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Marvin E. Mundel Industrial Engineering Collection

Creator:
Mundel, Marvin Everett, 1916-1996 (industrial engineer)  Search this
Names:
A.O. Smith Company  Search this
Aji-no-moto Corporation  Search this
Albert Trostel and Sons  Search this
Aluminum Goods Manufacturing Comp  Search this
American Colortype  Search this
American Institute of Industrial Engineers  Search this
Asian Productivity organization  Search this
Barbar and Coleman  Search this
Bridgestone  Search this
Briggs and Stratton  Search this
Buffalo China Company  Search this
Cindahy Brothers Company  Search this
College of Technology Birmingham, England  Search this
E.I. DuPont De Nemours  Search this
Gardner Board and Carton Company  Search this
Hamilton Manufacturing Company  Search this
Herbst Shoe Manufacturing Company  Search this
Japan Productivity Center  Search this
Japanese Management Association  Search this
Kanaki Gear Plant  Search this
Kanebo Spinning Co.  Search this
Kawasake Dockyard  Search this
Lockheed Shipbuilding and Construction Comp  Search this
Milwaukee Dental Research Group  Search this
Milwaukee Gas Company  Search this
Mitsubishi Heavy Industries Ltd.  Search this
Nihon Denso  Search this
Nippon Electric Company  Search this
Nippon Kokan Tsurumi  Search this
Pillsbury Mills  Search this
Purdue University  Search this
S.C. Johnson and Son  Search this
Society for the Advancement of Management  Search this
Stephan A. Young Company  Search this
Sumitomo  Search this
Walgreen's  Search this
Western Printing and Lithography Corp  Search this
Westover Engineers  Search this
Yanmar Diesel Engine Company  Search this
Deming, Edwards  Search this
Gambrell, C.B.  Search this
Extent:
15 Cubic feet (36 boxes)
75 Motion picture films
Type:
Collection descriptions
Archival materials
Motion picture films
Photographs
Field notes
Motion photographs
Diagrams
Loop films
Motion pictures (visual works)
Transparencies
Correspondence
Charts
Place:
United States Navy Long Beach Naval Shipyard
United States Rock Island Arsenal
Date:
1937-1996
Summary:
The Marvin E. Mundel Industrial Engineering Collection contains correspondence, reports, data, notes, publications, books, charts, certificates, awards, writings, photographs, films and videos that document the life and career of Marvin Mundel, a well-known expert in the field of work management and productivity enhancement.
Scope and Contents:
The Marvin E. Mundel Industrial Engineering Collection contains correspondence, reports, data, notes, publications, books, charts, certificates, awards, writings, photographs, films and videos that document the life and career of Marvin Mundel and demonstrate his work practices and teaching techniques.

The collection is organized chronologically into eleven series: Biographical Materials, Writings, Industrial Engineering, Work Methods, Purdue University, Time and Motion Study, Government Work, Japanese Consulting, Asian Productivity Organization, Dupont Case Study, and Films and Videos. While the years in each series may overlap, the separation of series demonstrates the evolution of Mundel's work and teachings. Photographs can be found throughout the collection. Information about the film and video series is located in Appendix A.

Series 1, Biographical Materials, 1953-1996, consists of documentation about Mundel and his career. The series contains bibliographies and curriculum vitae, correspondence, documentation on his memberships in Industrial Engineering groups, photographs, and certificates.

Series 2, Writings, 1937-1994, brings together Mundel's papers, speeches, books, and publications. When possible, the writings are arranged chronologically. The remaining writings are arranged by topic. This series should not be considered a definitive bibliography of Mundel's writings.

Series 3, Industrial Engineering, 1954-1995, combines Mundel's research with correspondence to and from other Industrial Engineers. It also includes Mundel's contributions to the Encyclopedia Britannica on "Industrial Engineering," "Work Measurement," and "Memomotion."

Series 4, Work Methods, undated, contains documents such as forms, office procedure manuals, visual aids, and printed matter about office equipment that offer insight into Mundel's work methods and innovative methods of making his own office more efficient.

Series 5, Purdue University, 1951-1957, documents his teaching career at the Industrial Engineering Department as well correspondence from his trip to England where he taught classes on industrial engineering.

Series 6, Time and Motion Study, 1952-1984, includes notes, data, printed matter, correspondence, charts, and photographs from his consultant work for various companies. This series contains seven subseries: Subseries 1, Consulting Work, 1954-1966; Subseries 2, Correspondence, 1956-1960; Subseries 3, Course work, undated; Subseries 4, Equipment, undated; Subseries 5, Film, 1952-1984; Subseries 6, Memberships, 1970-1977; and Subseries 7, Research, 1957.

Subseries 1, Consulting work, 1954-1966, contains correspondence and data from the corporations that hired Mundel as a consultant. Subseries 2, Correspondence, 1956-1960, the contains letters to and from people with diverse interests in time and motion study. Many people wrote to Mundel asking for advice with projects. Visual aids and handouts make up Subseries 3, Course work. In order to create memomotion, Mundel needed to refine certain electrical and motor parts on the cameras and projectors with which he worked. Subseries 4, Equipment, undated, have brochures on many different kinds of motors and switches. Subseries 5, Film, 1952-1984, contains most of the documentation that relates directly to films and video cassettes in this collection. Mundel was active in many organizations related to industrial engineering that shared his interests in time and motion study. Finally, copies and clippings make up the research subseries, 1957.

Series 7, Government Work, 1952-1971, documents Mundel's work for the government, from his work at Rock Island Arsenal to seminars for NASA. This series contains correspondence, data, reports, course work, visual aids, and photographs. The consulting work is arranged in a chronological manner and, in some instances, alphabetically.

Series 8, Japanese Consulting, 1959-1987, documents Mundel's consulting work for Japanese corporations. The files are arranged alphabetically by company and contain research, data, charts, notes, reports, and correspondence about each manufacturing firm. His notebooks and trip files give insight into his cultural understanding of Japanese firms and his teaching practices. Of special interest are the notebooks that contain photographs and firsthand experiences of adapting to Japanese culture and understanding Japanese work practices.

Series 9, Asian Productivity Organization, 1973-1994, consists of year and country files of Mundel's seminars throughout the Far East. The course work, notes, visual aids, reports, and photographs demonstrate Mundel's shift in emphasis from work measurement to managerial organization. This series also contains books published by the Asian Productivity Organization (APO) that give a context to Mundel's work and writings.

Series 10, Dupont Case Study, 1978-1984, contains correspondence, data, notes, reports, research, and visual aids concerning one of the many American companies where Mundel consulted. Dupont was selected because of its prominence in the American business world.

Series 11, Films and Videos, circa 1939-1973, is comprised of 16mm films and 1⁄2" VHS videocassette tapes. The bulk of the series is 16mm films. The films relate to the documents in Series 6: Time and Motion Studies. There are six subseries: Rating Films, 1939-1973; Memomotion Films, circa 1948-1959; Multi-Image Loops, circa, 1956-1958; Instructional Films, circa 1939-1962; Travel Films, circa 1955-1958 and Papers, undated.

Films are labeled either OF, RF, OV, or RV, for Original Film, Reference Film, Original Video, and Reference Video, respectively. [Example: For "676.24 OF Roll Edge on Sheet Metal Disc, circa 1960 (REF. FILM 676.24 and REF. VIDEO 676.70)," 676 is the collection number; 24 is the item number; OF means original film; "Roll Edge on Sheet Metal Disc" is the title; 1960 is the date followed by any reference copies. In this case there are both a reference film and a reference video. The Archives Center will eventually have reference copies for all of the films. for researchers to view.

Subseries 1, Rating Films, circa 1939-1973, represents Mundel's work with rating or pace films. This technique films a worker doing a repetitive work unit and allows trained motion study analysts to establish time standards. These films show a wide variety of jobs held by both men and women, American workers and Japanese workers. There are three groups of films:

Demonstration Rating Films: These films have the same format as titles with 10 scenes of workers doing a work unit at different paces. The films are arranged according to Mundel's numerical system and retain the original titles. These films should be projected at 1000 frames per minute.

Poultry Rating Films: These are rating films that Mundel did for the USDA and the Consumer Protection Programs.

Miscellaneous Films: These are Mundel's rating films for Tung Sol, ASF, Woods Veterans Hospital, and Montfort. There is also a rating film taken by an English company.

Subseries 2, Memomotion Films, circa 1948-1959, includes memomotion examples that were incorporated into instructional films. Memomotion is a filming technique created by Mundel. Time and motion analysts film a non-repetitive or extended crew activity at one frame per second and then project the film at normal speed. In this manner, the analyst can record a longer work period at a fraction of the cost and be able to analyze the film much more quickly. Memomotion is often used in conjunction with work flow diagrams.

