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Sales and Inventory Records

Collection Creator:
Parsons, Betty  Search this
Extent:
3.9 Linear feet (Boxes 25-28, 51)
Type:
Archival materials
Date:
1946-1983
Scope and Contents note:
Found in this series are the records containing detailed information about gallery stock - sales, purchases, inventory, prices, artists' commissions, individual artist accounts, loan and consignment activities, and commission sales shared with other dealers. Multiple formats include invoices, forms, daybooks, ledger books, ledger sheets and inventories. Additional records documenting routine business transactions are located in the general business and financial records and "Artist Sales and Expenses" invoices can be found within the artist files. Documents in this series are a rich resource of information on individual works of art, including provenance and exhibition history. Condition reports are scattered amongst the files.
Arrangement note:
Sales and Inventory Records are arranged into four subseries:

5.1: Sales and Purchase Records

5.2: Artist Accounts

5.3: Consignment and Loan Records

5.4: Gallery Inventories
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parsbett, Series 5
See more items in:
Betty Parsons Gallery records and personal papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1087

Frick Company Records

Source:
Engineering and Industry, Division of, NMAH, SI.  Search this
Creator:
Frick Company, George (Waynesboro, Pa.)  Search this
Former owner:
Engineering and Industry, Division of, NMAH, SI.  Search this
Names:
Frick, George, 1826-1892  Search this
Extent:
26 Cubic feet (49 boxes, 4 oversize folders)
Type:
Collection descriptions
Archival materials
Payrolls
Photographs
Purchasing records
Scrapbooks
Commercial correspondence
Clippings
Account books
Date:
1852-1961
bulk 1860-1920
Summary:
This collection documents, in correspondence, publications, forms, paperwork, drawings, newspaper clippings, diplomas and photographs, the operations and products of the Frick Company of Waynesboro, Pennsylvania, manufacturers of steam-powered engines (portable, stationary, and traction), sawmills, threshing machines, grain separators and other mechanized agricultural harvesting implements, refrigeration, mechanical cooling systems, and ice making plants, from its founding in 1852 through 1961.
Scope and Contents:
This collection documents the founding and business operations of the Frick Company* of Waynesboro, Pennsylvania, manufacturers of portable, stationary, and traction engines, threshing machines, sawmills, and refrigeration and ice making machinery. The collection covers the period from 1852 to 1961, with the bulk of the material dating from 1860-1873 and from 1880 through the 1920s and illuminates the evolution of mechanized agriculture and refrigeration technology from the mid-nineteenth century to the mid-twentieth century.

The largest portion of the collection contains photographs of Frick engines and refrigeration machinery, taken both in the foundry and in various installations worldwide, as well as original drawings of Frick machines, parts, and components used to illustrate catalogs and trade publications. Another large portion of the collection is correspondence, containing communication from clients ordering Frick products for their farms or businesses, as well as receipts and correspondence from local and regional suppliers of raw materials and components for the construction of Frick products.

The collection also contains numerous examples of operational paperwork from the 1880s-1890s, such as letterheads, order forms, contracts, test logs, and timesheets, as well as a significant amount of trade literature largely from 1880-1920, such as price lists, catalogs, product pamphlets, and advertising material.

There are several published company histories, technical drawings/blueprints of Frick products, diplomas awarded to Frick machinery presented at expositions and fairs (including the World's Columbian Exposition in Chicago, 1893), full-color posters advertising Frick & Co., agent supplies (including telegraph cipher code books), accounting paperwork, payroll records, communications with shareholders, and significant documentation of the highly publicized labor dispute/strike at Frick in 1946.

This collection would be of interest to researchers in the areas of: agricultural machination and invention in the nineteeth century, steam and horse-powered engines, the development of refrigerating and ice making equipment in the late nineteenth and early twentieth century, business operations and financial transactions in the nineteenth century, Pennsylvania history and companies, industrial photography, and nineteenth and twentieth centuries industrial trade literature.

*The name of the company was modified several times over the history of its operation, variations including George Frick, Frick & Bowman, Frick & Co., and Frick Company, depending on the time period in question. Efforts have been made to align the description of the materials throughout the collection with the correct company name at the time of their creation.
Arrangement:
This collection is divided into six series:

Series 1: Publications, 1852, 1874-1875; 1880-1932; 1942-1943; 1953; 1961

Subseries 1.1 Company History, 1928; 1953

Suseries 1.2 Trade Literature, 1874-1875; 1880-1926; 1930; 1932; 1943; 1952-1953; 1960-1961

Subseries 1.3 Advertising Material, 1852; 1880-1899; 1905; 1909-1929; 1942

Series 2: Correspondence, Receipts, and Ledger Books, 1852-1873; 1890-1902; 1914; 1924-1925

Subseries 2.1 Receipts and Business Correspondence: by company, 1855-1873

Subseries 2.2 Receipts and Business Correspondence: miscellaneous, 1852-1873; 1890; 1895

Subseries 2.3 Ledger Books, 1872; 1896-1898; 1892-1894; 1900-1902

Subseries 2.4 Other Correspondence, 1861-1873; 1898-1901; 1914; 1917; 1924-1925

Series 3: Company Management, 1856-1873; circa 1880s-1890s; 1917; 1927-1929; 1945-1946

