-26: Bernard Karfiol: The Figure (N126L529-531) May 29-June 29: Spring 1956 Sept. 5-29: Americans in Europe Oct. 9-Nov. 3: 31st Annual Exhibition Nov. 6-Dec. 1: Stuart Davis: Exhibition of Recent Paintings, 1954-1956 Dec. 4-22: 31st Annual Christmas at the Downtown Gallery Jan. 31-Feb. 25: The Recurrent Image Apr. 3-28: Charles Sheeler: Selections from the Collection of the William H. Lane Foundation Feb. 28-Mar. 24: Arthur Dove: Paintings

1957 -- Dec. 31-Jan. 25, 1958: 32nd Annual Exhibition [?]-May 4: Spring Exhibition Dec. 9-21: Art Our Children Live With: A Loan Exhibition of American Art Jan. 8-Feb. 7: Max Weber Feb. 12-Mar. 2: New Acquisitions: Wm. M. Harnett (1848-1892) Feb. 12-Mar. 2: American Folk Art: Paintings and Sculpture Mar. 2-30: New Mexico as Painted by Stuart Davis, Marsden Hartley, Yasuo Kuniyoshi, John Marin, Georgia O'Keeffe, John Sloan May 7-31: Important Drawings by Leading American Artists June 4-28: Summer 1957 Oct. 7-Nov. 2: Group Show Nov. 5-27: Last Judgments by Abraham Rattner (D203: 76) Nov. 25-Dec. 7: 32nd Annual Christmas at the Downtown Gallery

1958 -- Sept. 30-Oct. 11: Arthur Dove: Watercolors June 9-27: 100 Church Street, `Portrait of a Building' by 10 American Artists May 20-June 7: Charles Demuth Apr. 29-May 10: Spring 1958 Mar. 5-Apr. 19: Charles Sheeler Jan. 28-Feb. 21: C. S. Price Dec. 8-27: 33rd Annual Christmas Exhibition Nov. 11-Dec. 6: Max Weber: The Figure in Retrospect, 1906-1958 Oct. 14-Nov. 8: 33rd Annual Exhibition

1959 -- Dec. 8-24: Ben Shahn: Silk-Screen Prints Dec. 29-Jan. 23, 1960: New Acquisitions Oct. 20-Nov. 14: 34th Annual Exhibition Nov. 17-Dec. 5: 34th Annual Christmas at the Downtown Gallery Sept. 22-Oct. 17: The Dial and the Dial Collection: A Special Loan Exhibition of Paintings, Sculpture & Graphics by 30 American Artists Apr. 29-June 2: Spring 1959 Apr. 7-25: Robert Osborn Mar. 3-28: Ben Shahn Jan. 6-31: New Acquisitions: American Folk Art Painting and Sculpture

1960 -- Feb. 23-Mar. 19: Gallery Group Mar. 22-Apr. 9: Jack Zajac Mar. 11-[?]: Signs & Symbols, U.S.A., 1760-1960 Jan. 21-Feb. 20: 7 Artists in Hawaii Dec. 5-24: Robert Osborn: Paintings and Drawings from `The Vulgarians' Nov. 8-Dec. 3: Abraham Rattner Dec. 5-24: 35th Annual Christmas at the Downtown Gallery through June 30: Summer 1960 Oct. 11-Nov. 5: 35th Annual Exhibition Apr. 19-may 7: Tseng Yu-Ho May 10-June 4: Stuart Davis

1961 -- June 13-30: Selections 1961 May 16-June 9: Spring 1961 Dec. 4-23: 36th Annual Christmas at the Downtown Gallery Sept. 12-Oct. 7: New Acquisitions Feb. 15-Mar. 11: Aquamedia in American Art Jan. 25-Feb. 11: Yasuo Kuniyoshi Apr. 11-May 2: Gallery Group Mar. 15-Apr. 8: Alfred Duca Jan. 9-Feb. 6: New Acquisitions

1962 -- Nov. 3-28: Robert Osborn Dec. 3-22: 37th Annual Christmas at Downtown Gallery May 22-June 15: 36th Annual Spring Exhibition: The Figure Apr. 24-May 19: Stuart Davis Oct. 16-Nov. 10: 37th Anniversary Exhibition Sept. 25-Oct. 13: American Roots: Folk Art in Painting and Sculpture Feb. 27-Mar. 17: Robert Osborn: Clowns and Non-Clowns Jan. 9-27: Tseng Yu-Ho: 18 Dsui Paintings Mar. 27-Apr. 21: Abstract Painting in America, 1903-1923 Mar. 10-31: Max Weber Memorial Exhibition