Subseries 3, Multi-Image Loops, circa 1956-1958, combines seven of Mundel's multi-image loops onto one film core. The films display twelve images of rating films at the same time. The worker in each image is working at a different pace (fastest in the top left-hand corner and the slowest in the bottom right-hand corner). Time and motion study analysts could watch the loops for as long as they needed to get an idea of what the range of paces for a certain job could be. The loops were disassembled and spliced together for preservation and viewing purposes.

Subseries 4, Instructional Films, circa 1939-1962, includes Mundel's attempts to educate others about his filming techniques and overall industrial engineering themes. The films teach ways to improve productivity through motion studies, how to make memomotion films, and the College of Technology, Birmingham, England's method of making microscope slides.

Subseries 5, Travel Films, circa 1955-1958, includes films that combine Mundel's love for travel and different cultures with film documentation of Japanese seminars.

Subseries 6, Papers, undated, contains papers directly related to the films. Of importance are the rating sheets which associate different percentages of efficiency to the paces in the film.
Arrangement:
This collection is divided into eleven series.

Series 1, Biographical Materials, 1953-1996

Series 2, Writings, 1937-1994

Subseries 1, Books, 1942-1994

Subseries 2, Papers, 1959-1989, undated

Subseries 3, Publications, 1937-1993, undated

Subseries 4, Speeches, undated

Subseries 5, University of Iowa Studies, 1938-1940

Series 3, Industrial Engineering, 1954-1995

Series 4, Work Methods, undated

Series 5, Purdue University, 1951-1957

Series 6, Time and Motion Study, 1952-1984

Subseries 1, Consulting Work, 1954-1966

Subseries 2, Correspondence, 1956-1960

Subseries 3, Course Work, undated

Subseries 4, Equipment, undated

Subseries 5, Film, 1952-1984

Subseries 6, Memberships-Industrial Management Society, 1970-1977

Subseries 7, Research, 1957

Series 7, Government Work, 1952-1971

Subseries 1, General, 1955-1967, undated

Subseries 2, Rock Island Arsenal, 1952-1958

Subseries 3, Consulting, 1959-1971

Subseries 4, Seminars, 1963-1969

Series 8, Japanese Consulting, 1959-1987

Subseries 1, Consulting, 1961-1980

Subseries 2, Correspondence, 1959-1980

Subseries 3, Keio University, 1960-1961

Subseries 4, Memberships, 1959-1987

Subseries 5, Notes, undated

Subseries 6, Photographs, undated

Subseries 7, Scrapbooks, 1960-1965

Subseries 8, Seminars, 1959-1967

Series 9, Asian Productivity Organization, 1973-1994

Subseries 1, Annual Reports, 1973-1994

Subseries 2, Books, 1985-1989

Subseries 3, General, 1976-1995, undated

Subseries 4, Seminars, 1973-1989

Subseries 5, Presentation Album of Jakarta Seminar, 1973

Series 10, DuPont Case Study, 1978-1984

Series 11, Films and Videos, circa 1939-1973

Subseries 1, Rating Films, circa 1939-1973

Subseries 2, Memomotion Films, circa 1948-1959

Subseries 3, Multi-Image Loops, circa 1956-1958

Subseries 4, Instructional Films, circa 1939-1962

Subseries 5, Travel Films, circa 1955-1958

Subseries 6, Papers, undated
Biographical / Historical:
Marvin Everett Mundel, born April 20, 1916, was a major figure in the fields of industrial engineering and time and motion studies. He is known particularly for his consulting work, seminars and teaching, as well as numerous publications based on his expertise in work management and productivity enhancement. He began his engineering career in 1936 with a B.S. in Mechanical Engineering from New York University (1936), followed by an M.S. and Ph.D. in Industrial Engineering earned in 1938 and 1939, respectively, from the State University of Iowa.

In the late 1930s and 1940s, work measurement studies were considered the state-of-the-art method for improving industrial production. Mundel continued and built upon the achievements of pioneers Frank and Lillian Gilbreth during his teaching career at both Bradley and Purdue Universities. He also conducted seminars at Marquette University Management Center and the University of Wisconsin's Extension Center in Milwaukee. In addition to his American teaching career, Mundel was a visiting professor at both the University of Birmingham in England and Keio University in Tokyo, Japan.

In 1952, Mundel started a consulting firm which aided corporations and governments in either work measurement consulting or, later in his career, industrial engineering consulting. His first clients were United States government agencies that wanted to gain control over lost revenue or manpower. His position from 1952 to 1953 at the Rock Island Arsenal in Illinois, as the first Director of the Army Management Engineering Training Program, transformed management techniques in the Army.

After his employment at Rock Island, Mundel began a series of consultant roles with corporations eager to standardize labor practices and make production more efficient. From 1953 to 1963, Mundel conducted time and motion studies at various manufacturing companies and developed techniques to measure work units. His most important contribution to the field of time and motion study was the development of memomotion, a stop-action filming technique used to determine time standards for work tasks.

Following his refinements of time and motion study, Mundel took his expertise to Japan where he offered his consultant services to various Japanese manufacturing firms during the 1960s. His interests evolved from time and motion studies to include work management and overall management organization consulting. During the 1960s and 1970s, Mundel also returned to government consulting in the United States with these new techniques, in offices such as the Bureau of the Budget and United States Department of Agriculture. This period marked an important evolution in Mundel's career, from time and motion study to work measurement and then to industrial consulting. Mundel was among the first consultants to export American management techniques to Japan, and, in his later career, to other Asian countries. He became an integral part of the Asian Productivity Organization, a group that helped developing Asian countries learn how to increase productivity. His seminars sought to provide corporations and governments with efficient management techniques so that Asia would become a strong economic center. Mundel was sensitive to cultural differences as well as varied methods of management and standards of productivity.

Mundel won the Gilbreth Award in 1982. He continued conducting seminars and writing books and articles well into the 1980s, until failing health prevented him from traveling. When Mundel died in 1996, he was well respected in the field of industrial engineering for his many contributions.
Provenance:
This collection was donated to the Archives Center at the National Museum of American History by Marvin Mundel's wife, Takako Mundel, in January, 1999.
Restrictions:
The collection is open for research use.
Rights:
Copyright held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Hospitals -- Materials management  Search this
Food processing plants  Search this
Industrial productivity -- measurements  Search this
Industrial films  Search this
Government consultants -- Asia -- Japan  Search this
Government productivity -- Japan  Search this
Machine shops  Search this
Slaughtering and slaughter-houses  Search this
Machinery industry  Search this
Punched card systems -- Machinery  Search this
Steel founding  Search this
Steel industry and trade  Search this
Plant layout  Search this
Diesel motor industry  Search this
Meat -- Packing  Search this
Shipbuilding industry  Search this
Meat inspection  Search this
Meat industry and trade  Search this
Pharmaceutical industry  Search this
Materials handling  Search this
Poultry -- Inspection  Search this
Dental offices  Search this
Box making  Search this
Greeting cards industry  Search this
United States Department of Agriculture  Search this
Refuse collection  Search this
Poultry industry  Search this
Shoe industry  Search this
Dental instruments and apparatus  Search this
Methods engineering  Search this
Industrial engineering -- 1930-2000  Search this
Chronophotography  Search this
Drafting table  Search this
Organizational effectiveness  Search this
Industrial management  Search this
Work measurement  Search this
Motion study  Search this
Genre/Form:
Photographs -- 20th century
Field notes
Motion photographs
Diagrams
Loop films
Motion pictures (visual works)
Transparencies
Correspondence -- 1930-1950
Charts
Citation:
Marvin E. Mundel Industrial Engineering Collection, 1937-1996, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.0676
See more items in:
Marvin E. Mundel Industrial Engineering Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0676
Online Media:

James Graham & Sons records

Creator:
James Graham & Sons  Search this
Names:
Coe Kerr Gallery  Search this
Duveen-Graham (Gallery)  Search this
Graham Gallery  Search this
Graham Modern (Gallery)  Search this
Cicero, Carmen, 1926-  Search this
Coheleach, Guy  Search this
Crile, Susan, 1942-  Search this
De Kooning, Elaine  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Duveen, Albert  Search this
Fogel, Seymour, 1911-1984  Search this
Fried, Nancy  Search this
Graham, Robert Claverhouse, 1913-1994  Search this
Kriesberg, Irving, 1919-  Search this
Melchers, Gari, 1860-1932  Search this
Perrine, Van Dearing, 1869-1955  Search this
Santlofer, Jonathan, 1946-  Search this
Schley, Reeve, 1936-  Search this
Stevens, Peter  Search this
Thorne, Joan, 1943-  Search this
Trieff, Selina, 1934-  Search this
Wyeth, Andrew, 1917-2009  Search this
Wyeth, Jamie, 1946-  Search this
Wyeth, N. C. (Newell Convers), 1882-1945  Search this
Extent:
103.2 Linear feet
Type:
Collection descriptions
Archival materials
Visitors' books
Scrapbooks
Photographs
Date:
1821
1815
circa 1896-2011
Summary:
The records of the New York City gallery James Graham & Sons measure 103.2 linear feet and date from 1815, 1821, circa 1896-2011 (bulk 1950s-1980s). The collection generally documents the gallery's contemporary art department during the time in which Robert Claverhouse Graham, Sr. worked at the gallery (1940-1979); records prior to 1954 are sparse and scattered. Gallery records include artist files; correspondence; exhibition files; financial records; inventory records; printed materials; sales, loans, and consignment records; scrapbooks; and photographic materials. Also found are records from Coe Kerr Gallery regarding exhibitions.. There is a 8.0 linear foot unprocessed addition to this collection donated in 2018 that includes artists' files regarding exhibitions and photographs of works of art.
Scope and Content Note:
The records of the New York City gallery James Graham & Sons measure 103.2 linear feet and date from 1815, 1821, circa 1896-2011 (bulk 1950s-1980s). The collection generally documents the gallery's contemporary art department during the time in which Robert Claverhouse Graham, Sr. worked at the gallery (1940-1979); records prior to 1954 are sparse and scattered. Gallery records include artist files; correspondence; exhibition files; financial records; inventory records; printed materials; sales, loans, and consignment records; scrapbooks; and photographic materials. Also found are records from Coe Kerr Gallery regarding exhibitions of artwork by Jamie Wyeth, and to a lesser extent, Andrew and N.C. Wyeth.

Over the years, the gallery changed names and established contemporary art departments. In addition to records of James Graham & Sons, the collection holds the records of Duveen-Graham Modern Art (in partnership with Albert Duveen), Graham Gallery, Graham Modern, JG|Contemporary, and, to a lesser extent, The Clapp and Graham Co.

Alphabetical files are a mix of business correspondence and business records. The bulk of the series contains correspondence with galleries, museums, other institutions, and, to a lesser extent, clients regarding sales, consignments, and loans of artwork. Also found are materials relevant to the daily operations of the gallery, including correspondence, subject files, and scattered financial, business and legal records.

Exhibition files provide scattered documentation of the gallery's exhibitions through catalogs, clippings, correspondence, guest books, notes, photographs, press materials, price lists, and sales receipts and other financial records.

Artists' Files document the numerous artists who have been represented by the gallery, especially modern American artists. Folders for each artist can contain a variety of materials, including correspondence with the artist or with institutions regarding consignments, loans, sales and exhibitions; photographic materials primarily of artwork; sales invoices; exhibition catalogs, postcards, and other printed materials; press releases; magazine and newspaper clippings; price lists; artist binders; and research materials on artists and artwork. Also found are some subject files, per original arrangement. There is extensive material related to artists Carmen Cicero, Susan Crile, Elaine De Kooning's portrait of President John F. Kennedy, Edwin Dickinson, muralist Seymour Fogel, Nancy Fried, Irving Kriesberg, Gari Melchers, Jonathan Santlofer, Reeve Schley, Peter Stevens, Joan Thorne, and Selina Trieff.

Artwork files document sales, consignments, and loans of artwork primarily from the mid-1980s to 2000s. Materials include agreements and contracts; condition reports; correspondence; invoices and receipts; photographs of artwork; shipping records; and photocopied printed material and other documentation. This series requires written permission from the donor in order to access.

Sales records from 1959-1984 (missing 1974) are found in the Financial Records series. Also found are check stub books from the mid-late 1950s; price lists; records for the Four Seasons Charter Corp.; and scattered banking, consignment, tax, and other financial records. Inventory cards from mid-1950s-1970s and inventory lists, often with notations and prices, are found in the series Inventory Records.

Coe Kerr Gallery Records regarding the Wyeths document Jamie Wyeth's exhibitions primarily from the mid-1970s-early 1980s. Also found is limited material regarding Andrew Wyeth and N.C. Wyeth. Materials include correspondence, photographs, exhibition printed materials, and extensive newspaper clippings.

There are exhibition catalogs, books, announcements, magazines, clippings, postcards, posters and other printed materials related to artists, John Graham & Sons exhibitions, and exhibitions by Graham artists held at other galleries and museums. Also found is an 1815 fifty cent note which was redeemed in 1821.

Seven scrapbooks document discrete aspects of the business, including the gallery's advertising, participation in an art fair, and the careers of artists Guy Coheleach and Van Dearing Perrine. Materials housed in the scrapbooks include clippings, catalogs, photographs, and other printed materials.

Photographic Materials include mostly black and white photographs, negatives, slides and transparencies of artwork; scattered photographs of installations, artists, and the gallery; and a handful of personal snapshots. The bulk of the photographs are undated, but were likely printed between 1950s-1990s.

There is a 8.0 linear foot unprocessed addition to this collection donated in 2018 that includes artists' files regarding exhibitions and photographs of works of art.
Arrangement:
The collection is arranged as 11 series:

Series 1: Alphabetical Files, circa 1896, 1902-1999, bulk 1955-1986 (Boxes 1-15; 15 linear feet)

Series 2: Exhibition Files, 1912, 1947-2004 (Boxes 16-24; 8 linear feet)

Series 3: Artists' Files, circa 1907-2006, bulk 1955-1999 (Boxes 24-62, 95-96; 39.1 linear feet)

Series 4: Artwork Files, circa early 1900s-2011, bulk mid-1980s-2009 (Boxes 63-71, 94, 101; 9.3 linear feet)

Series 5: Financial Records, circa 1937-1993 (Boxes 72-76, 96; 4.5 linear feet)

Series 6: Inventory Records, circa 1954-1993 (Boxes 76-78, 96; 2.1 linear feet)

Series 7: Coe Kerr Gallery Records Regarding Wyeths, 1964-1988 (Boxes 78-80, 97; 2.7 linear feet)

Series 8: Printed Materials, 1815, 1821, 1949-2006 (Boxes 81-82, 97; 2.1 linear feet)

Series 9: Scrapbooks, 1897-1990s (Boxes 82, 98-100; 0.9 linear feet)

Series 10: Photographic Materials, 1929-1990s (Boxes 83-93, 96, 100-101; 11.5 linear feet)

Series 11: Unprocessed Addition, circa 1940-1980 (Boxes 102-109; 8 linear feet)
Historical Note:
The James Graham & Sons gallery has been owned and managed by the Graham family in New York City since 1857. Throughout its history, the gallery has specialized in decorative arts, antiques, and 19th-early 20th century and contemporary American art.

In 1857, Samuel Graham founded a gallery at 66 Third Street and specialized in furniture. Graham was joined by his son James in the 1880s and expanded the business to include antiques and decorative arts. James A. Graham, the third generation Graham, joined the gallery in the early 20th century. James Graham and antiques dealer Marshall Clapp created Clapp & Graham in 1914, a partnership which was dissolved around 1940.

James R. Graham, the fourth generation Graham, joined the gallery in 1937, followed by his brother Robert Claverhouse Graham, Sr. in 1940. The gallery was then named James Graham & Sons and was located at 514 Madison Avenue. At this time, the gallery specialized in bronzes, ceramics, silver, sculptures, and 19th-early 20th century American art. Robert C. Graham, Sr. introduced modern American art, especially The Eight, into the gallery's inventory.

In 1955, the gallery moved to 1014 Madison Avenue, where it remained until the late 2000s. That same year, Graham opened its first contemporary department with Albert Duveen. Duveen-Graham Modern Art gallery was based on the third floor of the Madison Avenue building and dealt solely in contemporary art until its closing in 1958. Robert C. Graham, Jr. (Robin) joined the gallery in 1963, becoming the fifth generation Graham to run the family business. The gallery is currently located at 32 East 67th Street.