Subseries 3.1 Accounting, 1856-1897

Subseries 3.2 Sales, circa 1880s; 1917; 1927

Subseries 3.3 Communications, 1860-1917

Subseries 3.4 Public Relations, 1928-1929; 1945-1946

Series 4: Foundry Operations, 1859-1872; 1877-1879; circa 1880s-1890s; 1900-1903; 1911; 1921; 1929

Subseries 4.1 Orders, 1859-1872; circa 1880s-1890s;1900-1902

Subseries 4.2 Drawings/Blueprints, 1871-1911; 1921; 1929

Subseries 4.3 Shipping and Receiving, 1860-1873; circa 1880s-1890s

Subseries 4.4 Timesheets and Testing, 1860; 1868; 1877-1879; circa 1880s-1890s; 1903

Series 5: Photographs and Artistic Renderings, circa 1880-1950

Subseries 5.1 Frick Buildings, Offices, and Operations, circa 1880-1910

Subseries 5.2 Portable, Stationary, and Traction Engines, 1889; 1893-1896; 1906-1908; 1912-1915; 1925

Subseries 5.3 Other Machinery, circa 1890s

Subseries 5.4 Ice Making and Refrigeration Machinery: Vertical Compressors, 1883-1906; circa 1920s

Subseries 5.5 Ice Making and Refrigeration Machinery: Horizontal Compressors, circa 1910-1920

Subseries 5.6 Ice Making and Refrigeration Machinery: CO2 Compressors and Later Models, circa 1920-1950; 1940-1941

Subseries 5.7 Ice Making and Refrigeration Machinery: Ice Plants, 1889; 1904; 1920-1927

Subseries 5.8 Ice Making and Refrigeration Machinery: Cold Storage Units, 1889; 1925; 1933; undated

Subseries 5.9 Installations: Ice Plants, 1892-1896; 1900-1933; 1945

Subseries 5.10 Installations: Refrigeration and Cold Storage Units, circa 1890-1905; circa 1915-1920

Series 6: Trade Shows and Exhibitions, 1877-1885; 1893; 1895; 1904; 1926

Subseries 6.1 Awards, Certificates, and Diplomas, 1877-1884; 1893; 1895; 1904

Subseries 6.2 Promotional Material, 1884-1885; 1926
Biographical / Historical:
Founded in 1852 by engineer and inventor George Frick (1826-1892), Frick Company has been an innovative machinery design leader in many areas of the agricultural and refrigeration industries over the last 160 years. Frick began building steam engines and threshing machines in a small shop in Waynesboro, Pennsylvania.

Frick quickly gained a reputation for quality in the growing field of mechanized agriculture. His designs for early portable engines--transported and driven by horsepower--soon evolved into self-propelling, steam-powered vehicles that could be driven into the fields and then used to run the grain separating, cleaning and bagging machines that were revolutionizing the farming industry, increasing production at exponential rates.

In addition, Frick's stationary engines were put to use in mills of all kinds (grist, flour, paper, and woolen) to augment or replace their dependence on unreliable natural water power, including sawmills, of which Frick was soon building a line of portable, steam-driven versions. Between the mid-1850s and the early 1870s, the company continued to expand, outgrowing three different shops before building the final location of the works in Waynesboro. George Frick himself was continuously active in the company through the end of the nineteenth century as a mechanical engineer and product designer, as well as a frequent consultant, traveling to confer with clients on specifications for their orders.

Beginning in 1872, George Frick's business and personal life took a downturn with the deaths in quick succession of both his oldest son Frank and his new business partner C.F. Bowman, as a result of a typhoid fever epidemic that swept through the area. Additionally, the financial Panic of 1873 nearly closed Frick's company along with thousands of other American businesses that year, but thirteen local businessmen formed a partnership, putting forth the necessary capital to keep the manufacturing plant afloat. George Frick sold his controlling interest to the partnership, but remained as general manager of the company.

After this brief period of struggle, Frick and Company began again to expand its product line as well as its reputation. The new works in Waynesboro were modern and efficient, enough to warrant a feature article in Scientific American in 1881. The following year, the company built its first refrigeration machine, and a whole new direction of production opened up. Automatic and traction engines were still in demand, being constantly improved and updated, but refrigeration was the new frontier. Frick rose to become one of the leaders in development of high quality, durable, and functional refrigeration machinery. George's son A.O. Frick, now an engineer with the company, partnered with Edgar Penney, another design engineer, to develop the Corliss engine line, which would run the large ammonia compressors, creating what was called a refrigeration machine. They were intially used to power ice plants, which were being built all over the world after the mild winter of 1890 tipped the natural ice industry into decline. They also used cold storage/mechanical cooling units, of which breweries and meat packing plants were the earliest adopters, followed by cold food stores, florist shops, and fur storage, as well as the dairy and shipping industries. The Armour Packing Plant in Kansas City, Missouri was the proud owner of "The Largest Ice Machine in the World," built by Frick and shipped by train via specially-reinforced rails in 1896. At the turn of the twentieth century, hotels, restaurants, hospitals and industrial plants soon began to rely on refrigeration units for daily operations, and Frick's business was booming.

