5.8 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1934-1967
Scope and Contents:
Diaries, correspondence, photographs, writings, scrapbook, exhibition materials, and printed materials.
UNMICROFILMED: Two stock books of the Harry Salpeter Gallery, Inc.; 13 bound copies of articles by Salpeter; a drawing; a manuscript of DR. JOHNSON AND MR. BOSWELL; 11 cartoons by Herb Kruckman; correspondence with artists and friends, including 8 postcards and 2 letters from David Burliuk, 1946-1957; photographs; writings, including articles for magazines; a scrapbook; exhibition catalogs; clippings; and books.
REEL 690-691: Diaries, January 1956-November 1967.
Biographical / Historical:
Writer, art critic, gallery owner; New York, N.Y.; b. 1895; d. 1967; owner of the Harry Salpeter Gallery; New York, N.Y.
Provenance:
Donated 1960-1973 by Salpeter and, after his death in 1967, by his widow, Rebecca Salpeter.
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.
Correspondence, prospectus, exhibition catalogs, photographs, clippings, sketches, much of it relating to Joseph Stella.
Reel N69-112: Correspondence, 1954-1959, and 1967-1969, concerns the sale of Mosca's paintings, and includes letters from Nathan Cummins, chairman of Consolidated Food Corp. and a Mosca collector; Harry and Betty Salpeter, Roger Van Damme, Seymour Tubis; Jessica Gasparo, Stefano Cusumano, and Alfred Russell. Also included are 10 photographs of Mosca and his work and two Joseph Stella catalogs.
Reel N70-7: Papers relating to Joseph Stella, 1938-1944. Thirty-seven letters and postcards reflecting the friendship between Stella and Mosca, commenting on Stella's and Mosca's work, and his illness; a 16p. typed reminiscence of Stella by Mosca; and a letter from Mosca to Giovanni Stella, 1943, expressing his concern for his brother's condition. Also included are Mosca's correspondence on Stella's exhibits with M. Knoedler & Co., and with Theodore Sizer, Yale University; a typed prospectus for the Joseph Stella School of Art, and a preface for a Mosca exhibit catalog written by Stella.
Reel 1576: Eighty Joseph Stella items, Mosca letters, photographs, exhibition catalogs, clippings and sketches.
Biographical / Historical:
Painter; Bronx, N.Y.; d. 2002 Born in Naples, Italy. Studied under Joseph Stella, and at the Yale School of Fine Arts. Member of the Artists Equity Association, New York.
Provenance:
Donated 1968-1969 by August Mosca.
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.
Raphael Soyer's correspondence spans over forty years, with the bulk of it dating between 1960 and his death in 1987. Letters are arranged chronologically and the majority are incoming to Soyer, but there are also scattered drafts of outgoing letters. Soyer was friends with many artists and cultural figures, and his personal correspondence includes letters to and from artists such as Lambro Ahlas, Benny Andrews, Rudolf Baranik, Leonard Baskin, George Biddle, Peter Blume, Aaron Bohrod, John Bratby, Alex Brook, David Burliuk, Marc Chagall, Peter De Francia, Otto Dix, Guy Du Bois, Philip Evergood, Josef Herman, Joseph Hirsch, Edward Hopper, Jacob Kainen, R. B. Kitaj, Leon Kroll, Joe Lasker, Jack Levine, Jacques Lipchitz, Henry Varnum Poor, Fairfield Porter, Max Weber, and numerous others. Soyer also corresponded with many writers such as Erskine Caldwell, Allen Ginsberg, Marianne Moore, and Isaac Bashevis Singer.
Also found here is correspondence with the Forum Gallery which represented him and dealer Bella Fishko. There is also correspondence with numerous galleries, museums, and schools which exhibited his work or requested his work for potential exhibitions. Additionally, there is correspondence with students and publishers, mostly requests for him to lecture or write articles, and business correspondence on the sale, donation, or commission of his work. Soyer corresponded with many art historians and critics, curators, gallery owners, and collectors, such as Andrei Chegodaev, Lloyd Goodrich, Joseph Hirshhorn, Abram Lerner, and Carl Zigrosser, as well as arts and social organizations. The collection includes very little family correspondence. Some of the letters are in Russian.
See Appendix for a list of correspondents in Series 2.
United Jewish Appeal of Greater New York: 1970, 1974
University of California, Berkeley: 1966
University of Maryland: 1968
University of Minnesota: 1985, 1986
University of Texas: 1969
Van der Tweel, L. H.: 1975
Van Devanter, Ann C.: 1973
Vereisky, Oriest: undated
Vincent Price Collection: 1964
Walsh, Alexandria: 1977
Warner, Keith: 1944
Warshaw, Howard: 1953
Washburn, Gordon B.: 1967
Weber, Max: 1954, undated
Wertham, Fredric: 1967
West, Michael: 1967
Wheelock, Susan; 1976
Whitney Museum of American Art: 1950, 1966, 1969, 1977, 1979, 1981-1983, 1985
Wichita Art Museum: 1977
Wigglesworth, Anne Parker: 1983
William A. Farnsworth Library and Art Museum, 1981, 1985-1987, undated
Winer, Arthur: 1976
Wolff, Theodore: 1981
Worcester Art Museum (Francis Henry Taylor): 1957
Yeshiva University: 1967, 1974
Zabriskie, Virginia: 1979
Zigrosser, Carl: 1941, 1969
Collection Restrictions:
Use of the 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:
Raphael Soyer papers, 1933-1989. 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.
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:
Lorser Feitelson and Helen Lundeberg papers, circa 1890s-2002. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation; funding for the digitization of the collection was provided by the Terra Foundation for American Art.
Bulliet, C. J. (Clarence Joseph), 1883-1952 Search this
Container:
Box 2, Folder 22
Type:
Archival materials
Date:
1930-1950
Scope and Contents note:
Rocke, Gilbert
Rockford Art Association
Rodgers, Richard and Oscar Hammerstein
Rohe, Mrs. E. M.
Roll, Elvira O.
Ronnebeck, Arnold
Rosen, Solomon
Rosenshine, Annette
Albert Roullier Art Galleries
Royer, Emile L.
Rubio, A. H.
Russell, James J.
Russian Trio
Sagen, O. K.
Salisbury Post
Salpeter, Harry
Samuels, Ernest
Sanderson, Mrs. H. M.
Sanford, E. Reynolds
Santa Catalina Island
Sargent, Porter
Saubert-Wetzel, Patricia
Saulter, Leon
Saunders, Earl W.
Scheinman, Esther S.
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:
The C. J. Bulliet papers, circa 1888-1959. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment. Use of archival 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:
Max Weber papers, 1902-2008. Archives of American Art, Smithsonian Institution.
