An interview of Anni Albers conducted 1968 July 5, by Sevim Fesci, for the Archives of American Art, in New Haven, Connecticut.
Albers speaks of her educational background; Paul Klee as a teacher; color in weaving; techniques and materials; Peruvian and European textiles; her "sound-absorbing" textile designed for the Bauhaus auditorium; and her weaving workshop at Black Mountain College. She reminisces about the Bauhaus in the 1920s.
Biographical / Historical:
Anni Albers (1899-1994) was a weaver from New Haven, Connecticut.
General:
Reformatted in 2010 as 2 digital wav files. Duration is 40 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Art teachers -- Connecticut -- New Haven Search this
Quotes and excerpts must be cited as follows: Oral history interview with Josef Albers, 1968 June 22-July 5. Archives of American Art, Smithsonian Institution.
The papers of painter, printmaker, and art teacher Josef Albers date from 1929 to 1970 and measure 1.5 linear feet. Found within the papers are biographical materials, writings, a recorded lecture, and photographs. The bulk of the collection consists of printed materials.
Scope and Contents:
The papers of painter, printmaker, and art teacher Josef Albers date from 1929 to 1970 and measure 1.5 linear feet. Found within the papers are biographical materials, writings, a recorded lecture, and photographs. The bulk of the collection consists of printed materials.
Biographical material consists of a curriculum vitae, bibliographic lists, a transcript of a "Yale Reports" radio interview in which Albers discusses art as a port of general education, and a photocopy of a letter from Eugene W. Leake of the Maryland Institute discussing a work by Albers in the Baltimore Museum.
Writings and Lectures are primarily photocopies of poems and typescripts by Albers concerning his theories on art, as well as an sound tape reel recording of Albers delivering a lecture at Yale University. There are also photocopied typescripts about Albers written by others including a typescript "Josef Albers" by Hans Jean Arp.
Printed material primarily consists of clippings and exhibition announcements and catalogs, some of which are annotated by Albers. There are also two exhibition catalogs for Anni Albers, press releases, a copy of poetry publication Origin 8, 2 books by Albers, Embossed Linear Compositions and Josef Albers: Poems and Drawings, the book American Abstract Artists, 1936-1966, and miscellaneous brochures.
Photographs consist of two copies of the same image of Josef Albers pin registering one of his prints with Tamarind artisan Ken Tyler.
Arrangement:
The collection is arranged as 4 series.
Missing Title
Series 1: Biographical Material, 1957-1970 (3 folders; Box 1)
Series 2: Writings and Lecture, 1936-1967 (5 folders; Box 1)
Series 3: Printed Material, 1929-1969 (1.3 linear feet; Boxes 1-3)
Series 4: Photographs, circa 1968 (1 folder; Box 2)
Biographical / Historical:
Josef Albers (1888-1976) of Dessau, Germany, Black Mountain, North Carolina, and New Haven, Connecticut, was a painter, printmaker, and art teacher advocating a disciplined approach to composition, form, and color.
Josef Albers was born on March 19, 1888 in Bottrop, Westphalia, Germany, the only child of Lorenz Albers, a housepainter, and Magdelena (Schumacher) Albers. He attended the Präparanden-Schule in Langenhorst from 1902 to 1905 and then the teachers college in Büren, graduating in 1908. He became an instructor in several Westphalian primary schools.
Albers studied at the Royal Art School in Berlin, the Arts and Crafts School (Folkwang School) in Essen, and at the Art Academy in Munich under Franz Stuck before enrolling at the Bauhaus in Weimar in 1920. In 1923, he became an instructor and in 1925, when the school was transplanted to Dessau, he became a Bauhausmeister, teaching his fundamental design course. He remained in that position in Dessau and Berlin until 1933, when under pressure from National Socialism, the school was shut down. In that year, Albers emigrated to the United States, becoming a professor of painting at Black Mountain College in North Carolina.
In 1949, Albers moved to Yale University where he taught in the Department of Design and served as Chairman of the Art Department. Following his retirement in 1960, Albers continued to live in New Haven with his wife, textile artist Anni Albers.
Albers served as a guest teacher in Ulm, Germany, and in many colleges and art schools in the United States, Mexico, and South America. He was also an author of poems and books concerning art theory.