As gas-powered engine technology began taking over in the first decades of the twentieth century, Frick moved away from steam engines and focused on more specialized farm equipment such as dehydrators, peanut pickers, combines, balers and silo fillers. Their line of sawmills was also still in high demand. But increasingly, Frick was focused on steadily refining and improving its refrigeration equipment. Ammonia, while highly efficient as a coolant, had its dangerous downsides: it could be fatal if leaked, and could contaminate plant ice easily. Although many of Frick's ammonia compression refrigeration machines were still in use forty or more years after installation and were still preferred for industrial use, the technology needed to improve in order to be viable for the general public. Several publicized accidents led eventually to the preferred use of chloroflorocarbons as a coolant, and Frick developed enclosed-type CO2 compressors and eventually freon units. Other Frick refrigeration products included machinery for making dry ice, air conditioning units, and temperature controls for test plants, as well as marine refrigeration (developed during the First World War) for shipping food between continents. Frick did contract work for the US military during and following World War II, and was a major company involved in the development of quick-freezing systems to support the growing frozen food industry starting in the late 1940s.

Frick Company positioned itself as a permanent leader in the food production and distribution industry by the 1950s. The company is still in operation today, though it has been purchased several times, most recently by Johnson Controls, which maintains a product line bearing the name Frick.
Related Materials:
The Archives Center holds several collections that may be of interest to researchers in relation to the Frick Company Collection.

For related material on Corliss engines, see the following collections:

Chuse Engine and Manufacturing Company Records (AC 1088)

Corliss Steam Engine Album (AC 1016)

Corliss Steam Engine Reference Collection (AC 1329)

Nagle Engine and Boiler Works Records (AC 1083)

Providence Engineering Works Records (AC 1076)

Skinner Engine Company Records (AC 1087)

Robert Weatherill Company Records (AC 0992)

For related material on threshing machines and agricultural machinery, see the following collections:

John K. Parlett Collection (AC 3066)

Warshaw Collection of Business Americana (AC 0060)

For related material on refrigeration machinery, see the following collections:

Madison Cooper Papers (AC 1105)

Nickerson and Collins Photography (AC 1044)

Southwork Foundry and Machine Company Records (AC 1107)
Separated Materials:
The Division of Work and Industry holds artifacts related to this collection. See acquisition numbers AG79A09.1, MC 319243.12 and .13, and 58A9.
Provenance:
Collection donated by the Frick Company, through Terry Mitchell in 1961.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Harvesting machinery  Search this
Refrigeration and refrigerating machinery -- 1860-1960  Search this
Steam-engines  Search this
Engineers  Search this
Genre/Form:
Payrolls
Photographs -- 20th century
Purchasing records
Scrapbooks -- 1840-1990
Commercial correspondence
Clippings
Account books
Citation:
Frick Company Collection, 1852-1961, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0293
See more items in:
Frick Company Records
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0293
Online Media:

Bob Stocksdale and Kay Sekimachi papers

Source:
Stocksdale, Kay Sekimachi  Search this
Creator:
Stocksdale, Bob, 1913-2003  Search this
Names:
Central Utah Relocation Center  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Tanforan Assembly Center (San Bruno, Calif.)  Search this
War Relocation Authority  Search this
Anderson, Norman  Search this
Collingwood, Peter, 1922-2008  Search this
Larsen, Jack Lenor, 1927-2020  Search this
Maloof, Alfreda Ward  Search this
Maloof, Sam  Search this
Merrill, Forrest L.  Search this
Okubo, Miné, 1912-2001  Search this
Shawcroft, Barbara  Search this
Stocksdale, Bob, 1913-2003  Search this
Stocksdale, Kay Sekimachi  Search this
Turner, Tran  Search this
Uchida, Yoshiko  Search this
Former owner:
Stocksdale, Kay Sekimachi  Search this
Extent:
19.5 Linear feet
0.125 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Sketches
Scrapbooks
Watercolors
Photographs
Date:
circa 1900-2015
Summary:
The papers of woodturner Bob Stocksdale and fiber artist Kay Sekimachi measure 19.5 linear feet and 0.125 GB and date from circa 1900 to 2015. Found are biographical materials, correspondence, writings, professional files, exhibition files, project files, personal business records, printed and digital material, scrapbooks, photographic material, and artwork. Of note are records from Sekimachi's forced internment during World War II at Tanforan Assembly Center and Topaz War Relocation Center from 1942 to 1944.
Scope and Contents:
The papers of woodturner Bob Stocksdale and fiber artist Kay Sekimachi measure 19.5 linear feet and 0.125 GB and date from circa 1900 to 2015. Found are biographical materials, correspondence, writings, professional files, exhibition files, project files, personal business records, printed and digital material, scrapbooks, photographic material, and artwork. Of note are records from Sekimachi's forced internment during World War II at Tanforan Assembly Center and Topaz War Relocation Center from 1942 to 1944.

The bulk of biographical materials are from Kay Sekimachi with some originating from her time spent in forced internment at Topaz and Tanforan camps. These records include identification cards, War Relocation Authority printed materials, and school records. Also found are awards, resumes, and blank stationery. Some materials are from Stocksdale's 85th birthday and memorial service.

Letters and extensive greeting cards are from friends, family, and professional acquaintances. Correspondents include Norman Anderson, Peter Collingwood, Jack Lenor Larsen, Sam and Alfreda Maloof, Forrest L. Merrill, Miné Okubo, Barbara Shawcroft, and others.