Correspondence in this series is primarily between Walt Kuhn and his professional and personal contacts and spans his entire career. Correspondents include family members, fellow artists, students, dealers, museum and gallery staff, collectors, friends, fans, critics and colleagues. Copies of outgoing correspondence are often present and are interfiled chronologically. Also included is scattered correspondence of Vera and Brenda Kuhn, and correspondence written after Kuhn died that documents his family's efforts to exhibit, sell, and donate his work.
The content of the correspondence ranges from personal and candid to purely transactional. Artists, collectors, dealers, and critics involved in the creation of significant works of art and collections in the early 20th century are represented. An alphabetical index of selected correspondents in this series is provided in the appendix. Another resource for accessing correspondence are the card files in Series 4.8: Notes and Writings, where correspondence with various contacts was indexed by the Kuhns and filed alphabetically by name.
In 1938, Walt and Vera Kuhn wrote and self-published the pamphlet, "The Story of the Armory Show" and sent it gratis to hundreds of interested parties. Among the correspondence from that year are many heartfelt reponses from fellow artists and other witnesses to the 1913 event, including Charles Sheeler, William Glackens, Stuart Davis, André Derain, Henri Roché, Walter Pach, and J.H. du Bois to name just a few.
Kuhn regularly instructed students through the mail with lengthy letters about painting techniques and methods. San Francisco painter Otis Oldfield is represented by over 100 lengthy letters in this subseries. Kuhn's letters to Oldfield, returned at Kuhn's request in 1945 for a publication project that was never realized, are interfiled. Other correspondence students include Patsy Santo, Frank di Gioia, Watson Bidwell, John Bernhardt, John Laurent, Goldie Paley, and Eric Lundgren. See the appendix for dates.
Types of material include letters (sometimes illustrated), postcards, invitations, announcements, and Christmas cards, which are sometimes made of original artwork. Enclosures are often found, such as photographs, clippings, tracings of art work, writings, receipts, passes and membership cards. Some letters indicate enclosures that were previously separated and can be found in other series.
Significant writings enclosed with correspondence include an early vaudeville script written by Kuhn and his friend, Archibald Macnab (1923); drafts of articles about Kuhn by the poet Genevieve Taggard (1931), critic Alan Burroughs (1930), and patron Eloise Spaeth (1950); and an unpublished history of the 1913 Armory Show by Paul Bird (1938). Photographs and photographic postcards are also found throughout the series. Included are photo postcards from Spain and France (1925), and from Arizona and California (1928); and photographs related to Kuhn's work for the Union Pacific Railroad Company (1936, 1938).
Additional correspondence can be found throughout the collection. See individual series descriptions for details.
See Appendix for a list of selected correspondents in Series 4.3.
Appendix: Selected Correspondents in Series 4.3:
The following is a selective list of correspondents represented in Series 4.3: General Correspondence, with cross-references to correspondence in 4.4: Selected Gallery and Exhibition Files and 4.5: Provenance Files. It is not comprehensive. An effort has been made to index regionally and nationally known artists, Kuhn's patrons and students, models, art historians, writers, museum and gallery staff, dealers, and persons known to be well-represented in other collections at the Archives of American Art. Cross-references to existing letters in other parts of the Kuhn papers and Armory Show records are included selectively. Correspondents who have not been indexed include family members, neighbors, business contacts from his theater and vaudeville work of the early 1920s, and from his railroad car design work from 1936 to 1948.
Barr, Alfred H. Jr. (Museum of Modern Art): 1929, 1934, 1945 (5 letters)
Barrie, Erwin S. (Grand Central Art Galleries): 1927, 1951 (5 letters; see also Selected Gallery and Exhibition Files)
Barrington, Lewis: 1932
Barry, Bobby (see Provenance Files, "Portrait of Bobby Barry")
Bartlett, Frederic Clay, Jr.: 1939-1940, 1942-1943, 1945, 1947 (7 letters; see also Selected Gallery and Exhibition Files)
Bartley, Louise: 1931
Baur, John I.H. (Brooklyn Museum): 1946 (see also Selected Gallery and Exhibition Files)
Beals, Ralph A. (New York Public Library): 1949
Bear, Donald (Santa Barbara Museum of Art): 1936-1938, 1945, 1948, 1949 (6 items including Christmas cards with original prints; see also Selected Gallery and Exhibition Files)
Beerbohm, Marvin (Detroit School of Art): 1938
Bell, Janet M. (John and Mable Ringling Museum of Art): 1952 (4 letters)
Belmont, Eleanor R.: 1935 Benjamin, Ruth: 1940
Bernays, Edward L. (see also Doris E. Fleischman): 1928, 1935-1937 (4 letters)
Bernhardt, John: 1948-1950 (4 letters; see also Selected Gallery and Exhibition Files, 1947)
Frankenstein, Alfred V. ( -- San Francisco Chronicle -- ): 1940 (2 letters)
Frankfurter, Alfred M.: 1938, 1945, 1947, 1948, 1950 (10 letters)
Fraser, Joseph T. (Pennsylvania Academy of the Fine Arts): 1947, 1951 (3 letters; see also Selected Gallery and Exhibition Files)
Free, Karl R.: 1935
Freeman, Anna (Whitney Museum of American Art): 1938 (2 letters)
Frey, Erwin F.: 1943, 1945, 1947 (4 letters)
Frueh, Alfred: 1925, 1953 (2 letters)
Freund, Frank E.W.: 1932, 1934-1935, 1938 (7 letters)
Friede, Donald S. (Boni and Liveright Publishers): 1927
Frink, Angelika W.: 1941 (see also Selected Gallery and Exhibition Files)