Josef Albers died on March 25, 1976 in New Haven, Connecticut.
Related Materials:
Also found in the Archives is an oral history interview with Albers conducted by Sevim Fesci in 1968, and a collection of letters from Albers to J. B. Naumann that was loaned to the Archives by the Brooklyn Museum for microfilming and is available on microfilm reel 911.
Provenance:
The Josef Albers papers were donated by the artist in 1969 and 1970. A small collection of additional Albers papers and an audio recording of a lecture with an unknown provenance were integrated.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of New York painters and teachers Josef Presser and Presser's wife Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as artists and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.
Scope and Content Note:
The papers of New York painters and teachers Josef Presser and Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as partners, artists, and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.
The collection is divided into two series. Series 1 consists primarily of Presser's papers from 1913 to his death in 1967, and Hart's correspondence dating from 1967 to 1977 regarding the management of his estate. Biographical material includes an address book, curriculum vitae, family history, and personal identification records. Presser's personal correspondence is with family and friends, including the artists Charles Hopkinson and Vera Fraser. Business related correspondence is with various collectors, galleries, museums, art associations, and art schools. There is also correspondence related to Presser's law suit against the New York Port Authority, and Presser and Hart's real estate purchases in Hurley and Woodstock, New York. Hart's correspondence concerns Presser's estate and artwork after his death, including letters related to the organization of Presser's memorial exhibition in 1968.
Writings by Presser include essay fragments, 4 notebooks, and numerous note fragments. His teaching files include memoranda, syllabi, and class assignments from his tenure at New York University from 1947 to 1952. There are also memoranda from the New York School of Visual Arts and the Prospect Hill School. Personal business records include bank registers, artwork sales records, and receipts from his residency in Paris in the 1960s.
Printed material consists of bulletins, clippings, and exhibition announcements and catalogs related to Presser's career. There are also draft and final versions of Presser's memorial exhibition catalog, and a copy of the 1951 conference Artist and the Museum sponsored by the Artists Equity Association and the Woodstock Artists Association.
Artwork consists of loose sketches, artwork on postcards and printed material, and 9 sketchbooks dating from the 1950s to 1960s. Photographic material includes photographs of Presser with friends and family, and photographs of his studio and artwork. There are also 4 photographs of the artist Abraham Walkowitz dating from the 1940s.
Agnes Hart's papers documenting her own career are arranged in Series 2 and date from 1930 to 1980. Biographical materials include two engagement calendars, curriculum vitae, consignment lists, and critiques. Her correspondence with family and friends includes letters from artist Lucile Blanch, journalist Agnes Smedley, and Yaddo director Elizabeth Ames. Business correspondence is with galleries, collectors, art associations, and art schools.
Teaching files include employment contracts, class catalogs, newsletters, and photographs from Hart's tenure at the Art Students League (1965-1975), and class catalogs and memoranda from Dalton Schools and Parnassus Square. Printed material includes bulletins, clippings, and exhibition announcements and catalogs related to Hart's career. There are also draft and final versions of the 1956 Yasuo Kuniyoshi memorial exhibition catalog. Additional photographic material consists of a photograph of the Central Cown Art Center, a gallery Hart managed in 1937.
Arrangement:
The collection is arranged as 2 series:
Missing Title
Series 1: Josef Presser, 1913-1977 (3 linear feet; Boxes 1-3, Box 5)
Series 2: Agnes Hart, 1930-1980 (1.3 linear feet; Boxes 3-4)
Biographical Note:
Josef Presser (1909-1967) lived and worked primarily in New York City as a painter, educator, and lecturer.
Presser was born in Lublin, Poland and immigrated with his family to Boston, Massachusetts in 1913. He showed an early affinity for art and, at the age of 12, was accepted to the Boston Museum School of Fine Arts on a four year scholarship. After completing his education, he spent several years traveling in Europe and visited the major museums of France, Italy, and Belgium before returning to America in 1931. Upon his return, Presser opened his first solo New York show at the Montross Gallery in 1931, moved to Philadelphia, painted murals as part of the Works Progress Administration program, and began receiving private commissions. By the mid-1930s, Presser was exhibiting regularly in solo shows in Philadelphia and had began accepting teaching positions. While lecturing at Iowa State University, Presser met his future wife and artist, Agnes Hart, who he married in 1941.
