An interview of Edith Halpert conducted 1962-1963, by Harlan Phillips, for the Archives of American Art.
Halpert speaks of her childhood in Russia and growing up in New York City; working at Bloomindale's, Macy's, Stern Brothers, and Cohen Goldman; her marriage to artist Sam Halpert, his health, and living in Paris in 1925; becoming an art student at the Academy of Design and feeling that Leon Kroll was an excellent art teacher until he began to correct her drawings; when George Bridgman thought she was ruining his class; the Lincoln Square Arcade, when she and Ernest Fiener and Robert Brackman would rent Conan's studio evenings and bring in instructors; how Newman Montross influenced her more than anybody about showing her art that she loved; burning all of her work because Kroll said she had no talent; receiving a painting from John Marin; her friendship and working relationship with Abby Rockefeller and other family members.
She recalls opening the Downtown Gallery, in Greenwich Village, in 1926; a brief history of modern art; many artists helping decorate the new Daylight Gallery in 1930 and the first show being called "Practical Manifestations of Art"; meeting Robert and Sonia Delaunay in France; when she refused to allow Ezra Pound to speak at one of the gallery lectures because of his anti-Semite remarks and William Carlos Williams and Ford Madox Ford argued with her over it; experiencing jealousy and professional attacks from other dealers; the successful "Pop" Hart show and book in 1929; the "Thirty-three Moderns" show in 1930 at the Grand Central Galleries; the Jules Pascin show in 1930; in America, most of the art buyers supporters of culture were women, until the WPA and World War II, when it became fashionable for men to be involved; Ambroise Vollard's advice on selling art; handling the frustrations of working in the art field; friendships with Stuart Davis,Charles Sheeler, and Ben Shahn; how artists work through dry periods in their creativity and the "Recurrent Image" show; a discussion on modern art galleries of New York City, such as Daniel, Knoedler, Ferargil, the New Gallery, 291, the Grand Central, Kraushaar, and Montross; her travels through Pennsylvania and Maine for good examples of folk art for the gallery; the "The Artist Looks at Music" show; the non-competitive spirit of the early modern American artists; of being saved financially in 1940 by selling a William Harnett painting to the Boston Museum and then renting new space for the gallery.
Also, Mitchell Siporin bringing Halpert and Edmund Gurry to Mitchell Field during World War II for a camouflage show and consequently Downtown Gallery artists and others were enlisted in the camouflage corps for the U.S. Air Force; Charles Sheeler and his wife find Halpert a house in Newtown, Conn.; her decision in 1933 to push folk art for acquisition by the William Rockhill Nelson Gallery in Kansas City, Missouri; her great concern about what to do with her folk art literature collection; dismay and that no one writes about the history of folk art and those responsible for its creation and popularity; Louis Stern hiring her to organize a municipal exhibit in Atlantic City, N.J., with Donald Deskey designing the furniture and Holger Cahill managing the publicity; Joe Lillie helping her meet Fiorello La Guardia and Joe McGoldrick in 1934 about a municipal show in New York City, but it is moved to Radio City Music Hall through Nelson Rockefeller; the "Salons of America" show; wanting articles written about art for love rather than art for investment; working with Aline Saarinen on her book, "Proud Possessors;" letters from Stuart Davis, William Zorach and others that hurt her feelings; enjoying giving educational lectures and considering retirement because of ill health; the desire to write a book on the history of trade signs in folk art; feeling that the young artists are being ruined by too much support without working for it; planning to write a book entitled, "Unsung Heroes," about artists brave enough to experiment; organizing a show in Russia at her own expense; later representing the U.S. in art at the "American National Exposition"; the agitators and success of the exposition; Alfred Stieglitz and Georgia O'Keeffe.
Halpert also recalls Juliana Force, Gertrude Vanderbilt Whitney, Yasuo Kuniyoshi, Buckminster Fuller, George Luks, Edsel Ford, Max Weber, Danny Diefenbacker, Hamilton Easter Field, Frank Stella, Glenn Coleman, Margaret Zorach, Diego Rivera, Frida Kahlo, Henry Mercer, Romany Marie, Edward G. Robinson, Paul Mellon, Charles Pollet, Alex Brook, Lunca Curass, Dorothy Lambert, Duncan Candler, Frank Rhen, Louis Rittman, Bea Goldsmith, Arthur Craven, Robert Frost, Philip Wittenberg, Caesar de Hoke, Richard deWolfe Brixey, Seymour Knox, Walt Kuhn, Elisabeth Luther Cary, Charles Locke, Duncan Fergusson, Mrs. Solomon Guggenheim, Bob Tannahill, David Thompson, Marsden Hartley, Erwin Barrie, Robert Laurent, Conger Goodyear, Henry McBride, Edward Hopper, Charles Daniel, William Merritt Chase, Charles Hopkinson, Thomas Hart Benton, Frank Crowninshield, Alfred Barr, Lord Duveen, Jacob Lawrence, John Marin Jr., Karl Zerbe, Franz Kline, Arthur Dove, Julian Levy, Jack Levine, Valentine Dudensing, Peggy Bacon, Stefan Hirsch, Gertrude Stein, Isamu Noguchi, Jasper Johns, Chaim Soutine, B. K. Saklatwalla; Fernand Leger, Pablo Picasso, Ben Shahn, Charles Demuth, Alexander Calder, Jackson Pollock, Edward Steichen, Carl Sandburg, Clement Greenberg, and others.
Biographical / Historical:
Edith Halpert (1900-1970) was an art dealer from New York, N.Y.
Originally recorded on 7 tape reels. Reformatted in 2010 as 27 digital wav files. Duration is 32 hrs., 27 min.
This interview is part of the Archives of American Art History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. The transcript was microfilmed in 1996.
Art dealers -- New York (State) -- New York Search this
Interview of John Walter Stephan, conducted by Robert F. Brown for the Archives of American Art, at Newport, Rhode Island, on May 20, 1986 and May 7, 1987.
Stephan speaks of Chicago childhood and adolescence; life during the Depression; the Art Institute of Chicago; the 1930s Chicago leftist movement; the WPA and PWAP; The Tiger's Eye art magazine; Rome artistic and literary society; the New York School of artists; Betty Parsons Gallery; the Surrealists; teaching at Fairleigh Dickenson University; Hunter College; and his critiques of Pop and contemporary artists. Stephan also recalls Ruth Walgreen, Dart Stephan, Rainey Bennett, Clyfford Still, Juan de Diego, Caleb Harrison, Aaron Bohrod, Dudley Crafts Watson, Jack Jones, George Constant, Connie Moran, CJ Bulliet, Rudolph Weisenborn, Inez Cunningham, Eva Watson-Schütze, Jesus Torres, Edgar Miller, Katherine Kuh, Increase Robinson, Peterpaul Ott, Mitchell Siporin, Raymond Breinin, Holger Cahill, John Fabian, Eddie Millman, Winn Nathanson, Fairfield Porter, Norman MacLeish, Ossip Zadkine, Betty Parsons, Alfonso Ossorio, Max Ernst, Julien Levy, Peggy Guggenheim, Bill de Kooning, Mark Rothko, Franz Kline, Barney Newman, Nicolas Calas, Bob Motherwell, Monroe Wheeler, Myra Shapiro, Clement Greenberg, Harold Rosenberg, Alfred Knopf, Robert Flaherty, Jaime Sebartés, Frederick Kiesler, Robert Matta, Mario Praz, Bill Denby, Ben Johnson, Milton Gendel, Walter Auerbach, Jerry Wilhelm, Eugene Goossens, and others.
Biographical / Historical:
John Walter Stephan (1906-1995) was a painter.
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 6 hr., 54 min.
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Correspondence; slides and photographs of art work; catalogs and clippings; photographs, watercolor studies, and a detailed listing of mural projects in civic buildings and schools done by Pollock and other artists, including Mitchell Siporin, for the Illinois Federal Art Project; clippings and photocopied correspondence concerning the portrait of Lt. Commander Waldron painted by Pollock; Syracuse University School of Art annual reports; lithographs; and watercolors.
Biographical / Historical:
Painter, educator; Chicago, Ill. and Syracuse, N.Y. Teaches at Syracuse University School of Art. Was a muralist as well as supervisor of the Chicago Federal Art Project.
Donated 1979-1983 by Merlin F. Pollock.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Biographical information, correspondence, photographs, writings, research and subject files, works of art, motion picture film, interview transcripts, financial material, printed material and miscellany relating to Mitchell Siporin.
Personal photographs of Siporin, stage sets and art work by him.
Circa 1000 letters relating to his painting, his teaching, his service as a war artist during World War II and the Federal Art Project, including letters from Sheldon Cheney, Edith Halpert, Edward Rowan, Holger Cahill, Edward Millman, Max Abramowitz, Lee Nordness, and others; biographical material; notes and lectures; art history research files; sketches; price lists for his art works; expense accounts and tax records; blueprints and architectural plans; photographs, including WWII photographs and photographs of his art work; reproductions of his art work; exhibition catalogs; and clippings.
Letters from Siporin to his brother and sister-in-law, Seymour and Mary Sipporin, as well as letters to Siporin from Jack Levine and Carl Holty. Writings, including scripts for lectures, journal articles, an unfinished novel by Siporin, a journal describing his experience in North Africa during WWII as a war photographer and painter, notes taken during sabbaticals, and a eulogy written by Siporin for Henry Varnum Poor. Photographs of Siporin with friends and family, including Yasuo Kuniyoshi, Peter Pollack, Edward Millman, and Philip Guston and a portrait of Siporin by Arnold Newman, as well as Siporin's artwork. Subject files, including the Woodstock Art Conference, American Artists' Congress, the American Federation of Arts, WWII, the Army at War exhibit, Siporin's involvement in the WPA, as well material on Siporin's Haymarket drawings used for a 1934 issue of Left Front magazine. Works of art including two studies for St. Louis, Missouri, Post Office murals, and a sketch of Siporin by S.P. Kaufman.