Gallagher, Edward J.: 1952
Gallatin, Albert E.: 1927, 1928 (3 letters)
Gardner, Paul (William Rockhill Nelson Gallery of Art): 1936, 1938-1945, 1947-1950 (26 items including Christmas card with original print; see also Selected Gallery and Exhibition Files)
Gardner, Mrs. William (see Owen)
Garrett, Garet: 1928
Garrett, Alice (Mrs. John Work): 1938, 1939 (5 items, including Christmas card with original photograph)
Gates, Margaret (Studio House, Philips Memorial Gallery): 1935
Genauer, Emily (New York World Telegram): 1947
Gest, J.H. (Cincinnati Museum Association): 1928 (3 letters)
Gise, Margaret (Marie Harriman Gallery): 1938 (see also Selected Gallery and Exhibition Files and Provenance Files, "Girl in Shako" and "Guide")
Glackens, William and Edith: 1938
Glackens, Edith: 1938, 1941, 1943, 1949, 1950 (7 items, including outgoing letters of condolence when William Glackens died, and response from Edith with account of his last day)
Godwin, Black-More (Toledo Museum of Art): 1932 (2 letters)
Goodrich, Lloyd (Whitney Museum of American Art; see Provenance Files, "Man with Ship Model")
Goodyear, A. Conger: 1934, 1938, 1941, 1949 (5 letters; see also Selected Gallery and Exhibition Files, and Provenance Files, "Dryad" and "Man From Eden")
Goodyear, Mary (Mrs. A. Conger, also Mrs. John W. Ames): 1936-1942, 1947, 1949, 1954 (44 letters; see also Selected Gallery and Exhibition Files)
Grace Horne Galleries (see M.E. Brown, Littlefield; see also Selected Gallery and Exhibition Files)
Graham, John D.: 1937
Greason, Donald (Deerfield Academy): 1942 (discussing Harry Whitney)
Grossman, Ted (Edwin Booth): 1938, 1940, 1941, 1945, 1948, 1951, 1952 (13 letters; see also Selected Gallery and Exhibition Files)
Grumman, Paul H. (Joslyn Memorial Art Museum): 1943
Hagen, Oskar: 1938, 1939 (2 letters)
Hagerman, Percy (Colorado Springs Fine Arts Center): 1949
Hale, Dorothea: 1928
Hale, Robert B. (Metropolitan Museum of Art): 1950-1951 (2 letters)
Halpert, Edith (Downtown Gallery): 1927, 1928, 1929, 1930 (7 letters; New Year card 1928 printed with collage of Walt Kuhn)
Keppel, Frederick P. (Carnegie Corporation): 1938 (2 letters)
Kerr, George F. (Society of Illustrators): 1930 (2 letters)
Kimball, Fiske (The Pennsylvania Museum): 1928, 1939 (2 letters)
Kingman, Eugene (Joslyn Memorial Art Museum): 1951 (4 letters)
Kirsch, Dwight (University of Nebraska Department of Art): 1941, 1943-1944, 1946, 1950, 1953 (9 letters; see also Selected Gallery and Exhibition Files)
Kirstein, Lincoln (Museum of Modern Art): 1932
Kissel, Eleanora: 1928
Kistler, Aline ( -- San Francisco Chronicle -- , -- The San Franciscan -- , M.H. de Young Memorial Museum): 1929, 1930, 1932, 1933 (6 letters)
Klopfer, Donald S. (Random House, Inc.): 1940
Kohl, Dorothy (Philadelphia Art Alliance): 1945 (3 letters)
Komroff, Manuel: 1938
Kravis, Hal: 1936, 1941 (3 letters)
Kunstverein München E.V.: 1930
Kurtzworth, Harry Muir (Los Angeles Art Association, California Academy of the Fine Arts): 1938 (2 letters)
Lahr, Bert: 1948 (see also Provenance Files, "Portrait of Bert Lahr")
Labaudt, Lucien: 1929, 1933, 1936, 1937, 1938 (5 items including Christmas card; see also Selected Gallery and Exhibition Files)
Lamb, James E.: 1928, 1930, 1935, 1937 (4 letters)
Larcada, Dick: 1963
Laurent, John: 1947-1950, undated (12 letters; see also Selected Gallery and Exhibition Files)
Laurent, Mimi (Mrs. Robert): 1952
Laurent, Robert (Indiana University): 1923, 1949, 1953 (8 letters; see also Provenance Files, "Black Butterfly")
Lea, Lida Gorwin; 1935-1938, 1942 (8 letters, including Christmas card with original print; see also Selected Gallery and Exhibition Files)
Mencken, H.L.: 1945, 1946, 1947 (3 letters; see also Series 4.8: Notes and Writings)
Merrick, James Kirk (Philadelphia Art Alliance): 1945
Messer, Thomas M. (American Federation of Arts): 1952-1954 (5 letters)
Metcalf, Thomas N. (Boston Museum of Modern Art, Inc.): 1938, 1940 (2 letters)
Metropolitan Museum of Art: 1949, 1956 (5 letters; see also Hale, F.H. Taylor, Wehle)
Mellon, Minna (Mrs. Paul): 1946
Millay, Edna St. Vincent (typed copy): 1947 (see also Engen Boissevain in Selected Gallery and Exhibition Files)
Miller, Dorothy C. (Museum of Modern Art): 1943
Miller, Lulu F. (The Hackley Gallery of Fine Arts): 1928
Milliken, William M.: 1936 (2 letters)
Minnigerode, C. Powell (Corcoran Gallery of Art): 1928 (2 letters)
Montclair Art Museum: 1928, 1932 (2 letters)
Montgomery, Gertrude: 1928
More, Hermon (Whitney Museum of American Art): 1933, 1935, 1943, 1948-1950 (8 letters)
Morgan, Agnes: 1938
Morison, David (Hamilton Easter Field Art Foundation): 1930
Morley, Grace: 1936, 1937-1939, 1943 (11 letters; see also Selected Gallery and Exhibition Files)
Morse, John (see Provenance Files, "Man and Sea Beach")
Muguruza Otaño, Pedro: 1928
Museum of Art of Ogonquit: 1953 (see also Strater)
Museum of Modern Art (see Barr, Catlin, Haven, Hawkins, Kirstein, D. Miller, Pelles, A. Porter)
Nadelman, Viola M. (Mrs. Elie): 1947
Nankivell, Frank: 1934-1935 (Christmas cards with signed prints)
National Arts Club: 1932
Newhall, Beaumont (Museum of Modern Art): 1938
Nichols, Hobart (National Academy of Design): 1948
Nichols, J.C. (William Rockhill Nelson Trust): 1948
North, Henry Ringling (Ringling Brothers): 1941 (2 letters)
Norton Gallery and School of Art (see Hunter)
Norton, Ralph H. (Norton Gallery and School of Art): 1948
O'Connor, John Jr. (Carnegie Institute): 1943, 1945-1946, 1948 (8 letters)
Oldfield, Otis: 1928-1946, 1948-1949, 1951-1952, undated (111 letters; 1931, 1941, undated include Chritmas cards with print; see also Selected Gallery and Exhibition Files)
O'Neil, John (University of Oklahoma): 1946
Owen, Ronnie (Mrs. William Gardner): 1941-1942, 1944-1946, 1948-1949 (15 letters)
Owens, Virginia B.( -- Christian Science Monitor -- ): 1943 (2 letters)
