The papers of New York-based painter, printmaker, collagist and writer Anne Ryan measure 3.8 linear feet and date from circa 1905 to 1970. The papers document her career as an artist and writer in New York, New Jersey and Spain through biographical material, correspondence, diaries and journals, writings, printed material, photographic material and artwork.
Scope and Contents:
The papers of New York-based painter, printmaker, collagist and writer Anne Ryan measure 3.8 linear feet and date from circa 1905 to 1970. The papers document her career as an artist and writer in New York, New Jersey and Spain through biographical material, correspondence, diaries and journals, writings, printed material, photographic material and artwork.
Biographical material includes a mixture of legal and financial records as well as other personal documents. There are account books, art inventories, biographical statements, estate papers, exhibition lists, price lists, loan and consignments records, bills and receipts, banking and tax records, assorted travel documents, and other miscellaneous items.
Correspondence is with editors, museums, galleries, family and friends. Many of the letters have typed transcriptions that go along with the original handwritten correspondence. There is also correspondence with Anne Ryan's daughter, Elizabeth McFadden.
There are six diaries, journals, and travel diaries. The diaries and journals describe progress on artwork and writing, as well as daily appointments and activities.
Writings consists of notes, notebooks, poetry and manuscripts. The bulk of the series consists of handwritten and typescript drafts of books, short stories and essays. There are a few items written by others.
Printed material includes exhibition announcements, catalogs, clippings and magazines. Most of the periodicals include essays and stories written by Ryan. There are some printed materials such as postcards, travel brochures and clippings from Ryan's time in Spain.
Two family albums and photographs depict Anne Ryan, family, friends, colleagues, artwork, exhibition installations and houses.
Also found are materials Ann Ryan used to make artwork, such as engraved metal plates for prints, engraved woodcuts for woodblock prints, and handmade stencils. Some drawings are also included.
Arrangement:
The collection is arranged as seven series.
Series 1: Biographical Material, circa 1920-circa 1970 (Box 1; 0.2 linear feet)
Series 2: Correspondence, circa 1922-1968 (Box 1; 0.6 linear feet)
Series 3: Diaries and Journals, 1924-1942 (Boxes 1-2; 0.3 linear feet)
Series 4: Writings, circa 1923-circa 1954 (Boxes 2-3; 1.4 linear feet)
Series 5: Printed Material, 1925-1970 (Boxes 3-4; 0.6 linear feet)
Series 6: Photographic Material, circa 1905-circa 1954 (Boxes 4-5; 0.4 linear feet)
Series 7: Artwork, circa 1930-circa 1954 (Box 5; 0.3 linear feet)
Biographical / Historical:
Anne Ryan (1889-1954) was a painter, printmaker, collagist, graphic artist and author who primarily worked in New York City, but also in New Jersey and Spain.
Anne Ryan was born in Hoboken, New Jersey in 1889. She attended St. Elizabeth's Academy and College. She married lawyer William J. McFadden and had three children – William, Elizabeth and Thomas. They lived in Newark, New Jersey and divorced in 1923. Ryan often went to Greenwich Village in New York City and was something of a fixture in the arts and literary community. In 1925 she published a book of poetry, Lost Hills, and her novel Raquel was also published around this time.
Around 1931, Ryan moved to Spain and lived there for roughly four years, mostly in Mallorca and Ibiza, though she traveled to Paris as well. She then returned to New York City and moved into 124 West Fourth Street, which was occupied by many artists and writers. She opened a restaurant called The Hearthstone in the building's basement.
Ryan began painting around 1938. Artist Hans Hofmann lived nearby and visited her studio to provide encouragement, telling her to pursue her own course artistically and not to seek formal instruction. Ryan's first exhibition was in 1941. During this time she joined the printmaking studio Atelier 17 run by British artist William Stanley Hayter who had fled from Paris, France due to World War II. Thanks to the studio, Ryan befriended many European expatriate artists and started making woodblock prints and engravings.
In 1948, Ryan saw an exhibition of collages by Kurt Schwitters that inspired her to begin creating collages herself. During her late career, she made hundreds of collages and had multiple exhibitions at Betty Parsons Gallery in New York City. Ryan was also a prolific writer and many of her short stories and travel essays were published in magazines and periodicals. She died in 1954 in Morristown, New Jersey.
Provenance:
The Anne Ryan papers were donated to the Archives of American Art in 1971 by Elizabeth McFadden, Anne Ryan's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Authors -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
2.32 Linear feet ((partially microfilmed on 3 reels))
Type:
Collection descriptions
Archival materials
Date:
1939-1983
Scope and Contents:
REEL N70-16: A typescript (42 p.) address delivered at the Corcoran Museum of Art, 1967, by Yunkers describing his student years in Russia, and later years in Germany, France, and Mexico, ca. 1917-1928, and relating political, social, and cultural events to the development of modern art. He describes Russia before and during the Revolution and Germany during the Weimar Republic. Also included are a resume; a critical bibliography of Yunkers work; typescripts of 2 articles; and clippings.
REEL D251: Printed material, 1941-1965, including newspaper clippings, magazine articles, reviews, exhibition catalogs and announcements, and press releases.
REEL 1023: "Prints in the Desert: New Mexico," 1950, a limited edition book of prints and poetry produced by a collaboration of artists under the leadership of Yunkers.
UNMICROFILMED: Biographical material, including naturalization papers and a passport; files of letters from Mikael Bjornstjerna (1977-1983), Cheryl Bowers (1978-1983), Morton and Chris Grossman (1979-1982), Donna Haley (1982-1983), Denis Wood (1978-1983), Yunker's daughters, including Nina (1979-1983); business and personal correspondence, 1960-1983; files on galleries handling Yunkers' work, including Smith Andersen Gallery (Palo Alto, Calif.), Alice Simsar Gallery (Ann Arbor, Mich.), and Impressions Gallery (Boston, Mass.) containing correspondence, price lists and receipts; a few sketches and a collage; 2 portfolios, "Creation" (1941) and "Ars: Tidskrift for Konst Litterature Och Veteskap" (1942) containing original prints and collages by Yunkers; 2 appointment books, 1980-1983; notes and writings; photographs of Yunkers, Yunkers at work, his family, friends, studio, and art work; photograph albums, including 2 of Yunkers' studios in Stockholm, Sweden, New Mexico, and New York City (1942-1980) and one of exhibition installations, undated; photographs by Denis Hare of the making of Octavio Paz's book BLANCO, illustrated by Yunkers, and slides of prints included in BLANCO; and printed material, including exhibition announcements, clippings and miscellany.
Biographical / Historical:
Abstract painter and printmaker, collagist, and art instructor; New York, N.Y. Died 1983. Born in Riga, Latvia. Studied in Leningrad, Paris, Berlin, and London. He moved to the United States in 1947. Faculty member of the New School for Social Research, 1947-1956; Cooper Union, 1956-1967.
Related Materials:
Adja Yunker papers also at Syracuse University.
Provenance:
Materials on reels D251, N70-16, and 1023 donated by Adja Yunkers, 1966-1970, and transferred to NMAA-NPG Library vertical files after microfilming, except "Prints in the Desert: New Mexico" (REEL 1023). Unmicrofilmed material donated 1984 by Marina and Alexandra Yunkers, Yunkers' daughters.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
Unmicrofilmed: ACCESS RESTRICTED; written permission required.
Occupation:
Art teachers -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Printmakers -- New York (State) -- New York Search this
Collagists -- New York (State) -- New York Search this
The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.
Scope and Content Note:
The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.
The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.
Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.
The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.
The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.
Other photographs are of works of art, most of which depict William's works.
Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.
Arrangement:
The collection is arranged into 9 series:
Missing Title
Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)
Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)
Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)
Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)
Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)
Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)
Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)
Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)
Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)
Biographical Note:
William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)
Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.
Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.
In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.
In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.
Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.
William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.
Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.
Related Material:
The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.
The bulk of William Zorach's papers are held by the Library of Congress.
Separated Material:
The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.
Provenance:
William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.
Restrictions:
Use of originals 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 dealers -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
The papers of painter, muralist, and educator Charles Pollock measure 3.1 linear feet and date from 1875 to 1994. Found within the papers are biographical materials; family and personal correspondence; subject files on art and professional topics; writings; printed material; artwork, including political cartoons and figurative sketches; and photographs of Pollock, his family and friends, and his work.
Scope and Contents:
The papers of painter, muralist, and educator Charles Pollock measure 3.1 linear feet and date from 1875 to 1994. Found within the papers are biographical materials; family and personal correspondence; subject files on art and professional topics; writings; printed material; artwork, including political cartoons and figurative sketches; and photographs of Pollock, his family and friends, and his work.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical Materials, 1945-1988 (7 folders; Box 1)
Series 2: Correspondence, 1927-1994 (1 linear foot; Boxes 1-2)
Series 3: Subject Files, 1931-1988 (0.8 linear feet; Box 2)
Series 4: Writings, 1935-1965 (2 folders; Box 2)
Series 5: Printed Material, 1930-1990 (4 folders; Box 2)
Series 6: Artwork, 1925-1949 (0.7 linear feet; Box 3, OV 5-8)
Series 7: Photographic Materials, 1875-1987 (0.4 linear feet; Boxes 3-4)
Biographical / Historical:
Painter, muralist, and educator Charles Pollock (1902-1988) lived and worked in East Lansing, Michigan, New York City, Detroit, and Paris, France and painted in a social realist style early in his career before transitioning to abstract works in the 1940s. He is also the eldest brother of the abstract expressionist Jackson Pollock.
Born in Denver, Colorado to Stella McClure and LeRoy Pollock, Pollock received his early art training at the Otis Institute in Los Angeles, California. In 1926, he moved to New York City to attend the Art Students League where he studied under Thomas Hart Benton, with whom Jackson also studied after joining Charles in New York in 1930. In New York, he met and married his first wife, Elizabeth Feinberg Pollock, in 1931.
Pollock moved to Washington, D.C. in 1935 to work for the Resettlement Administration, and after two years, accepted a position as the political illustrator for the United Automobile Workers' newspaper in Detroit. After a short stint as the illustrator and layout editor for the paper, Pollock served as the supervisor of the Michigan WPA Mural Painting and Graphic Arts division from 1938 to 1942.