A VHS video and DVD copy, transferred from 16mm motion picture film, showing Siporin at work on his St. Louis frescoes (b&w, 3 min., no sound). Interview transcripts of an interview with Siporin conducted by Geofrrey Swift as well as an interview with Siporin conducted by Melvyn Bragg for the BBC. Financial records, including sales contracts. Printed material, including exhibition catalogs and programs, and newspaper clippings as well as an exhibition poster from Babcock Galleries. Also included is a small amount of material relating to Jennie Siporin, Mitchell Siporin's mother.
Biographical / Historical:
Mitchell Siporin (1910-1976) was a painter and photographer from Newton, Massachusetts.
The collection has been donated in several installments beginning in 1978 when Siporin's widow Miriam lent materials for microfilming (reels 1328 and 1332). She also donated materials at that time and again in 1992, at which time it was also microfilmed (reels 2011-12 and 2061). In 2003, Judith Siporin, Siporin's daughter, donated the materials previously lent on reel 1332 and 16mm motion picture film. In 2005 Mary Siporin, Mitchell Siporin's sister-in law donated papers, and in 2008 Judith donated another installment.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
The Boris Mirski Gallery records measure 6.2 linear feet and date from 1936-2000, bulk 1945-1972. They include gallery administrative files; artist files including correspondence, exhibition and loan paperwork as well as photographic documentation of artwork; gallery correspondence; financial materials including outgoing and incoming invoices and sales records; printed materials promoting the gallery and its artists; press materials; and a number of photographs of Boris Mirski at events and with others, as well as photographs of artwork. Artists particularly well represented in the collection include David Aronson, Leonard Baskin, Hyman Bloom, Esther Geller, Rico Lebrun, Michael Mazur, Arthur Polonsky, Ben Shahn, Mitchell Siporin, Barbara Swan, and Karl Zerbe.
Scope and Contents:
The records of the Boris Mirski Gallery, which showed the avant-garde art of the Boston Expressionist school, as well as New York and international modern art styles and non-western art, measure 6.2 linear feet and date from 1936-2000, bulk 1945-1972. They include gallery administrative files; artist files including correspondence, exhibition and loan paperwork as well as photographic documentation of artwork; gallery correspondence; financial materials including outgoing and incoming invoices and sales records; printed materials promoting the gallery and its artists; press materials; and a number of photographs of Boris Mirski at events and with others, as well as photographs of artwork. Artists particularly well represented in the collection include David Aronson, Leonard Baskin, Hyman Bloom, Esther Geller, Rico Lebrun, Michael Mazur, Arthur Polonsky, Ben Shahn, Mitchell Siporin, Barbara Swan, and Karl Zerbe.
The administrative files cover a number of topics including documents related to various properties, mortgages, and insurance, copyrights, legal cases, administrative events, and select group exhibitions at the gallery.
The artist files document each gallery artist's exhibition history in the gallery and include correspondence with the artist as well as files documenting significant outside exhibitions, projects and the placement of artworks. While exhibiting
artists showed a range of sculpture, painting, and drawing at the gallery, there was a tendency towards
highly expressive figurative artwork sometimes referred to as Boston Expressionism, often associated with
the first generation Jewish American experience.
The gallery correspondence, primarily with patrons and institutions, is arranged alphabetically with select regular correspondents of the gallery having their own file, in addition to a folder of holiday cards.
The financial files include both outgoing and incoming transactions as invoices and sales records, organized by patron or vendor.
The printed materials are a records of the printing activities of the gallery as well as a press archive, with select printed materials from outside the gallery reflecting the activities of the gallery and gallery artists.
The photographic materials include both images that include the gallerist as well as images that document artworks.
The collection is arranged as 6 series.
Series 1: Administrative Files, circa 1948-1995 (0.5 Linear feet; Box 1)
Series 2: Artist Files, circa 1945-2000 (2.7 Linear feet; Boxes 1-4, OV 7)
Series 3: Gallery Correspondence, circa 1936-1976 (1 Linear feet; Boxes 4-5)
Series 4: Financial Files, circa 1958-1974 (1.2 Linear feet; Boxes 5-6)
Series 5: Printed Material, circa 1944-1981 (0.7 Linear feet; Box 6, OV 8)
Series 6: Photographic Material, circa 1945-1976 (0.1 Linear feet; Box 6)
Biographical / Historical:
The Boris Mirski Gallery (est.1944; closed 1979) was a gallery in Boston, Massachusetts owned and operated by Boris Mirski (1898-1974). The gallery evolved out of various businesses owned by Mirski from the late 1910s, including his first formal gallery established alongside a framing shop on Charles Street in Beacon Hill in 1927. The gallery moved to its final incarnation on the lower level of 166 Newbury in 1972, and closed in 1979 following the gallerist's death in 1974.
Boris Chaim Mirski, born 1898, immigrated to the United States at the age of fourteen, leaving behind his troubled youth as a Lithuanian Jew in a harsh political climate that included frequent pogroms. At the advice of his mother, an activist in the resistance, Boris acquired a number of marketable skills including metalwork and framing, which allowed him to establish a lucrative business while he developed opportunities to show art that interested him. Early in his career this included a home for non-western and "primitive" art styles from around the globe, as well as the work of emerging local artists. Mirski's gallery created opportunities for artists working against the generally conservative tradition of the Boston School, and helped establish an identity for the local avant-garde. The gallery program had strong ties with the Museum of Fine Arts, Boston alumni and faculty, and frequently hosted exchange shows with New York City's Downtown Gallery, whose director Edith Halpert acted as a mentor. While exhibiting artists showed a range of sculpture, painting, and drawing at the gallery, there was a tendency towards highly expressive figurative artwork sometimes referred to as Boston Expressionism, often associated with the first generation Jewish American experience. Gallery artists included David Aronson, Leonard Baskin, Hyman Bloom, Esther Geller, Rico Lebrun, Michael Mazur, Arthur Polonsky, Ben Shahn, Mitchell Siporin, Barbara Swan, and Karl Zerbe.
Related materials include Archives of American Art's Oral history interview with Boris Mirski, 1973 June 19.
The Boris Mirski Gallery records were donated by Deborah Mirski Brown, Boris Mirski's daughter from 1989-1996, with additions in 2007 and 2017.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
An interview of Mitchell Siporin conducted 1965 November 11, by Geoffrey Swift, for the Archives of American Art New Deal and the Arts Project.
Biographical / Historical:
Mitchell Siporin (1910-1976) was a painter and educator in Newton, Massachusetts.
Originally recorded on 1 sound tape reels. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 35 min.
This interview 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.
Correspondence with artists; general business correspondence, 1953-1969; legal documents (some pertaining to owner Charles Alan's separation from the Downtown Gallery and establishment of the Alan Gallery); business records, including price lists, inventories, loan agreements, purchase and consignment records, receipts for purchases, and general ledgers; a card file of gallery stock; two card files recording purchases; two scrapbooks of printed materials on gallery exhibitions; paid bills, statements, tax and insurance records; and photographs (reel 1400) of Landau-Alan Gallery stock, and of Alan Gallery artists.
Correspondents include: Paul Adkins, Oliver Andrews, Richard Boyce, William Brice, Paul Burlin, Carroll Cloar, George M. Cohen, Bruce Conner, Robert Cremean, Robert D'Arista, David Fredenthal, Louis Guglielmi, Richard Hunt, Herbert Katzman, William King, Jonah Kinigstein, Robert Knipschild, John Latham, Jacob Lawrence, Wesley Lea, Julian Levi, Jack Levine, Edmund Lewandowski, Robert Malaval, Marcia Marcus, Walter Meigs, Edward Millman, George L.K. Morris, Robert C. Morris, Edward Moses, Gastone Novelli, Yutaka Ohashi, Nathan Oliveira, Charles Oscar, Eileen Pendergast, Robert Preusser, Easton Pribble, Mitchell Siporin, Jack Squier, Reuben Tam, John Thomas, Robert S. Titus, Bryan Wilson, and Karl Zerbe.
Included in the collection are photographs of the following artists/and or works of art: Paul Adkins, Aubrey Beardsley, Richard Boyce, Robert Cremean, William Dole, Edwin Hewitt Collection, John Denman Collection, Paul Klee, Gustave Klimt, Jack Levine, E. L. T. Mesens, Elie Nadelman, Charles Oscar, Arnaldo Pomodoro, Eileen Prendergast, Joseph Stella, and Clara McDonald Williamson.
A print of the Bruce Conner film "A Movie" (1958) also available on videocassette (VHS), is also found in the collection.
Artist correspondence is arranged alphabetically; business correspondence is arranged chronologically.
The gallery stock card file is arranged alphabetically by artist; one of the two card files listing works purchased from the Alan Gallery is arranged alphabetically by artist; the other is arranged alphabetically by purchaser.
Biographical / Historical:
The Alan Gallery was established by Charles Alan in 1952. In 1966, Felix Landau purchased the gallery and renamed it the Landau-Alan Gallery. After Alan left in 1969, the name was changed to the Felix Landau Gallery.
Donated 1971 and in 1973 by Charles Alan the founder of the Alan Gallery.
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.
Photographic negatives, transparencies of works of art, paid bills, statements, and tax and insurance records are not microfilmed.
The records of the Downtown Gallery date from 1824 to 1974 (bulk 1926-1969) and measure 109.56 linear feet. The records present a comprehensive portrait of a significant commercial gallery that operated as a successful business for more than forty years, representing major contemporary American artists and engendering appreciation for early American folk art. There is an unprocessed addition to this collection dating circa 1970 of a single financial/legal document.