Roullier, Alice F. (Arts Club of Chicago): 1925, 1927, 1933, 1941 (8 letters; see also Selected Gallery and Exhibition Files)
Rousseau, Théodore: 1935
Rumsey, Mary H. (Mrs. C.C.): 1930, 1934-1936, 1938, 1940, 1945, 1949, undated (11 items including Christmas card and receipts for paintings sold)
Ryan, Beatrice Judd (Beaux Arts Galerie): 1928, 1929 (4 letters)
Saint-Gaudens, Homer (Carnegie Institute): 1931, 1933, 1940, 1946-1949 (18 letters; see also Selected Gallery and Exhibition Files)
Saklatwalla, Ann: 1944-1945 (2 letters; see also Provenance Files, "Bareback Rider")
Saklatwalla, B.D.: 1928, 1930-1936, 1941 (2 letters, 7 Christmas cards containing prints, 1931 print signed Jean Crotti)
Salinger, Jehanne Bietry: 1928-1930, 1933, 1935, 1946-1948 (includes signed print by Harry Wickey; 17 letters)
Salons of America: 1923, 1924
Salpeter, Harry ( -- Esquire -- ): 1936-1938 (6 letters)
Sanborn, Robert Alden: 1945
Sands, Mary (Museum of Modern Art): 1930
Sanger, Helen: 1948-1950, 1953, 1963 (16 letters)
Sanger, Margaret (American Birth Control League, Inc.): 1928
Santa Barbara Museum of Art (see Bear, Steele, Story; see also Selected Gallery and Exhibition Files)
Santo, Patsy: 1937-1946, 1948-1949, 1953 (103 letters, some illustrated)
Sardi Gina, Anne (Marie Harriman Gallery): 1941-1942, 1947, 1949 (6 letters; see also Selected Gallery and Exhibition Files and Provenance Files, "Girl in Shako" and "Guide")
Schulte, Antoinette: 1932-1938 (8 items, including Christmas card with original print)
Seiberling, Frank Jr. (Toledo Museum of Art): 1943, 1946 (3 letters)
Seymour Halpern Associates: 1945
Shapiro, Meyer: 1938
Sharkey, Alice M. (Whitney Museum of American Art): 1944
Shaw, Marjorie: 1930 (Christmas card with woodblock print)
Sheeler, Charles: 1938 (See also Series 4.2: Walt Kuhn Letters to Family)
Shostac, Percy (Labor Division, Greater New York Fund): 1941
Shyrock, Burnett H.: 1938 (4 letters)
Siple, Walter H. (Cincinnati Art Museum): 1938, 1942, 1945 (4 letters)
Skeoch, Mary E.: 1934-1936, 1938 (8 letters)
Skira, Alfred: 1932 (5 letters; see also Selected Gallery and Exhibition Files, 1933)
Smith, Adele (Studio House, Philips Memorial Gallery, Museum of Modern Art Gallery of Washington): 1935, 1938, 1939 (5 letters; see also Selected Gallery and Exhibition Files)
Smith, Cecil: 1937-1938 (3 letters)
Smith, Gordon M. (Currier Gallery of Art): 1950
Smoluchowska, Donia (Arden Gallery, Marie Harriman Gallery): 1929, 1932 (3 letters; see also Selected Gallery and Exhibition Files)
Teigen, Peter (Princeton University School of Architecture): 1928, 1929 (2 letters)
Thayer, Ellen ( -- The Dial -- ): 1927, 1928 (2 letters)
Thompson, Mark B.: 1934, 1935, 1937 (3 letters; see also Selected Gallery and Exhibition Files)
Thorp, George G. (American Federation of Arts): 1947
Toledo Museum of Art (see Godwin, Rivière, Seiberling)
Toler, Sidney: 1941
Todd, Bianca: 1929, 1933, 1934 (3 items including Christmas cards with original prints)
Trovato, Joseph (Munson-Williams-Proctor-Institute): 1946, 1949 (2 letters)
Tucker, Allen: 1938
Turney, Winthrop: 1924
Tyson, Carroll: 1934
Underwood, Gilbert Stanley (architect): 1938, 1948 (5 letters)
Valentiner, Dr. W.R. (Detroit Institute of Arts): 1945
Valez, Dr. Xavier de: 1934
Venendi, Mario: 1949 (3 letters)
Vidar, Frede: 1936
Vreeland, Mr. and Mrs. Francis (Toby and Marion): 1934-1938 (6 letters)
Wadsworth, Alice (Mrs. James W.): 1940, 1941, 1942, 1945 (8 letters)
Waida, Robert: 1928
Waldron, James M. K. (Reading Public Museum and Art Gallery): 1936, 1937, 1961 (3 letters)
Walker, Maynard: 1946, 1948-1949, 1951-1952, 1955, 1961 (10 letters; see also Selected Gallery and Exhibition Files and Provenance Files, "Guide" and "Veteran Acrobat")
Ward, William: 1949
Washburn, Gordon B. (Rhode Island School of Design Museum of Art): 1945
Watkins, C. Law (Studio House, Phillips Memorial Gallery): 1933 (2 letters)
Watson, John (for John Quinn): 1914, 1921 (2 letters), 1938
Whitney, Harry: 1942 (see also Greason and Selected Gallery and Exhibition Files)
Whitney Studio Galleries (see also Force): 1929
Whitney Museum of American Art (see Force, Free, More, Freeman, Sharkey, Goodrich)
Wilder, Mitchell A. (Colorado Springs): 1946-1953 (75 letters; see also Selected Gallery and Exhibition Files)
Wilenski, R.H.: 1938, 1939, 1945-1946 (8 letters)
Williams, Adele (Women's club of Richmond): 1930
Williamson, Ada (Philadelphia Art Alliance): 1927, 1928, 1945, 1949 (19 letters; see also Selected Gallery and Exhibition Files)
Wilmington Society of the Fine Arts (see Bissell)
Wilson, Henry J.: 1950
Winser, Beatrice: 1935, 1940 (7 letters)
Woelfle, Arthur M.: 1914 (see also Selected Gallery and Exhibition Files)
Woelfle, Georgiana: 1936, 1937, 1963 (3 letters)
Wood, Stanley: 1928
Zayas, Marius de: 1934, 1939, 1947, 1948 (10 letters)
Zügel, Heinrich von: 1904
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:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.
Chronological professional and personal letters received by Ben Benn relating to exhibitions, affiliations with various artists' groups, and relationships with other artists and friends. Found are letters from Alfred Barr, Holger Cahill, Juliana Force, Sidney Geist, Kaj Klitgaard, Rowan and Irene LeCompte, Audrey McMahon, Elie and Viola Nadelman, Samuel Rosenblum, Harry Salpeter, and Hugh Stix, and various art galleries and museums, including the Metropolitan Museum of Art, Newark Museum, and the Pennsylvania Academy of the Fine Arts, and the Walker Art Center Also found is correspondence from containing letters from Hudson Walker and others, relating to Benn's one-man exhibition; included are price lists of Benn's paintings.
See Appendix for list of notable correspondents from Series 2.1. and 2.3.