Writings and notes are scattered and include two interviews with Kay Sekimachi, hanging instructions, and notes. Writings by others are by Jack Lenor Larsen, Tran Turner, and Yoshiko Uchida.

Sekimachi's and Stocksdale's professional activities are documented through files relating to their participation at conferences, awards ceremonies, and lectures. Also found are fiber samples, order forms for materials and equipment, and notes on techniques and design by Kay Sekimachi. Exhibition records include extensive documentation on Marriage in Form, In the Realm of Nature, and Loom and Lathe as well as files for various solo and group exhibitions for both Sekimachi and Stocksdale. Gallery and institution files include material on multiple or unnamed exhibitions. Exhibiton documentation may include correspondence, writings, proposals, printed material, financial and loan records, condition reports, and photographs. Project files contain material for proposed book projects, a retrospective, and portfolio, by and about Sekimachi and Stocksdale. Also found are three commissions files for works by Sekimachi. A proposed retrospective on the work of Bob Stocksdale by Kay Sekimachi includes a digital sound recording of recollections.

Personal business records include sales books, purchase records for works of art by others, appraisals, contracts, consignment receipts, and insurance records.

Published books, clippings, exhibition announcements and catalogs, magazines, and newsletters are found within printed materials. Of note is a publication by the San Francisco Chronicle entitled "This World" which features illustrations by Miné Okubo.

Four scrapbooks compiled by Kay Sekimachi date from 1937 to 1944. Most of the scrapbooks contain printed material from magazines and other sources with images such as children, valentines, food, birds, clothing, and may include scattered sketches and notes by Sekimachi. One scrapbook dates from the end of Sekimachi's internment at Topaz and relocation to Cincinnati, Ohio. This scrapbook includes sketches and printed materials concerning local and global events. Loose material found in this series was likely meant to be pasted into a new or the forth scrapbook. These materials include relocation information, Japanese-American publications, maps, clippings, sketches, and printed programs.

The bulk of photographic materials consist of slides of various vacation locations and homes and date from the 1960s to the 1980s. Also found are scattered portraits of Kay Sekimachi and Bob Stocksdale, as well as a photo of Miné Okubo with Roy Leeper and Cecil Thompson. Artworks are largely by Kay Sekimachi and include watercolor and pencil sketches as well as designs for fabrics and a weaving portfolio. Watercolor and pencil sketches are of Tanforan Assembly Center and date from circa 1942.
Arrangement:
The collection is arranged as 11 series.

Series 1: Biographical Material, circa 1920-2003 (1.5 linear feet; Box 1-2)

Series 2: Correspondence, 1943-2014 (7.6 linear feet; Box 2-10)

Series 3: Writings and Notes, 1960s-2008 (0.2 linear feet; Box 10)

Series 4: Professional Files, 1950s-2011 (1.1 linear feet; Box 10-11, 22)

Series 5: Exhibition Files, 1951-2015 (2.9 linear feet; Box 11-14, ER01; 0.125 GB)

Series 6: Project Files, circa 1900-2004 (0.3 linear feet; Box 14)

Series 7: Personal Business Records, 1970s-2010 (0.7 linear feet; Box 14-15)

Series 8: Printed Material, 1943-2011 (2.3 linear feet; Box 15-17, 22)

Series 9: Scrapbooks, 1937-1946 (0.9 linear feet; Box 17, 21)

Series 10: Photographic Material, circa 1950-2001 (0.9 linear feet; Box 18)

Series 11: Artwork, 1942-circa 1970 (1.1 linear feet; Box 18-20, 22-23)
Biographical / Historical:
Bob Stocksdale (1913-2003) was a woodturner active in California. He was known for bowls he formed from rare types of wood. Kay Sekimachi (1926- ) is a Japanese-American fiber artist and educator also active in California. She began her career in weaving on and off the loom and was part of the New Basketry movement.

Born in Indiana, Bob Stocksdale began his interest in carving by whittling with a pocket knife. Later, he created his own lathe with a washing machine motor and turned items such as baseball bats. During World War II, he was a conscientious objector and worked at various camps performing forestry work. It was in one of the camps that he turned his first bowl on a lathe.

After the war, Stocksdale settled in the Bay Area of California where he established his own woodturning shop in his basement. He concentrated on making bowls out of rare woods. His work has been recognized throughout the world and in 1998, he received the American Association of Woodturners Lifetime Achievement Award. In 2003, he received the James Renwick Alliance Masters of the Medium Award.

Kay Sekimachi was born in San Francisco, California in 1926. As a high school student, she was forcibly interned through Executive Order 9066 issued by President Franklin D. Roosevelt which incarcerated approximately 120,000 Japanese and Japanese-American citizens during World War II. Along with her mother and siblings, Kay lived at Tanforan Assembly Center and later moved to Topaz War Relocation Center in Utah. She continued her schooling at Topaz and after 1944, was resettled in Cincinnati, Ohio.