1963 -- Mar. 12-Apr. 16: Signs & Symbols * U.S.A., 1780-1960 May 7-[?]: Max Weber Dec. 2-21: 38th Annual Christmas at Downtown Gallery June 11-July 3: Summer 1963 Apr. 9-May 3: Spring 1963 Jan. 8-Feb. 2: John Marin Oct. 1-26: 38th Anniversary Exhibition Oct. 29-Nov. 16: Ben Shahn: Retrospective Exhibition, Paintings and Drawings, 1901-1958 Oct. 29-Nov. 16: Homage to e. e. cummings Oct. 29-Nov. 16: Gallery Group Aug. 6-Sept. 15: Loan Exhibition from the Edith Gregor Halpert Collection [Santa Barbara Museum of Art] Nov. 7-Dec. 8: Loan Exhibition from the Edith Gregor Halpert Collection [Honolulu Academy of Arts] Sept. 9-14: Visual Art by Performing Artists Dec. 3-Jan. 7, 1964: American Signs and Symbols

1964 -- Sept. 9-Oct. 3: 20th Century American Drawings Oct. 6-31: 39th Anniversary Exhibition Dec. 1-24: 39th Annual Christmas at the Downtown Gallery Jan. 11-Feb. 9: Loan Exhibition from the Edith Gregor Halpert Collection [California Palace of the Legion of Honor, San Francisco] Jan. 28-Feb. 21: George L. K. Morris Mar. 3-28: Supplement to the Rattner Exhibition May 12-June 5: New York City: Paintings, 1913-1963, by American Artists

1965 -- Jan. 5-23: Charles Sheeler and Yasuo Kuniyoshi Nov. 30-Dec. 18: Warner Brothers Co. Mural by Willard Cummings and Emilio A. Serio Mar. 23-Apr. 17: John Storrs Sept. 8-Oct. 2: A Gallery Survey of American Art [inaugural show, Ritz Tower Concourse, 465 Park Avenue] Nov. 3-20: Edward Stasack Nov. 30-Dec. 18: 40th Annual Christmas at the Downtown Gallery

1966 -- Nov. 5-Dec. 12: Morris Broderson Oct. 18-Nov. 12: 41st Anniversary Exhibition: Contemporary American Art Mar. 1-26: Balthus: New Paintings, 1963-1966 May 3-27: Charles Sheeler Sept. 20-Oct. 8: "Popular Art" in America, 18-19th Century

1967 -- Apr. 18-May 13: John Storrs Mar. 15-Apr. 8: Arthur Dove Nov. 7-25: O. Louis Guglielmi Sept. 26-Oct. 21: 42nd Anniversary Exhibition Feb. 14-Mar. 11: George L. K. Morris Jan. 10-Feb. 14: William Zorach: The Last Decade Dec.: Gallery Group

1968 -- Sept. 10-Oct. 5: 43rd Anniversary Exhibition

1969 -- Mar.: The Performing Arts
Related Material:
Berman, Avis. Pioneers in American Museums: Edith Halpert. Museum News 54, no. 2 (November/December 1975): 34-37, 61-64.

Bragazzi, Olive. The Story Behind the Rediscovery of William Harnett and John Peto by Edith Halpert and Alfred Frankenstein. American Art Journal 15, no. 3 (Spring 1984): 51-65.

Tepfer, Diane. Edith Gregor Halpert and the Downtown Gallery/Downtown, 1926-1940: A Study in American Art Patronage. Ph.D. diss., University of Michigan, 1989.

Edith Gregor Halpert, interview by Harlan Phillips, 1962-1963. Oral History Program, Archives of American Art, Smithsonian Institution.

Edith Gregor Halpert, interview by Harlan Phillips, January 20, 1965. New Deal and the Arts Project, Archives of American Art, Smithsonian Institution.

Edith Gregor Halpert, lecture delivered at the Brooklyn Museum of Art, October 19, 1959, on the 1959 American National Art Exhibition in Moscow. Tape-recorded by the Archives of American Art, Smithsonian Institution, and transcribed by the the Downtown Gallery staff.