After moving to New York City in 1940, Presser continued to exhibit in New York galleries throughout the 1940s and 1950s, and eventually accepted teaching positions at New York University, Queens College, Cooper Union, and the Brooklyn Museum Art School, among others. Though he was familiar with the work of the abstract expressionists, Presser is known primarily for his figurative paintings featuring women, children, clowns, and horses, with the latter two subjects inspired by circuses he had traveled with in Europe. In 1940, Presser and Hart purchased studio space in Woodstock, New York where they exhibited as members of the Woodstock Artists Association. Presser's solo shows include exhibitions at Contemporary Arts Gallery, Associated American Artists Galleries, and the Vera Lazuk Gallery.
In 1965, Presser went on an extended trip abroad to Paris, and continued working until his death in 1967.
Agnes Hart (1912-1979) was born in Meridan, Connecticut and studied art at the Ringling Museum of Art in Sarasota, Florida and at Iowa State University. Hart was a prolific painter and printmaker of abstract forms and urban landscapes. In 1948 and 1949, she received fellowships as a guest painter at the Yaddo Foundation and exhibited her first solo show in New York City at the RoKo Gallery in 1948. She continued to exhibit regularly at New York City galleries into the 1970s, and also accepted several teaching positions, including a ten year tenure with the Art Students League of New York. She continued to paint and teach until her death in 1979.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel N69-1) including original clippings and exhibition announcements. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The papers of Josef Presser were lent for microfilming by Agnes Hart in 1968. Excluding certain printed material, Hart later donated the bulk of these papers and additional Presser materials in 1977 and 1979. Hart donated her papers in 1978. Frances Hitchcock, Hart's sister, gave additional material in 1981.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- New York (State) -- New York Search this
Topic:
Painters -- New York (State) -- New York Search this
Black Mountain College (Black Mountain, N.C.) Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1924-1969
Summary:
The papers of artist and weaver Anni Albers measure 0.2 linear feet and date from 1924-1969. They consist primarily of printed materials about Alber's exhibitions, Bauhaus training, and Black Mountain weaving classes.
Scope and Content Note:
The papers of artist and weaver Anni Albers measure 0.2 linear feet and date from 1924-1969. They consist primarily of printed materials about Alber's exhibitions, Bauhaus training, and Black Mountain weaving classes.
Arrangement:
The collection is arranged as one series:
Missing Title
Series 1: Printed Materials, 1929-1969 (Box 1; 0.2 linear feet)
Biographical Note:
Anni Albers (1899-1994) was a textile designer, weaver, writer, and printmaker who worked in Connecticut and at the Black Mountain College in North Carolina.
Anni Albers was born in Germany in 1899 and attended the Bauhaus where she met her husband designer Josef Albers in 1922; they married in 1925. At the Bauhaus. she experimented with new materials for weaving and executed richly colored designs on paper for wall hangings and textiles in silk, cotton, and linen yarns.
When the Bauhaus moved to Dessau, the Albers lived alongside the families of artist teachers Lyonel Feininger, Paul Klee, Wassily Kandinsky, Oscar Schlemmer, and others in one of the masters' houses designed by Gropius. In 1933, the Albers emigrated to the U.S. to work at the experimental Black Mountain College in North Carolina. Both taught at Black Mountain until 1949. During these years Anni Albers' weavings were shown throughout the US and she published many articles on textiles and design, culminating in a 1949 show at the Museum of Modern Art, the first of its kind for a textile artist.
In 1950, Josef accepted the position of chair of the design department at Yale and the Albers moved to Connecticut. During the 1950s and 1960s, Anni worked productively from a home studio, producing fabric patterns, creating "pictorial" weavings, and writing articles and books about weaving, including On Designing in 1952 and On Weaving in 1965. During the 1960s she also started printmaking and devoted much of her later career to this artform.
Anni Albers died in Connecticut in 1994.
Related Material:
Also found among the holdings of the Archives of American Art is an oral history interview with Anni Albers by Sevim Fesci on July 5, 1968.