Betsy Fahlman's "James Graham & Sons: A Century and a Half in the Art Business" (2007) was a valuable resource in constructing this Historical Note.
Related Material:
Among the other resources relating to James Graham & Sons in the Archives of American Art is an oral history interview with Robert Claverhouse Graham, November 19, 1976, and the David Herbert papers, 1950-1995.
Provenance:
The James Graham & Sons records were donated in 2007, 2008, and 2012 by Priscilla Caldwell and Jay Grimm of James Graham & Sons and in 2018 by Cameron Shay of James Graham & Sons.
Restrictions:
Use of original papers requires an appointment. Artwork Files (Boxes 63-71, 94) and some photographic materials (Box 93 and 101) require written permission to access.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art -- Economic aspects  Search this
Painting -- United States  Search this
Sculpture -- United States  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Visitors' books
Scrapbooks
Photographs
Citation:
James Graham & Sons records, 1815, 1821, circa 1896-2011, bulk 1950s-1980s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jamegras
See more items in:
James Graham & Sons records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jamegras
Online Media:

Leo Castelli Gallery records

Creator:
Leo Castelli Gallery  Search this
Names:
Amsterdam (Netherlands). Stedelijk Museum  Search this
Castelli Graphics (Firm)  Search this
Castelli-Sonnabend Tapes and Films, Inc.  Search this
Dwan Gallery (Los Angeles, Calif.)  Search this
Dwan Gallery (New York, N.Y.)  Search this
Ferus Gallery (Los Angeles, Calif.)  Search this
Ileana Sonnabend (Gallery)  Search this
Jewish Museum (New York, N.Y.)  Search this
Multiples, Inc.  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Sidney Janis Gallery  Search this
Whitney Museum of American Art  Search this
Artschwager, Richard, 1923-  Search this
Barry, Robert, 1936-  Search this
Bloom, Barbara, 1951-  Search this
Castelli, Leo  Search this
Christo, 1935-  Search this
Chryssa, 1933-  Search this
Daphnis, Nassos, 1914-  Search this
Darboven, Hanne  Search this
Epstein, Ethel Steuer  Search this
Flavin, Dan, 1933-  Search this
Gorgoni, Gianfranco  Search this
Heller, Ben, 1925-  Search this
Johns, Jasper, 1930-  Search this
Judd, Donald, 1928-  Search this
Kiesler, Frederick  Search this
Klapheck, Konrad, 1935-  Search this
Koons, Jeff  Search this
Landsman, Stanley, 1930-  Search this
Lichtenstein, Roy, 1923-1997  Search this
Marisol, 1930-2016  Search this
Morris, Robert, 1931-2018  Search this
Namuth, Hans  Search this
Nauman, Bruce, 1941-  Search this
Paik, Nam June, 1932-  Search this
Panza, Giuseppe  Search this
Parker, Raymond, 1922-  Search this
Power, Alan  Search this
Powers, John, 1916-  Search this
Powers, Kimiko  Search this
Rauschenberg, Robert, 1925-2008  Search this
Rosenquist, James, 1933-  Search this
Rowan, Carolyn  Search this
Rowan, Robert  Search this
Ruscha, Edward  Search this
Scarpitta, Salvatore, 1919-2007  Search this
Scull, Ethel  Search this
Scull, Robert C.  Search this
Serra, Richard, 1938-  Search this
Starn, Doug  Search this
Starn, Mike  Search this
Stella, Frank  Search this
Tremaine, Burton  Search this
Tremaine, Emily Hall, 1908-1987  Search this
Twombly, Cy, 1928-  Search this
Tworkov, Jack  Search this
Warhol, Andy, 1928-  Search this
Weiner, Lawrence, 1942-  Search this
Extent:
215.9 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Video recordings
Sketches
Transcripts
Sound recordings
Notes
Visitors' books
Photographs
Notebooks
Awards
Date:
circa 1880-2000
bulk 1957-1999
Summary:
The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and sound and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.
Scope and Content Note:
The Leo Castelli Gallery records measure 215.9 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and audio and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.

The records document the gallery's daily business operations, exhibitions, spaces/buildings, collaborations and joint ventures with other galleries and museums, and its relationship with many artists, dealers, and clients. Artists particularly well-represented throughout the collection include Hanne Darboven, Dan Flavin, Jasper Johns, Donald Judd, Roy Lichtenstein, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner.

Records pre-dating the gallery's establishment in 1957 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of works of art, and scattered personal business records of Leo Castelli.

General Correspondence is extensive at circa 25 linear feet and consists primarily of the gallery's and Leo Castelli's named and subject correspondence files concerning the gallery's daily operations, exhibitions, artwork installation and fabrication, appraisals, inquiries, loans, sales, consignments, personal and business relationships with artists, and other topics. The general correspondence is arranged either by name of correspondent or topic, and is with museums and galleries, collectors, business associates, artists, employees, and friends. Notes, scattered photographs and slides, and printed materials are often found as enclosures. Leo Castelli's personal correspondence is also found here and consists primarily of solicitations, requests for advice, notes of thanks, congratulations, and invitations.

Letters written by artists in the gallery's stable are somewhat limited. There are scattered letters from artists Christo, Chryssa, Nassos Daphnis, Hanne Darboven, Marisol, Dan Flavin, Jasper Johns, Frederick Kiesler, Robert Morris, Hans Namuth, Bruce Nauman, Nam June Paik, Ray Parker, James Rosenquist, Edward Ruscha, Salvatore Scarpitta, Frank Stella, Cy Twombly, and Jack Tworkov. There are also letters about artists in this series filed under the artists' name.

Collectors and dealers represented within the correspondence include the De Menil family, Mrs. Henry Epstein, Ben Heller, Giuseppe Panza, Alan Power, John and Kimiko Powers, Robert and Carolyn Rowan, Robert and Ethel Scull, and Burton and Emily Tremaine. Museums and galleries for which there is considerable correspondence includes the Dwan Gallery, Ferus Gallery, the Jewish Museum, Museum of Modern Art, Sidney Janis Gallery, Stedelijk Museum, Whitney Museum of American Art, and the Ileana Sonnabend Galerie.

The materials arranged in General Correspondence were originally marked by the gallery as "correspondence" files upon accessioning, and, are thus arranged into their own series. However, in some cases, there appears to be little difference between the General Correspondence and the Administrative Files. Thus, researchers are encouraged to reference both series.

Administrative Files document a wide variety of the gallery's activities and business. Essentially, these are files that were arranged by the gallery according to subject or topic and cover almost all activities except specific exhibitions. These files include records and correspondence about buildings and space, advertising, appraisals, auctions, consignments, loans, miscellaneous business correspondence, index cards, business arrangements with artists, information about artists, interviews with artists (transcripts), history of the gallery, mailings, photograph requests, shipping, and other topics. Few items are in digital format. There are staff notebooks and files and Leo Castelli's notebooks and notes from the late 1950s through the early 1990s. Extensive outgoing chronological correspondence filed in this series dates from 1964-1977. Also found are transcripts of interviews with Leo Castelli, biographical material, some of it in digital format, and scattered photographs.

Researchers should note that the Administrative Files often overlap and complement the General Correspondence. However, they focus slightly more distinctly on gallery business activities and are arranged mostly by subject or topic, except for the chronological business correspondence. Researchers are encouraged to reference both series. For example, correspondence with and about Jasper Johns may be found in both series, but the administrative files most likely focus on a specific loan, consignment, or business activity or transaction.

Exhibition files provide a thorough history of the gallery's exhibitions, as well as the fabrication and installation of artwork for exhibitions. These files include correspondence, exhibition catalogs, guest books, lists of exhibitions by artist and by year, press releases, sketches and notes, and scattered financial records. Photographs document over 650 exhibitions at Leo Castelli Gallery, including The Ninth Street Show organized by Castelli in 1951, and over 200 exhibitions at other galleries.

Extensive artists' files comprise approximately 40% of the records and are a rich resource of printed and compiled information about the careers of over 120 artists and their relationship with Leo Castelli and the gallery. There are exhibition announcements and catalogs, flyers, invitations, magazine articles and clippings, newspaper clippings, posters, press releases, photographs, and a handful of books. Nearly half of the series is comprised of black and white photographs of artwork, presumably handled by the Leo Castelli Gallery.

Additional printed materials include exhibition announcements, flyers, invitations, magazine articles and clippings, newspaper clippings, press releases, and exhibition posters. Exhibition catalogs are filed with the exhibitions files. The general archives files provide a chronological history of the gallery and its exhibitions. There are also files concerning Leo Castelli and numerous art-related topics. Exhibition posters are found here as well.

Artwork is limited and includes a few works of art and signed posters. Artists represented here include photographer Gianfranco Gorgoni, Robert Morris, Bruce Nauman, Richard Serra and Andy Warhol, as well as others.

The records of the subsidiary Castelli Graphics New York consist of correspondence and administrative files relating to general operations and the sale and loan of prints. Also found are exhibition files, sales records, and scattered financial records. The series provides a wealth of information about Castelli Graphics collaborations with Multiples Inc. in the 1970s.