Scope and Content Note:
The Downtown Gallery records constitute 109.56 linear feet on 167 reels of microfilm. The records are dated 1824 to 1974 with bulk dates from 1926 to 1969. There is an unprocessed addition to this collection dating circa 1970 of a single financial/legal document.
The Downtown Gallery was established in 1926 as Our Gallery and operated under the name Downtown Gallery from 1927 until 1973. Nineteenth-century material consists of items acquired by Edith Gregor Halpert for research purposes or to document works of art in the gallery's inventory. The few records postdating the closing of the gallery relate to the estate of Edith Gregor Halpert.
The extensive records of the Downtown Gallery present a comprehensive portrait of a significant commercial gallery that operated as a successful business for more than forty years, representing major contemporary American artists and engendering appreciation for early American folk art. Edith Halpert, the gallery's founder and director, was an influential force in the American art world for a large part of the twentieth century.
Personal papers are intermingled with the business records of the Downtown Gallery. Many of the artists represented by the gallery were Halpert's personal friends, and over the years she developed social relationships and friendships with many clients. These relationships are reflected by the contents of the records, especially the correspondence, some of which is purely personal. In addition, there are a small number of letters from relatives, photographs of Halpert's family, home and friends, and limited information about her country house and personal finances.
The Downtown Gallery records consist largely of correspondence with collectors, including Edgar and Bernice Chrysler Garbisch, Preston Harrison, Mr. and Mrs. Maxim Karolik, William H. Lane, Abby Aldrich Rockefeller, Beram K. Saklatwalla, Robert Tannahill, and Electra Havemeyer Webb; with dealers, including robert Carlen, Landau Gallery, Leicester Galleries, Mirski Gallery, and Isabel Carleton Wilde; and with large numbers of curators and museum directors, including many affiliated with university museums. In addition, there is correspondence concerning routine gallery business and administrative affairs.
Artist files and an extensive series of notebooks (American Folk Art Gallery notebooks, artist notebooks, and publicity notebooks) compiled by gallery staff contain a wide variety of material and are a rich source of information about individual artists and the Downtown Gallery's exhibition history.
Business records include exhibition records, stock records, sales records, transit records, financial records, lists of artwork and clients, legal documents, minutes, insurance records, research files, and architectural plans.
Writings by Edith Gregor Halpert consist of articles on American folk art, speeches, and short stories; also included are her school notebooks and "Daily Thoughtlets" compiled at age seventeen. All writings by other authors are on art subjects, and most are texts or introductions for exhibition catalogs.
Among the miscellaneous records are biographical material on Edith Gregor Halpert and Samuel Halpert, works of art by Edith Gregor Halpert and other artists, artifacts, and audiovisual materials. The artifacts include wooden weather vane molds and supporting documentation as well as awards presented to Halpert. Audiovisual materials are 16-mm motion picture films of the Westinghouse Broadcasting Corporation television series, America: The Artist's Eye, produced between 1961 and 1963 in association with Jensen Productions. An additional 16-mm motion picture film includes "tails out" footage of Charles Sheeler at home and at work, circa 1950. A copy of the program about Sheeler, along with the "tails out" material, is also on videocassette. In addition, there is a sound recording of a talk on collecting given by Halpert's client, folk art collector Maxim Karolik, in 1962.
Printed matter consists of items produced by the Downtown Gallery, including exhibition catalogs, checklists, invitations, announcements, and press releases. There are also news clippings about Halpert, the Downtown Gallery, and the Edith Gregor Halpert Collection; other art-related clippings are arranged topically. Miscellaneous printed matter not produced by the Downtown Gallery includes newsletters, press releases, publications of art organizations, and reproductions of artwork. A selection of twenty-five volumes from the personal library of Edith Gregor Halpert has been retained.
The photographs series includes images of people: Edith Gregor Halpert, family, friends, also many images of her dog, Adam, and views of her country home in Newtown, Connecticut. Other photographs of people include portraits of artists, most of whom were affiliated with the Downtown Gallery. There are also photographs of works of art (with a large number of black-and-white negatives, 35-mm color slides, and glass plate negatives) and of exhibitions, of the exterior and interior of the Downtown Gallery, and of an award presented to Halpert.
See Appendix B for a chronological list of Downtown Gallery exhibitions.
It is not certain how well arranged the files were while still the property of the gallery, though Halpert's background as an efficiency expert and her talents as an organizer suggest that the gallery's records were well maintained. It is clear, however, that much of the original order has been lost; Halpert is known to have removed files, including many records concerning the Harnett-Peto controversy.
Correspondence (Series 1) is arranged chronologically, and Artist Files (Series 2) is arranged alphabetically. The remaining series are organized into subseries that reflect either a function or specific record type, and the arrangement of each is explained in the detailed series descriptions. Glass plate negatives are housed separately and closed to researchers.
The Downtown Gallery records are arranged into eight series:
Series 1: Correspondence, 1926-1974, undated (Boxes 1-22; 22 linear ft.; Reels 5488-5545)
Series 2: Artist Files, A - Z, 1917-1970, undated (Boxes 23-27; 5 linear ft.; Reels 5545-5558)
Series 3: Notebooks, 1835, 1874, circa 1880-1969, undated (Boxes 28-59; 32.5 linear ft.; Reels 5558-5603)
Series 4: Business Records, 1925-1974, undated (Boxes 60-94, OV 95, OV 96, OV 97; 34.5 linear ft.; Reels 5603-5636)
Series 5: Writings, 1917-1968, undated (Box 98; 1 linear ft.; Reels 5636-5638)
Series 6: Miscellaneous Material, circa 1835, 1883, 1913-1970, undated (Boxes 99-101, 103, OV 102, OV 104, FC 120-124; 3.25 linear ft.; Reels 5638-5639)
Series 7: Printed Matter, 1824-1865, 1920-1969, undated (Boxes 105-108; 4 linear ft.; Reels 5640-5647)
Series 8: Photographs, circa 1880-1960s, undated (Boxes 109-118, OV 119, MGP 4; 8.75 linear ft.; Reels 5647-5654)
As a very young woman, Edith Gregor Halpert (1900-1970) attended art school sporadically while pursuing a business career that began in advertising and included work as a personnel manager and efficiency expert. She continued her business career after marrying artist Samuel Halpert (1884-1930) in 1918 and eventually became a highly paid executive with an investment firm. Well-invested bonuses provided the capital for Halpert to open her own business.
In November 1926, Halpert and business partner Berthe (Bea) Kroll Goldsmith opened Our Gallery at 113 West 13th Street for the purpose of promoting a group of progressive American artists, many of whom were friends of Edith and Samuel Halpert. The following year, at the suggestion of William Zorach, the gallery changed its name to Downtown Gallery--emphasizing its Greenwich Village location, unique for the time--and the name survived despite relocation to midtown Manhattan (to 43 East 51st Street in 1940, to 32 East 51st Street in 1945, and to the Ritz Tower Concourse at 465 Park Avenue in 1965).
The Downtown Gallery specialized in contemporary American art. An early gallery brochure states: "The Downtown Gallery has no prejudice for any one school. Its selection is driven by quality--by what is enduring--not by what is in vogue." Some of the artists affiliated with the Downtown Gallery from its early years were Stuart Davis, "Pop" Hart, Yasuo Kuniyoshi, Charles Sheeler, Max Weber, and William and Marguerite Zorach. In its original location, the gallery served as a place where artists (many of whom lived and worked in the neighborhood), collectors, and others interested in American art met in the evenings for coffee, conversation, and sometimes lectures or other formal programs. Holger Cahill (1887-1960) entered into a partnership with Halpert and Goldsmith in 1929 when they founded the American Folk Art Gallery, the first ever of its kind; the American Folk Art Gallery opened on the second floor of the Downtown Gallery in 1931. Folk art was an important feature of the gallery throughout its history, though the name American Folk Art Gallery does not appear to have been used consistently. Because the profit margin was high and Abby Aldrich Rockefeller bought avidly for her growing collection, folk art revenues subsidized contemporary art exhibitions and helped the gallery survive the Depression. The Daylight Gallery, also run by Halpert and Goldsmith, opened in 1930 in a separate structure behind the main gallery, and continued until the Downtown Gallery moved to East 51st Street in 1940. Its purpose was to exhibit painting and sculpture to best advantage in a gallery designed to diffuse light perfectly and to demonstrate how works of art may be used as architectural embellishments in a modern building. Other subsidiary galleries operated by the Downtown Gallery were the John Marin Room, opened in 1950 and run by John Marin, Jr., and the Ground-Floor Room, 1951, "dedicated to the adventurous, less experienced collector willing to gamble on his taste and ours."
From the beginning, Halpert endeavored to hold prices at reasonable levels; she employed aggressive marketing and advertising techniques learned from her career in business and banking, offering extended payment plans without interest to buyers of modest means. She recognized the value of placing representative works by Downtown Gallery artists in important art museums and public collections, even if a price reduction was necessary to achieve this goal.
After purchasing Goldsmith's share of the business in 1935, Halpert, needing to earn a profit, reorganized the gallery as a more overtly commercial venture. The roster of artists was reduced to twelve. Those eliminated tended to be younger artists, most of whom were supported by WPA work. Eventually, the roster expanded; new additions were usually artists not based in New York, whom Halpert learned of through her work as an adviser to the WPA Federal Art Project. Halpert had long courted Alfred Stieglitz's artists, and in the years following his death in 1946 a number of them affiliated with the Downtown Gallery. Another change was that the Downtown Gallery no longer represented only living American artists; the gallery began handling a number of estates, most notably that of Arthur Dove. In 1953, the roster of Downtown Gallery artists shifted dramatically when Halpert entered into an agreement with Charles Alan. Alan had been hired in 1945 with the understanding that he was being trained to run the Downtown Gallery upon Halpert's retirement five years in the future. Eight years later, it became apparent that Halpert was not going to retire; without consulting the artists, she transferred representation of all artists who had joined the Downtown Gallery since 1936 to the newly established Alan Gallery.