Upon completion of a three panel mural for Michigan State University in 1942, Pollock was invited to join the faculty of the art department, where he taught lettering, printmaking, typography, and design. During his twenty-five year tenure at the University, he also served as a book designer for the University's Press and continued to develop his abstract painting style. He met and married his second wife, Sylvia Winter Pollock, in 1957. Pollock served as the University of Pennsylvania's artist in residence in 1965 and 1967, and was the recipient of a National Foundation of Arts Grant (1967) and a Guggenheim Grant (1967-1968). The Pollocks moved to Paris in 1970, where Charles died of complications from a stroke in 1988.
Related Materials:
Also found in the Archives of American Art are the Elizabeth Feinberg Pollock memoirs and the Jackson Pollock and Lee Krasner papers.
Separated Materials:
Nine works of art included in the 1975 gift from Elizabeth Pollock were transferred to the Smithsonian American Art Museum, formerly the National Collection of Fine Arts, in 1976.
Provenance:
The papers were donated in 1975 by Pollock's first wife, Elizabeth Feinberg Pollock, with assistance from Charles Pollock on the selection of items. Additional materials were donated in 1988 by his second wife, Sylvia Winter Pollock. From 1991 to 1994, Elizabeth Pollock gifted additional correspondence and photographs to the Archives.
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 Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and sound and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.
Scope and Content Note:
The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and audio and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.
The records document the gallery's daily business operations, exhibitions, spaces/buildings, collaborations and joint ventures with other galleries and museums, and its relationship with many artists, dealers, and clients. Artists particularly well-represented throughout the collection include Hanne Darboven, Dan Flavin, Jasper Johns, Donald Judd, Roy Lichtenstein, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner.
Records pre-dating the gallery's establishment in 1957 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of works of art, and scattered personal business records of Leo Castelli.
General Correspondence is extensive at circa 25 linear feet and consists primarily of the gallery's and Leo Castelli's named and subject correspondence files concerning the gallery's daily operations, exhibitions, artwork installation and fabrication, appraisals, inquiries, loans, sales, consignments, personal and business relationships with artists, and other topics. The general correspondence is arranged either by name of correspondent or topic, and is with museums and galleries, collectors, business associates, artists, employees, and friends. Notes, scattered photographs and slides, and printed materials are often found as enclosures. Leo Castelli's personal correspondence is also found here and consists primarily of solicitations, requests for advice, notes of thanks, congratulations, and invitations.
Letters written by artists in the gallery's stable are somewhat limited. There are scattered letters from artists Christo, Chryssa, Nassos Daphnis, Hanne Darboven, Marisol, Dan Flavin, Jasper Johns, Frederick Kiesler, Robert Morris, Hans Namuth, Bruce Nauman, Nam June Paik, Ray Parker, James Rosenquist, Edward Ruscha, Salvatore Scarpitta, Frank Stella, Cy Twombly, and Jack Tworkov. There are also letters about artists in this series filed under the artists' name.
Collectors and dealers represented within the correspondence include the De Menil family, Mrs. Henry Epstein, Ben Heller, Giuseppe Panza, Alan Power, John and Kimiko Powers, Robert and Carolyn Rowan, Robert and Ethel Scull, and Burton and Emily Tremaine. Museums and galleries for which there is considerable correspondence includes the Dwan Gallery, Ferus Gallery, the Jewish Museum, Museum of Modern Art, Sidney Janis Gallery, Stedelijk Museum, Whitney Museum of American Art, and the Ileana Sonnabend Galerie.
The materials arranged in General Correspondence were originally marked by the gallery as "correspondence" files upon accessioning, and, are thus arranged into their own series. However, in some cases, there appears to be little difference between the General Correspondence and the Administrative Files. Thus, researchers are encouraged to reference both series.
Administrative Files document a wide variety of the gallery's activities and business. Essentially, these are files that were arranged by the gallery according to subject or topic and cover almost all activities except specific exhibitions. These files include records and correspondence about buildings and space, advertising, appraisals, auctions, consignments, loans, miscellaneous business correspondence, index cards, business arrangements with artists, information about artists, interviews with artists (transcripts), history of the gallery, mailings, photograph requests, shipping, and other topics. Few items are in digital format. There are staff notebooks and files and Leo Castelli's notebooks and notes from the late 1950s through the early 1990s. Extensive outgoing chronological correspondence filed in this series dates from 1964-1977. Also found are transcripts of interviews with Leo Castelli, biographical material, some of it in digital format, and scattered photographs.
Researchers should note that the Administrative Files often overlap and complement the General Correspondence. However, they focus slightly more distinctly on gallery business activities and are arranged mostly by subject or topic, except for the chronological business correspondence. Researchers are encouraged to reference both series. For example, correspondence with and about Jasper Johns may be found in both series, but the administrative files most likely focus on a specific loan, consignment, or business activity or transaction.
Exhibition files provide a thorough history of the gallery's exhibitions, as well as the fabrication and installation of artwork for exhibitions. These files include correspondence, exhibition catalogs, guest books, lists of exhibitions by artist and by year, press releases, sketches and notes, and scattered financial records. Photographs document over 650 exhibitions at Leo Castelli Gallery, including The Ninth Street Show organized by Castelli in 1951, and over 200 exhibitions at other galleries.
Extensive artists' files comprise approximately 40% of the records and are a rich resource of printed and compiled information about the careers of over 120 artists and their relationship with Leo Castelli and the gallery. There are exhibition announcements and catalogs, flyers, invitations, magazine articles and clippings, newspaper clippings, posters, press releases, photographs, and a handful of books. Nearly half of the series is comprised of black and white photographs of artwork, presumably handled by the Leo Castelli Gallery.
Additional printed materials include exhibition announcements, flyers, invitations, magazine articles and clippings, newspaper clippings, press releases, and exhibition posters. Exhibition catalogs are filed with the exhibitions files. The general archives files provide a chronological history of the gallery and its exhibitions. There are also files concerning Leo Castelli and numerous art-related topics. Exhibition posters are found here as well.
Artwork is limited and includes a few works of art and signed posters. Artists represented here include photographer Gianfranco Gorgoni, Robert Morris, Bruce Nauman, Richard Serra and Andy Warhol, as well as others.
The records of the subsidiary Castelli Graphics New York consist of correspondence and administrative files relating to general operations and the sale and loan of prints. Also found are exhibition files, sales records, and scattered financial records. The series provides a wealth of information about Castelli Graphics collaborations with Multiples Inc. in the 1970s.
Also found in the collection are records of Castelli/Sonnabend Tapes and Films, a joint business venture between Leo Castelli Gallery and Sonnabend Gallery from 1974-1985. Records include correspondence, administrative files, exhibition files, artists' files, printed materials, sales and rental records, photographs, and financial records.
The importance and stature of Leo Castelli and the Leo Castelli Gallery to the arts community in New York City and beyond is documented by numerous awards and recognitions, such as framed and unframed certificates, plaques, statues, medals, and scattered photographs.
Nearly seven linear feet of photographs include professional black and white original prints, scattered color photographs, color transparencies, slides and negatives, and disassembled photo albums. The photographs primarily depict social and art events and functions; family and friends of Leo Castelli; and portraits of Leo Castelli and artists and of Leo Castelli with artists, including Richard Artschwager, Jasper Johns, Roy Lichtenstein, Bruce Nauman, Robert Rauschenberg, James Rosenquist, Salvatore Scarpitta, Richard Serra, Frank Stella, and Andy Warhol. Photographs of exhibitions and exhibition installations are filed with the exhibition files.
Sound and video recordings include sound and video art, performances, interviews with artists and Leo Castelli, recordings from and of exhibitions, and television publicity recorded on sound cassettes, phonograph records (vinyl and lacquer), videocassettes (U-matic, VHS, Betamax), and videocartridges. Artists represented include Vito Acconci, Robert Barry, Barbara Bloom, Hannah Collins, Hanne Darboven, Dan Flavin, Laura Grisi, Jasper Johns, Jeff Koons, Roy Lichtenstein, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Ed Ruscha, Salvatore Scarpitta, Doug and Mike Starn, and Lawrence Weiner, among others.
See Index for list of Exhibitions at the Leo Castelli Gallery and Castelli Graphics
Arrangement:
The collection is arranged as 11 series:
Missing Title
Series 1: Correspondence, 1948-1999, bulk 1957-1997 (24.4 linear feet; Boxes 1-23, 191, OVs 233-236)
Series 2: Administrative Files, 1941-1999, bulk 1970s-1990s (17.3 linear feet; Boxes 24-39, 192-193, OVs 237-238, 0.001 GB; ER01-ER02)
Series 3: Exhibition Files, 1951-1999, bulk 1957-1998 (18.7 linear feet; Boxes 40-56, 192, 194-196, 308-309, OVs 239-241, 280)
Series 4: Artists Files, 1913-1999, bulk 1960s-1990s (80.8 linear feet; Boxes 57-133, 197-208, OVs 242-243)
Series 5: Printed Materials, 1949-1998 (23.5 linear feet; Boxes 134-153, 209-211, OVs 244-274, 276, 300, RDs 301-306)
Series 6: Artwork, circa 1960s-1990s (1.8 linear feet; Boxes 153, 212-213, OVs 275, 277-278, RD 307)
Series 7: Castelli Graphics, circa 1950-1999, bulk mid 1970s-early 1990s (16 linear feet; Boxes 154-169)
Series 8: Castelli/Sonnabend Tapes + Films, 1969-1998 (5.6 linear feet; Boxes 170-174, 214, OVs 279-281)
Series 9: Awards and Recognition, 1962-1998 (6.9 linear feet; Boxes 175-176, 215-228, OVs 282)
Series 10: Photographs, circa 1880-1997, bulk 1960s-1990s (6.6 linear feet; Boxes 177-180, 229-231, OVs 283-299)
Series 11: Sound and Video Recordings, 1959-2000 (9.7 linear feet; Boxes 181-190, 232)
Historical Note:
Leo Castelli (1907-1999) was one of America's most noted contemporary art dealers and opened the Leo Castelli Gallery in New York City in 1957. The gallery showcased cutting edge American contemporary art, including Surrealism, Abstract Expressionism, Neo-Dada, Pop Art, Op Art, Color Field painting, Hard-edge painting, Lyrical Abstraction, Minimal Art, Conceptual Art, and Neo-expressionism, among other movements.