Provenance:
Anni Albers donated the papers in 1969.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- Connecticut -- New Haven Search this
Personal papers of Robert O. Muller, a Connecticut-based art dealer and collector who, over the course of seventy years, assembled one of the world's finest collections of Japanese prints from the late 1860s through the 1940s. The papers include Muller's correspondence relating to Japanese art, files relating to his and his wife's 1940 honeymoon in Japan during which he forged many contacts with Japanese artists and art dealers and purchased thousands of prints, subject files, catalogs, business transactions, magazine and newspaper clippings, photographs, and notes and drafts for a planned book.
Scope and Contents:
The Robert O. Muller Papers consist of Mr. Muller's correspondence; research and subject files; indexes to his art collection; printed matter; photographs; and a draft manuscript and notes for a planned book. The papers document his art collecting and dealing, his relationships with a wide variety of art shops and other art dealers, his 1940 honeymoon to Japan, and the dealings of his various businesses from the 1940s through to the 1990s.
Arrangement:
This collection is arranged into five series:
Series 1: Correspondence and subject files
Series 2: Catalogs and indexes to Robert-Lee Gallery and Robert O. Muller's Art Collection
Series 3: Draft Manuscript
Series 4: Printed Matter
Series 5: Photographs and slides
Biographical / Historical:
Born in 1911 in Pelham, New York, art collector, dealer, and connoisseur Robert O. Muller assembled a collection of nearly 4,500 late nineteenth- and early twentieth-century Japanese prints throughout his life. As a history student at Harvard University, Mr. Muller's world renowned print collection began to take shape with the purchase of the print 'Kiyosu Bridge" by Kawase Hasui for $5.00 from the Shima Art Company in 1931.
Mr. Muller married Ingeborg Lee in 1940 and their honeymoon in Japan played a critical role in Mr. Muller's development as an art dealer and collector. They spent five months there and met with many important artists and dealers and purchased thousands of prints for both their personal art collection and for commerce.
Upon their return to the States, Mr. Muller purchased the Shima Art Company's assets and started the Robert Lee Gallery with his partner William Lee Comerford in 1940. With the attack on Pearl Harbor, Muller and Comerford closed the Robert Lee Gallery and later reopened it in a different Manhattan location. The Mullers moved to Newton, Connecticut, in 1946 and reestablished the Robert Lee Gallery there. In 1962, Muller purchased a frame shop, Merwin's Art Shop, in New Haven, Connecticut. Although primarily a framing shop, Muller not only befriended many scholars and academics from nearby Yale University but sold Japanese prints from the back room.
From that initial purchase of 'Kiyosu Bridge' in 1931 up until his death in 2003, Robert Muller amassed what many art historians, collectors, and curators regarded as the finest collection of its type in the world. Muller bequeathed his Japanese print collection, archival materials, and library to the Sackler Gallery of Art, Smithsonian Institution.
Much of the biographical information comes from, Printed to Perfection: Twentieth-century Japanese Prints from the Robert O. Muller Collection. (Washington, D.C. : Arthur M. Sackler Gallery in association with Hotei Publishing, c2004)
Further information and clarification from conversations with Dr. James T. Ulak, Deputy Director of the Freer Gallery of Art and Arthur M. Sackler Gallery .
1911 October 5 -- Born in Pelham, New York. Great-grandson of Charles Erhart, cofounder of Charles Pfizer & Company, now Pfizer Inc.
1931 -- Purchased first modern Japanese print, "Kiyosu Bridge", from the Shima Art Company in New York City.
1934 -- Earned Bachelor of Arts degree in History from Harvard University.
1936 -- Traveled to Germany aboard the Hindenberg. During return to United States, visited with and bought many prints from Japanese print collector Thomas Bates Blow in London.
1940 February 3 -- Married Ingeborg Lee and honeymooned in Japan.
1940 September -- Purchased the assets of the Shima Art Co. for $7,000. Remained friends with the former owners, Kazue Sumii and Hango Sumii and their daughter Noriko.
1940 October 21 -- Opened the Robert-Lee Gallery on 69 East 57th Street in Manhattan.
1941 December -- After attack on Pearl Harbor, closed Robert-Lee Gallery. Later reopened at new location at 32 West 57th Street
1941 - 1952 -- Mrs. Muller gave birth to four daughters and one son.
1942-1945 -- Worked for Pfizer Inc.