In addition, the Archives of American Art has among its collections personal papers and oral history interviews of artists and collectors associated with the Downtown Gallery. Researchers are advised to conduct a name search in the Smithsonian Institution Research Information System (SIRIS).
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (ND-1- ND-71), the mojority of which was subsequently donated. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Provenance:
Between 1957 and 1967, the Downtown Gallery loaned portions of its records to the Archives of American Art for microfilming. Because the microfilming was done in increments, the material was not always filmed in logical sequence, and overlapping and duplication of records occurred. Since files loaned for microfilming were, for the most part, still working records used to conduct ongoing gallery business, their contents changed and shifted over time. After Edith Halpert's death in 1970, the records of the Downtown Gallery were received by the Archives of American Art, 1972-1978, as a gift from her niece and executor, Nathaly Baum. In addition to the previously microfilmed material, the gift includes correspondence, inventories and sales records, financial records, photographs, and printed matter, as well as artifacts.One additional document received 2016 by Karen Freeman, daughter of Arthur H. Freeman, who did business at L.D. Landau and Co. Freeman represented halpert as an insurance agent.
Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Rights:
The Downtown Gallery records are owned by the Archives of American Art, Smithsonian Institution. 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. Prior to publishing information regarding sales transactions, researchers are responsible for obtaining written permission from both artist and purchaser involved. If it cannot be established after a reasonable search whether an artist or purchaser is living, it can be assumed that the information may be published sixty years after the date of sale.
Topic:
Art dealers -- New York (State) -- New York  Search this
Fraktur art  Search this
Art -- Collectors and collecting -- United States  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Printmakers -- United States  Search this
Sculptors -- United States  Search this
Art, Modern -- 20th century -- United States  Search this
Painters -- United States  Search this
Artists -- United States  Search this
Weather vanes  Search this
Chalkware  Search this
Figureheads of ships  Search this
Folk art -- United States  Search this
Folk artists  Search this
Genre/Form:
Video recordings
Photographs
Motion pictures (visual works)
Citation:
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.downgall
See more items in:
Downtown Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-downgall
Online Media:

Oral history interview with Jean Holmes

Creator:
Holmes, Jean, 1910-  Search this
New Deal and the Arts Oral History Project  Search this
Interviewer:
McChesney, Mary Fuller  Search this
Names:
Federal Art Project (Calif.)  Search this
New Deal and the Arts Oral History Project  Search this
Extent:
1 Sound tape reel (Sound recordings: (45 min.), 5 in.)
12 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1965 Apr. 12
Scope and Contents:
An interview of Jean Holmes conducted by Mary McChesney on 1965 Apr. 12 for the Archives of American Art.
Holmes speaks of her involvement with the San Francisco Federal Art Project and her lithography work with the Project.
Biographical / Historical:
Painter, printmaker; California.
Provenance:
This interview 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:
Use requires an appointment.
Topic:
Federal aid to the arts  Search this
Printmakers -- California -- Interviews  Search this
Painters -- California -- Interviews  Search this
Women artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.holmes65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-holmes65

Oral history interview with William Hesthal

Interviewee:
Hesthal, William, 1908-  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
New Deal and the Arts Oral History Project  Search this
Extent:
1 Sound tape reel (Sound recordings: (45 min.), 5 in.)
16 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1964 Dec. 22
Scope and Contents:
An interview of William Hesthal conducted by Mary Fuller McChesney on 1964 Dec. 22 for the Archives of American Art.
Hesthal speaks of his art education; working on the easel and lithography projects for the Federal Art Project; surrealist influences on the FAP artists; and his opinions on federally sponsored art programs.
Biographical / Historical:
Painter; San Francisco, Calif.
General:
Sound quality is poor.
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
Printmakers -- California -- San Francisco -- Interviews  Search this
Painters -- California -- San Francisco -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hestha64
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hestha64

Oral history interview with George Gaethke

Creator:
Gaethke, George, 1898-  Search this
New Deal and the Arts Oral History Project  Search this
Interviewer:
McChesney, Mary Fuller  Search this
Names:
Federal Art Project (Calif.)  Search this
New Deal and the Arts Oral History Project  Search this
Albro, Maxine, 1903-1966  Search this
Bertrand, Ray, 1909-  Search this
Extent:
1 Sound tape reel (Sound recording, 5 in.)
26 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1964 Sept. 26
Scope and Contents:
An interview of George Gaethke conducted 1964 Sept 26 by Mary McChesney for the Archives of American Art.
Gaethke speaks of his background and art training in California and Chicago; his work on the Coit Tower murals; working on a mosaic under the Federal Art Project; printmaking under the FAP; his post-FAP career. He recalls Maxine Albro and Ray Bertrand.
Biographical / Historical:
Painter, printmaker, mosaicist, mural painter; San Francisco, Calif.
Provenance:
This interview 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.
Topic:
Federal aid to the arts  Search this
Coit Memorial Tower (San Francisco, Calif.)  Search this
Mural painting and decoration  Search this
Printmakers -- California -- San Francisco -- Interviews  Search this
Mosaicists -- California -- San Francisco -- Interviews  Search this
Muralists -- California -- San Francisco -- Interviews  Search this
Painters -- California -- San Francisco -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.gaethk64
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gaethk64