Leo Castelli was born as Leo Krauss on September 4, 1907 in Trieste, of Italian and Austro-Hungarian Jewish origin. He married art dealer Ileana Sonnabend in 1932 and the couple lived in Paris up until World War II. They had a daughter, Nina Castelli Sundell. In Paris, Castelli opened his first gallery in 1939. At that time, he was interested in the European Surrealists.
For years after Castelli moved to New York, he worked in his father-in-law's garment business. However, he organized his first American exhibition in 1951, the famous Ninth Street Show of 1951, a seminal event of Abstract Expressionism.
In 1957, he opened the Leo Castelli Gallery in his townhome on E. 77th Street between Madison and Fifth Avenues in New York City. Castelli initially featured European Surrealism, but also curated exhibitions of American Abstract painters, including Jackson Pollock, Willem de Kooning, Cy Twombly, Friedel Dzubas, and Norman Bluhm.
In 1958, Castelli discovered Pop artists Robert Rauschenberg and Jasper Johns and forged a life-long nurturing relationship with both artists. The gallery then began focusing more on Pop Art, Minimalism and Conceptual Art. Beginning in the early 1960s, Castelli's stable included Richard Artschwager, Lee Bontecou, Chryssa, John Chamberlain, Ronald Davis, Dan Flavin, Donald Judd, Ellsworth Kelly, Joseph Kosuth, Roy Lichtenstein, Robert Morris, Bruce Nauman, Larry Poons, James Rosenquist, Ed Ruscha, Salvatore Scarpitta, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner.
Leo and Ileana divorced in 1959, and Ileana returned to Europe. She later moved back to New York and opened a gallery close to Castelli's. The two remained close and together they established the joint venture of Castelli-Sonnabend Films and Tapes to accommodate artists interested in new media.
In the 1970s Leo Castelli opened a downtown SoHo branch of the Leo Castelli Gallery at 420 West Broadway. In the 1980s he opened a second larger downtown exhibition space on Greene Street also in SoHo.
Leo Castelli's second wife was Antoinette Castelli, with whom he also opened Castelli Graphics, an art gallery devoted to prints and photographs, mostly those by Castelli artists. The couple also had a son together, Jean-Christophe Castelli. In 1995 Leo Castelli married Italian art historian Barbara Bertozzi Castelli. She directs the Leo Castelli Gallery today, showing many of the same artists of the gallery's past.
Leo Castelli's unparalleled eye for quality, combined with his extraordinary skill for nurturing and promoting new art and artists, secured his position as one of the most respected and influential advocates of contemporary art for nearly five decades.
List of Exhibitions:
Below is a chronological listing of over 850 exhibitions and events held at the Leo Castelli Gallery from 1957 to 1999; included are exhibitions at 4 E 77 St (1957-1989), 65 Thompson (1989-1994), 108th St Warehouse (1968-1970), 142 Greene St (1980-1988), 420 W Broadway (1971-1999), and 578 Broadway (1988-1997). Castelli Graphics exhibitions from 1969-1996 and Castelli/Sonnabend Tapes and Films exhibitions from 1974-1984 are also included and are noted when known.
Note that this list is not comprehensive. In particular, Castelli Graphics exhibitions from the 1980s and early 1990s are incomplete. Sources used to compile this index include exhibition schedules and lists, installation photographs, announcements, clippings, and other printed materials from the Leo Castelli Gallery records, and the Leo Castelli Gallery website (www.castelligallery.com).
Exhibitions are listed in chronological order by title, if known, and gallery address.
1957 SeasonFeb. -- First Exhibition: de Kooning, Delaunay, Dubuffet, Giacometti, Hartley, Leger, Mondrian, Picabia, Pollock, David Smith, van Doesburg; 4 E 77 St
Mar. 4-23, 1957 -- Jon Schueler; 4 E 77 St
Mar. 25 - Apr. 13, 1957 -- Viseux; 4 E 77 St
Apr. 15 - May 4, 1957 -- Paul Brach; 4 E 77 St
May 6-25, 1957 -- New Work: Bluhm, Budd, Dzubas, Johns, Leslie, Louis, Marisol, Ortman, Rauschenberg, Savelli; 4 E 77 St
1957-1958 SeasonOct. 1-26, 1957 -- Norman Bluhm; 4 E 77 St
Oct. 28 - Nov. 16, 1957 -- Horia Damian; 4 E 77 St
Nov. 18 - Dec. 14, 1957 -- Marisol; 4 E 77 St
Dec. 17, 1957 - Jan. 18, 1958 -- Collector's Annual; 4 E 77 St
Jan. 20 - Feb. 8, 1958 -- Jasper Johns; 4 E 77 St
Feb. 10 - Mar. 1, 1958 -- Friedel Dzubas; 4 E 77 St
Mar. 4-29, 1958 -- Robert Rauschenberg; 4 E 77 St
Apr. 1-26, 1958 -- Giuseppe Capogrossi; 4 E 77 St
Apr. 29 - May 31, 1958 -- Pioneers 1910-1950: de Kooning, Delaunay, Domela, Dubuffet, Giacometti, Hartley, Kandinsky, Leger, Miro, Picabia, Pollock, Schwitters, Smith, van Doejburg; 4 E 77 St
1958-1959 SeasonSept. 30 - Oct. 25, 1958 -- Angelo Savelli; 4 E 77 St
Oct. 28 - Nov. 22, 1958 -- Group Exhibition: Bluhm, Brach, Dzubas, Johns, Marisol, Rauschenberg, Schueler; 4 E 77 St
Nov. 25 - Dec. 20, 1958 -- Esteban Vicente, Drawings; 4 E 77 St
Jan. 6-24, 1959 -- Nassos Daphnis; 4 E 77 St
Jan. 27 - Feb. 14, 1959 -- Salvatore Scarpitta, Extramurals; 4 E 77 St
Feb. 17 - Mar. 7, 1959 -- Al Newbill; 4 E 77 St
Mar. 10-28, 1959 -- Gabriel Kohn; 4 E 77 St
Mar. 31 - Apr. 18, 1959 -- Norman Bluhm, Jean Dubuffet, and Robert Rauschenberg; 4 E 77 St
Apr. 21 - May 9, 1959 -- Jon Schueler; 4 E 77 St
May 12-30, 1959 -- Group Exhibition: Brach, Dzubas, Johns, Sander, Twombly; 4 E 77 St
1959-1960 SeasonOct. 6-17, 1959 -- Opening Exhibition of the New Gallery: Bluhm, Brach, Daphnis, Johns, Kohn, Rauschenberg, Sander, Scarpitta, Stella, Twombly; 4 E 77 St
Oct. 20 - Nov. 7, 1959 -- Work in Three Dimensions: Chamberlain, Follet, Giles, Johns, Klein, Kohn, Marisol, Nevelson, Ortman, Rauschenberg, Scarpitta; 4 E 77 St
Nov. 10-28, 1959 -- Ludwig Sander; 4 E 77 St
Dec. 1-26, 1959 -- Paul Brach; 4 E 77 St
Jan. 5-23, 1960 -- William Giles; 4 E 77 St
Jan. 26 - Feb. 13, 1960 -- Norman Bluhm; 4 E 77 St
Feb. 15 - Mar. 5, 1960 -- Jasper Johns; 4 E 77 St
Mar. 8-26, 1960 -- Nassos Daphnis; 4 E 77 St
Mar. 29 - Apr. 16, 1960 -- Robert Rauschenberg; 4 E 77 St
Apr. 19 - May 7, 1960 -- Salvatore Scarpitta; 4 E 77 St
May 10-28, 1960 -- Edward Higgins; 4 E 77 St
May 31 - June 25, 1960 -- Summary 1959-1960: Bluhm, Bontecou, Daphnis, Higgins, Johns, Kohn, Langlais, Rauschenberg, Sander, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St
1960-1961 SeasonSept. 27 - Oct. 15, 1960 -- Frank Stella; 4 E 77 St
Oct. 18 - Nov. 5, 1960 -- Cy Twombly; 4 E 77 St
Nov. 9 - Dec. 3, 1960 -- Lee Bontecou; 4 E 77 St
Dec. 6, 1960 - Jan. 7, 1961 -- Robert Rauschenberg, 34 Illustrations for Dante's Inferno; 4 E 77 St
Jan. 10-28, 1961 -- Frederick Kiesler; 4 E 77 St
Jan. 31 - Feb. 25, 1961 -- Jasper Johns, Drawings and Sculpture; 4 E 77 St
Feb. 28 - Mar. 18, 1961 -- Jack Tworkov; 4 E 77 St
Mar. 21 - Apr. 8, 1961 -- Bernard Langlais; 4 E 77 St
Apr. 11-29, 1961 -- Yves Klein, Le Monochrome; 4 E 77 St
May 2-20, 1961 -- Ludwig Sander; 4 E 77 St
May 23 - June [10], 1961 -- Sculpture and Relief: Bontecou, Chamberlain, Higgins, Scarpitta; 4 E 77 St
1961-1962 SeasonSept. 22 - Oct. 14, 1961 -- An Exhibition in Progress: Bontecou, Chamberlain, Daphnis, Higgins, Johns, Langlais, Moskowitz, Rauschenberg, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St
Oct. 17 - Nov. 4, 1961 -- Nassos Daphnis; 4 E 77 St
Nov. 7 - Dec. 5, 1961 -- Robert Rauschenberg; 4 E 77 St
