The papers of sculptor and educator John Battenberg measure 9.4 linear feet and 1.41 GB and date from 1936 to 2013, with the bulk of the records dating from the 1950s to 2012. The records document Battenberg's career through biographical material, correspondence with artists, potential clients, and others, gallery and museum files documenting sales and exhibitions, and professional files related to Battenberg's participation in exhibitions, his teaching work, public art, and other activities. Also found are project files including digital and video recordings documenting specific projects in Arizona, California and elsewhere, in addition to personal business records, printed material, photographic material, and artwork including sketches and a sketchbook.
Scope and Contents:
The papers of sculptor and educator John Battenberg measure 9.4 linear feet and 1.41 GB and date from 1936 to 2013, with the bulk of the records dating from the 1950s to 2012. The records document Battenberg's career through biographical material, correspondence with artists, potential clients, and others, gallery and museum files documenting sales and exhibitions, and professional files related to Battenberg's participation in exhibitions, his teaching work, public art, and other activities. Also found are project files including digital and video recordings documenting specific projects in Arizona, California and elsewhere, in addition to personal business records, printed material, photographic material, and artwork including sketches and a sketchbook.
Biographical material contains writings; appointment books; education, military service, and organization membership records; family histories and genealogical surveys; addresses; and several audiovisual recordings.
Correspondence files consist of Battenberg's communications with other artists, potential clients, collectors, galleries, universities, and others interested in Battenberg's artwork, his exhibitions, commissions, and projects. Personal correspondents include Battenberg's family and friends.
Gallery and museum files document Battenberg's relations with various galleries and museums through correspondence, photographs, sales records, inventories, exhibition material, and some audiovisual recordings.
Professional files shed light on Battenberg's involvement in several group exhibitions; papers related to Battenberg's lectures and teaching activities as well as public art commission competitions.
Project files include correspondence, site plans, photographs and digital photographs, slide copies, sketches, contractual agreements, audiovisual recordings, and more related to projects taken on by Battenberg in Arizona, California, New Mexico, and Nevada.
Personal business records contain studio inventories, records of auctions, donations, and sales, legal documents, financial papers, and papers related to Battenberg's San Francisco studio.
The collection's printed material consists of newspaper clippings and other articles reviewing Battenberg's work, exhibitions, and career; exhibition invitations, announcements, posters, catalogs, and books; copies of Battenberg's self-published books and promotional materials; and two scrapbooks.
Photographs depict models as well as friends and family who posed for Battenberg; his artwork; and personal photographs of Battenberg, his friends, other artists, and family. Artwork consists primarily of sketches, some of which include color, created by Battenberg for various projects and series of work.
Arrangement:
The collection is arranged as 9 series.
Series 1: Biographical Material, 1952-2012 (Box 1; 0.8 linear feet)
Series 2: Correspondence, 1962-2008 (Box 1-2; 1 linear foot, ER01; 0.011 GB)
Series 3: Gallery and Museum Files, 1957-2006 (Box 2-3; 1.1 linear feet)
Series 4: Professional Files, 1969-2005 (Box 3-4; 1 linear foot)
Series 5: Project Files, 1983-2005 (Box 4-6; 1.1 linear feet, ER02-ER06; 0.381 GB)
Series 6: Personal Business Records, 1973-2008 (Box 6; 0.8 linear feet)
Series 7: Printed Material, 1956-2013 (Box 6-8, 10, OV 11, 1.8 linear feet)
Series 8: Photographic Material, 1936-2012 (Box 8-9; 0.9 linear feet, ER07; 1.01 GB)
Series 9: Artwork, circa 1950-2000s (Box 9-10; 0.7 linear feet)
Biographical / Historical:
California and Arizona sculptor, painter, and educator John Battenberg (1931-2012) was known primarily for his sculptures of wildlife including wolves, birds, and bears, and was influential in establishing bronze casting on the West Coast of the United States in the 1960s.
Battenberg attended the University of Wisconsin (1949), St. Cloud State College, Minnesota (1954), and Oxford University in England (1955-1957). He received Master of Fine Arts degrees from both Michigan State University (1960) and California College of Arts of Crafts (1964).