1946 -- Moved to farmhouse in Newtown, Connecticut and re-established Robert Lee Gallery there one year later.
1962 -- Purchased and ran Merwin's Art Shop in New Haven, Connecticut
1985 -- Handed over management of Merwin's Art Shop to his son Robert L. Muller
2003 April 10 -- Died as a result of Parkinson's Disease.
2003 May -- Bequeathed his collection of Japanese prints, cataloging records, papers, and library to the Smithsonian's Sackler Gallery of Art.
Related Materials:
The Sackler Gallery of Art owns the Robert O. Muller Collection of Japanese prints.
Provenance:
Robert O. Muller bequeathed his Japanese print collection as well as his archival records to the Sackler Gallery in 2003.
Restrictions:
Collection is open for research.
Rights:
Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
Robert O. Muller Papers, Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Washington, D.C. Bequest of Robert O. Muller, 2003
1 Microfilm reel (41 items on partial microfilm reel)
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1934-1947
Scope and Contents:
The microfilm collection of the Josef Albers letters to J. B. Neumann contains 40 letters, primarily in German, written to J. B. Neumann by Josef Albers. Also included is an article on Albers written by Alexander Dorner.
Biographical / Historical:
Josef Albers (1888-1976) was a German-born painter, printmaker, and educator who advocated a disciplined approach to composition, form, and color. He immigrated to the United States in 1933 and taught at Black Mountain College in North Carolina. In 1949 he moved to New Haven, Connecticut to teach at Yale University and serve as Chairman of the art department.
J. B. (Jsrael Ber) Neumann (1887-1961) was an Austrian-born gallery director, art dealer, and publisher. Neumann had art galleries in Berlin, Munich, Dusseldorf, and Bremen, Germany. In 1923 he immigrated to the United States and founded the New Art Circle Gallery in New York.
Related Materials:
The Archives of American Art also holds the Josef Albers papers, 1929-1970; the oral history interview with Josef Albers, 1968 June 22-July 5; and the J. B. Neumann papers, 1905-1967. Yale University Library Manuscripts and Archives holds the Josef Albers Papers (MS 32). The Frick Collection and Frick Art Reference Library holds the Josef Albers Papers, 1933-1961.
Provenance:
Lent for microfilming 1966 by the Brooklyn Museum, Department of Prints.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
This series consists of the business and personal correspondence of Edith Gregor Halpert and the Downtown Gallery. For the most part, this series is general business correspondence concerning routine activities of the Downtown Gallery, including the American Folk Art Gallery and the Daylight Gallery, both operated by the Downtown Gallery on the same premises. Included are correspondence with clients, employees, other galleries, and colleagues concerning sales, loans, purchases, appraisals, and so forth; arrangements for shipping, framing, photography, reproduction permissions, and insurance; and gallery housekeeping and improvements, ordering of supplies, and other administrative concerns.
Also included is personal correspondence of Edith Gregor Halpert. There are letters and greeting cards from nieces, nephews, and other relatives; correspondence with longtime friends, including some who were art collectors, museum curators, or museum directors; and correspondence concerning upkeep and improvement of her Newtown, Connecticut, country home and entertaining there.
See Appendix A for a list of selected correspondents from Series 1
Arrangement note:
Letters (with enclosures) are arranged chronologically, with those of the same date alphabetized by name of correspondent; undated material is arranged alphabetically, followed by unidentified correspondents and letters bearing illegible signatures.
Box numbers provided in the Container Listing are approximate.
Appendix A: List of Selected Correspondents in Series 1:
Names and titles indicated in this list are those that appear on the letters. Where appropriate, terms have been standardized and cross-referencing provided. Because filing is not always consistent, researchers are advised to check both the name of an individual and the institution that he or she represented.