Also found in the collection are records of Castelli/Sonnabend Tapes and Films, a joint business venture between Leo Castelli Gallery and Sonnabend Gallery from 1974-1985. Records include correspondence, administrative files, exhibition files, artists' files, printed materials, sales and rental records, photographs, and financial records.

The importance and stature of Leo Castelli and the Leo Castelli Gallery to the arts community in New York City and beyond is documented by numerous awards and recognitions, such as framed and unframed certificates, plaques, statues, medals, and scattered photographs.

Nearly seven linear feet of photographs include professional black and white original prints, scattered color photographs, color transparencies, slides and negatives, and disassembled photo albums. The photographs primarily depict social and art events and functions; family and friends of Leo Castelli; and portraits of Leo Castelli and artists and of Leo Castelli with artists, including Richard Artschwager, Jasper Johns, Roy Lichtenstein, Bruce Nauman, Robert Rauschenberg, James Rosenquist, Salvatore Scarpitta, Richard Serra, Frank Stella, and Andy Warhol. Photographs of exhibitions and exhibition installations are filed with the exhibition files.

Sound and video recordings include sound and video art, performances, interviews with artists and Leo Castelli, recordings from and of exhibitions, and television publicity recorded on sound cassettes, phonograph records (vinyl and lacquer), videocassettes (U-matic, VHS, Betamax), and videocartridges. Artists represented include Vito Acconci, Robert Barry, Barbara Bloom, Hannah Collins, Hanne Darboven, Dan Flavin, Laura Grisi, Jasper Johns, Jeff Koons, Roy Lichtenstein, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Ed Ruscha, Salvatore Scarpitta, Doug and Mike Starn, and Lawrence Weiner, among others.

See Index for list of Exhibitions at the Leo Castelli Gallery and Castelli Graphics
Arrangement:
The collection is arranged as 11 series:

Series 1: Correspondence, 1948-1999, bulk 1957-1997 (24.4 linear feet; Boxes 1-23, 191, OVs 233-236)

Series 2: Administrative Files, 1941-1999, bulk 1970s-1990s (17.3 linear feet; Boxes 24-39, 192-193, OVs 237-238, 0.001 GB; ER01-ER02)

Series 3: Exhibition Files, 1951-1999, bulk 1957-1998 (18.7 linear feet; Boxes 40-56, 192, 194-196, 308-309, OVs 239-241, 280)

Series 4: Artists Files, 1913-1999, bulk 1960s-1990s (80.8 linear feet; Boxes 57-133, 197-208, OVs 242-243)

Series 5: Printed Materials, 1949-1998 (23.5 linear feet; Boxes 134-153, 209-211, OVs 244-274, 276, 300, RDs 301-306)

Series 6: Artwork, circa 1960s-1990s (1.8 linear feet; Boxes 153, 212-213, OVs 275, 277-278, RD 307)

Series 7: Castelli Graphics, circa 1950-1999, bulk mid 1970s-early 1990s (16 linear feet; Boxes 154-169)

Series 8: Castelli/Sonnabend Tapes + Films, 1969-1998 (5.6 linear feet; Boxes 170-174, 214, OVs 279-281)

Series 9: Awards and Recognition, 1962-1998 (6.9 linear feet; Boxes 175-176, 215-228, OVs 282)

Series 10: Photographs, circa 1880-1997, bulk 1960s-1990s (6.6 linear feet; Boxes 177-180, 229-231, OVs 283-299)

Series 11: Sound and Video Recordings, 1959-2000 (9.7 linear feet; Boxes 181-190, 232)
Historical Note:
Leo Castelli (1907-1999) was one of America's most noted contemporary art dealers and opened the Leo Castelli Gallery in New York City in 1957. The gallery showcased cutting edge American contemporary art, including Surrealism, Abstract Expressionism, Neo-Dada, Pop Art, Op Art, Color Field painting, Hard-edge painting, Lyrical Abstraction, Minimal Art, Conceptual Art, and Neo-expressionism, among other movements.

Leo Castelli was born as Leo Krauss on September 4, 1907 in Trieste, of Italian and Austro-Hungarian Jewish origin. He married art dealer Ileana Sonnabend in 1932 and the couple lived in Paris up until World War II. They had a daughter, Nina Castelli Sundell. In Paris, Castelli opened his first gallery in 1939. At that time, he was interested in the European Surrealists.

For years after Castelli moved to New York, he worked in his father-in-law's garment business. However, he organized his first American exhibition in 1951, the famous Ninth Street Show of 1951, a seminal event of Abstract Expressionism.

In 1957, he opened the Leo Castelli Gallery in his townhome on E. 77th Street between Madison and Fifth Avenues in New York City. Castelli initially featured European Surrealism, but also curated exhibitions of American Abstract painters, including Jackson Pollock, Willem de Kooning, Cy Twombly, Friedel Dzubas, and Norman Bluhm.

In 1958, Castelli discovered Pop artists Robert Rauschenberg and Jasper Johns and forged a life-long nurturing relationship with both artists. The gallery then began focusing more on Pop Art, Minimalism and Conceptual Art. Beginning in the early 1960s, Castelli's stable included Richard Artschwager, Lee Bontecou, Chryssa, John Chamberlain, Ronald Davis, Dan Flavin, Donald Judd, Ellsworth Kelly, Joseph Kosuth, Roy Lichtenstein, Robert Morris, Bruce Nauman, Larry Poons, James Rosenquist, Ed Ruscha, Salvatore Scarpitta, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner.

Leo and Ileana divorced in 1959, and Ileana returned to Europe. She later moved back to New York and opened a gallery close to Castelli's. The two remained close and together they established the joint venture of Castelli-Sonnabend Films and Tapes to accommodate artists interested in new media.

In the 1970s Leo Castelli opened a downtown SoHo branch of the Leo Castelli Gallery at 420 West Broadway. In the 1980s he opened a second larger downtown exhibition space on Greene Street also in SoHo.

Leo Castelli's second wife was Antoinette Castelli, with whom he also opened Castelli Graphics, an art gallery devoted to prints and photographs, mostly those by Castelli artists. The couple also had a son together, Jean-Christophe Castelli. In 1995 Leo Castelli married Italian art historian Barbara Bertozzi Castelli. She directs the Leo Castelli Gallery today, showing many of the same artists of the gallery's past.

Leo Castelli's unparalleled eye for quality, combined with his extraordinary skill for nurturing and promoting new art and artists, secured his position as one of the most respected and influential advocates of contemporary art for nearly five decades.
List of Exhibitions:
Below is a chronological listing of over 850 exhibitions and events held at the Leo Castelli Gallery from 1957 to 1999; included are exhibitions at 4 E 77 St (1957-1989), 65 Thompson (1989-1994), 108th St Warehouse (1968-1970), 142 Greene St (1980-1988), 420 W Broadway (1971-1999), and 578 Broadway (1988-1997). Castelli Graphics exhibitions from 1969-1996 and Castelli/Sonnabend Tapes and Films exhibitions from 1974-1984 are also included and are noted when known.

Note that this list is not comprehensive. In particular, Castelli Graphics exhibitions from the 1980s and early 1990s are incomplete. Sources used to compile this index include exhibition schedules and lists, installation photographs, announcements, clippings, and other printed materials from the Leo Castelli Gallery records, and the Leo Castelli Gallery website (www.castelligallery.com).

Exhibitions are listed in chronological order by title, if known, and gallery address.