Battenberg began exhibiting his work in the late 1940s as a participant in Wisconsin state fair exhibitions. He held had first solo show in 1955 at St. Cloud State College, and had multiple shows during his career including exhibitions at Temple Gallery, London, University of Nevada, Nevada Museum of Art, and the Fresno Art Museum. Group shows that exhibited Battenberg's work included New American Sculpture, U.S. Information Agency (1972), 15th Biennial Exhibit of Contemporary American Painting and Sculpture, University of Illinois (1974), Chicago International Art Show (1990), and many more.
Battenberg had several public art commissions throughout his career for projects in California, Nevada, New Mexico, and Arizona. These projects led to the creation of his sculptures Mystical Bear (1992), Creatures of Nevada (1991), and Flying Pilots (1980). Battenberg's artwork can be found in private collections as well as public collections of the Commune di Pietrasanta, Italy, Royal British War Museum, England, San Diego Museum of Art, National Museum of Wildlife Art, Wyoming, and many more.
Battenberg was also a professor of art at San Jose State University from 1966-1985 and subsequently received the title of professor emeritus. He also worked as an instructor at Contra Costa College, California, California College of Arts and Crafts, and New Mexico Western University. Around 2007 Battenberg returned to painting after an injury prevented him from sculpting, and relocated to Scottsdale, Arizona where he remained for the rest of his life.
Provenance:
The collection was donated in 2015 by Lynn Battenberg, John Batternberg's wife.
Restrictions:
The collection is open for research. Access to original papers requires an appointment, and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital and audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
John Battenberg papers, 1936-2013. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
An interview of Fritz Scholder conducted 1995 March 3-30, by Paul Karlstrom, for the Archives of American Art.
Scholder discusses his family background and growing up in parallel worlds of Anglo and Indian cultures and the frustration of western versus tribal life; his education in Lawrence, Kan. and the University of Wisconsin; moving to California; his father's job as head of Indian relocation; studying at the Indian art program at the University of Arizona, Arizona State University, and the Indian Art Institute in Santa Fe, N.M.; his views on Indians in general and the difficulty of operating in the mainstream art world; his travels and search for adventure in Europe and Egypt; the importance of magic and the occult in his work; myths as a basis for human experience; art as an agent of social change; objections of Indian groups to his work; and his experience as an Indian role model while not part of the movement. He recalls Robert B. Green, Wayne Thiebaud, Ralph Lauren, Vincent Price, Georgia O'Keeffe, Charles Loloma, Agnes Martin, Elaine Horowitch, and Leonard Baskin.
Biographical / Historical:
Fritz Scholder (1937-2005) was a painter and sculptor from Scottsdale, Ariz.
General:
Originally recorded on 7 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 11 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Painters -- Arizona -- Scottsdale -- Interviews Search this
Sculptors -- Arizona -- Scottsdale -- Interviews Search this
Painters -- Southwest, New -- Interviews Search this
Sculptors -- Southwest, New -- Interviews Search this
Indians of North America -- Southwest, New -- Art Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
Series consists primarily of Nevelson's professional correspondence, as well as some personal and family correspondence. Files are typically made up of letters, invitations, greeting cards, and telegrams received by Nevelson, copies of letters sent on her behalf (by lawyers and assistants) or shared with her by others, and photographs, press releases, clippings, and other printed material enclosed with correspondence. Correspondents include artists, dealers, museums, universities, art critics, collectors, arts-related and social organizations, admirers, along with some friends, colleagues, and family members in addition to her son. (See appendix for a select list of notable correspondents.)
General correspondence details the exhibition of Nevelson's work in various group and one-man shows; the consignment, sale, and disposition of her work, especially her dealings with the Martha Jackson Gallery and Daniel Cordier (in Europe); her donations of art work to museums and universities, and for auction by charitable organizations; and the various honors and awards received by her later in her career (including the Creative Arts Medal in Sculpture from Brandeis University and honorary degrees from the Philadelphia College of Art and Bowdoin College, among others). General correspondence also concerns Nevelson's various art-related activities, including her participation on various panels, and in workshops, conferences, and lecture series on art; her involvement in professional organizations, such as the Sculptor's Guild; and her service on various award juries and arts committees (such as the Arts and Entertainment Committee for the Rockefeller Team).