Dec. 8, 1961 - Jan. 10, 1962 -- Group Exhibition: Bontecou, Johns, Langlais, [Lichtenstein], Scarpitta, Tworkov; 4 E 77 St
Jan. 13 - Feb. 6, 1962 -- John Chamberlain; 4 E 77 St
Feb. 10 - Mar. 3, 1962 -- Roy Lichtenstein; 4 E 77 St
Mar. 10 - Apr. 5, 1962 -- Robert Moskowitz; 4 E 77 St
Apr. 7-21, 1962 -- Group Exhibition: Bontecou, Chamberlain, Daphnis, Higgins, Rauschenberg, Scarpitta, Stella; 4 E 77 St
Apr. 28 - May 19, 1962 -- Frank Stella; 4 E 77 St
May 26 - June 30, 1962 -- Drawings: Bontecou, Johns, Lichtenstein, Moskowitz, Rauschenberg, Stella, Tworkov; 4 E 77 St
1962-1963 SeasonSept. 22 - Oct. 13, 1962 -- Group Exhibition: Chamberlain, Higgins, Johns, Klapheck, Rauschenberg, Scarpitta, Stella, Tinguely, Tworkov; 4 E 77 St
Oct. 16 - Nov. 7, 1962 -- John Chamberlain and Frank Stella; 4 E 77 St
Nov. 10 - Dec. 6, 1962 -- Lee Bontecou; 4 E 77 St
Dec. 8, 1962 - Jan. 9, 1963 -- Gerald van de Wiele; 4 E 77 St
Jan. 12 - Feb. 7, 1963 -- Jasper Johns; 4 E 77 St
Feb. 9 - Mar. 7, 1963 -- Jack Tworkov; 4 E 77 St
Mar. 9-30, 1963 -- Nassos Daphnis; 4 E 77 St
Apr. 2-25, 1963 -- Group Exhibition: Chamberlain, Higgins, Kiesler, Lichtenstein, Moskowitz, Rauschenberg, Stella, Twombly; 4 E 77 St
Apr. 27 - May 16, 1963 -- Salvatore Scarpitta; 4 E 77 St
May 20 - June 30, 1963 -- Group Drawing Exhibition: Bontecou, Daphnis, Johns, Lichtenstein, Moskowitz, Rauschenberg, Stella, Tworkov, van de Wiele; 4 E 77 St
1963-1964 SeasonSept. 28 - Oct. 24, 1963 -- Roy Lichtenstein; 4 E 77 St
Oct. 26 - Nov. 21, 1963 -- Robert Rauschenberg; 4 E 77 St
Nov. 23, 1963 - Jan. 2, 1964 -- Edward Higgins; 4 E 77 St
Jan. 4 - Feb. 6, 1964 -- Frank Stella; 4 E 77 St
Feb. 8 - Mar. 12, 1964 -- Group Exhibition: Chamberlain, Johns, Lichtenstein, Rauschenberg, Stella; 4 E 77 St
Mar. 14 - Apr. 9, 1964 -- Cy Twombly; 4 E 77 St
Apr. 11-30, 1964 -- John Chamberlain; 4 E 77 St
May 2 - June 3, 1964 -- Introducing Artschwager, Christo, Hay, Watts; 4 E 77 St
June 6-30, 1964 -- Group Exhibition: Chamberlain, Lichtenstein, Rauschenberg, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St
1964-1965 SeasonSept. 26 - Oct. 22, 1964 -- Group Exhibition: Artschwager, Lichtenstein, Rosenquist, Stella, Warhol; 4 E 77 St
Oct. 24 - Nov. 19, 1964 -- Roy Lichtenstein, Landscapes; 4 E 77 St
Nov. 21 - Dec. 28, 1964 -- Andy Warhol, Flower Paintings; 4 E 77 St
Jan. 9-27, 1965 -- John Chamberlain, Paintings; 4 E 77 St
Jan. 30 - Feb. 24, 1965 -- Richard Artschwager; 4 E 77 St
Feb. 27 - Mar. 24, 1965 -- Nassos Daphnis; 4 E 77 St
Mar. 27 - Apr. 14, 1965 -- Salvatore Scarpitta, Racing Cars; 4 E 77 St
Apr. 17 - May 13, 1965 -- James Rosenquist, F-111; 4 E 77 St
May 15 - June 9, 1965 -- Robert Rauschenberg, Oracle; 4 E 77 St
1965-1966 SeasonOct. 2-21, 1965 -- Group Exhibition: [Chamberlain], Johns, Lichtenstein, Poons, Rauschenberg, Stella, [Warhol]; 4 E 77 St
Oct. 23 - Nov. 17, 1965 -- Robert Bart; 4 E 77 St
Nov. 20 - Dec. 11, 1965 -- Roy Lichtenstein, Brushstrokes and Ceramics; 4 E 77 St
Dec. 14, 1965 - Jan. 5, 1966 -- Benefit Drawing Exhibition for the Foundation for the Contemporary Performance Arts; 4 E 77 St
Dec. 14, 1965 - Jan. 5, 1966 -- Group Exhibition; 4 E 77 St
Jan. 8 - Feb. 2, 1966 -- Jasper Johns; 4 E 77 St
Feb. 5 - Mar. 2, 1966 -- Donald Judd; 4 E 77 St
Feb. 12 - Mar. 2, 1966 -- Cy Twombly, Drawings; 4 E 77 St
Mar. 5 - Apr. 2, 1966 -- Frank Stella; 4 E 77 St
Apr. 6-27, 1966 -- Andy Warhol, Wallpaper and Clouds; 4 E 77 St
Apr. 30 - May 25, 1966 -- James Rosenquist; 4 E 77 St
May 28 - June 13, 1966 -- Christo, Storefront; 4 E 77 St
June 14-30, 1966 -- Group Exhibition: Bontecou, Johns, Judd, Lichtenstein, Poons, Rauschenberg, Rosenquist, Stella, Warhol; 4 E 77 St
1966-1967 SeasonOct. 8 - Nov. 8, 1966 -- Lee Bontecou; 4 E 77 St
Nov. 12 - Dec. 3, 1966 -- Edward Higgins; 4 E 77 St
Dec. 6-10, 1966 -- Benefit Group Exhibition for Experiments in Art and Technology, Inc.; 4 E 77 St
Dec. 7, 1966 - Jan. 5, 1967 -- Stanley Landsman; 4 E 77 St
Dec. 14, 1966 - Jan. 5, 1967 -- Group Exhibition: Artschwager, Lichtenstein, Rosenquist, Warhol; 4 E 77 St
Apr. 1967 -- New Work: Chamberlain, Lichtenstein, Stella; 4 E 77 St
May 1967 -- Robert Rauschenberg, Revolvers; 4 E 77 St
1967-1968 SeasonOct. 7-26, 1967 -- Cy Twombly; 4 E 77 St
Oct. 28 - Nov. 18, 1967 -- Roy Lichtenstein; 4 E 77 St
Nov. 25 - Dec. 23, 1967 -- Frank Stella; 4 E 77 St
Dec. 30, 1967 - Jan. 23, 1968 -- Richard Artschwager, Sculptures and Reliefs; 4 E 77 St
Jan. 27 - Feb. 17, 1968 -- Bruce Nauman; 4 E 77 St
Feb. 24 - Mar. 16, 1968 -- Jasper Johns; 4 E 77 St
Mar. 23 - Apr. 11, 1968 -- Ron Davis; 4 E 77 St
Apr. 20 - May 11, 1968 -- Robert Morris; 4 E 77 St
May 18 - June 8, 1968 -- Jack Krueger; 4 E 77 St
1968-1969 SeasonSept. 14-28, 1968 -- Nassos Daphnis; 4 E 77 St
Oct. 12-26, 1968 -- Robert Rauschenberg, White Paintings; 4 E 77 St
Nov. 2-23, 1968 -- Larry Poons; 4 E 77 St
Nov. 30 - Dec. 21, 1968 -- Cy Twombly; 4 E 77 St
Dec. 4-28, 1968 -- 9 at Leo Castelli: Anselmo, Bollinger, Hesse, Kaltenbach, Nauman, Saret, Serra, Sonnier, Zorio; 108th St Warehouse
Jan. 4-25, 1969 -- Donald Judd; 4 E 77 St
Feb. 1-22, 1969 -- John Chamberlain; 108th St Warehouse
Feb. 3-22, 1969 -- David Diao, Richard Pettibone, and Peter Young; 4 E 77 St
Mar. 1-22, 1969 -- Robert Morris; 4 E 77 St
Mar. 1-22, 1969 -- Robert Morris, A Continuous Project Altered Daily; 108th St Warehouse
Mar. 29 - Apr. 19, 1969 -- James Rosenquist, Horseblinders; 4 E 77 St
Mar. 29 - Apr. 19, 1969 -- Salvatore Scarpitta, Racing Cars; 108th St Warehouse
Apr. 26 - May 17, 1969 -- Robert Rauschenberg, Carnal Clocks; 4 E 77 St
Apr. 26 - May 17, 1969 -- Jack Krueger; 108th St Warehouse
May 24 - June 14, 1969 -- Bruce Nauman; 4 E 77 St
May 24 - June 21, 1969 -- 4 Painters for Spring: Bower, Cibula, Kalina, Roth, Yrisarry; 108th St Warehouse
June 21 - July 31, 1969 -- Group Exhibition: Chamberlain, Judd, Lichtenstein, Rauschenberg, Serra, Sonnier, Stella, Young; 4 E 77 St
1969-1970 SeasonSept. 20 - Oct. 11, 1969 -- Group Exhibition: Lichtenstein, Serra, Stella, Warhol; 4 E 77 St
Oct. 18 - Nov. 8, 1969 -- Ron Davis; 4 E 77 St
Oct. 18 - Nov. 8, 1969 -- Ron Davis; 108th St Warehouse
Nov. - Dec., 1969 -- Joseph Kosuth; 4 E 77 St
Nov. 13, 1969 -- Robert Rauschenberg, Moonshot Series (Castelli Graphics); 4 E 77 St
Nov. 18 - Dec. 6, 1969 -- Frank Stella; 4 E 77 St
Dec. 11-13, 1969 -- Benefit Exhibition, Art for the Moratorium; 4 E 77 St
Dec. 16, 1969 - Jan. 10, 1970 -- Richard Serra; 108th St Warehouse
Jan. 10-31, 1970 -- Jasper Johns, Drawings; 4 E 77 St
Jan. 17-24, 1970 -- Rafael Ferrer; 108th St Warehouse
Feb. 7-28, 1970 -- Dan Flavin, Tatlin Monuments; 4 E 77 St
Feb. 7-28, 1970 -- Robert Morris, Earthwork Projects (Castelli Graphics); 4 E 77 St
Mar. 7-28, 1970 -- Keith Sonnier; 4 E 77 St
Mar. 7-28, 1970 -- Keith Sonnier; 108th St Warehouse
Apr. 11 - May 9, 1970 -- Donald Judd; 4 E 77 St
Apr. 11 - May 9, 1970 -- Donald Judd; 108th St Warehouse
May 16-30, 1970 -- James Rosenquist; 4 E 77 St
June 11-27, 1970 -- Benefit Exhibition for the New York Studio School; 4 E 77 St
June 30 - Aug. 28, 1970 -- Group Exhibition: Chamberlain, Johns, Judd, Lichtenstein, Morris, Rauschenberg, Rosenquist, Stella, Twombly, Warhol; 4 E 77 St
1970-1971 SeasonSept. 19-26, 1970 -- Benefit Exhibition for Referendum '70: Daphnis, Flavin, Johns, Judd, Lichtenstein, Morris, Rauschenberg, Rosenquist, Stella, Twombly, Warhol; 4 E 77 St