Exhibitions at the Downtown Gallery included both solo exhibitions and group shows usually built around a theme; most lasted about a month. Annual exhibitions (sometimes titled anniversary exhibitions) opened the exhibition season each fall and showcased the gallery's artists. The Downtown Gallery's Christmas show, a long-standing event that encouraged purchases of original art for holiday gift giving, was eagerly anticipated as it featured fine artwork at very reasonable prices. Between 1927 and 1935, the Downtown Gallery was the site of the American Print Makers Society annual exhibitions. During its forty-seven years in operation, the Downtown Gallery organized many important, influential exhibitions. American Ancestors (1931) presented American folk art as the precursor to and direct influence on the contemporary art featured by the Downtown Gallery. The title was used for a number of subsequent exhibitions and became a synonym for folk art. American Folk Art Sculpture: Index of American Design, Federal Art Project (1937) featured drawings by WPA artists recording objects that documented America's material culture and artistic heritage. Along with the Index of American Design drawings, the exhibition included a number of the original sculptures from the Downtown Gallery's inventory and borrowed from folk art collector Abby Aldrich Rockefeller.
William Harnett: "Nature-Vivre" (1939) reintroduced the nineteenth-century artist whose trompe l'oeil paintings had been collected by Halpert over a period of years expressly for this purpose. Between 1947 and 1949, a controversy ensued over paintings--some of which had been sold by the Downtown Gallery--with the signature of William Harnett but discovered by San Francisco Chronicle art critic Alfred Frankenstein to be the work of Harnett's student, John Peto. Halpert had purchased the questionable pieces in good faith, completely unaware of the added signatures, and she defended her attributions, despite evidence to the contrary. Frankenstein publicized his discovery widely; while neither Halpert nor the Downtown Gallery were named directly, their identity was apparent to his well-informed readers. The situation was further inflamed when additional articles by Frankenstein failed to include new evidence favorable to Halpert and the Downtown Gallery.
Another major exhibition was American Negro Art, 19th and 20th Centuries (1941-1942), the first show of its kind held at a commercial gallery. Held at the Downtown Gallery, the exhibition was sponsored by a committee of prominent citizens including Mayor Fiorello La Guardia, Archibald MacLeish, A. Philip Randolph, and Eleanor Roosevelt. Among its aims were to raise money for the Negro Art Fund, to promote museum acquisitions of work by black artists, and to encourage galleries to represent the living participants. In addition to providing its facilities, the Downtown Gallery donated all sales commissions to the Negro Art Fund and added Jacob Lawrence to its roster of artists.
Edith Gregor Halpert played important roles in a number of exhibitions and major art projects that were not connected with the Downtown Gallery. She served as organizer and director of the First Municipal Exhibition of American Art, Atlantic City, New Jersey, in 1929. Beginning in 1932, Halpert was extensively involved with Radio City Music Hall arts projects. She conceived, organized, and handled publicity for the First Municipal Art Exhibition (also known as the Forum Exhibition) sponsored by Mayor Fiorello La Guardia and held at Radio City Music Hall in 1934. As an adviser to the WPA Federal Art Project, Halpert spent the summer of 1936 in Washington, D.C., developing its Exhibition and Allocation Program, which registered works of art arriving from regional project centers and selected pieces for traveling exhibitions that circulated throughout the country. In 1937, she formed the Bureau for Architectural Sculpture and Murals, a central clearinghouse from which architects could review and select work by artists and sculptors experienced in working in architectural settings. Halpert served as curator of the art section of the American National Exhibition, sponsored by the United States Information Agency and the U.S. Department of Commerce; she traveled to the Soviet Union with the exhibition, installed the show, and gave daily gallery talks in Russian. In 1952, to promote art history, Halpert established the Edith Gregor Halpert Foundation. Its activities included assisting universities to fund scholarships for the study of contemporary American art and championing the rights of artists to control the sale and reproduction of their work. For her "outstanding contribution to American art," Halpert received the Art in America Award in 1959. She also received a USIA Citation for Distinguished Service in 1960, and the University of Connecticut awarded her its First Annual International Silver Prize for "distinguished contribution to the arts" in 1968.
In addition to being an art dealer, Edith Gregor Halpert was also a collector of contemporary American art and American folk art. For many years, Halpert and the Corcoran Gallery of Art, Washington, D.C., discussed a gift of a substantial number of paintings to form the nucleus of a new wing to be called the Gallery of 20th-Century American Art. After numerous disagreements and misunderstandings by both parties, the plan was abandoned. While negotiations were still in progress, the Edith Gregor Halpert Collection was exhibited in two installments, 1960 and 1962, at the Corcoran Gallery of Art. During the following two years, portions of her collection traveled to Santa Barbara, Honolulu, and San Francisco. Other exhibitions, drawn completely from the Edith Gregor Halpert Collection, include American Modernism: The First Wave, Painting from 1903-1933, presented at Brandeis University Museum of Art, 1963; Six Decades of American Art, shown at Leicester Galleries, London, 1965; Image to Abstraction, held at Amon Carter Museum, 1967; and Edith Halpert and the Downtown Gallery, exhibited at the University of Connecticut, 1968. The Edith Gregor Halpert Collection was eventually sold at auction by Sotheby Parke-Bernet, 1973.
Dr. Dianne's Tepfer's dissertation (1989) on Edith Gregor Halpert was an invaluable resource in arranging and describing the records of Downtown Gallery; her chronology was consulted often in constructing this Historical Note.
1900 -- born Edith Gregoryevna Fivoosiovitch to Gregor and Frances Lucom Fivoosiovitch, Odessa, Russia
1906 -- arrived in New York City with recently widowed mother and older sister; family name changed to Fivisovitch
1916 -- employed as a comptometer operator at Bloomingdale's department store; studied drawing with Leon Kroll and Ivan Olinsky at the National Academy of Design; further shortened name to Fein
1916-1917 -- attended life drawing and anatomy classes taught by George Bridgeman at the Art Students' League; employed in foreign and advertising offices, R. H. Macy department store
1917 -- met artist Samuel Halpert at John Weichsel's People's Art Guild
1917-1918 -- employed as advertising manager, Stern Brothers department store
1918-1919 -- employed as systematizer (efficiency expert), investment firm of Cohen, Goldman
1918 -- married Samuel Halpert
1919-1920 -- employed as systematizer, investment firm of Fishman & Co.; attended writing courses, Columbia University
1921-1925 -- employed as personnel manager, systematizer, and head of correspondence at investment banking firm of S. W. Strauss & Co.; eventually appointed to the board of directors
1924 -- first exposed to folk art at the home of sculptor Elie Nadelman
1925 -- visited Paris with Samuel Halpert (June-September)
1926 -- visited Ogunquit, Maine, with Samuel and was further exposed to antiques and folk art; other summer guests included artists Stefan Hirsch, Bernard Karfiol, Walt Kuhn, Yasuo Kuniyoshi, Robert Laurent, Katherine Schmidt, Niles Spencer, and Marguerite and William Zorach; opened Our Gallery, devoted to modern American art, at 113 West 13th Street with business partner Berthe Kroll Goldsmith
1927 -- separated from Samuel, who moved to Detroit to teach at the Society for Arts and Crafts; changed name of Our Gallery to Downtown Gallery, at the suggestion of William Zorach
1928 -- Abby Aldrich Rockefeller first visited the Downtown Gallery; published George O. "Pop" Hart: 24 Selections from His Work by Holger Cahill, first of a projected series of ten Downtown Gallery monographs
1929 -- initiated divorce proceedings in Detroit; founded the American Folk Art Gallery, the first of its kind, with business; partners Berthe Kroll Goldsmith and Holger Cahill; served as organizer and director of the First Municipal Exhibition of American Art, Atlantic City
1930 -- divorce granted; present at the death of Samuel Halpert; opened the Daylight Gallery in a separate structure behind the Downtown Gallery specially designed to display works of art under optimal conditions; published Max Weber by Holger Cahill, second (and last) of the Downtown Gallery monographs
1931 -- opened the American Folk Art Gallery on second floor of the Downtown Gallery
1932 -- purchased house in Newtown, Connecticut; became extensively involved with Radio City Music Hall arts projects
1934 -- conceived, organized, and handled publicity for the First Municipal Art Exhibition, also called the Forum Exhibition, sponsored by Mayor Fiorello La Guardia and held at Radio City Music Hall
1935 -- bought Goldsmith's share of the business and, as sole owner, reorganized the gallery
1936 -- served as adviser to WPA Federal Art Project, charged with developing the Exhibition and Allocation Program
1937 -- formed Bureau for Architectural Sculpture and Murals
1939 -- organized Nature-Vivre; exhibition of paintings by the rediscovered William Harnett, rekindling interest in trompe l'oeil painting
1940 -- Downtown Gallery moved to 43 East 51st Street; cataloged and installed the Abby Aldrich Rockefeller Collection of American Folk Art at Williamsburg, Virginia
1941 -- American Negro Art, 19th and 20th Centuries
1945 -- Downtown Gallery moved to 32 East 51st Street; hired Charles Alan as assistant director
1946 -- Downtown Gallery began representing former Alfred Stieglitz artists Charles Demuth, Marsden Hartley, John Marin, and Georgia O'Keeffe
1947-1949 -- embroiled in controversy over paintings with the signature of William Harnett but discovered to be the work of Harnett's student John Peto
1950 -- opened the John Marin Room, operated by John Marin, Jr.