Correspondence is arranged chronologically. Correspondence in this series from the 1966-1979 acquisition has been scanned in its entirety, except for Louise Nevelson's correspondence with her son, Mike. The bulk of correspondence donated by the Farnsworth Art Museum includes an item-level inventory, and is mostly separated by personal and business subject matter.
See Appendix for a list of selected correspondents from Series 2.
Appendix: Selected Correspondents from Series 2:
List represents only a selection of correspondents and does not include names of family.
Massachusetts Institute of Technology, Center for Advanced Visual Studies: 1971
Miller, Kenneth Hayes: 1931, 1933
Milone, Joe: 1941
Minneapolios College of Art and Design: 1971
Mount Holyoke College: 1962, 1964
Museum of Art, Carnegie Institution: 1967, 1971, 1974
Museum of Fine Arts of Houston: 1954
Museum of Modern Art: 1943, 1953, 1955, 1964, 1967, 1968
National Association of Women Artists: 1953, 1954
National Foundation on the Arts and Humanities: 1966
Neumann, Hans: 1962
Neumann, J. B.: 1954
New School for Social Research: 1961
The New York Times -- : 1968
New York State Council on the Arts: 1968
The New Yorker -- : 1967
Newsweek -- : 1967
Nierenforf, Karl: 1941, 1943, 1946
Nordjyllands Kunstmuseum: 1973
Ono, Yoko: 1971
Pace Gallery: 1976
Pennsylvania Academy of Fine Arts: 1952, 1970
Philadelphia College of Art: 1961, 1968
Philadelphia Museum of Art: 1965
Princeton University: 1962
Queens College: 1958
Rhode Island School of Design: 1971
Riverside Museum: 1964
Rockefeller, Nelson: 1960, 1962, 1966, 1968
Roberts, Collette: 1952, 1953
Robus, Hugo: 1958
Rosenblum, Robert: 1958
Sewall, Mrs. Sumner: 1943
Silvermine Guild of Artists: 1953, 1954, 1955
Skowhegan School of Painting and Sculpture: 1970, 1971
Solomon R. Guggenheim Museum: 1964, 1966
Tamarind Lithography Work Shop: 1971
Tate Gallery: 1963, 1966, 1967, 1968
Teachers College, Columbia University: 1964
Trenton State College: 1961
Tyler, Parker: 1958
United States Committee of the International Association of Art: 1971
University of Alabama, Department of Art: 1964
University of Bridgeport: 1971
University of Nebraska Art Galleries: 1951
Vogue -- : 1964
Wadsworth Atheneum Museum of Art: 1962
Walker Art Center: 1971, 1973
Weber, Max: 1947, 1948, 1950, 1951
Western College for Women: 1964
The White House: 1974
Whitney Museum of American Art: 1950, 1956, 1957, 1962, 1964, 1966, 1967
Wichita State University: 1974
The Woman's College of The University of North Carolina: 1951
Women's Interart Center: 1973
Yale University, Department of Art: 1961
Collection Restrictions:
The bulk of this collection has been digitized and is available online via AAA's website, with the exception of the 2017 and 2022 addition. Use of material not digitized 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:
Louise Nevelson papers, circa 1903-1982. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for a portion of the processing and digitization of this collection was provided by the Terra Foundation for American Art. Additional processing received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Museum of the American Indian, Heye Foundation Search this
Collection Director:
Heye, George G. (George Gustav), 1874-1957 Search this
Container:
Box 262A, Folder 3
Type:
Archival materials
Date:
1928 - 1968
Restrictions:
Image number 011 "Holiday Handcraft" has been removed from the slideshow due to culutral sensitivity.
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
United States of America -- Arizona -- Maricopa -- Scottsdale
Scope and Contents:
The folder includes worksheets and a "Logan Desert Garden Collection 2015" catalog.
General:
Located on approximately 2.5 acres in Scottsdale, Arizona, is the Logan Desert Garden. In 2008 the owners, major collectors of contemporary art, built a house on this property which had previously been untouched desert. Architect Eddie Jones designed a multi-level gallery and living quarters. Landscape architect and artist, Bill Tonnesen, created several pieces of art at the residence and also designed the landscape. Plantings include Arizona native and other desert species plants. Tonnesen and the owners planted cacti and succulents in masses of one variety, often in geometric groupings. The garden consists of vignettes, or garden and sculpture scenes along walkways. The garden compliments the modern-style home which is situated in front of a dramatic backdrop of red rocks. Indigenous desert trees, shrubs, and pebbles that were originally on the property were preserved and protected during the construction process.