Appendix: Notable Correspondents from Series 2.1. and 2.3.:
Abbott, Jere, (See The Museum of Modern Art)
American Artists' Congress, 1936 (1 letter)
American British Art Center, 1944 (1 letter
American Federation of the Arts, 1959 (1 letter)
American Society of Painters, Sculptors, and Gravers, 1935-1936 (3 letters)
American Society for Technion, Women's Division, Israel Institute of Technology, 1958 (4 letters)
Anderson Galleries, The, 1922 (2 letters)
Arden Studios, Inc., 1931 (1 letter)
Art Appreciation Movement, 1942
Art For Living, 1949 (1 letter)
Art USA, 1959 (2 letters)
Artists Equity Association, 1951 (1 letter)
Artists' Gallery, The, 1937-1956 (11 letters)
Artists' and Sculptors' Division, Joint Distribution Committee, 1938 (1 letter)
Artists for Victory, 1943 (1 letter)
Artists Welfare Fund, Inc., 1973 (1 letter)
Associated American Artists, 1942 (1 letter)
Avery, Milton, 1930 (1 letter)
Barr, Alfred A., 1953-1956 (2 letters): See also The Museum of Modern Art
Baziotes, William, 1942 (1 letter)
Beer-Monti, Federica, (See The Artists' Gallery)
Bender, William H., 1968 (1 letter)
Benton, Tom, undated (1 letter)
Benton, Rita and Tom, 1925 (1 letter)
Benton, Rita, 1926-1928, undated (2 letters)
Biddle, George, 1949-1950 (3 letters)
Bluemner, Oscar, 1918-1932 (2 letters)
Blume, Peter, (See The National Institute of Arts and Letters)
Board, Brewster, (See First Municipal Art Exhibition)
Bourgeois Galleries, 1917-1918 (5 letters)
Bourgeois, P., (See Bourgeois Galleries)
Bourgeois, S., (See Bourgeois Galleries)
Breckinridge, Mrs. Henry, (See City of New York, Municipal Art Committee)
Brooklyn Museum, 1931-1932 (4 letters)
Brown, George Lippincott, 1922 (1 letter)
Brownell-Lamberston Galleries, 1930 (1 letter)
Bruckel, Fred H., (See Montross Gallery)
Bry, Edith, (See Artists' and Sculptors' Division, Joint Distribution Committee)
Bummell, Peter, (See The Museum of Modern Art)
Burck, Jacob, (See New Masses)
Cahill, Holger, (See First Municipal Art Exhibition): See also Works Progress
Administration/Federal Art Project
Carmel, Hilda, (See Artists Welfare Fund)
Chidsey, Alan C., 1937 (1 letter)
City of New York, Municipal Art Committee, 1936 (3 letters)
Coady, R.W., 1915-1918 (5 letters)
Codry, Patrick, (See New Masses)
Coffey, Katherine, (See The Newark Museum)
Cohen, Mildred, (See College Art Association)
College Art Association, 1932-1936 (5 letters; 1 press release)
Committee of Five/League for American Citizenship, 1928 (1 letter)
Corcoran Gallery of Art, The, 1938 (1 letter)
Dasburg, Andrew, 1921, undated (2 letters)
Educational Art Alliance, 1944 (1 letter)
The Day, 1935 (1 letter)
Egan, Charles, (See Egan Gallery)
Egan Gallery, 1946 (1 letter)
Elliott, James H., 1954 (1 letter)
Fair Lawn Art Association, The, 1950 (1 letter)
Ferargil Galleries, 1934 (1 letter)
First Municipal Art Exhibition, 1934 (2 letters)
Fisher, William, 1917-1925 (5 letters)
Fitzgerald, Eleanor M., The Studio Theatre, 1941 (2 letters)
Force, Juliana, (See Whitney Museum of American Art)
Ford Foundation, The, 1958-1960 (7 letters)
Forum Exhibition Committee, The, 1916 (6 letters)
Fraser, Joseph T., (See The Pennsylvania Academy of the Fine Arts)
Frueh, Mr. and Mrs. Alfred, 1916 (1 invitation)
Frueh, Alfred, 1917 (1 invitation)
Frueh, Giuliette, 1923 (1 letter)
Geist, Sidney, 1939-1959 (35 letters)
Gerdts, William H., (See The Newark Museum)
Glassgold, C. Adolph, (See Whitney Museum of American Art)
Goff, Carleton, (See Providence Art Club)
Gollomb, Joseph, 1931, undated (2 letters)
Goodyear, A. Conger, (See The Museum of Modern Art)
Hale, Robert Beverly, (See The Metropolitan Museum of Art)
Hamlin, Elizabeth, (See Brooklyn Museum)
Hanna Ray, (See John Wanamaker New York)
Harris, Ruth F., (See The New York Times)
Hartley, Marsden, 1934 (1 postcard)
Hellman, George, 1926-1927 (2 letters): See also The New Gallery
Hirschhorn Museum and Sculpture Garden, 1974 (1 letter)
Horch, Louis L., (See Roerich Museum)
Irvine, Rosalind, (See Whitney Museum of American Art)
Johnston, E.M., (See Bourgeois Galleries)
Katz, Harry, The Library of Congress, 1993 (1 letter)
Kent, H.W., (See The Metropolitan Museum of Art)
Klitgaard, Georgina and Kaj, 1920 (1 letter)
Klitgaard, Kaj, 1921-1936, undated (8 letters)
Korzenik, Lillian, (See American Society for Technion, Women's Division, Israel Institute of Technology
Krasne, Bell, 1954-1955 (2 letters)
Kruse, Alexander Z., 1941 (1 letter)
Kuniyoshi, Yasuo, (See American Artists' Congress)
LaGuardia, Fiorello, 1941 (1 letter)
Lambertson, Dorothy, (See Brownell-Lambertson Galleries)
Lang, Gladys V., (See The Metropolitan Museum of Art)
Laurent, Robert, 1920 (1 letter)
Lechay, James, 1971 (1 letter)
LeCompte, Rowan, 1949-1953 (12 letters)
LeCompte, Irene and Rowan, 1952-1967 (12 letters)
LeCompte, Irene, 1951-1953 (4 letters)
Lerner, Abram, (See Hirshhorn Museum and Sculpture Garden)
Lewis, Robert, 1950-1952 (5 letters)
Lowry, W. McNeill, (See The Ford Foundation)
McBride, Henry, 1932 (1 letter)
McCausland, Elizabeth, 1951 (1 letter)
McKinney, Roland, (See Pepsi-Cola's Fifth Annual Art Competition): See also The Metropolitan Museum of Art
McMahon, Audrey, (See College Art Association)
Mallette, Alice, (See The Museum of Modern Art)
Marantz, Evelyn, (See Art For Living)
Marvel, Josiah P., The Springfield Museum of Art, 1932 (2 letters)
Meeting Place, The, 1931, (2 letters)
Metropolitan Museum of Art, The, 1939-1957 (8 letters)
Miller, Ann, (See The Fair Lawn Art Association)
Minnigerode, C. Powell, (See The Corcoran Gallery of Art)
Montross Gallery, 1930 (1 letter)
More, Hermon, (See Whitney Museum of American Art)
Museum of Modern Art, The, 1931-1951, undated (5 letters)
Musgrove, Louis, 1935-1954, undated (4 letters)
Musgrove, Nonnie, 1963 (1 letter)
Nadelman, Elie, 1915 (1 letter): in French
Nadelman, Elie and Viola, 1921-1947, undated 6 letters)
Nadelman, Viola, 1925-1929 (4 letters)
National Society of American Art, 1934 (2 letters)
Nestor, Bernard and Dudley Pratt, (See Seattle Art Museum)
New Gallery, The, 1926-1927 (2 letters)
New Masses, 1933 (3 letters)
Newark Museum, The, 1958 (4 letters)
New York Times, The, 1938-1957 (2 letters)
Nordness, Lee, (See Art USA)
Ostrowsky, Abbo, (See Educational Art Alliance)
Pennsylvania Academy of the Fine Arts, The, 1942-1965 (3 letters)
Pepsi-Cola's Fifth Annual Art Competition, 1948 (3 letters)
Phillips Memorial Gallery, 1929 (1 letter)
Providence Art Club, 1965 (3 letters)
Rickey, George, 1936 (1 letter)
Ritchie, Andrew C., (See The Museum of Modern Art)
Robinson, Eleanor, (See Mrs. John D. Rockefeller, Jr.)