1951 -- opened the Ground-Floor Room, for works by new artists
1952 -- established the Edith Gregor Halpert Foundation
1953 -- transferred representation of newer Downtown Gallery artists to the Alan Gallery
1954 -- published The ABCs for Collectors of Contemporary Art by John I. H. Baur
1959 -- traveled to Moscow as curator of the art section, "American National Exhibition," and gave daily gallery talks in Russian; received Art in America Award
1960 -- exhibited selections from the Edith Gregor Halpert Collection at the Corcoran Gallery of Art, Washington, D.C.; awarded USIA Citation for Distinguished Service and the Merit Award Emblem
1962 -- second exhibition of the Edith Gregor Halpert Collection at the Corcoran Gallery of Art; began discussions, ultimately abandoned, for the transfer and installation of a large gift of paintings from the Edith Gregor Halpert Collection to a special wing of the Corcoran Gallery of Art
1963 -- American Modernism: The First Wave, Painting from 1903-1933, an exhibition based entirely on the Edith Gregor Halpert Collection, Brandeis University Museum of Art
1965 -- Downtown Gallery moved to smaller quarters, Ritz Tower Concourse, 465 Park Avenue; open by appointment only; Six Decades of American Art, from the Edith Gregor Halpert Collection, Leicester Galleries, London
1967 -- Image to Abstraction, an exhibition based entirely on the Edith Gregor Halpert Collection, Amon Carter Museum, Fort Worth, Texas
1968 -- the Downtown Gallery ceased to be the exclusive representative of Abraham Rattner, Ben Shahn, Georgia O'Keffe, and Max Weber, and the estates of Stuart Davis, and Marguerite and William Zorach were withdrawn from the gallery; Edith Halpert and the Downtown Gallery exhibition at the Museum of Art, the University of Connecticut; awarded the First Annual International Silver Prize medal for "distinguished contribution to the arts," University of Connecticut
1970 -- died, New York City
1970-1973 -- the Downtown Gallery continued limited operation under the direction of niece, Nathaly Baum
1972-1978 -- the Downtown Gallery records donated to the Archives of American Art by Nathaly Baum, executor of the Edith Gregor Halpert estate
1973 -- Sotheby Parke-Bernet auction sale of the Edith Gregor Halpert Collection
1997-1999 -- arrangement, description, and microfilming of Downtown Gallery records and publication of this finding aid funded by a grant from the Henry Luce Foundation, Inc.
Appendix B: Chronological List of Downtown Gallery Exhibitions:
Below is a chronological listing of Downtown Gallery exhibitions, culled from catalogs and checklists, invitations and announcements, press releases, newspaper reviews, advertisements, lists compiled by gallery staff, and The Archives of American Art Collection of Exhibition Catalogs (1979). Exhibition titles indicated on the announcement or used in a published review sometimes differ from the title of the corresponding exhibition catalog or printed checklist. Catalogs or announcements for most shows will be found with the printed matter produced by the Downtown Gallery (Series 7.1), in the publicity notebooks (Series 3.3.), and/or with artist files (Series 2). Microfilm reel and frame number(s) are noted in parentheses for catalogs or exhibition announcements recorded in The Archives of American Art Collection of Exhibition Catalogs that are not among the Downtown Gallery records.
Undated -- Jan. 24-Feb. 12: American Landscapes: Paintings and Water Colors Mar. 3-28 [1964?]: Abraham Rattner: New Paintings, 1961-1963 June: Art for 13,000,000 Sept. 17-27: Abraham Rattner: Stained Glass Window Designed for the De Waters Art Center, Flint, Michigan
1926 -- Nov. [6-?}: Opening Exhibition: Small Works by Leading American Contemporary Artists Dec. [4-?]: The Christmas Exhibition, $10-50
1927 -- Jan. 8-Feb. 4: American Marines Jan. 8-Feb. 4: Print Room Selection Nov. 26-Dec. 9: Frank Osborn: Sculpture Lamps Nov. 26-Dec. 9: Stuart Davis May [10-?]: Portfolio Selection, $5-25 Dec. 10-31: American Print Makers Exhibition Nov. 3-23: "Pop" Hart: One-Man Show Oct. 13-Nov. 3: Ogunquit Exhibition: Summer Work by 12 Ogunquit Residents Mar. 1-19: George C. Ault: Water Colors and Drawings Feb. [5-?]: George Overbury "Pop" Hart Apr. [11-?]: Spring Exhibitions: Pictures Suggestive of the Season Mar. 21-Apr. 9: Walt Kuhn Lighographs: `New Trapeze Ladies'
1928 -- Feb. 14-Mar. 4: Walt Kuhn: Recent Works Jan. 24-Feb. 12: 75 Years of American Landscapes Mar. 6-25: Samuel Halpert: Recent Work Dec. 10-31: American Print Makers 2nd Annual Exhibition Jan. 3-22: Joseph Pollett: Recent Paintings and Watercolors Oct. 7-28: Paris by Americans Oct. 29-Nov. 17: Max Weber: New Lithographs, $10-50 Nov. 19-Dec. 8: George C. Ault: Paintings, $30-300 Apr. 23-May 13: May Flowers May 19-June 13: Art for Everybody, $10-50 Mar. 26-Apr. 15: Ernest Fiene: Lithographs Apr. 2-22: Marguerite Zorach: Paintings and Drawings
1929 -- Nov. [19-?]: Glenn Coleman: Temperas June 3-14: Oils, Sculpture, Water Colors, Monotypes, Drawings, Pottery May [14-?]: Joseph Pollet: Watercolors May [14-?]: Lithographs by A. Walkowitz Mar. 26-Apr. 14: José Orozco: Paintings of New York City Apr. 23-May 14: Walt Kuhn: Loan Paintings Feb. 12-Mar. 23: Stefan Hirsch: Paintings Mar. 4-Apr. 14: Duncan Ferguson: Sculpture Jan. 21-Feb. 10: Drawings by 8 American Artists (Hart, Karfiol, Kuhn, Pascin, Walkowitz, Weber, M. Zorach, and W. Zorach) Jan. 2-20: Ann Goldthwaite: Recent Work Dec. 10-31: American Print Makers 3rd Annual Exhibition Oct. 29-Nov. 17: Joseph Pollet: Recent Paintings Oct. 7-28: Americans Abroad (Davis, Fiene, Ganso, Hart, Hirsch, Pascin, and Wilenchick)
1930 -- Oct. [25-?]: Reuben Nakian: Sculpture Nov. 18-Dec. 16: Glenn Coleman: Paintings Sept. 30-Oct. 25: Summer Landscapes, 1930: Paintings by American Contemporary Artists Summer: Important Painting and Sculpture by Leading American Artists in the Daylight Gallery May 26-July 1: Small Painting, Sculpture, and Drawings by Leading American Contemporary Artists, $100 or Less Apr. 19-May 10: Daylight Gallery Opening Exhibition Oct. [25-?]: Julia Kelly: Painting Apr. [8-?]: Ben Shahn: Paintings and Drawings Mar. 11-30: Wood Gaylor: Paintings Feb. [11-?]: Marguerite Zorach: Recent Paintings of New England and New York Jan. 28-Feb. 15: 33 Moderns: The Downtown Gallery Exhibition of Paintings, Sculpture, Watercolors, Drawings, and Prints by 33 American Contemporary Artists [at the Grand Central Galleries] Jan. [25-?]: Stuart Davis: Recent Paintings Dec. 8-31: American Print Makers 4th Annual Exhibition Jan. [2-?]: Abraham Walkowitz: Heads and Flowers May [10-?]: "Pop" Hart: Paintings from Africa and Europe
1931 -- Jan. 3-25: Jules Pascin Memorial Exhibition Jan. [27-?]: William Zorach: New Sculpture Feb. [14-?]: Joseph Pollett: Paintings Feb. 2-16: Isabella Howland: Paintings Dec. 14-31: American Ancestors: Masterpieces by Little Known and Anonymous American Painters, 1790-1890 Mar. 16-30: 7 Masters of Water Color (Demuth, Dickinson, Hart, Marin, Sheeler, Walkowitz, Zorach) Apr. [29-?]: Peggy Bacon: Caricature Portraits Mar. 31-Apr. 9: Stuart Davis: Recent Paintings Nov. [18-?]: Charles Sheeler: Recent Paintings May 12-31: Flowers: Paintings in Oil and Water Color by American Contemporary Artists Oct. 5-25: `Artists' Models,' Figure Paintings by Leading Contemporary American Artists June 2-22: Paintings, Water Colors, Drawings, Sculpture by Leading Contemporary American Artists Oct. 28-Nov. 17: Karl Knaths: Paintings Dec. 7-31: American Print Makers 5th Annual Exhibition