1957 SeasonFeb. -- First Exhibition: de Kooning, Delaunay, Dubuffet, Giacometti, Hartley, Leger, Mondrian, Picabia, Pollock, David Smith, van Doesburg; 4 E 77 St

Mar. 4-23, 1957 -- Jon Schueler; 4 E 77 St

Mar. 25 - Apr. 13, 1957 -- Viseux; 4 E 77 St

Apr. 15 - May 4, 1957 -- Paul Brach; 4 E 77 St

May 6-25, 1957 -- New Work: Bluhm, Budd, Dzubas, Johns, Leslie, Louis, Marisol, Ortman, Rauschenberg, Savelli; 4 E 77 St

1957-1958 SeasonOct. 1-26, 1957 -- Norman Bluhm; 4 E 77 St

Oct. 28 - Nov. 16, 1957 -- Horia Damian; 4 E 77 St

Nov. 18 - Dec. 14, 1957 -- Marisol; 4 E 77 St

Dec. 17, 1957 - Jan. 18, 1958 -- Collector's Annual; 4 E 77 St

Jan. 20 - Feb. 8, 1958 -- Jasper Johns; 4 E 77 St

Feb. 10 - Mar. 1, 1958 -- Friedel Dzubas; 4 E 77 St

Mar. 4-29, 1958 -- Robert Rauschenberg; 4 E 77 St

Apr. 1-26, 1958 -- Giuseppe Capogrossi; 4 E 77 St

Apr. 29 - May 31, 1958 -- Pioneers 1910-1950: de Kooning, Delaunay, Domela, Dubuffet, Giacometti, Hartley, Kandinsky, Leger, Miro, Picabia, Pollock, Schwitters, Smith, van Doejburg; 4 E 77 St

1958-1959 SeasonSept. 30 - Oct. 25, 1958 -- Angelo Savelli; 4 E 77 St

Oct. 28 - Nov. 22, 1958 -- Group Exhibition: Bluhm, Brach, Dzubas, Johns, Marisol, Rauschenberg, Schueler; 4 E 77 St

Nov. 25 - Dec. 20, 1958 -- Esteban Vicente, Drawings; 4 E 77 St

Jan. 6-24, 1959 -- Nassos Daphnis; 4 E 77 St

Jan. 27 - Feb. 14, 1959 -- Salvatore Scarpitta, Extramurals; 4 E 77 St

Feb. 17 - Mar. 7, 1959 -- Al Newbill; 4 E 77 St

Mar. 10-28, 1959 -- Gabriel Kohn; 4 E 77 St

Mar. 31 - Apr. 18, 1959 -- Norman Bluhm, Jean Dubuffet, and Robert Rauschenberg; 4 E 77 St

Apr. 21 - May 9, 1959 -- Jon Schueler; 4 E 77 St

May 12-30, 1959 -- Group Exhibition: Brach, Dzubas, Johns, Sander, Twombly; 4 E 77 St

1959-1960 SeasonOct. 6-17, 1959 -- Opening Exhibition of the New Gallery: Bluhm, Brach, Daphnis, Johns, Kohn, Rauschenberg, Sander, Scarpitta, Stella, Twombly; 4 E 77 St

Oct. 20 - Nov. 7, 1959 -- Work in Three Dimensions: Chamberlain, Follet, Giles, Johns, Klein, Kohn, Marisol, Nevelson, Ortman, Rauschenberg, Scarpitta; 4 E 77 St

Nov. 10-28, 1959 -- Ludwig Sander; 4 E 77 St

Dec. 1-26, 1959 -- Paul Brach; 4 E 77 St

Jan. 5-23, 1960 -- William Giles; 4 E 77 St

Jan. 26 - Feb. 13, 1960 -- Norman Bluhm; 4 E 77 St

Feb. 15 - Mar. 5, 1960 -- Jasper Johns; 4 E 77 St

Mar. 8-26, 1960 -- Nassos Daphnis; 4 E 77 St

Mar. 29 - Apr. 16, 1960 -- Robert Rauschenberg; 4 E 77 St

Apr. 19 - May 7, 1960 -- Salvatore Scarpitta; 4 E 77 St

May 10-28, 1960 -- Edward Higgins; 4 E 77 St

May 31 - June 25, 1960 -- Summary 1959-1960: Bluhm, Bontecou, Daphnis, Higgins, Johns, Kohn, Langlais, Rauschenberg, Sander, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St

1960-1961 SeasonSept. 27 - Oct. 15, 1960 -- Frank Stella; 4 E 77 St

Oct. 18 - Nov. 5, 1960 -- Cy Twombly; 4 E 77 St

Nov. 9 - Dec. 3, 1960 -- Lee Bontecou; 4 E 77 St

Dec. 6, 1960 - Jan. 7, 1961 -- Robert Rauschenberg, 34 Illustrations for Dante's Inferno; 4 E 77 St

Jan. 10-28, 1961 -- Frederick Kiesler; 4 E 77 St

Jan. 31 - Feb. 25, 1961 -- Jasper Johns, Drawings and Sculpture; 4 E 77 St

Feb. 28 - Mar. 18, 1961 -- Jack Tworkov; 4 E 77 St

Mar. 21 - Apr. 8, 1961 -- Bernard Langlais; 4 E 77 St

Apr. 11-29, 1961 -- Yves Klein, Le Monochrome; 4 E 77 St

May 2-20, 1961 -- Ludwig Sander; 4 E 77 St

May 23 - June [10], 1961 -- Sculpture and Relief: Bontecou, Chamberlain, Higgins, Scarpitta; 4 E 77 St

1961-1962 SeasonSept. 22 - Oct. 14, 1961 -- An Exhibition in Progress: Bontecou, Chamberlain, Daphnis, Higgins, Johns, Langlais, Moskowitz, Rauschenberg, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St

Oct. 17 - Nov. 4, 1961 -- Nassos Daphnis; 4 E 77 St

Nov. 7 - Dec. 5, 1961 -- Robert Rauschenberg; 4 E 77 St

Dec. 8, 1961 - Jan. 10, 1962 -- Group Exhibition: Bontecou, Johns, Langlais, [Lichtenstein], Scarpitta, Tworkov; 4 E 77 St

Jan. 13 - Feb. 6, 1962 -- John Chamberlain; 4 E 77 St

Feb. 10 - Mar. 3, 1962 -- Roy Lichtenstein; 4 E 77 St

Mar. 10 - Apr. 5, 1962 -- Robert Moskowitz; 4 E 77 St

Apr. 7-21, 1962 -- Group Exhibition: Bontecou, Chamberlain, Daphnis, Higgins, Rauschenberg, Scarpitta, Stella; 4 E 77 St

Apr. 28 - May 19, 1962 -- Frank Stella; 4 E 77 St

May 26 - June 30, 1962 -- Drawings: Bontecou, Johns, Lichtenstein, Moskowitz, Rauschenberg, Stella, Tworkov; 4 E 77 St

1962-1963 SeasonSept. 22 - Oct. 13, 1962 -- Group Exhibition: Chamberlain, Higgins, Johns, Klapheck, Rauschenberg, Scarpitta, Stella, Tinguely, Tworkov; 4 E 77 St

Oct. 16 - Nov. 7, 1962 -- John Chamberlain and Frank Stella; 4 E 77 St

Nov. 10 - Dec. 6, 1962 -- Lee Bontecou; 4 E 77 St

Dec. 8, 1962 - Jan. 9, 1963 -- Gerald van de Wiele; 4 E 77 St

Jan. 12 - Feb. 7, 1963 -- Jasper Johns; 4 E 77 St

Feb. 9 - Mar. 7, 1963 -- Jack Tworkov; 4 E 77 St

Mar. 9-30, 1963 -- Nassos Daphnis; 4 E 77 St

Apr. 2-25, 1963 -- Group Exhibition: Chamberlain, Higgins, Kiesler, Lichtenstein, Moskowitz, Rauschenberg, Stella, Twombly; 4 E 77 St

Apr. 27 - May 16, 1963 -- Salvatore Scarpitta; 4 E 77 St

May 20 - June 30, 1963 -- Group Drawing Exhibition: Bontecou, Daphnis, Johns, Lichtenstein, Moskowitz, Rauschenberg, Stella, Tworkov, van de Wiele; 4 E 77 St

1963-1964 SeasonSept. 28 - Oct. 24, 1963 -- Roy Lichtenstein; 4 E 77 St

Oct. 26 - Nov. 21, 1963 -- Robert Rauschenberg; 4 E 77 St

Nov. 23, 1963 - Jan. 2, 1964 -- Edward Higgins; 4 E 77 St

Jan. 4 - Feb. 6, 1964 -- Frank Stella; 4 E 77 St

Feb. 8 - Mar. 12, 1964 -- Group Exhibition: Chamberlain, Johns, Lichtenstein, Rauschenberg, Stella; 4 E 77 St

Mar. 14 - Apr. 9, 1964 -- Cy Twombly; 4 E 77 St

Apr. 11-30, 1964 -- John Chamberlain; 4 E 77 St

May 2 - June 3, 1964 -- Introducing Artschwager, Christo, Hay, Watts; 4 E 77 St

June 6-30, 1964 -- Group Exhibition: Chamberlain, Lichtenstein, Rauschenberg, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St

1964-1965 SeasonSept. 26 - Oct. 22, 1964 -- Group Exhibition: Artschwager, Lichtenstein, Rosenquist, Stella, Warhol; 4 E 77 St