Rockefeller, Mrs. John D., 1940 (1 letter)
Roerich, Horch L., (See Roerich Museum)
Roerich Museum, 1936 (1 letter)
Rogovin, Howard, 1956 (4 letters)
Rollins, Lloyd L., 1944 (3 letters): See also Works Progress Administration/Federal Art Project
Ross, Sidney, (See Theatre in Art Exhibition)
Rowan, Edward B., (See Treasury Department, Section of Painting and Sculpture)
Saarinen, Aline B., (See The New York Times)
Salpeter, Harry, (See Harry Salpeter Gallery, Inc.)
Harry Salpeter Gallery, Inc., 1956-1961 (11 letters)
Seattle Art Museum, 1933 (1 letter)
Shahn, Ben, 1949 (1 letter)
Slatkin, Charles E., (See Charles E. Slatkin Galleries)
Charles E. Slatkin Galleries, Inc., 1959 (1 letter)
Society of Independent Artists, The, 1923 (1 letter)
Marie Sterner Fine Arts, 1930 (1 letter)
Stix, Hugh, 1930-1960 (6 letters): See also The Artists' Gallery
Theatre in Art Exhibition, 1932 (2 letters)
Treasury Department, Section of Painting and Sculpture, 1934 (1 letter)
Tschudy, Herbert B., (See Brooklyn Museum)
Usher, Elizabeth, (See The Metropolitan Museum of Art)
Van Deventer, S., Kröller-Müller Museum, 1924 (1 letter)
Varian , Dorothy, 1937 (1 letter)
Von Groschwitz, Gustave, (See Ferargil Galleries)
Walker Art Center, 1953-1954 (17 letters)
Walker, Hudson, 1948-1958 (6 letters): See also Hudson Walker Art Center
Walkowitz, Abraham, 1928 (1 letter)
John Wanamaker New York, 1934 (1 letter)
Wehle, Harry B., (See The Metropolitan Museum of Art)
Weichsel, John, The People's Guild, 1915 (1 letter)
Whitney Museum of American Art (pre-1930: Whitney Studio Club), 1927-1950, undated (16 letters)
Woodstock Artists Association, 1977 (1 letter)
Works Progress Administration/Federal Art Project, 1935-1936 (2 letters)
Wright, Willard Huntington, (See The Forum Exhibition Committee)
Yiddisher Kultur Farband, 1951 (1 letter)
Zorach, William, 1916 (1 letter)
Notable Correspondents from Series 2.3: Velida Benn Correspondence, 1906-1963
Art Foundation, The, 1943 (Page proof of advertisement for Art News)
Ashton, Dore, The New York Times, 1958 (1 letter)
Avery, Sally, 1934 (1 letter)
Benton, Rita, 1925 (2 letters)
Bluemner, Oscar, undated (1 letter)
Bouché, Louis, 1918 (2 letters)
Champanier, Abram, 1933 (1 letter)
City of New York, The, Department of Parks, 1915 (Permit to paint and sketch in the boroughs of Manhattan and Richmond)
Columbia University, 1928-1929 (4 letters)
Force, Juliana, 1933 (1 letter)
Freeman, Anne, (See Juliana Force)
Furlong, Tomás, 1909-1911 (3 letters; 1 letter in Spanish)
Hitchings, Elisabeth J., College Art Association 1935 (1 letter)
Kelly, Anne, (See Mrs. John D. Rockefeller)
Klitgaard, Kaj, undated (1 note)
LeCompte, Irene, 1951-1953, (2 letters)
LeCompte, Rowan and Robert Lewis, 1949 (1 letter)
Mora, Luis F., 1911 (1 letter in Spanish)
Nadelman, Viola, 1942 (1 letter)
Osma, Julio, 1923-1924 (4 letters: 2 letters in Spanish)
Rockefeller, Mrs. John D., 1931 (1 letter)
Rollins, Lloyd, 1944 (2 postcards)
Salpeter, Betty and Harry, 1956 (1 letter)
Salpeter, Harry, 1960 (1 postcard)
Sanger, William, 1915 (1 letter)
Stella, Joseph, 1918 (1 letter)
Stieglitz, Alfred, 1925 (1 letter)
Weber, Max, 1918 (1 letter)
Weischel, Mr. and Mrs., 1915 (1 postcard)
Zorach, Marguerite, 1915-1916 (2 letters)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
Ben Benn papers, 1905-1993. Archives of American Art, Smithsonian Institution.
The papers of Belle Krasne Ribicoff measure 1.6 linear feet and date from 1942-circa 2010, with the bulk of the collection dating from 1945-2004. Papers include biographical materials; correspondence with artists, art historians, writers, museum directors, and others; individual files relating to Belle and Irving Ribicoff's art collection and the Friends of Abe Ribicoff's campaign for the United States Senate; artwork; printed material, e.g., clippings, announcements, exhibition catalogues, brochures; and photographs. The collection documents Ribicoff's career as an arts editor, critic, and her involvement in civic and arts organizations for the State of Connecticut.