1932 -- May 31-June 30: Paintings and Sculpture by Outstanding American Artists Dec. 28-Jan. 14: William Zorach: Spirit of the Dance in Original Plaster Dec.: Christmas Exhibition: Drawings, Paintings, Sculpture, $10-100 Feb. 20-Mar. 3: Peggy Bacon: Recent Paintings (N433: 515) Jan. 5-18: American Modern Art [arranged by the Downtown Gallery at Knoedler & Co., Inc., Chicago] Oct. 4-22: Prelude to the Season: New Paintings and Sculpture by American Contemporaries Dec. 9-31: Carl Walters: Sculpture and Pottery in Ceramic Jan. 5-24: Alexander Brook: Recent Paintings Jan. [24-?]: Paintings by Contemporary American Painters Feb. 23-Mar. 7: Wood Gaylor: Recent Paintings Oct. 4-22: Bernard Sanders: Graphics Dec. 5-31: American Print Makers 6th Annual Exhibition Feb. [24-?]: Winter in Maine: Recent Watercolors by William Zorach Mar. 22-Apr. 3: Joseph Pollet: Recent Paintings Nov. 18-Dec. 9: Stefan Hirsch: Recent Work--New York and Mexico Apr. 5-17: The Passion of Sacco-Vanzetti: Gouaches by Ben Shahn Apr. 19-May 15: Pictures of New England by a New Englander: Recent Paintings of Dogtown, Cape Ann, Mass., by Marsden Hartley [errata slip stapled to cover of the copy filmed on Br10: 660-663 indicates the dates were changed to Apr. 26-May 15, 1932] May 17-29: 3 Painters: Baum, Botkin, Schultz Oct. 25-Nov. 13: Dorothy Varian: Recent Paintings
1933 -- Jan. 17-Feb. 4: Bernard Karfiol: Paintings and Drawings Mar. 21-Apr. 8: Major Works by Distinguished American Artists Feb. [28-?]: Watercolors by Stuart Davis Feb. 27-Mar. 18: Reuben Nakian: Sculpture Portraits of 10 Artists Feb. 7-25: Yasuo Kuniyoshi: Recent Paintings Oct. 3-14: American Ancestors, 2nd Exhibition: Masterpieces by Little Known and Anonymous American Artists: 1720-1870 May 23-June 30: Paintings and Sculpture: Recent Works by Leading American Contemporaries, at $100 May 2-20: Ben Shahn: The Tom Mooney Case Apr. 11-29: Nicolai Cikovsky: Recent Paintings Nov. 14-Dec. 14: Drawings and Rare Prints by "Pop" Hart Dec. 5-31: American Print Makers 7th Annual Exhibition Oct. 24-Nov. 11: Painting and Sculpture by Leading Contemporaries
1934 -- Jan. 23-Feb. 10: Alexander Brook: Recent Paintings Feb. 13-Mar. 3: Babe Ruth by Reuben Nakian Jan. 3-20: Ernest Fiene: Painter of the American Scene Dec. 13-31: Practical Manifestations in American Art Apr. 3-21: Katherine Schmidt: Paintings Apr. 25-May 12: Stuart Davis: Recent Paintings Dec. [3-?]: Group Show Mar. 13-31: Recent Paintings by Joseph Pollet Oct. 1-14: Hamilton Easter Field Art Foundation Collection of Paintings and Sculpture Oct. 23-Nov. 3: Marguerite Zorach: Paintings and Drawings May 15-June 15: Paintings and Sculpture: Selected Works by Leading American Contemporaries, Extraordinary Values at $100 Dec. 3-29: American Print Makers 8th Annual Exhibition Feb. 20-Mar. 3: Recent Work by Peggy Bacon Nov. 20-Dec. 8: Peggy Bacon: `Off with Their Heads,' Caricature Portraits of 38 Contemporary American Celebrities Nov. 6-17: American Drawings: Recent Work by Charles Sheeler, John Marin, Yasuo Kuniyoshi, Charles Locke, Stuart Davis, Alexander Brook
1935 -- May 1-18: Nakian: The New Deal in Portraiture Apr. 13-28: Reuben Nakian: Portrait Heads of the Present Administration May 21-June 14: Paintings and Sculpture by Leading American Artists Dec.: Carl Walters: Ceramic Sculpture and Pottery Mar. 12-30: Exhibition of 14 Paintings by 14 American Contemporaries Feb. 20-Mar. 9: Nicolai Cikovsky: Recent Paintings Apr. 10-27: Watercolor and Pastels by 14 American Artists Dec. 2-28: American Print Makers 9th Annual Exhibition Nov.: Ernest Fiene: Paintings Nov. [5-?]: American Folk Art: Recently Acquired Paintings and Sculpture Jan. 16-Feb. 2: Charles Burchfield and Charles Sheeler Dec. 11-28: Anne Goldthwaite: Murals of the South Jan. 16-Feb. 9: Bernard Karfiol: Watercolors and Drawings Oct. 22-Nov. 9: Opening Exhibition: Important Recent Painting and Sculpture May 21-June 14: $100 Exhibition: Extraordinary Values for Discriminating Collectors
1936 -- Oct. [28-?]: Tenth Anniversary Exhibition: American Art, 1800-1936 Dec. 13-24: American Print Makers 10th Anniversary Annual Exhibition (N428:304-305) Dec.: Christmas Gift Show Dec.: Ceramics by Carl Walters Feb. [25-?]: Watercolors by William Zorach Mar. 17-Apr. 4: Yasuo Kuniyoshi: Paintings May [5-?]: Joseph Pollet: Paintings May 26-June 12: Paintings and Sculpture: Recent Work by Leading American Contemporaries, Extraordinary Values at $100 Apr. 14-May 2: Portraits by 6 Contemporary and Early American Artists Jan. 30-Feb. 15: American Birds in Sculpture, 1785-1935 Jan. 6-25: Alexander Brooke: Paintings Dec. 2-31: Vital Statistics
1937 -- Dec. 7-31: Christmas Exhibition: Fine Works of Art as Original Gifts through June 25: Paintings and Sculpture, 1800-1937 Oct. 5-23: Paintings by 12 Younger Artists Oct. 19-Nov. 6: Fall Exhibition May 18-June 5: Joseph Steig: Watercolors May 5-29: Major Examples by Major Artists Apr. 13-May 1: Children in American Folk Art, 1725-1865: Children's Art, Their Portraits, and Their Toys Apr. [10-?]: Contemporary Americans Sept. 28-Oct. 9: American Folk Art Sculpture: Index of Design, WPA Federal Art Project Sept.: Drawings by the Index of American Design Oct. 20-Nov. 10: An Exhibition of Contemporary American Art from the Downtown Gallery of New York, Sponsored by the Atlanta Georgian and Sunday American at the High Museum of Art Mar. 9-27: The 1920s: Oils, Sculpture, Watercolors, and Drawings by 18 American Contemporaries Mar. 30-Apr. 10: Younger Artists Nov.: Dorothy Varian: Paintings Feb. 9-27: American Dogs: Recent Portraits in Oil of Champion Dogs by Fenelle and Paintings and Sculpture Portraying Dogs of the Period 1820-1860 from the American Folk Art Gallery Jan. [15-?]: David Fredenthal Feb.: Group Show
1938 -- Oct. 4-22: Americans at Home: 32 Painters and Sculptors Sept. 4-22: Folk Art Apr. [27-?]: David Fredenthal: Paintings May 25-June 17: Art for the Summer House, $15-100 Apr. 5-23: Preston Dickinson, 1891-1930: 13 Pastels Dec. 6-30: Christmas Exhibition Mar. 16-Apr. 2: Paintings by Americans: New Paintings by Karfiol, Kuniyoshi, Sheeler, and Recent Oils by Marin and O'Keeffe Nov. [15-?]: Louis Guglielmi: Paintings Feb. 15-Mar. 5: 50 American Watercolors and Pastels, 1800-1938 Dec. 6-30: Carl Walters: Ceramic Sculpture Jan. 18-Feb. 15: American Genre Paintings, 1785-1887 Nov. 2-20: John Stenvall: Paintings Jan. 5-22: Isabella Howland: 25 Sculpture Heads Jan. 25-Feb. 11: Nicolai Cikovsky: Paintings Nov. 1-12: American Ancestors: Masterpieces in American Folk Art, 1720-1860 Nov. [2-?]: Georgia O'Keeffe: Paintings
1939 -- Oct. 3-14: Paintings on Velvet, 1800-1840 Feb. [14-?]: Nathaniel Kaz: Sculpture Nov. 7-25: Contemporary American Genre: 27 Painters and Sculptors Mar. [7-?]: Katherine Schmidt: Paintings May [8-?]: Group Show Jan. 24-Feb. 11: Yasuo Kuniyoshi: Paintings Dec. 6-30: Carl Walters: Ceramic Sculpture Jan. [24-?]: Jack Levine: Paintings Mar. 28-Apr. 15: William Steig: Sculpture June 7-30: American Art, Past and Present Apr. 18-May 16: William Harnett: `Nature-Vivre' Oct. [17-?]: John Marin: 20 Drawings Jan. 4-21: Important New Paintings by American Artists: Cikovsky, Karfiol, Marin,, O'Keeffe, Sheeler, and Varian Dec. 6-30: Christmas Exhibition: Paintings, Drawings, and Sculpture, $100 or Less May [16-?]: Raymond Breinin: Paintings
1940 -- Jan. [3-?]: Mitchell Siporin: Paintings Jan. [23-?]: Rainey Bennett: Paintings Dec. 2-21: Charles Sheeler: `Power,' 6 Original Paintings Commissioned for Reproduction in the December 1940 Issue of Fortune(N433:550 551) Mar. [25-?]: Yasuo Kuniyoshi: Lithographs Mar. [25-?]: Group Show: Paintings Feb. [20-?]: Julien Levi: Paintings Mar. [18-?]: Gallery Group Dec. [9-?]: Christmas Exhibition Oct. 17-Nov. 16: Opening Exhibition [43 East 51st Street] May 13-24: Artist's Fund Exhibition Apr. 23-May 11: Review of the Season: Paintings by Leading American Artists
1941 -- Dec. 9-Jan. 3, 1942: American Negro Art: 19th and 20th Centuries Sept. 16-Oct. 11: American Folk Sculpture: Weather Vanes in Metal and Wood: 18th and 19th Centuries [?]-June 27: Summer Exhibition and William Harnett May 6-30: What Is Wrong with This Picture? Nov. 13-Dec. 6: Yasuo Kuniyoshi: Recent Paintings (Br10: 699-700) Nov. 11-Dec. 6: Bernard Karfiol Oct. 21-25: American Folk Art Sale Oct. 7-Nov. 1: New Examples by Leading American Artists Apr. 8-26: Spring: New Paintings by Outstanding Americans Feb. 25-Mar. 22: Masterpieces in American Folk Art Jan. 7-Feb. 1: The Painter Looks at Music Feb. 4-21: 13 American Paintings