After graduating from high school, Kay Sekimachi enrolled at the California College of Arts and Crafts and the Haystack Mountain School of Crafts where she learned the craft of weaving under Trude Guermonprez and Jack Lenor Larsen. Her early works were tapestries and garments. She later used her weaving techniques as part of the New Basketry movement to create baskets and boxes out of fibers. Also an educator, Kay taught weaving at San Francisco Community College. She received the American Craft Council Gold Medal for Consummate Craftsmanship in 2002.

After the dissolution of his first marriage through which he had two children, son Kim and daughter Joy Stocksdale, Bob married Kay Sekimachi in 1972. The two had been acquainted for many years as they were both craft artists living in the Bay Area. Although they married later in life, Kay and Bob travelled the world and exhibited their art together in many exhibitions including Marriage in Form and Loom and Lathe.

Bob Stocksdale died in Oakland, California in 2003. Kay Sekimachi continues to exhibit her work and lives in Berkeley, California.
Related Materials:
Also found in the Archives of American Art are an oral history interview of Bob Stocksdale conducted February 16-March 21, 2001, by Signe Mayfield and an oral history interview of Kay Sekimachi [Stocksdale] conducted July 26-August 6, 2001, by Suzanne Baizerman. Both interviews were conducted in Berkeley, California, during the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Provenance:
The Bob Stocksdale and Kay Sekimachi papers were donated in 2003, 2004, and 2015 by Kay Sekimachi Stocksdale as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of original 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.
Occupation:
Fiber artists -- California  Search this
Topic:
Concentration camps -- United States  Search this
Textile design  Search this
Decorative arts  Search this
Women artists  Search this
Fiberwork -- Technique  Search this
Woodwork -- Study and teaching  Search this
Japanese Americans -- Evacuation and relocation, 1942-1945  Search this
Textile crafts -- Study and teaching  Search this
Asian American art  Search this
Asian American artists  Search this
Asian American women artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Japanese American women artists  Search this
Asian American fiber artists  Search this
Asian American educators  Search this
Genre/Form:
Interviews
Sound recordings
Sketches
Scrapbooks
Watercolors
Photographs
Citation:
Bob Stocksdale and Kay Sekimachi papers, circa 1900-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stockbob
See more items in:
Bob Stocksdale and Kay Sekimachi papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stockbob

Personal Business Records

Collection Source:
Stocksdale, Kay Sekimachi  Search this
Collection Creator:
Stocksdale, Bob, 1913-2003  Search this
Extent:
0.7 Linear feet (Box 14-15)
Type:
Archival materials
Date:
1970s-2010
Scope and Contents:
Bob Stocksdale's sales books date from 1973 to 1978 and include the name of purchaser, destination, date and name of work (or a description) and amounts paid. Purchase records include works purchased Stocksdale and Sekimachi from Sheila O'hara. Representation agreements are with Barbara Okun and Sterling Associates. Other business records include address lists, appraisals, consignment and insurance records, and a stock certificate.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of original audiovisual recordings with no duplicate access copy requires advance notice.
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:
Bob Stocksdale and Kay Sekimachi papers, circa 1900-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stockbob, Series 7
See more items in:
Bob Stocksdale and Kay Sekimachi papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-stockbob-ref13

Purchase Records

Collection Source:
Stocksdale, Kay Sekimachi  Search this
Collection Creator:
Stocksdale, Bob, 1913-2003  Search this
Container:
Box 14, Folder 31
Type:
Archival materials
Date:
1994-1995
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of original audiovisual recordings with no duplicate access copy requires advance notice.
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:
Bob Stocksdale and Kay Sekimachi papers, circa 1900-2015. Archives of American Art, Smithsonian Institution.
See more items in:
Bob Stocksdale and Kay Sekimachi papers
Bob Stocksdale and Kay Sekimachi papers / Series 7: Personal Business Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-stockbob-ref500

Schaeffer Galleries records, circa 1921-1982, bulk 1935-1950

Creator:
Schaeffer Galleries  Search this
Schaeffer Galleries  Search this
Subject:
Backus, LeRoy  Search this
Pleissner, Ogden M.  Search this
Robert, Hubert  Search this
Schaeffer, Hanns S.  Search this
Schaeffer, Kate Born  Search this
Picasso, Pablo  Search this
Tate, Arthur C.  Search this
Type:
Visitors' books
Scrapbooks
Photographs
Theme:
The Art Market  Search this
Art Gallery Records  Search this
Record number:
(DSI-AAA_CollID)9482
(DSI-AAA_SIRISBib)211680
AAA_collcode_schagall
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211680
Online Media:

World House Galleries records, 1927-1991, bulk 1953-1980

Creator:
World House Galleries  Search this
World House Galleries  Search this
Subject:
Mayer, Herbert  Search this
Morandi, Giorgio  Search this
Dubuffet, Jean  Search this
Kirchner, Ernst Ludwig  Search this
Klee, Paul  Search this
Christie, Manson & Woods International Inc.  Search this
Colgate University  Search this
Parke-Bernet Galleries  Search this
Parsons School of Design  Search this
Art Students League (New York, N.Y.)  Search this
Sotheby's (Firm)  Search this
Type:
Photographs
Topic:
Art galleries, Commercial -- New York (State) -- New York  Search this
Theme:
The Art Market  Search this
Art Gallery Records  Search this
Record number:
(DSI-AAA_CollID)6036
(DSI-AAA_SIRISBib)239301
AAA_collcode_worlhoug
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_239301
Online Media:

André Emmerich Gallery records, circa 1929-2009

Creator:
André Emmerich Gallery  Search this
André Emmerich Gallery  Search this
Subject:
Frankenthaler, Helen  Search this
Francis, Sam  Search this
Emmerich, André  Search this
Caro, Anthony  Search this
Olitski, Jules  Search this
Pepper, Beverly  Search this
Louis, Morris  Search this
Noland, Kenneth  Search this
Hockney, David  Search this
Hofmann, Hans  Search this
Greenberg, Clement  Search this
Sotheby Parke Bernet & Co.  Search this
Sotheby's (Firm)  Search this
Galerie André Emmerich  Search this
Type:
Photographs
Visitors' books
Sound recordings
Video recordings
Scrapbooks
Etchings
Topic:
Sculpture, Abstract  Search this
Color-field painting  Search this
Art -- Economic aspects  Search this
Artists' studios -- Photographs  Search this
Art galleries, Commercial -- Switzerland -- Zurich  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Theme:
The Art Market  Search this
Lives of American Artists  Search this
The Art Market  Search this
Art Gallery Records  Search this
Record number:
(DSI-AAA_CollID)6275
(DSI-AAA_SIRISBib)216620
AAA_collcode_andremmg
Theme:
The Art Market
Lives of American Artists
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216620
Online Media:

Nicholas Wilder Gallery records

Creator:
Nicholas Wilder Gallery  Search this
Names:
James Corcoran Gallery  Search this
Altoon, John, 1925-  Search this
Avedisian, Edward, 1936-2007  Search this
Bengston, Billy Al  Search this
Davis, Ron, 1937-  Search this
Francis, Sam, 1923-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Goode, Joe, 1937-  Search this
Graham, Robert, 1938-  Search this
Hockney, David  Search this
Hofmann, Hans, 1880-1966  Search this
Holland, Tom, 1936-  Search this
Martin, Agnes, 1912-2004  Search this
McCracken, John, 1934-2011  Search this
Moses, Ed, 1926-  Search this
Nauman, Bruce, 1941-  Search this
Noland, Kenneth, 1924-  Search this
Olitski, Jules, 1922-  Search this
Price, Kenneth, 1935-2012  Search this
Twombly, Cy, 1928-  Search this
Wilder, Nicholas  Search this
Yokomi, Richard  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1944-1984
bulk 1968-1979
Summary:
The records of the Nicholas Wilder Gallery of Los Angeles measure 2.4 linear feet and date from 1944 through 1984, with the bulk of materials dating from 1968-1979. Scattered documentation of the contemporary art gallery's fourteen years of operation include artists' inventory cards, photographic transparencies, letters and correspondence, invitations, notes, business and financial documents, and printed materials.
Scope and Content Note:
The records of the Nicholas Wilder Gallery of Los Angeles measure 2.4 linear feet and date from 1944 through 1984, with the bulk of materials dating from 1968 to 1979. Scattered documentation of the contemporary art gallery's fourteen years of operation include artists' inventory cards (the bulk of the collection), photographic transparencies, letters and correspondence, invitations, notes, business and financial documents, and printed materials.

The majority of records date from the period after the gallery moved to La Cienega Boulevard to Santa Monica Boulevard in Los Angeles, California. Very few records pertaining to specific exhibitions or openings are included in this collection. However, there is one exhibition catalog and scattered gallery invitations which were used as scrap paper. Other materials include business records that contain financial materials and notes. Printed Materials contain popular newspapers and magazines that reflect Wilder's interests, invitations to other galleries, auction catalogs, and business cards. Correspondence includes scattered gallery correspondence, Wilder's personal correspondence and documents, and holiday cards.

The bulk of the collection consists of artist files which include inventory cards and transparencies of works of art. Information on the inventory cards and transparencies may specify: date of creation, date of accession, potential collectors, purchase records, and titles. Notable artists include: Joe Goode, Tom Holland, Robert Graham, Billy Al Bengston, Cy Twombly, Ken Price, Ed Moses, Ron Davis, John McCracken, Kenneth Noland, Helen Frankenthaler, Jules Olitski, Agnes Martin, Edward Avedisian, John Altoon, Richard Yokomi, Sam Francis, Bruce Nauman, Hans Hofmann, and David Hockney. The majority of inventory cards reflect business at the gallery in the mid-late 1970s.

Financial records originating from the James Corcoran Gallery are included in this collection. The relationship between the two establishments is unclear although it seems that the James Corcoran Gallery moved into the space previously occupied by the Nicholas Wilder Gallery.
Arrangement:
The collection is arranged into four series:

Series 1: Business Records, 1968-1978, 1980-1984, circa 1970s (Box 1; 5 folders)

Series 2: Correspondence, 1974-1981, circa 1970s (Box 1; 4 folders)

Series 3: Printed Material, 1976-1980, circa 1970s (Box 1; 9 folders)

Series 4: Artist Files, 1944-1984, circa 1960s-1970s (Box 1-3; 2 linear feet)
Historical Note:
In April 1965, Nicholas Wilder (1937-1989) founded his contemporary art gallery at 814 North La Cienega Boulevard in Los Angeles, California. His interest in art started at Amherst College where he worked for the art department as a slide technician. While in graduate school at Stanford University, he worked at the Lanyon Gallery in Palo Alto, California. An initial offer of financial backing to open a gallery inspired a move to Los Angeles. Although that offer fell through, Wilder remained determined. In late 1964, Wilder sold shares of his future gallery to friends in order to secure funds. He bought the shares back shortly after opening.