Scope and Content Note:
The papers of Belle Krasne Ribicoff measure 1.6 linear feet and date from 1942-circa 2010, with the bulk of the collection dating from 1945-2004. Papers include biographical materials; correspondence with artists, art historians, writers, museum directors, and others; individual files relating to Belle and Irving Ribicoff's art collection and the Friends of Abe Ribicoff's campaign for the United States Senate; artwork; printed material, e.g., clippings, announcements, exhibition catalogues, brochures; and photographs. The collection documents Ribicoff's career as an arts editor, critic, and her involvement in civic and arts organizations for the State of Connecticut.
Biographical materials include documentation of the Buttenweiser Prize awarded to Belle Krasne by the Art History Departmental Honors at Vassar College in 1945 and curriculum vitae.
Correspondence, primarily incoming letters consists of letters, postcards, draft versions, and copies of e-mails. Belle Krasne Ribicoff was friends with many artists; their letters focus on daily activities, work, and the art world. Among the correspondents are Oscar and Eleanor Chelminsky, Joseph Cornell, Piero and Virginia Dorazio, John and Rae Ferren, Helen Frankenthaler, James Fitzsimmons, Adolph Gottlieb, John Graham, Ellsworth Kelly, Frank Modell, George L.K. Morris, Philip Pearlstein, Eero Saarinen, David Smith, and Adja Yunkers. There is substantial correspondence from Ben Benn, Sidney Geist, Leon Hartley, Ralph Rosenborg, and Theodore Roszak. Also found are love letters to Belle Krasne Ribicoff from Jean Bazaine. Many of the artists' letters are illustrated. Of note, are a letter from Carl Holty to J.B. Neumann and an artist's statement written by Adolph Gottlieb.
Ribicoff had a professional and personal relationship with a number of prominent writers, actors, and other individuals known for their work in the arts, such as Edward Albee, Claire Bloom, Peter DeVries, Horton Foote, Elia Kazan, Mark Lamos, Estelle Parsons, Karl Shapiro, Cornelia Otis Skinner, and P.L. Travers. There are letters from museum directors, art historians, and other well-known cultural figures, such as Dore Ashton, Clement Greenberg, Balcomb Greene, Rene d'Harnoncourt, Pierre Matisse, E. P. Richardson, Andrew C. Ritchie, Harry Salpeter, Curt Valentin, and Mark Van Doren. Also found are files of holiday cards, many original artwork; letters to Ribicoff upon her departure from Art Digest; letters from representatives at Storm King Art Center Museum and the Wadsworth Atheneum; and letters from unidentified correspondents.
The Ribicoff collection relates to the personal art collection of Belle and Irving Ribicoff; materials document the purchase and sale of artwork and the lending of artwork for exhibitions. There is a file of petition letters sponsored by the Friends of Abe Ribicoff campaign for the United States Senate.
Original artwork includes prints by Jean Arp and Adja Yunkers and pencil sketches of Sarai Ribicoff by William Bailey. Printed material consists of news clippings; a periodical; exhibition announcements; brochures; an offprint of an article by Cleve Gray; and miscellaneous printed material.
Photographs contain black and white photographs of Belle Krasne Ribicoff, Ben and Velida Benn, Richard Krautheimer, and of the jurors attending the Carnegie International exhibition (circa 1954), including Jean Bazaine, Rico Lebrun, Eric Newton, and James Thrall Soby.
Arrangement:
The collection is arranged into 7 series:
Missing Title
Series 1: Biographical Material, 1945, circa 2010 (Box 1; 1 folder)
Series 2: Belle Krasne Ribicoff Correspondence, 1942-2007 (Boxes 1, 3; 1.0 linear feet)
Series 3: The Ribicoff Collection, 1949-1988 (Box 1; 0.2 linear feet)
Series 4: Friends of Abe Ribicoff Campaign, 1968 (Box 1; 0.1 linear feet)
Series 5: Artwork, circa 1950s-1978 (Box 1, OV 4; 0.1 linear feet)
Series 6: Printed Material, 1948-2000 (Box 1; 0.1 linear feet)
Series 7: Photographs, 1945-circa 2007 (Boxes 1-2; 0.1 linear feet)
Biographical Note:
Belle Krasne Ribicoff (b. 1924) lives in Hartford, Connecticut and has served as an arts editor, critic, and university administrator.
Ribicoff was born and raised in New York City. She graduated Phi Beta Kappa with a degree in art history from Vassar College in 1945. After a brief stint with an advertising agency in New York, Ribicoff became Assistant Editor at Magazine of Art (1946-1947), where she developed an interest in contemporary art. She served as editor for such publications as Art News (1948-1949), Art Digest (1949-1954), and Craft Horizons (1954-1955).
In 1955, she married Irving S. Ribicoff (1915-1994), an attorney and moved to Hartford, Connecticut. The Ribicoffs' had two daughters, Dara (b. 1956) and Sarai (1957-1980).
Ribicoff has held various positions at the University of Hartford: Development Director at the Hartford School of Art (1980-1981), Development Liaison to the Office of President (1982-1988), and Associate Vice President for Public Affairs (1980-1983). Belle Krasne Ribicoff has served as a professional volunteer for educational and cultural organizations in Connecticut; she has been involved in efforts to make the arts a part of the school curriculum. She was Vice-President of the Hartford Board of Education (1961-1967; 1965-1971) and was Chairman of the State of Connecticut's Commission on the Arts (1965-1971). Ribicoff is a Life Director at the Hartford Stage Company and a Life Regent at the University of Hartford. She is a Sterling Fellows at Yale University and sits on the President's Advisory Committee at Vassar College.
Belle Krasne Ribicoff has received recognition for her professional and public service contributions by a number of institutions. In 1954, she received the Frank Jewett Mather Award for critical writing from the College Art Association. Other honors have included: Charter Oak Leadership Medal for Distinguished Service (1968), the University of Hartford Medal for Distinguished Service (1995), and the Spirit of Vassar award for outstanding commitment and service to Vassar or another community (2005).
Related Material:
Also found at the Archives of American Art is Belle Krasne's letter to Philip Pavia, May 14, 1954 on microfilm reel 3470.
Provenance:
The collection was donated by Belle Krasne Ribicoff to the Archives of American Art in 2008.
Restrictions:
Use of original material requires an appointment.
Letters from Jean Bazaine to Belle Krasne Ribicoff and sketches of Sarai Ribicoff by William Bailey are access restricted. Their use requires written permission.
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.
Ritchie, Andrew C. (The Museum of Modern Art, New York)
Robinson, Frank
Rowland, Governor John C.
Ryan, Anne
Saarinen, Eero
Salpeter, Harry
Schlesinger, Arthur, Jr.
Shapiro, Karl
Shikler, Aaron
Skinner, Cornelia Otis
Smith, David
Steinberg, Leo
Collection Restrictions:
Use of original material requires an appointment.