Sept. 26 - Oct. 24, 1970 -- Roy Lichtenstein, New Editions: Lithographs, Sculpture, Reliefs (Castelli Graphics); 4 E 77 St
Oct. 3-18, 1970 -- Group Exhibition: Flavin, Judd, Lichtenstein, Rauschenberg, Stella, Twombly; 4 E 77 St
Oct. 24 - Nov. 14, 1970 -- James Rosenquist; 4 E 77 St
Nov. 21 - Dec. 12, 1970 -- Dan Flavin, Untitled (to Barnett Newman); 4 E 77 St
Sept. 29 - Nov. 16, 1973 -- Stockholm Show (Castelli Graphics); 4 E 77 St
Oct. 18 - Nov. 10, 1973 -- Benefit Exhibition for the Committee to Save Venice: Cornell, Dine, Frankenthaler, Johns, Kelly, Lichtenstein, Louis, Noland, Oldenburg, Olitski, Rauschenberg, Stella; 4 E 77 St
Nov. 1-3, 1973 -- Group Film Exhibition: Chamberlain, Jonas, Ruscha, Weiner; 420 W Broadway
Nov. 1-14, 1973 -- Group Show: Artschwager, Lichtenstein, Rosenquist, Warhol; 420 W Broadway
Nov. 10 - Dec. 1, 1973 -- Douglas Huebler; 420 W Broadway
Nov. 15 - Dec. 1, 1973 -- Hans Namuth, Photographs; 420 W Broadway
Nov. 17 - Dec. 7, 1973 -- Lewis Baltz, Photographs (Castelli Graphics); 4 E 77 St
Nov. 17 - Dec. 15, 1973 -- Richard Artschwager; 4 E 77 St
Dec. 8, 1973 - Jan. 12, 1974 -- Group Show of New Prints: Balog, Petersen, Rauschenberg, Sonnier (Castelli Graphics); 4 E 77 St
Dec. 8, 1973 - Jan. 12, 1974 -- John Chamberlain; 420 W Broadway
Dec. 15, 1973 - Jan. 19, 1974 -- Edward Ruscha, Retrospective Show, Graphics from the Collection of Donald Marron (Castelli Graphics); 4 E 77 St (upstairs)
Jan. 12-26, 1974 -- [García] Uriburu (Castelli Graphics); 4 E 77 St
Jan. 19 - Feb. 9, 1974 -- Robert Barry; 420 W Broadway
Feb. 2-16, 1974 -- James Rosenquist (Castelli Graphics); 4 E 77 St
Nov. 21, 1974 -- Philip Glass, Concert; 420 W Broadway
Dec. 7-21, 1975 -- Robert Rauschenberg, Hoarfrost Series; 420 W Broadway
Dec. 7, 1974 - [Jan. 4], 1974 -- Michelangelo Pistoletto, New Multiples (Castelli Graphics); 4 E 77 St
Dec. 7, 1974 - Jan. 4, 1975 -- Robert Rauschenberg, Hoarfrost Editions (Castelli Graphics); 4 E 77 St
Dec. 14, 1974 - Jan. 11, 1975 -- Andy Warhol, Hand Colored Flowers (Castelli Graphics); 420 W Broadway
Jan. 4-18, 1975 -- Bruce Nauman, Cones/Cojones; 420 W Broadway
Jan. 11-25, 1975 -- Edward Ruscha, Domestic Tranquility, Four New Lithographs (Castelli Graphics); 4 E 77 St
Jan. 11 - Feb. 2, 1975 -- Salvatore Scarpitta, Sleds; 4 E 77 St
Jan. 15-18, 1975 -- Peter Campus and Paul Kos, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway
Jan. 25 - Feb. 8, 1975 -- Joseph Kosuth, The Tenth Investigation, Proposition Four; 420 W Broadway
Feb. 1-15, 1975 -- Group Show: Huebler, Morris, Nauman, Sonnier (Castelli Graphics); 4 E 77 St
Feb. 8-22, 1975 -- Keith Sonnier, Air to Air; 4 E 77 St
Feb. 15 - Mar. 8, 1975 -- Nassos Daphnis, A Continuous Painting; 420 W Broadway
Feb. 26 - Mar. 1, 1975 -- Benefit Exhibition for the Merce Cunningham Portfolio: Cage, Johns, Morris, Nauman, Rauschenberg, Stella, Warhol; 4 E 77 St
Feb. 26 - Mar. 1, 1975 -- Joan Jonas and Charlemagne Palestine, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway
Mar. 5-8, 1975 -- Frank Gillette and William Wegman, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway
Mar. 8 - Apr. 5, 1975 -- Ellsworth Kelly, Sculptures; 4 E 77 St
Mar. 15-29, 1975 -- Richard Artschwager, Drawings; 420 W Broadway
Mar. 15-29, 1975 -- Larry Stark, Silkscreens on Canvas; 420 W Broadway
Mar. 15 - [Apr. 5], 1975 -- Richard Landry, "1, 2, 3, 4" from Videotapes (Castelli Graphics); 4 E 77 St
Apr. 2-5, 1975 -- Benefit Exhibition for the Allen Memorial Art Museum, Oberlin College; 420 W Broadway
Apr. 12-26, 1975 -- Ellsworth Kelly, New Prints (Castelli Graphics); 4 E 77 St
Apr. 12-26, 1975 -- Dan Flavin, Flourescent Light; 420 W Broadway
Apr. 12 - May 3, 1975 -- Ellsworth Kelly, Gray Series Paintings; 4 E 77 St
Apr. 19 - May 3, 1975 -- James Klosty, Around and About Merce Cunningham, Photographs 1968-1972; 420 W Broadway
May 3-17, 1975 -- Richmond Jones, Photographs (Castelli Graphics); 4 E 77 St
May 3-31, 1975 -- Frank Stella, Metal Reliefs; 420 W Broadway
May 10-31, 1975 -- Ron Davis, Paintings; 4 E 77 St
May 10-31, 1975 -- Laura Grisi, Stripes; 420 W Broadway
May 24 - June 7, 1975 -- Laura Grisi, New Graphics (Castelli Graphics); 4 E 77 St
June 7 - Sept. 5, 1975 -- Summer Group Exhibition: Artschwager, Chamberlain, Darboven, Grisi, Huebler, Judd, Kelly, Kosuth, Lichtenstein, Morris, Nauman, Owen, Rauschenberg, Rosenquist, Warhol; 420 W Broadway
June 7 - Sept. 20, 1975 -- Summer Group Exhibition, Black and White: Kelly, Rauschenberg, Ad Reinhardt, Serra, Stella; 4 E 77 St
June 14-28, 1975 -- Bruce Nauman, New Graphics (Castelli Graphics); 4 E 77 St
July 7-25, 1975 -- Group Exhibition (Castelli Graphics); 4 E 77 St
1975-1976 SeasonSept. 13-27, 1975 -- Autumn Group Exhibition: Artschwager, Chamberlain, Davis, Lichtenstein, Nauman, Oldenburg, Rauschenberg, Rosenquist, Scarpitta; 420 W Broadway
Sept. 27 - Oct. 18, 1975 -- James Rosenquist, Drawings; 4 E 77 St
Oct. 4-18, 1975 -- Robert Rauschenberg, Bones and Unions (Castelli Graphics); 4 E 77 St
Oct. 4-25, 1975 -- Jan Dibbets; 420 W Broadway
Oct. 11-25, 1975 -- Frank Owen; 420 W Broadway
Oct. 25 - Nov. 15, 1975 -- Hans Namuth, Photographs (Castelli Graphics); 4 E 77 St
Nov. 1-15, 1975 -- Robert Rauschenberg, Bones and Unions (Castelli Graphics); 420 W Broadway
Nov. 1-22, 1975 -- Roy Lichtenstein, Recent Paintings; 420 W Broadway
Nov. 22 - Dec. 13, 1975 -- Group Exhibition: Flavin, Judd, Kelly, Morris, Stella; 4 E 77 St
Nov. 29 - Dec. 20, 1975 -- Lewis Baltz, The New Industrial Parks Near Irving, CA, 1974 (a portfolio of 51 photographs) (Castelli Graphics); 420 W Broadway
Nov. 29 - Dec. 20, 1975 -- Paul Waldman, Recent Paintings; 420 W Broadway
Jan. 3-17, 1976 -- Ralph Gibson, Photographs (Castelli Graphics); 4 E 77 St
Jan. 10-24, 1976 -- Robert Barry, Recent Drawings; 420 W Broadway
Jan. 10-24, 1976 -- Alan Charlton; 420 W Broadway
Jan. 24 - Feb. 14, 1976 -- Jasper Johns; 4 E 77 St
Jan. 31 - Feb. 14, 1976 -- Peter Campus; 420 W Broadway
Jan. 31 - Feb. 14, 1976 -- Peter Campus and Frank Gillette, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway
Feb. 10, 1976 -- Lawrence Weiner, Film screening, "A Second Quarter"; 420 W Broadway
Feb. 21 - Mar. 13, 1976 -- Robert Rauschenberg, Jammers; 420 W Broadway
Feb. 21 - Mar. 13, 1976 -- Keith Sonnier, Abaca Code; 420 W Broadway
Feb. 28 - Mar. 20, 1976 -- Joseph Cornell; 4 E 77 St
Mar. 20 - Apr. 10, 1976 -- Dan Flavin, Colored Fluorescent Light; 420 W Broadway
Mar. 20 - Apr. 10, 1976 -- Donald Judd; 420 W Broadway
Mar. 27 - Apr. 17, 1976 -- John Chamberlain; 4 E 77 St
Apr. 17 - May 8, 1976 -- Robert Morris; 420 W Broadway
Apr. 22-24, 1976 -- Benefit Drawing Exhibition for the New York Studio School; 4 E 77 St
Apr. 24 - May 15, 1976 -- Laura Grisi; 420 W Broadway
May 1-22, 1976 -- Hanne Darboven, For Jean-Paul Sartre; 4 E 77 St
May 15 - June 5, 1976 -- Douglas Huebler; 420 W Broadway
May 22 - June 12, 1976 -- Gianfranco Gorgoni, Photographs; 420 W Broadway
May 29 - June 12, 1976 -- Robert Adams, Photographs (Castelli Graphics); 4 E 77 St
June 19 - Sept. 10, 1976 -- Summer Group Exhibition: Artschwager, Chamberlain, Daphnis, Dibbets, Flavin, Judd, Kelly, Lichtenstein, Morris, Nauman, Noland, Oldenburg, Owen, Rauschenberg, Serra, Stella, Weiner; 420 W Broadway
June 26 - Sept. 10, 1976 -- Summer Group Drawing Exhibition: Artschwager, Barry, Bontecou, Darboven, Flavin, Morris, Ruscha; 4 E 77 St
Jan. 17 - Feb. 21, 1981 -- James Rosenquist, Star Thief; 142 Greene St