The Nicholas Wilder Gallery's first show featured Edward Avedisian. The gallery expanded and featured artists from New York and California, including: Joe Goode, John McCracken, Kenneth Noland, Helen Frankenthaler, Jules Olitski, Cy Twombly, Ed Moses, Ken Price, Agnes Martin, John Altoon, Sam Francis, Billy Al Bengston, and Hans Hofmann. The gallery helped start the careers of American artists such as Robert Graham, Tom Holland, Ron Davis, and Bruce Nauman. In 1970, the gallery moved to 8225 ½ Santa Monica Boulevard. Through its fourteen years of operation, the gallery held a new show every month. Wilder's openings represented a large source of pride and he ensured that every opening reception included a stocked bar for his clients.

Initially, the gallery succeeded through Wilder's talents and passion for art. At its peak, the Nicholas Wilder Gallery sold two million dollars worth of art per year. However, in the mid-1970s a change in attitude within the art world affected sales. According to Wilder, many artists no longer painted for expression but as a viable business venture. Furthermore, he claimed that buyers would not risk collecting works from a younger or less well-known artist. In addition to these factors, Wilder attributed the decline of his gallery to his extravagance and lack of business sensibilities. Eventually, the gallery faced financial problems and Wilder recognized the need to leave the business.

The Nicholas Wilder Gallery closed on December 31, 1979. Wilder informed his employees that he would close a year in advance and ensured that all of his artists found a new gallery for representation. He moved to New York after leaving his gallery and became an artist. Nicholas Wilder passed away in 1989 from AIDS-related causes.
Related Material:
Also found in the Archives of American Art is an oral history interview with Nicholas Wilder conducted by Ruth Bowman on July 18, 1988.

Nicholas Wilder Gallery records, 1927-1980, are also located at the Getty Research Institute.
Provenance:
The Nicholas Wilder Gallery records were donated to the Archives of American Art in 1998 by Matthew Curtis Klebaum, a friend of Wilder's and a former employee of the James Corcoran Gallery.
Restrictions:
The collection is open for research. Use 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 dealers -- California -- Los Angeles  Search this
Artists -- California -- Los Angeles  Search this
Function:
Art galleries, Commercial -- California
Citation:
Nicholas Wilder Gallery records, 1944-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nichwild
See more items in:
Nicholas Wilder Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nichwild
Online Media:

Record of Charles Lang Freer's travel purchases from multiple dealers while visiting China

Creator:
Freer, Charles Lang, 1856-1919  Search this
Names:
Smithsonian Institution  Search this
Collection Creator:
Freer, Charles Lang, 1856-1919  Search this
Extent:
240 Sheets
Type:
Archival materials
Sheets
Vouchers
Place:
China
Date:
1910-1911
Arrangement:
Freer's purchase vouchers are generally organized by date of purchase.
Local Numbers:
FSA A.01 06.5.2.1911.TP
General:
This travel packet documents Charles Lang Freer's purchases of miscellaneous art from multiple dealers during his travels in China between 1910 and 1911. This information is compiled from shipping inventories, price lists, and Charles Lang Freer's diaries. Individual purchase records are not available for art purchased on this trip.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Antiquities  Search this
Art, Chinese  Search this
Jade  Search this
Genre/Form:
Vouchers
Collection Citation:
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Identifier:
FSA.A.01, Item FSA A.01 06.5.2.1911.TP
See more items in:
Charles Lang Freer Papers
Charles Lang Freer Papers / Series 6: Financial Materials / 6.5: Vouchers / 6.5.2: Financial materials - Vouchers - Art vouchers
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-01-ref3242

Miscellaneous Projects

Collection Creator:
Nordness, Lee  Search this
Type:
Archival materials
Date:
1962-1990
Scope and Contents:
Found is documentation of various projects including the Milton Hebald book, John Lennon's "Bag One" lithographs, Project Swiss project, the art collection of C.V. Starr & Co., and exhibitions with the United States Information Agency (USIA). Materials are varied and include correspondence, purchase records, shipping records and other miscellaneous business records.
Arrangement:
Folders are arranged alphabetically by folder title.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lee Nordness business records and papers, circa 1931-1992, bulk 1954-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nordlee, Subseries 1.3.8
See more items in:
Lee Nordness business records and papers
Lee Nordness business records and papers / Series 1: Nordness Gallery, Inc. and Lee Nordness Galleries Art Advisory Section, Inc. / 1.3: Project Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-nordlee-ref1439

Purchase Records

Collection Creator:
Nordness, Lee  Search this
Container:
Box 38, Folder 29-32
Type:
Archival materials
Date:
1962
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Lee Nordness business records and papers, circa 1931-1992, bulk 1954-1984. Archives of American Art, Smithsonian Institution.
See more items in:
Lee Nordness business records and papers
Lee Nordness business records and papers / Series 1: Nordness Gallery, Inc. and Lee Nordness Galleries Art Advisory Section, Inc. / 1.3: Project Files / 1.3.8: Miscellaneous Projects / Project Swiss
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-nordlee-ref1454