Letters from Jean Bazaine to Belle Krasne Ribicoff and sketches of Sarai Ribicoff by William Bailey are access restricted. Their use requires 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:
Belle Krasne Ribicoff papers, 1942-circa 2010 bulk 1945-2004. Archives of American Art, Smithsonian Institution.
This series consists of the business and personal correspondence of Edith Gregor Halpert and the Downtown Gallery. For the most part, this series is general business correspondence concerning routine activities of the Downtown Gallery, including the American Folk Art Gallery and the Daylight Gallery, both operated by the Downtown Gallery on the same premises. Included are correspondence with clients, employees, other galleries, and colleagues concerning sales, loans, purchases, appraisals, and so forth; arrangements for shipping, framing, photography, reproduction permissions, and insurance; and gallery housekeeping and improvements, ordering of supplies, and other administrative concerns.
Also included is personal correspondence of Edith Gregor Halpert. There are letters and greeting cards from nieces, nephews, and other relatives; correspondence with longtime friends, including some who were art collectors, museum curators, or museum directors; and correspondence concerning upkeep and improvement of her Newtown, Connecticut, country home and entertaining there.
See Appendix A for a list of selected correspondents from Series 1
Arrangement note:
Letters (with enclosures) are arranged chronologically, with those of the same date alphabetized by name of correspondent; undated material is arranged alphabetically, followed by unidentified correspondents and letters bearing illegible signatures.
Box numbers provided in the Container Listing are approximate.
Appendix A: List of Selected Correspondents in Series 1:
Names and titles indicated in this list are those that appear on the letters. Where appropriate, terms have been standardized and cross-referencing provided. Because filing is not always consistent, researchers are advised to check both the name of an individual and the institution that he or she represented.
Abate Associates, Inc., 1956
Abbot and Land, 1965
Abbot, B. Vincent, 1944
Abbot, Bernice, 1957
Abbot, John E., 1945, 1948
Abbot Laboratories, 1950, 1952
ABC Employment Agency, 1951
Richard Abel and Co., Inc., 1968
Abendroth, Robert W., 1966-1967
Abercrombie and Fitch Co., 1962
Abilene Museum of Fine Arts, undated, 1949, 1954
Abingdon Square Painters, 1965
Abraham and Straus, 1930, 1960, 1965-1966, 1968
Abraham, Mae C., 1965
Abrahamsen, Mrs. David, 1962
Abramowitz, M., 1958
Harry N. Abrams, Inc., 1958-1960, 1965-1966, 1968-1969
"HemisFair '68," 1968 (see also: "International Exposition, HemisFair '68")
Hemmenway, Catherine C., 1961
Hemmingsen, R. V., 1963
Hemmingson, Victoria, 1965
Henderson, Hanford, 1960
Henderson, Priscilla A. B. (Mrs. A. I.), 1934-1955
Henderson, Ray, 1956
Hendrick, Mrs. James Pomeroy, 1961
Heninger, Helen, undated, 1963, 1969
Henquet, Roger, 1948, 1965
Henri, Robert, 1926-1927
Henry, David T., 1964
Henry, Helen (Mrs. Charles), undated, 1949
Henry, James F., 1958
Henry Street Settlement, 1958, 1962-1963
Hentschel, R. A. A., 1951-1954
Hepburn, Katharine, 1952
Herbert, Elmer, 1962
Herbert, James D., 1962
Herider, Ed. L., 1961
Heritage Gallery, 1960, 1964
Herman, Stanley, 1964
Herman, Vic, 1968
Herring, Audrey L., 1964
Herrington, Nell Ray (Mrs. A. W. S.), 1962, 1965
John Herron Art Institute, undated, 1934, 1949, 1951, 1953, 1957-1958, 1962-1964, 1967 (see also: Art Association of Indianapolis; Art School of the John Herron Art Institute)
Hertslet, G. Gordon, 1962, 1966
Hertz, Richard C., 1965
Hertzberg, Stuart E., 1967-1968
Heschel, Mrs. Abraham, 1961
Hess, Elaine Marie, 1965
Hess, Mrs. Thomas B., 1954
Hetzel, Margaret deL. (Mrs. Joseph L.), 1948
Hewitt, Ada M., 1953
Edwin Hewitt Gallery, 1953
Heydenryk, Henry, 1954, 1960, 1964
Heynick, Carla Marian, 1965
Hickok, M., 1958
Hiddens, Mrs. Earl, 1952
Hiersoux, Arne, 1966
Hi Fi/Stereo Review, 1960
High Museum of Art, 1950, 1955, 1961-1962, 1965-1968 (see also: Atlanta Art Association; Atlanta Art Association and High Museum of Art)
Highway Antique Shop, 1954
R. Hill and Son, Ltd., 1960
Hill, Ralph Nading, 1952, 1962
Hille, Elise B., undated
Hille and Curran, 1954
Hilleman, Alex L., 1956
Hiller, Paula, 1962
Hilles, Mrs. Frederick W., 1956
Hillman, Mrs. Joel, II., 1960
Hillside Hospital Clinic, 1949, 1953
Hillstrom, Richard L., 1958, 1962, 1964-1965
Hilltop Theatre, Incorporated, 1952
Hilsenrath, Yakov R., 1965
Hilson, Catherine [Katy] and/or John S., undated, 1958-1959, 1961-1966
Himel, Irving, 1963
Himmelsfarb, Samuel, 1955
Hines, Felrath, 1961
Hinkhouse, Inc., 1960, 1964
Hirsch, B., 1961
Hirsch, E. W., 1954
Hirschberg, J. Cotter, 1956
Hirschl and Adler Galleries, Inc., 1958, 1960, 1963-1965, 1968
Hirschland, Dr. and/or Mrs. F. H., undated, 1959
Hirschland, Paul Michael, 1945
Hirschburg, Mrs. Roy, undated
S. A. Hirsh Manufacturing Co., 1966
Hirshberg, Henrietta, 1961
Hirshhorn, Mrs. Arthur, 1960
Hirshhorn, Joseph H., 1946, 1948, 1951-1954, 1956, 1960, 1963, 1965
Joseph H. Hirshhorn Collection, 1959-1960, 1962-1963, 1965-1966
[incomplete; without signature], undated, 1953, 1961, 1967, 1968
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Downtown Gallery records are owned by the Archives of American Art, Smithsonian Institution. Rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws. Prior to publishing information regarding sales transactions, researchers are responsible for obtaining written permission from both artist and purchaser involved. If it cannot be established after a reasonable search whether an artist or purchaser is living, it can be assumed that the information may be published sixty years after the date of sale.
Collection Citation:
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing, microfilming and digitization of the microfilm of this collection was provided by the Henry Luce Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