Oct. 24 - Nov. 19, 1964 -- Roy Lichtenstein, Landscapes; 4 E 77 St

Nov. 21 - Dec. 28, 1964 -- Andy Warhol, Flower Paintings; 4 E 77 St

Jan. 9-27, 1965 -- John Chamberlain, Paintings; 4 E 77 St

Jan. 30 - Feb. 24, 1965 -- Richard Artschwager; 4 E 77 St

Feb. 27 - Mar. 24, 1965 -- Nassos Daphnis; 4 E 77 St

Mar. 27 - Apr. 14, 1965 -- Salvatore Scarpitta, Racing Cars; 4 E 77 St

Apr. 17 - May 13, 1965 -- James Rosenquist, F-111; 4 E 77 St

May 15 - June 9, 1965 -- Robert Rauschenberg, Oracle; 4 E 77 St

1965-1966 SeasonOct. 2-21, 1965 -- Group Exhibition: [Chamberlain], Johns, Lichtenstein, Poons, Rauschenberg, Stella, [Warhol]; 4 E 77 St

Oct. 23 - Nov. 17, 1965 -- Robert Bart; 4 E 77 St

Nov. 20 - Dec. 11, 1965 -- Roy Lichtenstein, Brushstrokes and Ceramics; 4 E 77 St

Dec. 14, 1965 - Jan. 5, 1966 -- Benefit Drawing Exhibition for the Foundation for the Contemporary Performance Arts; 4 E 77 St

Dec. 14, 1965 - Jan. 5, 1966 -- Group Exhibition; 4 E 77 St

Jan. 8 - Feb. 2, 1966 -- Jasper Johns; 4 E 77 St

Feb. 5 - Mar. 2, 1966 -- Donald Judd; 4 E 77 St

Feb. 12 - Mar. 2, 1966 -- Cy Twombly, Drawings; 4 E 77 St

Mar. 5 - Apr. 2, 1966 -- Frank Stella; 4 E 77 St

Apr. 6-27, 1966 -- Andy Warhol, Wallpaper and Clouds; 4 E 77 St

Apr. 30 - May 25, 1966 -- James Rosenquist; 4 E 77 St

May 28 - June 13, 1966 -- Christo, Storefront; 4 E 77 St

June 14-30, 1966 -- Group Exhibition: Bontecou, Johns, Judd, Lichtenstein, Poons, Rauschenberg, Rosenquist, Stella, Warhol; 4 E 77 St

1966-1967 SeasonOct. 8 - Nov. 8, 1966 -- Lee Bontecou; 4 E 77 St

Nov. 12 - Dec. 3, 1966 -- Edward Higgins; 4 E 77 St

Dec. 6-10, 1966 -- Benefit Group Exhibition for Experiments in Art and Technology, Inc.; 4 E 77 St

Dec. 7, 1966 - Jan. 5, 1967 -- Stanley Landsman; 4 E 77 St

Dec. 14, 1966 - Jan. 5, 1967 -- Group Exhibition: Artschwager, Lichtenstein, Rosenquist, Warhol; 4 E 77 St

Jan. 7-31, 1967 -- Larry Poons; 4 E 77 St

Feb. 4-26, 1967 -- Tenth Anniversary Exhibition: Artschwager, Bontecou, Chamberlain, Daphnis, Higgins, Johns, Judd, Lichtenstein, Morris, Poons, Rauschenberg, Rosenquist, Scarpitta, Stella, Twombly, Warhol; 4 E 77 St

Mar. 4-28, 1967 -- Robert Morris; 4 E 77 St

Apr. 1967 -- New Work: Chamberlain, Lichtenstein, Stella; 4 E 77 St

May 1967 -- Robert Rauschenberg, Revolvers; 4 E 77 St

1967-1968 SeasonOct. 7-26, 1967 -- Cy Twombly; 4 E 77 St

Oct. 28 - Nov. 18, 1967 -- Roy Lichtenstein; 4 E 77 St

Nov. 25 - Dec. 23, 1967 -- Frank Stella; 4 E 77 St

Dec. 30, 1967 - Jan. 23, 1968 -- Richard Artschwager, Sculptures and Reliefs; 4 E 77 St

Jan. 27 - Feb. 17, 1968 -- Bruce Nauman; 4 E 77 St

Feb. 24 - Mar. 16, 1968 -- Jasper Johns; 4 E 77 St

Mar. 23 - Apr. 11, 1968 -- Ron Davis; 4 E 77 St

Apr. 20 - May 11, 1968 -- Robert Morris; 4 E 77 St

May 18 - June 8, 1968 -- Jack Krueger; 4 E 77 St

1968-1969 SeasonSept. 14-28, 1968 -- Nassos Daphnis; 4 E 77 St

Oct. 12-26, 1968 -- Robert Rauschenberg, White Paintings; 4 E 77 St

Nov. 2-23, 1968 -- Larry Poons; 4 E 77 St

Nov. 30 - Dec. 21, 1968 -- Cy Twombly; 4 E 77 St

Dec. 4-28, 1968 -- 9 at Leo Castelli: Anselmo, Bollinger, Hesse, Kaltenbach, Nauman, Saret, Serra, Sonnier, Zorio; 108th St Warehouse

Jan. 4-25, 1969 -- Donald Judd; 4 E 77 St

Feb. 1-22, 1969 -- John Chamberlain; 108th St Warehouse

Feb. 3-22, 1969 -- David Diao, Richard Pettibone, and Peter Young; 4 E 77 St

Mar. 1-22, 1969 -- Robert Morris; 4 E 77 St

Mar. 1-22, 1969 -- Robert Morris, A Continuous Project Altered Daily; 108th St Warehouse

Mar. 29 - Apr. 19, 1969 -- James Rosenquist, Horseblinders; 4 E 77 St

Mar. 29 - Apr. 19, 1969 -- Salvatore Scarpitta, Racing Cars; 108th St Warehouse

Apr. 26 - May 17, 1969 -- Robert Rauschenberg, Carnal Clocks; 4 E 77 St

Apr. 26 - May 17, 1969 -- Jack Krueger; 108th St Warehouse

May 24 - June 14, 1969 -- Bruce Nauman; 4 E 77 St

May 24 - June 21, 1969 -- 4 Painters for Spring: Bower, Cibula, Kalina, Roth, Yrisarry; 108th St Warehouse

June 21 - July 31, 1969 -- Group Exhibition: Chamberlain, Judd, Lichtenstein, Rauschenberg, Serra, Sonnier, Stella, Young; 4 E 77 St

1969-1970 SeasonSept. 20 - Oct. 11, 1969 -- Group Exhibition: Lichtenstein, Serra, Stella, Warhol; 4 E 77 St

Oct. 18 - Nov. 8, 1969 -- Ron Davis; 4 E 77 St

Oct. 18 - Nov. 8, 1969 -- Ron Davis; 108th St Warehouse

Nov. - Dec., 1969 -- Joseph Kosuth; 4 E 77 St

Nov. 13, 1969 -- Robert Rauschenberg, Moonshot Series (Castelli Graphics); 4 E 77 St

Nov. 18 - Dec. 6, 1969 -- Frank Stella; 4 E 77 St

Dec. 11-13, 1969 -- Benefit Exhibition, Art for the Moratorium; 4 E 77 St

Dec. 16, 1969 - Jan. 10, 1970 -- Richard Serra; 108th St Warehouse

Jan. 10-31, 1970 -- Jasper Johns, Drawings; 4 E 77 St

Jan. 17-24, 1970 -- Rafael Ferrer; 108th St Warehouse

Feb. 7-28, 1970 -- Dan Flavin, Tatlin Monuments; 4 E 77 St

Feb. 7-28, 1970 -- Robert Morris, Earthwork Projects (Castelli Graphics); 4 E 77 St

Mar. 7-28, 1970 -- Keith Sonnier; 4 E 77 St

Mar. 7-28, 1970 -- Keith Sonnier; 108th St Warehouse

Apr. 11 - May 9, 1970 -- Donald Judd; 4 E 77 St

Apr. 11 - May 9, 1970 -- Donald Judd; 108th St Warehouse

May 16-30, 1970 -- James Rosenquist; 4 E 77 St

June 11-27, 1970 -- Benefit Exhibition for the New York Studio School; 4 E 77 St

June 30 - Aug. 28, 1970 -- Group Exhibition: Chamberlain, Johns, Judd, Lichtenstein, Morris, Rauschenberg, Rosenquist, Stella, Twombly, Warhol; 4 E 77 St

1970-1971 SeasonSept. 19-26, 1970 -- Benefit Exhibition for Referendum '70: Daphnis, Flavin, Johns, Judd, Lichtenstein, Morris, Rauschenberg, Rosenquist, Stella, Twombly, Warhol; 4 E 77 St

Sept. 26 - Oct. 24, 1970 -- Roy Lichtenstein, New Editions: Lithographs, Sculpture, Reliefs (Castelli Graphics); 4 E 77 St