Consignment Sheets and Purchase Records

Collection Creator:
Park Place, The Gallery of Art Research, Inc. and Paula Cooper Gallery  Search this
Extent:
5 Folders
Container:
Box 47, Folder 6-10
Type:
Archival materials
Date:
1992-1996
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
All collection material except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. 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.
Collection Citation:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
See more items in:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records / Series 3: Paula Cooper Gallery / 3.4: Financial Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parkplag-ref1267

Biographical Material

Collection Creator:
Tam, Reuben  Search this
Extent:
0.4 Linear feet (Box 1)
Type:
Archival materials
Date:
1934-1993
Scope and Contents:
This series contains biographical summaries and resumes documenting Reuben Tam's career, as well as his school records, diplomas, and teaching records, including extensive records of his tenure at the Brooklyn Museum of Art School. Also found are records of artwork sales and loans, various lists of artwork, and the consignment and purchase records for the galleries which represented Tam. Also of note is a slide show and accompanying audio cassette recording of the "Reuben Tam Show" about his work as an artist on Monhegan Island, Maine.
Arrangement:
Folders are arranged alphabetically.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Reuben Tam papers, 1931-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tamreub, Series 1
See more items in:
Reuben Tam papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-tamreub-ref15

Subject Files

Collection Creator:
Vogel, Dorothy  Search this
Vogel, Herbert  Search this
Extent:
9.8 Linear feet (Boxes 31-41)
Type:
Archival materials
Date:
1969-2008
Scope and Contents:
This series contains letters, greeting cards, and notes; scattered loan and purchase records; and printed materials from or about people and institutions around the art world including collectors, colleges and universities, dealers, gallerists and galleries, historians, museums, and writers. Among the correspondents are Jack and Maryon Adelaar, Jourdan Arpelle, Peter Bellamy, Richard Bellamy, Paul Bianchi, Edgar Brunner, Steven H. Cardin, Leo Castelli, Ellen Donahue, Norman Dubrow, Elin Lake Ewald, David Findlay, Peter Frank, Dee and David Garrett, Francis Greenburger, Annie Herron, Sidney Janis, Poppy Johnson, Ralph and June Obler, Timotheus Pohl, Charles Rand Penny, Sandy Seawright, Riki Simons, and Bernadine Tabler. Many of the materials found here comment on the close and personal relationship between the Vogels and people within the art world. There are birthday cards, baby shower invitations and birth announcements, holiday cards, wedding invitations, and retirement cards. Fan mail includes short letters written to the Vogels, many concerning the Vogel's pledge to donate their artwork to the National Gallery of Art. Files titled 'jokes' contain clippings from comic strips. Files on museums and colleges and universities may include loan records and exhibition materials.
Arrangement:
Most folder titles have been transcribed from the original, however in some cases they have been standardized.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dorothy and Herbert Vogel papers, 1960s-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vogedoro, Series 3
See more items in:
Dorothy and Herbert Vogel papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-vogedoro-ref4

Purchase Records

Collection Creator:
André Emmerich Gallery  Search this
Extent:
2 Linear feet (Boxes 168-170)
Type:
Archival materials
Date:
1961-1966, 1972-1994
Scope and Contents note:
Purchase records are divided into four sections. The first section, dated 1961-1966, includes invoices and correspondence about offers and purchases. The second section, dated 1972-1993, consists of annotated invoices for works of art purchased by the gallery and/or photocopies of related inventory cards. (Original inventory cards can be found in Series 8: Inventory Records, Subseries 1: Inventory Cards.) The third section, dated 1977-1982, consists of purchase records related to André Emmerich, Inc. The fourth section, dated 1988-1994, relates to purchases of "Non-Modern" art. Records relating to purchases of Pre-Columbian art and European antiquities can be found throughout the series.
Arrangement note:
Each section is arranged chronologically by invoice date, when available, or by payment or acquisition date.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.andremmg, Series 10
See more items in:
André Emmerich Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-andremmg-ref4916

1961-1966

Collection Creator:
André Emmerich Gallery  Search this
Container:
Box 168, Folder 12
Type:
Archival materials
Date:
1961-1966
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
See more items in:
André Emmerich Gallery records
André Emmerich Gallery records / Series 10: Purchase Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-andremmg-ref4917

1972

Collection Creator:
André Emmerich Gallery  Search this
Container:
Box 168, Folder 13
Type:
Archival materials
Date:
1972
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
See more items in:
André Emmerich Gallery records
André Emmerich Gallery records / Series 10: Purchase Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-andremmg-ref4918

1973

Collection Creator:
André Emmerich Gallery  Search this
Container:
Box 168, Folder 14
Type:
Archival materials
Date:
1973
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
See more items in:
André Emmerich Gallery records
André Emmerich Gallery records / Series 10: Purchase Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-andremmg-ref4919

1974

Collection Creator:
André Emmerich Gallery  Search this
Extent:
3 Folders
Container:
Box 168, Folder 15-17
Type:
Archival materials
Date:
1974
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
See more items in:
André Emmerich Gallery records
André Emmerich Gallery records / Series 10: Purchase Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-andremmg-ref4920

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