Logan Desert Garden contains a collection of contemporary art sculptures, complete with lighting and platforms for their display. The landscaping of the garden with cacti, agave, and euphorbia was designed to enhance the sculpture collection. Some plantings in the desert garden were designed to resemble sculptures themselves. The garden also includes a "morning patio" and a "sundowner" observation deck.
This garden was featured on a tour of private gardens for the Desert Botanical Garden's Patrons Circle in March of 2015.
Persons associated with the garden include: Eddie Jones (architect, 2008); Andy Byrnes (builder and contractor, 2008); Bill Tonnesen (landscape architect, 2011).
Related Materials:
Logan Desert Garden related holdings consist of 1 folder (25 digital images)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
Quotes and excerpts must be cited as follows: Oral history interview with Fritz Scholder, 2000 December 7. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- Arizona -- Scottsdale -- Interviews Search this
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Phillips Sanderson, 1965 April 1. Archives of American Art, Smithsonian Institution.
New Deal and the Arts Oral History Project Search this
Extent:
20 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 April 1
Scope and Contents:
An interview of Phillips Sanderson conducted, 1965 April 1, by Sylvia Loomis, for the Archives of American Art, at the artist's home, in Scottsdale, Ariz.
Biographical / Historical:
Phillips Sanderson (1908-1987) was a sculptor in Scottsdale, Ariz. and Oroville, Calif.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav files. Duration is 1 hr., 6 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Quotes and excerpts must be cited as follows: Oral history interview with Fritz Scholder, 1995 March 3-30. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- Arizona -- Scottsdale -- Interviews Search this
Sculptors -- Arizona -- Scottsdale -- Interviews Search this
Painters -- Southwest, New -- Interviews Search this
Sculptors -- Southwest, New -- Interviews Search this
Indians of North America -- Southwest, New -- Art Search this
The papers of painter and sculptor Fritz Scholder measure 0.01 linear feet and consists of 22 items that date from 1960 to 1994. The collection includes twenty letters received by Scholder concerning various topics about his art work and professional career and two exhibition announcements. Correspondents include Rene d'Harnoncourt (MOCA), Raymond Burr, Jon Voight, Paolo Soleri, Georgia O'Keeffe, Alexander Hogue, Jane Alexander (NEA), and others.
Scope and Contents:
The papers of painter and sculptor Fritz Scholder measure 0.01 linear feet and consists of 22 items that date from 1960 to 1994. The collection includes twenty letters received by Scholder concerning various topics about his art work and professional career and two exhibition announcements. Correspondents include Rene d'Harnoncourt (MOCA), Raymond Burr, Jon Voight, Paolo Soleri, Georgia O' Keeffe, Alexander Hogue, Jane Alexander (NEA), and others.
Arrangement:
Due to the small size of this collection, the papers are arranged as one series.
Series 1: Fritz Scholder papers, 196-1994 (Folder 1; 22 items)
Biographical / Historical:
Fritz Scholder (1937-2005) was a painter and sculptor who was primarily based in Santa Fe, New Mexico and Scottsdale, Arizona. Much of his artwork is associated with the Southwest and is perhaps best known for his paintings of Western and Native American themes. Scholder was born in Breckenridge, Minnesota, and grew up near a reservation where his father was an Indian Affairs official. He identified as French, German, and Native American and was a registered member of the Luiseño tribe.
Scholder has degrees in art from Sacramento State University (BA) and the University of Arizona (MFA). At Sacramento State, he studied with painter Wayne Thiebaud. Scholder taught at the Institute of American Indian Arts in Santa Fe from 1964 to 1969. In 1996, he received the Visionary Award from the Institute of American Indian Arts, an organization that again honored him in summer 2001.
Scholder is an honoree and board member of the American Academy of Achievement. His works are in many major museum collections, including New York's MoMA, SAAM, Biblioteque Nationale (Paris), Walker Art Center, and Los Angeles County Museum of Art.
Provenance:
The papers were donated to the Archives of American Art by Fritz Scholder in 2001.
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.
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 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.
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.