Feb. 14-28, 1981 -- Lawrence Weiner; 420 W Broadway (front room)
Feb. 14-28, 1981 -- Edward Ruscha, Drawings; 420 W Broadway (middle room)
Feb. 28 - Apr. 4, 1981 -- Richard Serra, Slice; 142 Greene St
Mar. 7-28, 1981 -- Paul Waldman; 420 W Broadway
Mar. 7-28, 1981 -- Laura Grisi; 420 W Broadway (middle room)
Mar. 12 - Apr. 4, 1981 -- Richard Serra, Film screenings, "Railroad Turnbridge" and "Steelmill/Stahlwerk" (Castelli/Sonnabend Tapes + Films); 142 Greene St
Apr. 4 - May 2, 1981 -- Julian Schnabel; 420 W Broadway
Apr. 4 - May 2, 1981 -- Douglas Huebler, Crocodile Tears; 420 W Broadway (middle room)
Apr. 11 - May 9, 1981 -- Ellsworth Kelly; 142 Greene St
Apr. 18 - May 9, 1981 -- Michael Harvey, Film screenings, "Sub Rosa" and "Dead Letter" (Castelli/Sonnabend Tapes + Films); 142 Greene St
May 13, 1981 -- Joan Jonas, Upsidedown and Backwards (Castelli/Sonnabend Tapes + Films); 142 Greene St
May 16-30, 1981 -- Artists' Benefit For the Trisha Brown Dance Company; 142 Greene St
May 16 - Sept. 4, 1981 -- Dan Flavin, Barred Corridors; 420 W Broadway
1981-1982 SeasonSept. 15 - Oct. 31, 1981 -- Donald Judd; 142 Greene St (lower gallery)
Sept. 19 - Oct. 10, 1981 -- Richard Serra (Castelli Graphics); 4 E 77 St
Sept. 19 - Oct. 10, 1981 -- Robert Barry and Carole Gallagher, Collaboration; 420 W Broadway
Oct. 17 - Nov. 7, 1981 -- Charles Gaines, Landscape: Assorted Trees with Regressions; 420 W Broadway
Oct. 17 - Nov. 7, 1981 -- Roy Lichtenstein; 420 W Broadway
Nov. 14 - Dec. 19, 1981 -- Richard Artschwager; 420 W Broadway
Nov. 17-21, 1981 -- Barbaralee Diamonstein, Visions and Images - American Photographers on Photography (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)
Sept. 26 - Nov. 7, 1992 -- Group Architecture Exhibition, Angels and Franciscans: Innovative Architecture from Los Angeles and San Francisco; 65 Thompson
Feb. 10 - Mar. 9, 1996 -- Group Exhibition, New Works by Gallery Artists: Johns, Lichtenstein, Morris, Nauman, Rauschenberg, Rosenquist, Ruscha, Sonnier, Stella, Therrien; 420 W Broadway
Apr. 20 - May 18, 1996 -- James Rosenquist, Horizon Home Sweet Home; 420 W Broadway
Apr. 20 - May 24, 1996 -- Roy Lichtenstein, Eight New Prints; 578 Broadway
May 28 - July 26, 1996 -- Ralph Gibson, Infanta; 420 W Broadway
May 28 - July 26, 1996 -- Group Drawing Exhibition, Works on Paper: Chryssa, Daphnis, Darboven, Johns, Lichtenstein, Morris, Nauman, Rauschenberg, Ruscha, Serra, Stella, Sonnier, Therrien, Weiner; 420 W Broadway
June 1 - July 26, 1996 -- Summer Group Show: Johns, Kosuth, Lichtenstein, Ruscha, Stella, Therrien; 578 Broadway
1996-1997 SeasonSept. 14 - Oct. 12, 1996 -- Gianfranco Gorgoni, 25 Years of Artists Portraits; 578 Broadway
Feb. 15 - Mar. 15, 1997 -- Lawrence Weiner, Then Now + Then; 420 W Broadway
Mar. 1-22, 1997 -- Dan Flavin; 578 Broadway
Mar. 22 - Apr. 26, 1997 -- Keith Sonnier, Alternating Currents; 420 W Broadway
Mar. 29 - Apr. 5, 1997 -- The Printmaking Workshop Benefit Exhibition and Auction; 420 W Broadway
Apr. 17 - May 17, 1997 -- Columbia University MFA Exhibition; 420 W Broadway
May 3 - June 7, 1997 -- Edward Ruscha, Cityscapes and "O" Books; 420 W Broadway
July - Sept., 1997 -- Summer Group Show: Kosuth, Morris, Serra; 420 W Broadway
1997-1998 SeasonSept. 27 - Oct. 18, 1997 -- Joseph Kosuth; 420 W Broadway
Oct. 25 - Nov. 15, 1997 -- 40 Years of Exploration and Innovation Part 1: Bontecou, Chryssa, Cornell, Johns, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Twombly, Warhol; 420 W Broadway
Nov. 22 - Dec. 13, 1997 -- 40 Years of Exploration and Innovation Part 2: Daphnis, Flavin, Judd, Kelly, Morris, Serra, Stella, Therrien, Waldman; 420 W Broadway
Jan. 10-31, 1998 -- 40 Years of Exploration and Innovation Part 3: Barry, Darboven, Dibbets, Grisi, Huebler, Kosuth, Nauman, Scarpitta, Sonnier, Starn Twins, Weiner; 420 W Broadway
Feb. 7 - Mar. 14, 1998 -- Dan Flavin, Some Drawings and Installations of Fluorescent Light; 420 W Broadway
Mar. 28 - Apr. 25, 1998 -- Hannah Collins, True Stories; 420 W Broadway
May 2 - June 6, 1998 -- Mike and Doug Starn, Black Hole Sun Burned; 420 W Broadway
June 24 - Aug. 29, 1998 -- Summer Show; 420 W Broadway
1998-1999 SeasonSept. 26 - Oct. 31, 1998 -- Robert Morris, The Rationed Years; 420 W Broadway
Nov. - Dec., 1998 -- Joseph Kosuth, Richard Serra, Keith Sonnier; 420 W Broadway
Jan. - Feb. 1999 -- Robert Rauschenberg, Arcadian Survey; 420 W Broadway
Related Material:
Available in the Archives of America Art are three oral history interviews with Leo Castelli. Paul Cummings interviewed Castelli between May 14, 1969 and June 8, 1973; Barbara Rose in July, 1969; and Andrew Decker on May 22, 1997.
Separated Materials:
The Archives of American Art also holds items lent for microfilming (reel N68) including printed material. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
Leo Castelli loaned printed material for microfilming in 1968. Leo Castelli's wife, Barbara Bortuzzo Castelli, and his children, Nina Castelli Sundell and Jean-Christophe Castelli, donated the Leo Castelli Gallery records to the Archives of American Art in 2007.
Restrictions:
Use of original records 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.
Topic:
Art, Modern -- 20th century -- History -- New York (State)New York Search this
Painting, Modern -- 20th century -- History -- New York (State)New York Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Interviews
Video recordings
Sketches
Transcripts
Sound recordings
Notes
Visitors' books
Photographs
Notebooks
Awards
Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
Letters to Cassatt, from Cassatt, and from and to Cassatt's family and others; a typescript of a family history written by Cassatt's father, and other genealogical and biographical material; and pages from Paris Salon exhibition catalogs of 1872-1876 referencing Cassatt. The materials were primarily in the possession of Art Institute of Chicago curator Frederick Sweet at the time of microfilming; Sweet coordinated the microfilm project with the then newly formed Archives of American Art. The microfilm also identifies the owner at the time of microfilming (1955) and some of Sweet's correspondence concerning permission to microfilm from the various owners.
Among the recipients of letters from Cassatt are Cecilia Beaux, Electra Havemeyer Webb, Mrs. Potter Palmer, Theodate Pope, Mary Gardner Smith, Carroll S. Tyson, Ambroise Vollard, Harris Whittemore, her nephew Robert Kelso Cassatt and his wife Minnie Drexel Fell Cassatt; her sister-in-law Jennie (Mrs. J. Gardner Cassatt); and others. [Microfilm label: Frederick A. Sweet papers]
Provenance:
Lent for microfilming in 1955 by Frederick Sweet, author of the exhibition catalog Sargent, Whistler, and Mary Cassatt (1954) and Miss Mary Cassatt, Impressionist From Pennsylvania (1966). The owners of the letters at the time of microfilming are listed on the microfilm and the inventory. Letters and the typescript family history filmed on CI frames 1-869 were subsequently donated by their owner Mrs. John B. Thayer of Rosemont, Pa. to the Philadelphia Museum of Art, 1967, and letters from Cassatt to her nephew Robert Kelso Cassatt that were lent by Mr. Alexander Cassatt, Robert's brother in 1955, were subsequently donated to the Archives of American Art in 1986 by Alexander's son, also named Alexander Cassatt (microfilm reel 3684).