Abate Associates, Inc., 1956
Abbot and Land, 1965
Abbot, B. Vincent, 1944
Abbot, Bernice, 1957
Abbot, John E., 1945, 1948
Abbot Laboratories, 1950, 1952
ABC Employment Agency, 1951
Richard Abel and Co., Inc., 1968
Abendroth, Robert W., 1966-1967
Abercrombie and Fitch Co., 1962
Abilene Museum of Fine Arts, undated, 1949, 1954
Abingdon Square Painters, 1965
Abraham and Straus, 1930, 1960, 1965-1966, 1968
Abraham, Mae C., 1965
Abrahamsen, Mrs. David, 1962
Abramowitz, M., 1958
Harry N. Abrams, Inc., 1958-1960, 1965-1966, 1968-1969
"HemisFair '68," 1968 (see also: "International Exposition, HemisFair '68")
Hemmenway, Catherine C., 1961
Hemmingsen, R. V., 1963
Hemmingson, Victoria, 1965
Henderson, Hanford, 1960
Henderson, Priscilla A. B. (Mrs. A. I.), 1934-1955
Henderson, Ray, 1956
Hendrick, Mrs. James Pomeroy, 1961
Heninger, Helen, undated, 1963, 1969
Henquet, Roger, 1948, 1965
Henri, Robert, 1926-1927
Henry, David T., 1964
Henry, Helen (Mrs. Charles), undated, 1949
Henry, James F., 1958
Henry Street Settlement, 1958, 1962-1963
Hentschel, R. A. A., 1951-1954
Hepburn, Katharine, 1952
Herbert, Elmer, 1962
Herbert, James D., 1962
Herider, Ed. L., 1961
Heritage Gallery, 1960, 1964
Herman, Stanley, 1964
Herman, Vic, 1968
Herring, Audrey L., 1964
Herrington, Nell Ray (Mrs. A. W. S.), 1962, 1965
John Herron Art Institute, undated, 1934, 1949, 1951, 1953, 1957-1958, 1962-1964, 1967 (see also: Art Association of Indianapolis; Art School of the John Herron Art Institute)
Hertslet, G. Gordon, 1962, 1966
Hertz, Richard C., 1965
Hertzberg, Stuart E., 1967-1968
Heschel, Mrs. Abraham, 1961
Hess, Elaine Marie, 1965
Hess, Mrs. Thomas B., 1954
Hetzel, Margaret deL. (Mrs. Joseph L.), 1948
Hewitt, Ada M., 1953
Edwin Hewitt Gallery, 1953
Heydenryk, Henry, 1954, 1960, 1964
Heynick, Carla Marian, 1965
Hickok, M., 1958
Hiddens, Mrs. Earl, 1952
Hiersoux, Arne, 1966
Hi Fi/Stereo Review, 1960
High Museum of Art, 1950, 1955, 1961-1962, 1965-1968 (see also: Atlanta Art Association; Atlanta Art Association and High Museum of Art)
Highway Antique Shop, 1954
R. Hill and Son, Ltd., 1960
Hill, Ralph Nading, 1952, 1962
Hille, Elise B., undated
Hille and Curran, 1954
Hilleman, Alex L., 1956
Hiller, Paula, 1962
Hilles, Mrs. Frederick W., 1956
Hillman, Mrs. Joel, II., 1960
Hillside Hospital Clinic, 1949, 1953
Hillstrom, Richard L., 1958, 1962, 1964-1965
Hilltop Theatre, Incorporated, 1952
Hilsenrath, Yakov R., 1965
Hilson, Catherine [Katy] and/or John S., undated, 1958-1959, 1961-1966
Himel, Irving, 1963
Himmelsfarb, Samuel, 1955
Hines, Felrath, 1961
Hinkhouse, Inc., 1960, 1964
Hirsch, B., 1961
Hirsch, E. W., 1954
Hirschberg, J. Cotter, 1956
Hirschl and Adler Galleries, Inc., 1958, 1960, 1963-1965, 1968
Hirschland, Dr. and/or Mrs. F. H., undated, 1959
Hirschland, Paul Michael, 1945
Hirschburg, Mrs. Roy, undated
S. A. Hirsh Manufacturing Co., 1966
Hirshberg, Henrietta, 1961
Hirshhorn, Mrs. Arthur, 1960
Hirshhorn, Joseph H., 1946, 1948, 1951-1954, 1956, 1960, 1963, 1965
Joseph H. Hirshhorn Collection, 1959-1960, 1962-1963, 1965-1966
[incomplete; without signature], undated, 1953, 1961, 1967, 1968
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Collection 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.
Collection Citation:
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing, microfilming and digitization of the microfilm of this collection was provided by the Henry Luce Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