Oral history interview with Juana Alicia

Interviewee:
Juana Alicia  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Extent:
99 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2000 May 8 and July 17
Scope and Contents:
An interview of Juana Alicia conducted 2000 May 8-July 17, by Paul Karlstrom, for the Archives of American Art, in Alicia's studio, Berkeley, California.
Juana Alicia discusses her childhood in Detroit and Texas; her identification as part of the black community; admiration of Paul Robeson and Martin Luther King, Jr., whose death "devastated" her; moving in 1972 to Salinas, California at the invitation of Cesar Chavez; working in the lettuce fields and inspiration for her mural Lechugueras (1985) in the Mission District of San Francisco; Chicana identity; art as central to her story; her work during the 1970s and 80s becoming more international in scope and connecting to the struggles of others; her interest in ancient techniques and in the work of Los Tres Grandes and the frescos of Diego Rivera; her current project, Santuarios, with her partner, at SFO, and the iconography of the work in terms of three forces at work: artist's experience, mandate of commission, spiritual/universal force; El Cordon Rota (1998), a banner prepared for and withdrawn from a Tijuana show in response to John Valadez's poster image of a nude Chicana; interest in aesthetics and the idea of beauty in art as vital to survival; her views on gender equality, empowerment through art, differences between men and women; the "Positive Visability" mural (1995) in San Francisco's lower Haight district, with a description of the iconography and recent restoration project supported by Neighborhood Beautification Program fighting hate crimes throughout the city.
Biographical / Historical:
Juana Alicia Araiza (1953-), commonly known as Juana Alicia, is a painter, printmaker, and educator in Berkeley, California. Juana Alicia is among the leading Chicana muralists in California and a major figure in Bay Area Chicana and women's movements. Among her commissions is a mural done with her partner Emmanuel C. Montoya at the San Francisco International Airport. Uses only her forenames; does not use her last name.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 4 hrs., 6 minutes.
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.
Funding for this interview provided by SI Latino Initiative II, 1999.
Topic:
African American artists -- California -- Interviews  Search this
Hispanic American artists -- Interviews  Search this
Muralists -- California -- Interviews  Search this
Women artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.alicia00
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-alicia00

Kenjilo Nanao papers

Creator:
Nanao, Kenjirō, 1929-2013  Search this
Extent:
11.3 Linear feet
0.706 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sketchbooks
Date:
circa 1885-1887
circa 1949-2017
Summary:
The Kenjilo Nanao papers measure 11.3 linear feet and date from circa 1885-1887 and circa 1949-2017, with the bulk of the papers dating from 1970 to 2000. Biographical material includes forms of international identification, travel documents, early academic writing on art, and interviews in the form of written typescripts and digital audio recordings. Correspondence is mostly personal between friends and family, in addition to a few folders of professional correspondence spanning Nanao's career. Correspondence drafts also appear as entries in bound journals. The Journals series includes bound journals of mixed content such as thoughts on art, to-do lists, and artwork in various media including watercolors and charcoal. Professional files include various professional portfolios that Nanao produced for the purpose of tenure review, a binder detailing relationships with various galleries, and various teaching materials and studio documents. Printed materials include exhibition catalogs, invitations, and clippings. Photographs are primarily of family and friends, with some images of artwork and exhibitions. Artwork includes sketchbooks, as well as some loose drawings and watercolors.
Scope and Contents:
The Kenjilo Nanao papers measure 11.3 linear feet and date from circa 1885-1887 and circa 1949-2017, with the bulk of the papers dating from 1970 to 2000. Biographical material includes forms of international identification, travel documents, early academic writing on art, and interviews in the form of written typescripts and digital audio recordings. Correspondence is mostly personal between friends and family, in addition to a few folders of professional correspondence spanning Nanao's career. Correspondence drafts also appear as entries in bound journals. The Journals series includes bound journals of mixed content such as thoughts on art, to-do lists, and artwork in various media including watercolors and charcoal. Professional files include various professional portfolios that Nanao produced for the purpose of tenure review, a binder detailing relationships with various galleries, and various teaching materials and studio documents. Printed materials include exhibition catalogs, invitations, and clippings. Photographs are primarily of family and friends, with some images of artwork and exhibitions. Artwork includes sketchbooks, as well as some loose drawings and watercolors.
Arrangement:
The collection is arranged in 7 series:

Series 1: Biographical Material, circa 1960-circa 2017 (0.3 Linear Feet, .706 GB; Box 1, ER01)

Series 2: Correspondence, circa 1951-2013 (4.9 Linear Feet; Boxes 1-6)

Series 3: Journals, circa 1949-2013 (3.9 Linear Feet; Boxes 6-9, 12)

Series 4: Professional Files, circa 1967-2011 (1.0 Linear Feet; Box 10)

Series 5: Printed Material, circa 1885-1887, circa 1960-2010 (0.6 Linear Feet; Box 11)

Series 6: Photographic Material, circa 1960-2011 (0.1 Linear Feet; Box 11)

Series 7: Artwork, circa 1976-2010 (0.4 Linear Feet; Boxes 11-12)
Biographical / Historical:
Painter and printmaker Kenjilo Nanao (1929-2013), was born in Aomori, Japan, and graduated with a degree in economics in 1953 from Nihon University before immigrating to the United States to study art in the San Francisco Bay Area. He received a bachelor's degree from the California School of Fine Arts in 1963 as well as a masters of fine arts from the San Francisco Art Institute in 1971, where he studied under Nathan Oliveira and met his wife and fellow artist, Gail Chadell Nanao.

Kenjilo's primary artistic medium was lithography in which he became known for Surrealist minimal figurative compositions. Eventually he immersed himself in painting in an Abstract Expressionist style that became his main form of artistic production from the 1980s on. Nanao taught lithography and painting at California State University at Hayward from 1971-1990, and lectured at various other schools in the San Francisco Bay Area. His work is included in the collections of the Museum of Modern Art, in New York City, City of San Francisco, Pasadena Art Museum, Los Angeles County Museum, Cincinnati Museum of Art, Honolulu Academy of Art, Gruenwald (University of California, Los Angeles), the Achenbach Foundation, and others.

Kenjilo Nanao died in Berkeley, CA in 2013 and is survived by his wife and son Max.
Provenance:
The Kenjilo Nanao papers were donated to the Archives of American Art in 2016 and 2018 by Gail Nanao, Kenjilo Nanao's widow.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California -- San Francisco Bay Area  Search this
Educators -- California  Search this
Lithographers -- California  Search this
Topic:
Japanese Americans  Search this
Genre/Form:
Sketchbooks
Citation:
Kenjilo Nanao papers, circa 1885-1887, circa 1949-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nanakenj
See more items in:
Kenjilo Nanao papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nanakenj

Thomas H. Garver research material on Bruce Conner and George Tooker

Creator:
Garver, Thomas H.  Search this
Names:
Conner, Bruce, 1933-2008  Search this
Tooker, George  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Date:
1973-1974
Scope and Contents:
Five cassettes (60 min. each) of an interview of Connor conducted by Garver, Jan. 10 and April 17, 1974, accompanied by 80 slides of Connor's work (referenced by number during the interview). The Tooker material consists of three cassettes (90 min. each) of an interview conducted with Tooker, Sept. 11, 1973.
Biographical / Historical:
Curator; San Francisco, Calif. Conner is a filmmaker and printmaker; Tooker is a painter and printmaker.
Provenance:
Donated 1974 by Thomas H. Garver, who compiled the material in preparation for exhibitions of paintings by George Tooker, July -Sept. 1974, at the Fine Arts Museums of San Francisco, and of drawings by Bruce Conner, October 1974-January 1975, at the M.H. de Young Memorial Museum, Golden Gate Park, San Francisco.
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.
Topic:
Artists -- California -- Interviews  Search this
Art, American -- California  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.garvthom
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-garvthom

Roi Partridge interview

Creator:
Partridge, Roi, 1888-1984  Search this
Interviewer:
Steinberg, Steve  Search this
Extent:
3 Items (sound cassettes)
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1980
Scope and Contents:
An interview of Roi Partridge conducted by Steve Steinberg in preparation for Steinberg's article on Partidge "Roi Partidge at Ninety-One," published in the San Francisco Examiner, Oct. 12, 1980.
Biographical / Historical:
Printmaker; San Francisco, Calif.
Provenance:
Donated 1984 by Steve Steinberg.
Restrictions:
Use requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Topic:
Printmakers -- California -- San Francisco -- Interviews  Search this
Prints -- Technique  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.partroii
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-partroii