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce requires written permission from the owners of the letters. [Frames 1-869 owned by Philadelphia Museum of Art] Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Pennsylvania -- Philadelphia Search this
0.5 Linear feet ((343 items on 3 reels of microfilm))
Type:
Collection descriptions
Archival materials
Drawings
Date:
1873-1938
Scope and Contents:
Notebooks, correspondence, photographs, art works, printed materials, and miscellany.
REEL 1654: A notebook listing prices of printmaking supplies; 3 illustrated notebooks; a passport, 1878; letters to Bacher and his wife Mary from Robert Blum concerning his travels to Japan, from John M. Carrier and Gari Melchers; condolence letters to Mary; photographs of Bacher; a photograph album of an artists' party, including Bacher, John White Alexander, James Carroll Beckwith, Edwin Blashfield, Robert Blum, William Merritt Chase, Thomas Wilmer Dewing, John LaFarge, Will Hicok Low, Frances Millet, John Singer Sargent, Jules Turcas, John Twatchmann, and J. Alden Weir; and photographs of tableaux at the American Art Club, Munich, 1878-1897, the Bronxville studio, and works of art; exhibition announcements and catalogs; clippings; reproductions; a Frank Duveneck exhibition catalogue, 1938; and miscellany.
REEL 1654, frames 327-371: Six drawings and 28 etchings including scenes of Venice and landscapes; two drawings "Caricatures of Some of the Venetian Group of 1886" by Robert Blum; an etching of Venice by Theodore M. Wendel; snapshots and a few photographs, including one of the interior of the Hotel Gramatan.
REEL 2786: An undated letter to Bacher from Robert Blum, discussing his mental and physical condition and thanking Bacher for his kindness.
REEL 3967: Three letters to the Bachers from their nephew, Lewis Archibald Blum; a photo of Bacher, 1887; a circular "Panama-Pacific International Exposition of San Francisco," 1915; and a pamphlet from the Metropolitan Museum, "Publications on Sale," 1938.
Biographical / Historical:
Impressionist painter and etcher; Cleveland, Ohio. Studied with Frank Duveneck in Cincinnati and Boulanger in Paris.
Provenance:
Papers originally lent for filming 1979 by Mr. and Mrs. Will Bacher, Bacher's son and son's wife. Will Bacher's grandchildren subsequently donated most of this material in 1985 and six other items. Art work and a few photographs (reel 1654, frames 327-371 and 417) previously lent were not donated with other materials in 1985.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
This small collection of sixty-three letters written by painter Mary Cassatt dates from 1882 to 1926. The bulk of these letters are to Cassatt's nephew, Robert Kelso Cassatt, and to his wife Minnie regarding family, mutual friends, and travel. The remaining letters are to friends regarding purchases of artwork, travel, and personal news. There is also one newsclipping of Cassett's obituary.
Scope and Contents:
This small collection of sixty-three letters written by painter Mary Cassatt dates from 1882 to 1926. The bulk of these letters are to Cassatt's nephew, Robert Kelso Cassatt, and to his wife Minnie regarding family, mutual friends, and travel. The remaining letters are to friends regarding purchases of artwork, travel, and personal news. There is also one newsclipping of Cassett's obituary.
Arrangement:
The collection is arranged as 1 series.
Missing Title
Series 1: Mary Cassatt letters, 1892-1926 (0.2 linear feet; Box 1)
Biographical / Historical:
Painter Mary Cassatt (1844-1926) lived and worked in Paris, France. She is one of the preeminent Impressionists known for her depictions of both the social and domestic lives of women and their children.
Cassatt was born in Allegheny City, Pennsylvania and began her art studies at the Pennsylvania Academy of Fine Arts at the age of sixteen. In 1865, she traveled to Paris to further her art studies under the private tutelage of Jean-Léon Gérôme and Thomas Couture, and augmented these studies with daily copying at the Louve. From 1868 to 1877, she traveled to Italy, Spain, Belgium, and Holland to view and copy the old masters and produced works that were accepted into the Paris Salon. With the encouragement of Edgar Degas, Cassatt began painting in the avant-garde Impressionist style in 1877. For the next ten years, Cassatt exhibited Impressionist paintings to critical international acclaim. After 1887, she began to experiment with other mediums and techniques, though she continued to focus her subject matter on the lives of women and children. Through the 1890s, she became a mentor to young American artists, acted as an advisor to American art collectors, and served as an ambassador for various art institutions. In 1904, she received France's Légion d'Honneur and continued producing works through the 1900s. In 1915, Cassatt stopped painting due to her failing eyesight, and lived in Le Mesnil-Théribus, France until her death in 1926.
Related Materials:
The Archives of American Art also holds the Frederick A. Sweet research material on Mary Cassatt and James McNeill Whistler; Nancy Hale research material on Mary Cassatt; the Mary Cassatt collection (reel C1); and the Mary Cassatt correspondence with Emily Sartain (reel 3658).
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel N70-77) including letters written by Cassatt to Eugene Vail and Mabel and Mathilde Valet. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Items in this collection are gifts of various donors. The letters to Peter and Vollard were donated by Charles Feinberg in 1955. The letters to William T. Evans, Miss Lamb, and Miss Stillman were transferred from the National Museum of Art, Smithsonian Institution in 1980. An obituary and the letters to Robert Kelso Cassatt and his wife Minnie were donated by Alexander J. Cassatt Jr., the great nephew of Mary Cassatt, in 1986.
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:
Painters -- Pennsylvania -- Philadelphia Search this
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:
Missing Title
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 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.
An interview of Stanley William Hayter conducted 1971 Mar. 11, by Paul Cummings, for the Archives of American Art.
Hayter speaks of his trip to the U.S. in 1940, the Atelier for etching techniques at the New School for Social Research and some of the members in the group, the influence of the WPA on American art, the studios on 8th and 13th Streets and the variety of personalities and working methods among those who inhabited them. He discusses the relationship between teacher and student, the influence of the exhibition of Atelier prints at the Museum of Modern Art, life in America as compared with that in France, printmaking in Europe and America, the Tamarind Institute, the close of the Atelier in 1955, and the limitations of lithography.
Biographical / Historical:
Stanley William Hayter (1901-1988) was a printmaker from Paris, France.
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 others.
Restrictions:
Transcript: Patrons must use microfilm copy.
Topic:
Prints -- New York (State) -- New York -- Technique Search this
Printmakers -- New York (State) -- New York -- Interviews Search this
The papers of painter, etcher, printer, muralist, and art teacher Gabrielle de Veaux Clements measure 1 linear foot and date from 1860 to 1948. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Clements to her mother; writings, including notes and essays on art history and etching techniques; printed material; artwork; eight sketchbooks; and photographs of Clements, her family and friends, and her work.
Scope and Contents:
The papers of painter, etcher, printer, muralist, and art teacher Gabrielle de Veaux Clements measure 1 linear foot and date from 1860 to 1948. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Clements to her mother; writings, including notes and essays on art history and etching techniques; printed material; artwork; 8 sketchbooks; and photographs of Clements, her family and friends, and her work.
Biographical material consists of an address book, artwork sales and price lists, and autobiographical notes.
Correspondence is primarily with Clements' family, friends, and business associates. The series includes significant correspondence from Clements to her mother during her college years at Cornell University.
Writings include notes and essays on art history and etching techniques, 2 notebooks of poetry, and a travel diary chronicling a trip to Egypt with Ellen Day Hale.
Printed material includes clippings, exhibition catalogs, a map of the artists' colony at Rockport, Folly Cove in Massachusetts, and a copy of the book Suggestions for Illuminating by W. Randle Harrison.
Artwork consists of sketches and original etchings by Clements and artwork by others.
There are 8 sketchbooks consisting primarily of cityscapes, landscapes, and figure and portrait studies.
Photographs are of Clements, her family and friends, artists models, and work by Clements and others.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical materials, circa 1920-1944 (3 folders; Box 1)
Series 2: Correspondence, circa 1875-1945 (0.3 linear feet; Box 1)
Series 3: Writings, circa 1885-1940 (8 folders; Box 1)
Series 4: Printed material, circa 1860-1948 (5 folders; Box 1)
Series 5: Artwork, circa 1895-1940 (3 folders; Box 1)
Series 6: Sketchbooks, circa 1884-1940 (0.3 linear feet; Box 1)
Series 7: Photographs, circa 1875-1940 (0.2 linear feet; Box 1)
Biographical / Historical:
Painter, printer, and art teacher Gabrielle de Veaux Clements (1858-1948) lived and worked in Philadelphia, Pennsylvania; Baltimore, Maryland; and Folly Cove near Gloucester, Massachusetts. She was known for her etchings and her commissioned murals for the cities of Baltimore and Washington, D.C.
Clements was born in Philadelphia, Pennsylvania to physician Richard Clements and his wife, Gabrielle De Vaux. Her interest in art was supported by her family and, at the age of seventeen, she began studying lithography with the designer Charles Page at the Philadelphia School of Design for Women. After graduating in 1880 from Cornell University, where she had produced a number of scientific drawings and lithographs, Clements studied with painter Thomas Eakins at the Pennsylvania Academy of Fine Arts and won the school's Toppan Prize. In 1883, Clements was introduced to etching techniques by the artist Stephen Parrish and began exhibiting and printing her works professionally.
In 1884, Clements traveled abroad to Paris to study at the Academie Julian where she was joined in 1885 by fellow painter and future lifelong companion Ellen Day Hale. Upon returning to her Philadelphia studio in 1885, Clements taught other female artists, including Margaret Bush-Brown, and exhibited in numerous institutions, including the National Academy of Design and the Boston Museum of Fine Arts. In 1895, Clements moved to Baltimore to teach art at the newly established Bryn Mawr School, where she remained until 1908. During her tenure in Baltimore, she was commissioned by the Bendann Galleries to etch nine views of Baltimore and also painted five church murals in Washington, D.C., which led to subsequent murals in Detroit, Philadelphia, and Chicago.
Clements and Hale frequently traveled abroad, visiting France, Italy, Egypt, Syria, and Palestine, and spent summers at "The Thickets," the house they purchased in the artists' colony at Folly Cove. During World War I, they wintered in Charleston, South Carolina where they opened their studios to young female artists and taught innovative etching, painting, and color printmaking techniques. After the war, they again opened their studios in Folly Cove to young artists and continued to teach and experiment with soft-ground etching and aquatints in color. This work was highlighted in special exhibitions at the J.B. Speed Art Museum and the Smithsonian Institution. Clements died in Rockport, Massachusetts in 1948.