1942 -- Oct. 13-31: Paintings, Cartoons, Photographs of the St. Louis Post Office Murals by Mitchell Siporin and Edward Millman Dec. 22-Jan. 9, 1943: Inter-American Folk Arts, 1700-1900: Paintings and Sculpture by Little Known and Anonymous Artists of Argentina, Chile, Colombia, Ecuador, Haiti, Mexico, Peru, U.S.A. Jan. 7-24: Watercolors and Drawings by Leading American Artists Feb. 3-28: Julian Levi Mar. 3-28: Battles & Symbols of the U.S.A.: Exhibition of Paintings and Sculpture by American Folk Artists Apr. 7-May 2: Spring Exhibition: New Paintings and Newly Discovered Paintings by William M. Harnett Apr. 7-May 2: American Folk Art May 5-29: Yasuo Kuniyoshi: Retrospective Loan Exhibition, 1921-1941 (Br10: 703-705) June 10-26: Paintings, Sculpture, Drawings by Leading American Artists Sept. 22-Oct. 10: Opening Exhibition: New Paintings and Sculpture
1943 -- Jan. 12-30: Breinin: Recent Paintings (D55: 77) Mar. 2-27: William Zorach: Selected Sculpture (D57: 632-634) Mar. 31-Apr. 24: Spring Exhibition and American Folk Art June 8-25: Summer Exhibition: American Art Oct. 5-30: 18th Annual Exhibition: American Art Oct. 27-Nov. 20: Recent Paintings in Encaustic by Karl Zerbe Nov. 23-Dec. 11: Demuth, Dickinson, "Pop" Hart, Pascin
1944 -- Nov. 14-Dec. 2: Ben Shahn: Paintings in Tempera (Br10: 707-708) Feb. 1-12: Exhibition of Paintings and Sculpture Apr. 11-May 6: Spring: New Important Paintings & Sculpture by Leading Americans Feb. 15-Mar. 11: Horace Pippin May 31-June 30: Summer Exhibition May 9-27: William Zorach Oct. 3-28: 19th Annual Exhibition: American Art Sept. 13-30: American Folk Art from the Collection of Mrs. Isabel C. Wilde
1945 -- Jan. 3-20: Suba: First One-Man Exhibition of Paintings Mar. 6-31: Julian Levi Feb. 13-Mar. 3: George L. K. Morris: Paintings, 1944 and 1945, and Sculpture, 1934-1945 (Br10: 712-714) May 1-26: 19th Annual Spring Exhibition Apr. 3-28: Yasuo Kuniyoshi: New Paintings and Drawings Oct. 15-Nov. 3: Loan Exhibition Oct. 15-Nov. 3: 20th Anniversary [opening of new quarters on East 51st Street] Dec. 4-29: Christmas Exhibition Nov. 6-Dec. 1: 20th Annual Exhibition: American Art Dec. 4-29: Jacob Lawrence: John Brown, A Series of 22 Paintings in Gouache
1946 -- Dec. 3-31: Christmas Exhibition Sept. 4-21: Masterpieces in American Folk Art: Recently Discovered Examples Sept. 24-Oct. 19: 21st Annual Exhibition: New Paintings by Leading American Artists June: New Important Paintings by Leading Americans July 2-Aug. 30: Summer Exhibition: Recent Paintings and Sculpture... Combined with a Selection of Important American Folk Art Mar. 26-Apr. 13: Paul Burlin May 7-25: 6 Artists Out of Uniform: New Post-War Paintings by 6 Important Americans Jan. 29-Feb. 16: Stuart Davis Retrospective Exhibition: Gouaches, Watercolors, Drawings, 1912-1941 (N126: 369-370)
1947 -- Apr. 1-26: Spring 1947 Apr. 29-May 17: Boston/New York: First Exchange Exhibition [Boston portion at Downtown Gallery and New York portion at Boris Mirski Gallery, Boston] Feb. 4-Mar. 1: Important New Drawings Mar. 4-29: William Zorach Jan. 7-25: Arthur Dove Nov. 11-29: Niles Spencer Dec. 2-27: Christmas Exhibition Sept. 23-Oct. 18: 22nd Annual Exhibition Sept. 3-20: 20th-Century American Watercolors Aug. 12-29: Exhibition of American Folk Art: Recent Acquisitions June 10-Aug. 8: American Art, 1800-1947 and American Folk Art May 20-June 7: National Parks: A Fortune Portfolio
1948 -- Sept. 28-Oct. 23: 23rd Annual Exhibition Sept. 8-28: The American Family: Folk Paintings, 1750-1850 Aug. 10-Sept. 2: Marin - New York (N126: 407-408) June 29-Aug. 6: Art for the 8,060,000 May 10-20: Mexican Folk Art Apr. 13-May 1: William Harnett Centennial Exhibition Mar. 22-Apr. 3: American Art: A Multiple Exhibition Arranged by the Association of Dealers in American Art [Downtown Gallery participating] Jan. 20-Feb. 7: Paintings by Stuart Davis, Yasuo Kuniyoshi, Jack Levine, John Marin, Ben Shahn Dec. 7-31: Christmas 1948 Nov. 16-Dec. 14: Jacques Maroger: Recent Paintings (N126: 411-412) undated: American Art... 20th Century Image to Abstraction [Amon Carter Museum; entire exhibition drawn from the collections of Edith Gregor Halpert and the Downtown Gallery] Dec. 7-31: William Zorach
1949 -- Nov. 15-Dec. 3: Reuben Tam Dec. 6-24: Christmas Exhibition May 10-28: Mexican Folk Art July 6-29: Art and/or Money Sept. 7-24: Important Paintings and Sculpture by Little Known and Unknown Artists of the 18th and 19th Century Oct. 3-22: 24th Annual Exhibition Mar. 15-Apr. 2: Paul Burlin Apr. 5-23: The Artist Speaks Apr. 25-10: 26 Teenage Artists Presented by Seventeen Magazine May 3-21: Arthur G. Dove: Watercolors, 1929-1946 (N126: 424) Sept. 7-24: American Folk Art
1950 -- Apr. 25-May 13: In 1950... Jan. 23-28: Creative Art for Commerce Dec. 5-23: Christmas Exhibition Oct. 24-Nov. 11: Jacob Lawrence (D56: 298-300) May 16-June 2: A Museum Collection: American Folk Sculpture Apr. 4-22: Yasuo Kuniyoshi Sept. 26-Oct. 21: 25th Annual Exhibition: New Paintings and Sculpture June: Art for 13,000,000 Jan. 31-Feb. 18: Ralston Crawford Dec. 27-Jan. 27, 1951: John Marin Mar. 14-Apr. 1: In 1940... Feb. 21-Mar. 11: Aquamedia
1951 -- Dec. 11-29: Christmas Exhibition May 1-19: Newcomers: Paintings by Artists from 15 States Nov. 20-Dec. 8: O. Louis Guglielmi Apr. 3-28: Spring 1951 Oct. 2-27: 26th Annual Exhibition: New Paintings and Sculpture by Leading American Artists July 10-Aug. 17: Summer Exhibition: American Art Sept. 5-22: Contemporary American Drawings June 12-29: Masterpieces in American Folk Art Mar. 13-31: Charles Sheeler: Paintings, 1949-1951 Feb. 20-Mar. 1: William Zorach: Sculpture, 1947-1951
1952 -- Oct. 28-Nov. 15: Niles Spencer Oct. 14-Nov. 15: The Ground-Floor Room 2nd Annual Exhibition Dec. 9-27: Stuart Davis and Yasuo Kuniyoshi Mar. 11-29: Ben Shahn: Paintings (D56: 1075-1076) Mar. 4-20: Recent Arrivals Jan. 2-26: John Marin: Oils and Watercolors June 3-27: Art for the 67% May 12-29: Lithographs, Woodcuts, Theorems, Serigraphs, and Other Prints by Leading American Artists Apr. 22-May 10: Arthur G. Dove Apr. 1-19: Spring '52 Oct. 1-25: 27th Annual Exhibition Nov. 18-Dec. 16: Shop for Art Early at the Downtown Gallery Sept. 9-27: American Amateur Art of 100 Years Ago July 1-Aug. 1: Pertaining to Summer: An Exhibition of Painting and Sculpture by Leading American Artists
1953 -- Jan. 7-Feb. 14: Performance: A New Series of Paintings in Tempera by Jacob Lawrence Feb. 17-Mar. 7: Celebrating the Tercentenary of New York, MDCLIII - MCMLIII: Paintings of New York by Leading American Artists Apr. 21-May 9: David Aronson May 12-29: 8 Younger Artists Mar. 10-28: Paul Burlin Mar. 31-Apr. 18: Reuben Tam Nov. 17-Dec. 7: Art in the Office Dec. 8-31: Art Gems for Christmas Sept. 22-Oct. 17: 28th Annual Exhibition: Recent Paintings and Sculpture Oct. 20-Nov. 14: Yasuo Kuniyoshi: Ink Paintings
1954 -- Sept. 14-Oct. 2: Artists of Chicago May 25-June 25: Summer 1954 Nov. 9-20: Skowhegan School of Painting and Sculpture: A Benefit Exhibition by Its Faculty and Visiting Artists for the Scholarship Fund Oct. 5-30: 29th Annual Exhibition: New Paintings and Sculpture Nov. 23-Dec. 24: Christmas Exhibition Apr. 6-May 1: Dove and Demuth: Watercolor Retrospective May 4-22: American Folk Art: Painting and Sculpture Feb. 2-27: International Exhibition: American, Belgian, British, Canadian, French, Italian, Mexican Painters under 40 Mar. 2-31: Stuart Davis: Recent Paintings
1955 -- Mar. 20-Apr. 23: Georgia O'Keeffe May 24-June 11: Gallery Purchases: Contemporary Art Apr. 26-May 21: Spring 1955 Sept. 13-Oct. 1: Painters of Los Angeles June 14-30: Gallery Purchases: American Folk Art Nov. 1-26: Arthur Dove: Collages Oct. 4-29: 30th Annual Exhibition Dec. 28-Jan. 21, 1956: William Zorach: A Selection, 1914-1955