Oral history interview with Enrique Chagoya

Interviewee:
Chagoya, Enrique  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Extent:
95 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 July 25-August 6
Scope and Contents:
An interview of Enrique Chagoya conducted July 25-August 6, by Paul Karlstrom, for the Archives of American Art.
The interview takes place at Chagoya's home in South San Francisco (sessions 1,2) and at Karlstrom's San Francisco office (session 3). Chagoya's wife, Kara Maria, joins in for the final portion of the interview. Chagoya discusses activities in Mexico and the U.S.; his involvement with the Galeria de la Raza and the Chicano Movement; his work, including books that are based on Pre-Columbian codices; his application of "reverse anthropology," the history of the Americas and Europe, as if Mexico conquered Europe; Frida Kahlo and Diego Rivera; the legacy of Mexican muralism and the union of art and ideology; the nature of his own interest in Pre-Columbian imagery; his sabbatical year in Paris; collaborations with his wife Kara Maria, including issues of self-projection into works of art; artistic responsibility; creation of hybrid cultures; the separation of his art from other Chicano art; and identity as a Mexican. Chagoya's wife, painter Kara Maria, discusses her training at UC Berkeley, meeting Chagoya; their evolving relationship as artists; his role as mentor; and her separate artistic identity.
Biographical / Historical:
Enrique Chagoya (1953-) is a Mexican American painter, graphic artist, and educator in San Francisco, California. Kara Maria (1968-) is Chagoya's wife.
General:
Originally recorded on 7 sound cassettes. Reformatted in 2010 as 13 digital wav files. Duration is 6 hr., 43 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:
Transcript available on the Archives of American Art website.
Topic:
Painters -- California -- San Francisco -- Interviews  Search this
Printmakers -- California -- San Francisco -- Interviews  Search this
Indian art -- Central America  Search this
Mexican American artists -- California -- Interviews  Search this
Hispanic American artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.chagoy01
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-chagoy01

Oral history interview with Dorr Bothwell

Interviewee:
Bothwell, Dorr  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
New Deal and the Arts Oral History Project  Search this
Public Works of Art Project  Search this
Clements, Grace, 1905-1969  Search this
Feitelson, Lorser, 1898-1978  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Extent:
16 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 February 27
Scope and Contents:
An interview of Dorr Bothwell conducted 1965 February 27, by Mary Fuller McChesney, for the Archives of American Art. Bothwell describes her education and art training in San Francisco; painting for the Public Works of Art Project; Federal Art Project murals in Los Angeles; effects of the federal projects on her artistic development; and friends and colleagues Grace Clements, Lorser Feitelson, and Stanton Macdonald-Wright.
Biographical / Historical:
Dorr Bothwell Mural (1902-2000) was a painter and printmaker from Joshua Tree, California. Charter member of the Society of San Francisco Women Artists. Co-wrote "Notan: the Dark-Light Principle of Design."
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 58 min.
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.
Topic:
Federal aid to the arts  Search this
Women artists -- California -- Interviews  Search this
Painters -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bothwe65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bothwe65

Oral history interview with Squeak Carnwath

Interviewee:
Carnwath, Squeak, 1947-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Creator:
Viola Frey Oral History Project  Search this
Names:
Viola Frey Oral History Project  Search this
Extent:
7 Items (sound files (4 hr., 28 min.), digital, wav)
175 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2015 September 9
Scope and Contents:
An interview of Squeak Carnwath, conducted 2015 September 9-10, by Mija Riedel, for the Archives of American Art's Viola Frey Oral History Project at Carnwath's studio in Oakland, California.
Biographical / Historical:
Interviewee Squeak Carnwath (1958) is a painter and printmaker in Oakland, California. Carnwath was a student of Viola Frey's who later became her friend, and is a co-founder of the Artists' Legacy Foundation. Interviewer Mija Riedel (1958- ) is an independent scholar in San Francisco, California.
General:
Originally recorded as 7 sound files. Duration is 4 hr., 28 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:
For information on how to access this interview contact Reference Services.
Topic:
Painters -- California -- Oakland -- Interviews  Search this
Printmakers -- California -- Oakland -- Interviews  Search this
Women artists -- California -- Oakland -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.carnwa15
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carnwa15

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