Provenance:
The Gabrielle de Veaux Clements papers were donated by Mrs. Harlan Starr, Jr. in 1983.
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.
Fourteen letters from Cassatt to Emily Sartain and one letter from Sartain to Cassatt, discussing a trip the two were to take to Europe, as well as some mention by Cassatt of her artistic development in Spain and Italy. Dates on the correspondence are by an unknown hand and are questionable.
Biographical / Historical:
Painter; Philadelphia, Pa. and Europe. Emily Sartain was the daughter of John Sartain. She studied both with her father and Christian Schussele at the Pennsylvania Academy. She won several awards at the Academy and taught at the Philadelphia School of Art and Design.
Provenance:
Lent for microfilming 1985, by the PAFA as part of the AAA's documentation project. The source of the letters is unknown, although it is probable that they came through the estate of Harriet Sartain.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- Pennsylvania -- Philadelphia Search this
The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 20.44 linear feet and date from 1790-2007, with the bulk of the papers dating from 1900 to 1956. The collection contains biographical material, correspondence, personal business records, forty-eight diaries of John Storrs, a few diaries of other family members, additional writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. Correspondence includes that of John Storrs, Marguerite Storrs, and the Storrs family.
Scope and Contents:
The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 20.44 linear feet and date from 1790 to 2007, with the bulk of the papers dating from 1900 to 1956. The collection documents Storrs' career as an artist and his personal life through biographical material, correspondence with family, friends, and colleagues, personal business records, forty-eight diaries and other writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. There is also a substantial amount of Marguerite Storr's correspondence as well as scattered correspondence of other members of the Storr's family.
Biographical material consists of chronologies detailing the life of John Storrs, identification records, certificates, Storrs family documents, and records of John and Monique Storrs' French resistance activities during World War II.
Correspondence within this collection is divided into John Storrs Correspondence, Marguerite Storrs Correspondence, and Storrs Family Correspondence. The bulk of correspondence is John Storrs with friends, colleagues, art critics, patrons, art organizations and galleries. Correspondents of note include artists, architects, and writers such as Hendrick Andersen, Sherwood Anderson, Edward Bennett, George Biddle, Jerome Blum, Georges Braque, Louise Bryant, William Bullitt, Alexander Calder, Walter Cole, Paul Phillippe Cret, Katherine Dreier, Marcel Duchamp, Max Eastman, R. Buckminster Fuller, Marsden Hartley, Jane Heap, Jean Helion, Fernand Leger, Jacques Lipchitz, Man Ray, Charles Sheeler, Gertrude Stein, Joseph Stella, Maurice Sterne, Alfred Stieglitz, Leopold Survage, and William and Marguerite Zorach. There are also many letters to his wife Marguerite.
Marguerite Storrs' correspondence is with friends, family, colleagues, and others, including many letters to her husband. The letters are about general and family news, social activities and invitations, her work as a writer, and her husband's career. Storrs' family correspondence includes John and Marguerite's extensive correspondence with their daughter Monique as well as Monique's correspondence with others. Additional family correspondence is between John, his sister Mary ("Mae") and their parents David William and Hannah Storrs, much of it dating from 1900 to 1913.
Personal business records include address books, records regarding the sale and loan of Storrs' artwork, commission files regarding major public sculptures by Storrs, contracts, appraisals, financial records, and other documents regarding his professional activities. Of note are several files documenting Downtown Gallery's representation of Storrs' work during the 1960s, including correspondence between Edith Halpert and Monique Storrs. Various other documents include records of the Ecole de la Loire artists group (all in French.) Additionally there are records relating to Chateau de Chantecaille, an estate purchased by Storrs in the early 1920s as his primary residence and studio.
Forty-eight diaries contain scattered documentation of John Storrs' daily activities. Other writings by Storrs include four volumes of his memoirs that detail family history and his life from birth to 1906, notebooks, poetry, and personal accounts including the death of Auguste Rodin. Writings by others include poetry by Jessie Dismorr, essays by Zoltan Hecht and Maurice Raynal, and notebooks belonging to Storrs family members.
Printed material consists of books, art bulletins, brochures, invitations, announcements, and programs for art and social events. Also found are catalogs for exhibitions of Storrs' work and work by other artists; magazines, including a bound volume of the first ten issues of The Liberator; and clippings which include news about Storrs, his family, and friends.
Photographs depict John Storrs, his family, friends such as Arthur Bock and Gertrude Lambert, travels, and residences. Included are photographs of Storrs in his studio and in art classes. Also found are four photograph albums, primarily documenting his time in Europe from 1905 to 1907, exhibition photographs, and numerous photographs of his artwork.
Original artwork includes a portfolio of artwork created by Storrs as a youth, loose sketches, one sketchbook, 31 lithographs, and drawings for mural projects.
Four scrapbooks and a portfolio kept by John and Marguerite Storrs contain newspaper and magazine clippings of articles and illustrations as well as printed material from exhibitions, social events, and professional activities. Also found is a portfolio containing scattered items regarding the publication of Song of Myself with original wood engravings by John Storrs. One additional scrapbook was created by John Storrs around 1945 for his daughter, Monique Storrs, to document her service as a nurse in World War II.
This collection also includes records of John Storrs' estate immediately following his death in 1956, as well as records of several galleries that represented the estate in managing Storrs' artwork from the 1970s to 2002.
Three videocassettes, transferred from an unknown reel format, contain footage of Storrs' family life at Chantecaille and in Chicago, Illinois, in the 1930s.
Arrangement:
The collection is arranged as 11 series.
Some box and folder numbers in the container listing intentionally display out of sequence. An accretion was added in 2012 and integrated into the intellectual order, but not into the physical container order. Glass plate negatives are housed separately and closed to researchers.
Missing Title
Series 1: Biographical Material, 1837, 1860-1984 (Box 1, 20, 25, OV 23; 0.6 linear feet)
Series 2: Correspondence, 1857-2007 (Box 1-7, 25; 5.8 linear feet)
Series 3: Personal Business Records, 1790, 1855-1987 (Box 7-9, 25, OV 24, 28; 2.9 linear feet)
Series 4: Diaries, 1874-1955 (Box 9-10; 0.9 linear feet)
Series 5: Writings, 1888-1989 (Box 10-11, 25; 1.1 linear foot)
Series 6: Printed Material, 1867-1987, 2005 (Box 11-14, 25, OV 24; 3.6 linear feet)
Series 7: Photographs, circa 1885-1980 (Box 14-16, 18, 20-22, 25, MGP 1, MGP 2, MGP 5, MGP 6; 3.2 linear feet)
Series 8: Artwork, 1895-1935 (Box 18, 20, OV 23; 0.5 linear feet)
Series 9: Scrapbooks, 1895-1963 (Box 18-21, 25; 0.7 linear feet)
Series 10: Estate Records, 1956-2002 (Box 26; 0.4 linear feet)
Series 11: Video Recordings, circa 1980s (Box 26-27; 0.2 linear feet)
Biographical / Historical:
John Henry Bradley Storrs (1885-1956) worked primarily in Chicago, Illinois, and Mer, France, as a sculptor, painter, and printmaker.
John Storrs was born in 1885 in Chicago, Illinois, to David William Storrs, an architect, and Hannah Bradley Storrs. Upon completing his schooling in 1905 he went to Berlin with the intention of studying music, but instead chose to study sculpture with the Arthur Bock in Hamburg, Germany. He also spent time in Paris and traveled throughout Europe, Turkey, and Egypt, returning to the US in late 1907. Storrs took night classes at the Art Institute of Chicago, followed by periods of study at the School of the Museum of Fine Arts, Boston, with Bela Pratt, and at the Pennsylvania Academy of the Fine Arts with Charles Grafly. In 1912 he returned to Paris where he studied at the Académie Julian and with the famous sculptor Auguste Rodin. During this period his work was greatly influenced by cubism and futurism. In 1914 he married French writer Marguerite Deville-Chabrol. After briefly returning to the US to exhibit his work, Storrs worked at a hospital in Paris throughout World War I and in 1918 his daughter Monique was born. He and his family settled in Mer, France, at the Chateau de Chantecaille in 1921.
The following two decades were very productive for Storrs and he frequently travelled between the US and France to exhibit and create work. He showed in many notable exhibits such as the Société Anonyme's International Exhibition of Modern Art in New York in 1926, and he completed several commissions such as a statue for the Chicago Board of Trade in 1929. During this time Storrs completely moved away from representational work and refined his non-objective, machine-like sculpture. Besides sculpture, he also produced many paintings, woodcuts, lithographs, and other works on paper. He created works for the Century of Progress International Exposition in 1933 and also worked for the Public Works of Art Project in 1934.
During World War II Storrs was twice arrested and imprisoned by the German occupation forces, once for six months from 1941 to 1942 and again in 1944 along with his daughter Monique who was part of the French Resistance. These events greatly impacted his health and he produced very little work in the late 1940s and 1950s. He continued to exhibit his work and was also president in 1954 of the Ecole de la Loire, a group of 75 artists working in the Loire Valley. John Storrs died in 1956.
Related Materials:
Also available at the Archives of American Art is the Noel Frackman research material on John Henry Bradley Storrs, 1972-2003. In addition, Archives of American Art microfilm reels 1463 and ND/S-1 contain the John Henry Bradley Storrs scrapbook and studio book, 1909-1972.
Separated Materials:
The Booz family also loaned approximately 1,000 drawings by John Storrs and select family photographs for microfilming. Loaned material is available for viewing on reel 1555, but is not described in this container listing of this finding aid.
Provenance:
The John Henry Bradley Storrs papers were donated in several installments from 1979 to 1987 by Storrs' daughter, Monique Storrs Booz, and her daughter, Michelle Storrs Booz. A portion of these papers were loaned for microfilming in 1977 and subsequently donated in 1980. Additional papers were donated by Michelle Storrs Booz in 2011.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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.
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
This series contains access-restricted medical records.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
This series contains access-restricted medical records.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
This series contains access-restricted medical records.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
This series contains access-restricted medical records.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
This series contains access-restricted medical records.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