1956 -- May 1-26: Bernard Karfiol: The Figure (N126L529-531) May 29-June 29: Spring 1956 Sept. 5-29: Americans in Europe Oct. 9-Nov. 3: 31st Annual Exhibition Nov. 6-Dec. 1: Stuart Davis: Exhibition of Recent Paintings, 1954-1956 Dec. 4-22: 31st Annual Christmas at the Downtown Gallery Jan. 31-Feb. 25: The Recurrent Image Apr. 3-28: Charles Sheeler: Selections from the Collection of the William H. Lane Foundation Feb. 28-Mar. 24: Arthur Dove: Paintings
1957 -- Dec. 31-Jan. 25, 1958: 32nd Annual Exhibition [?]-May 4: Spring Exhibition Dec. 9-21: Art Our Children Live With: A Loan Exhibition of American Art Jan. 8-Feb. 7: Max Weber Feb. 12-Mar. 2: New Acquisitions: Wm. M. Harnett (1848-1892) Feb. 12-Mar. 2: American Folk Art: Paintings and Sculpture Mar. 2-30: New Mexico as Painted by Stuart Davis, Marsden Hartley, Yasuo Kuniyoshi, John Marin, Georgia O'Keeffe, John Sloan May 7-31: Important Drawings by Leading American Artists June 4-28: Summer 1957 Oct. 7-Nov. 2: Group Show Nov. 5-27: Last Judgments by Abraham Rattner (D203: 76) Nov. 25-Dec. 7: 32nd Annual Christmas at the Downtown Gallery
1958 -- Sept. 30-Oct. 11: Arthur Dove: Watercolors June 9-27: 100 Church Street, `Portrait of a Building' by 10 American Artists May 20-June 7: Charles Demuth Apr. 29-May 10: Spring 1958 Mar. 5-Apr. 19: Charles Sheeler Jan. 28-Feb. 21: C. S. Price Dec. 8-27: 33rd Annual Christmas Exhibition Nov. 11-Dec. 6: Max Weber: The Figure in Retrospect, 1906-1958 Oct. 14-Nov. 8: 33rd Annual Exhibition
1959 -- Dec. 8-24: Ben Shahn: Silk-Screen Prints Dec. 29-Jan. 23, 1960: New Acquisitions Oct. 20-Nov. 14: 34th Annual Exhibition Nov. 17-Dec. 5: 34th Annual Christmas at the Downtown Gallery Sept. 22-Oct. 17: The Dial and the Dial Collection: A Special Loan Exhibition of Paintings, Sculpture & Graphics by 30 American Artists Apr. 29-June 2: Spring 1959 Apr. 7-25: Robert Osborn Mar. 3-28: Ben Shahn Jan. 6-31: New Acquisitions: American Folk Art Painting and Sculpture
1960 -- Feb. 23-Mar. 19: Gallery Group Mar. 22-Apr. 9: Jack Zajac Mar. 11-[?]: Signs & Symbols, U.S.A., 1760-1960 Jan. 21-Feb. 20: 7 Artists in Hawaii Dec. 5-24: Robert Osborn: Paintings and Drawings from `The Vulgarians' Nov. 8-Dec. 3: Abraham Rattner Dec. 5-24: 35th Annual Christmas at the Downtown Gallery through June 30: Summer 1960 Oct. 11-Nov. 5: 35th Annual Exhibition Apr. 19-may 7: Tseng Yu-Ho May 10-June 4: Stuart Davis
1961 -- June 13-30: Selections 1961 May 16-June 9: Spring 1961 Dec. 4-23: 36th Annual Christmas at the Downtown Gallery Sept. 12-Oct. 7: New Acquisitions Feb. 15-Mar. 11: Aquamedia in American Art Jan. 25-Feb. 11: Yasuo Kuniyoshi Apr. 11-May 2: Gallery Group Mar. 15-Apr. 8: Alfred Duca Jan. 9-Feb. 6: New Acquisitions
1962 -- Nov. 3-28: Robert Osborn Dec. 3-22: 37th Annual Christmas at Downtown Gallery May 22-June 15: 36th Annual Spring Exhibition: The Figure Apr. 24-May 19: Stuart Davis Oct. 16-Nov. 10: 37th Anniversary Exhibition Sept. 25-Oct. 13: American Roots: Folk Art in Painting and Sculpture Feb. 27-Mar. 17: Robert Osborn: Clowns and Non-Clowns Jan. 9-27: Tseng Yu-Ho: 18 Dsui Paintings Mar. 27-Apr. 21: Abstract Painting in America, 1903-1923 Mar. 10-31: Max Weber Memorial Exhibition
1963 -- Mar. 12-Apr. 16: Signs & Symbols * U.S.A., 1780-1960 May 7-[?]: Max Weber Dec. 2-21: 38th Annual Christmas at Downtown Gallery June 11-July 3: Summer 1963 Apr. 9-May 3: Spring 1963 Jan. 8-Feb. 2: John Marin Oct. 1-26: 38th Anniversary Exhibition Oct. 29-Nov. 16: Ben Shahn: Retrospective Exhibition, Paintings and Drawings, 1901-1958 Oct. 29-Nov. 16: Homage to e. e. cummings Oct. 29-Nov. 16: Gallery Group Aug. 6-Sept. 15: Loan Exhibition from the Edith Gregor Halpert Collection [Santa Barbara Museum of Art] Nov. 7-Dec. 8: Loan Exhibition from the Edith Gregor Halpert Collection [Honolulu Academy of Arts] Sept. 9-14: Visual Art by Performing Artists Dec. 3-Jan. 7, 1964: American Signs and Symbols
1964 -- Sept. 9-Oct. 3: 20th Century American Drawings Oct. 6-31: 39th Anniversary Exhibition Dec. 1-24: 39th Annual Christmas at the Downtown Gallery Jan. 11-Feb. 9: Loan Exhibition from the Edith Gregor Halpert Collection [California Palace of the Legion of Honor, San Francisco] Jan. 28-Feb. 21: George L. K. Morris Mar. 3-28: Supplement to the Rattner Exhibition May 12-June 5: New York City: Paintings, 1913-1963, by American Artists
1965 -- Jan. 5-23: Charles Sheeler and Yasuo Kuniyoshi Nov. 30-Dec. 18: Warner Brothers Co. Mural by Willard Cummings and Emilio A. Serio Mar. 23-Apr. 17: John Storrs Sept. 8-Oct. 2: A Gallery Survey of American Art [inaugural show, Ritz Tower Concourse, 465 Park Avenue] Nov. 3-20: Edward Stasack Nov. 30-Dec. 18: 40th Annual Christmas at the Downtown Gallery
1966 -- Nov. 5-Dec. 12: Morris Broderson Oct. 18-Nov. 12: 41st Anniversary Exhibition: Contemporary American Art Mar. 1-26: Balthus: New Paintings, 1963-1966 May 3-27: Charles Sheeler Sept. 20-Oct. 8: "Popular Art" in America, 18-19th Century
1967 -- Apr. 18-May 13: John Storrs Mar. 15-Apr. 8: Arthur Dove Nov. 7-25: O. Louis Guglielmi Sept. 26-Oct. 21: 42nd Anniversary Exhibition Feb. 14-Mar. 11: George L. K. Morris Jan. 10-Feb. 14: William Zorach: The Last Decade Dec.: Gallery Group
Berman, Avis. Pioneers in American Museums: Edith Halpert. Museum News 54, no. 2 (November/December 1975): 34-37, 61-64.
Bragazzi, Olive. The Story Behind the Rediscovery of William Harnett and John Peto by Edith Halpert and Alfred Frankenstein. American Art Journal 15, no. 3 (Spring 1984): 51-65.
Tepfer, Diane. Edith Gregor Halpert and the Downtown Gallery/Downtown, 1926-1940: A Study in American Art Patronage. Ph.D. diss., University of Michigan, 1989.
Edith Gregor Halpert, interview by Harlan Phillips, 1962-1963. Oral History Program, Archives of American Art, Smithsonian Institution.
Edith Gregor Halpert, interview by Harlan Phillips, January 20, 1965. New Deal and the Arts Project, Archives of American Art, Smithsonian Institution.
Edith Gregor Halpert, lecture delivered at the Brooklyn Museum of Art, October 19, 1959, on the 1959 American National Art Exhibition in Moscow. Tape-recorded by the Archives of American Art, Smithsonian Institution, and transcribed by the the Downtown Gallery staff.
In addition, the Archives of American Art has among its collections personal papers and oral history interviews of artists and collectors associated with the Downtown Gallery. Researchers are advised to conduct a name search in the Smithsonian Institution Research Information System (SIRIS).
The Archives of American Art also holds microfilm of material lent for microfilming (ND-1- ND-71), the mojority of which was subsequently donated. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Between 1957 and 1967, the Downtown Gallery loaned portions of its records to the Archives of American Art for microfilming. Because the microfilming was done in increments, the material was not always filmed in logical sequence, and overlapping and duplication of records occurred. Since files loaned for microfilming were, for the most part, still working records used to conduct ongoing gallery business, their contents changed and shifted over time. After Edith Halpert's death in 1970, the records of the Downtown Gallery were received by the Archives of American Art, 1972-1978, as a gift from her niece and executor, Nathaly Baum. In addition to the previously microfilmed material, the gift includes correspondence, inventories and sales records, financial records, photographs, and printed matter, as well as artifacts.One additional document received 2016 by Karen Freeman, daughter of Arthur H. Freeman, who did business at L.D. Landau and Co. Freeman represented halpert as an insurance agent.
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
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.
Art dealers -- New York (State) -- New York Search this
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
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.