Oct. 3-18, 1970 -- Group Exhibition: Flavin, Judd, Lichtenstein, Rauschenberg, Stella, Twombly; 4 E 77 St

Oct. 24 - Nov. 14, 1970 -- James Rosenquist; 4 E 77 St

Nov. 21 - Dec. 12, 1970 -- Dan Flavin, Untitled (to Barnett Newman); 4 E 77 St

Dec. 19, 1970 - Jan. 9, 1971 -- Group Graphics Exhibition: Artschwager, Bontecou, Daphnis, Johns, Judd, Lichtenstein, Morris, Nauman, Rauschenberg, Rosenquist, Schlossberg, Stella, Twombly, Warhol (Castelli Graphics); 4 E 77 St

Jan. 16 - Feb. 6, 1971 -- Ron Davis; 4 E 77 St

Feb. 13 - Mar. 6, 1971 -- Bruce Nauman; 4 E 77 St

Mar. 13 - Apr. 9, 1971 -- Roy Lichtenstein, Mirror Paintings; 4 E 77 St

Apr. 17 - May 8, 1971 -- John Chamberlain; 4 E 77 St

Apr. 27 - May 8, 1971 -- Robert Barry; 4 E 77 St

May 8 - June 5, 1971 -- Douglas Huebler; 4 E 77 St

May 18 - June 12, 1971 -- Lee Bontecou; 4 E 77 St

June 26 - Sept. 24, 1971 -- Group Exhibition: Davis, Flavin, Kosuth, Lichtenstein, Rosenquist, Stella, Warhol; 4 E 77 St

1971-1972 SeasonSept. 25 - Oct. 9, 1971 -- Group Film Exhibition: Jonas, Morris, Nauman, Serra, Sonnier; 420 W Broadway

Oct. 2-16, 1971 -- Joseph Kosuth, The Eighth Investigation, Proposition Three; 4 E 77 St

Oct. 16 - Nov. 6, 1971 -- Robert Rauschenberg; 420 W Broadway

Oct. 23 - Nov. 13, 1971 -- Dan Flavin; 4 E 77 St

Nov. 20 - Dec. 11, 1971 -- Nassos Daphnis; 4 E 77 St

Nov. 20 - Dec. 11, 1971 -- Bruce Nauman; 420 W Broadway

Dec. 18, 1971 - Jan. [2], 1972 -- Group Film Exhibition; 420 W Broadway

Dec. 18, 1971 - Jan. 15, 1972 -- Lewis Baltz (Castelli Graphics); 4 E 77 St

Dec. 18, 1971 - Jan. 15, 1972 -- Richard Hamilton, Graphics (Castelli Graphics); 4 E 77 St

Jan. 15 - Feb. 5, 1972 -- Cy Twombly; 420 W Broadway

Jan. 22 - Feb. 12, 1972 -- Roy Lichtenstein, Entablature Drawings; 4 E 77 St

Jan. 22 - Feb. 12, 1972 -- Larry Stark (Castelli Graphics); 4 E 77 St

Feb. 12, 1972 -- Lawrence Weiner; 420 W Broadway

Feb. 19, 1972 -- Richard Landry, Concert; 420 W Broadway

Feb. 19 - Mar. 16, 1972 -- Object Show (Castelli Graphics); 4 E 77 St

Feb. 19 - Mar. 25, 1972 -- Group Exhibition: Flavin, Judd, Kosuth, Lichtenstein, Morris, Serra, Stella; 4 E 77 St

Feb. 26 - Mar. 18, 1972 -- Keith Sonnier, Films and Videotapes; 420 W Broadway

Mar. 18 - Apr. 13, 1972 -- Andy Warhol, Electric Chairs (Castelli Graphics); 4 E 77 St

Mar. 25 - Apr. 15, 1972 -- Michael Balog; 420 W Broadway

Apr. 1-15, 1972 -- Richard Artschwager; 4 E 77 St

Apr. 15-29, 1972 -- Robert Barry, Projections; 420 W Broadway

Apr. 15 - May 6, 1972 -- James Rosenquist (Castelli Graphics); 4 E 77 St

Apr. 18 - May 6, 1972 -- Robert Morris, Hearing; 420 W Broadway

Apr. 22 - May 13, 1972 -- Robert Morris, Projects; 4 E 77 St

May 6-20, 1972 -- Jasper Johns (Castelli Graphics); 4 E 77 St

May 6-20, 1972 -- Douglas Huebler; 420 W Broadway

May 13, 1972 -- Philip Glass, Concert; 420 W Broadway

May 20 - June 10, 1972 -- Frank Owen; 4 E 77 St

May 20 - June 10, 1972 -- Donald Judd and Richard Serra; 420 W Broadway

May 20 - June 12, 1972 -- Robert Rauschenberg, Tares (Castelli Graphics); 4 E 77 St

May 27 - June 17, 1972 -- Richard Serra, Drawings; 420 W Broadway

June 17 - Sept. 6, 1972 -- Summer Group Exhibition: Chamberlain, Judd, Lichtenstein, Morris, Stella, Twombly, Warhol; 420 W Broadway

June 17 - Sept. [23], 1972 -- Summer Group Exhibition: Chamberlain, Flavin, Judd, Lichtenstein, Morris, Rauschenberg, Rosenquist, Warhol; 4 E 77 St

1972-1973 SeasonSept. 7-23, 1972 -- Furniture Designed by Artists: Chamberlain, Judd, Lichtenstein, Morris, Stella, Twombly, Warhol; 420 W Broadway

Sept. 11-23, 1972 -- Larry Stark, Fifty States (Castelli Graphics); 4 E 77 St

Sept. 30 - Oct. 21, 1972 -- Group Drawing Exhibition: Barry, Bontecou, Daphnis, Flavin, Huebler, Johns, Judd, Kosuth, Lichtenstein, Morris, Nauman, Owen, Rauschenberg, Rosenquist, Ruscha, Serra, Sonnier, Stella, Twombly, Warhol; 4 E 77 St

Sept. 30 - Oct. 24, 1972 -- Satirical/Political Cartoons, Benefit for American Peace Action Coalition (Castelli Graphics); 4 E 77 St

Oct. 7-21, 1972 -- New Works: Judd, Morris, Nauman, Rauschenberg, Serra, Stella; Videotapes: Jonas, Landry, Mann, Morris, Nauman, Serra, Sonnier; 420 W Broadway

Oct. 27-28, 1972 -- Benefit Exhibition for the New York Collection for Stockholm; 420 W Broadway

Oct. 28 - Nov. 11, 1972 -- Frank Stella, Race Track (Castelli Graphics); 4 E 77 St

Oct. 28 - Nov. 15, 1972 -- Jasper Johns, From Robert Scull Collection (Castelli Graphics); 4 E 77 St

Nov. 4-25, 1972 -- Joseph Kosuth, The Ninth Investigation, Proposition One; 4 E 77 St

Nov. 4-25, 1972 -- Dan Flavin, an exposition of cool white and warm white circular fluorescent light; 420 W Broadway

Nov. 9-25, 1972 -- Andy Warhol, Mao Prints [Castelli Graphics]; 420 W Broadway

Nov. 18 - Dec. 9, 1972 -- Roy Lichtenstein, Mirrors (Castelli Graphics); 4 E 77 St

Dec. 2-23, 1972 -- Joseph Kosuth, Early Works: Protoinvestigations; 420 W Broadway

Dec. 2-24, 1972 -- Robert Rauschenberg, Made in Tampa [Castelli Graphics]; 4 E 77 St

Dec. 9-23, 1972 -- Gianfranco Gorgoni, Photographs from the book "The New Avant-Garde"; 420 W Broadway

Dec. 16-30, 1972 -- Cirrus Editions: Anderson, Balog, Card Celmins, Cooper, Goode, Nauman, Price, Ruscha (Castelli Graphics); 4 E 77 St

Jan. 4-6, 1973 -- Joan Jonas, Performance; 420 W Broadway

Jan. 6-27, 1973 -- Richard Serra, Prints from Gemini (Castelli Graphics); 4 E 77 St

Jan. 6-27, 1973 -- Frank Stella; 4 E 77 St

Jan. 13 - Feb. 3, 1973 -- Donald Judd; 420 W Broadway

Feb. 3-17, 1973 -- Edward Ruscha, Drawings; 4 E 77 St

Feb. 3-24, 1973 -- Group Show (Castelli Graphics); 4 E 77 St

Feb. 10 - Mar. 3, 1973 -- Jan Dibbets; 420 W Broadway

Feb. 24 - Mar. 10, 1973 -- Roy Lichtenstein, Still Lifes; 4 E 77 St

Mar. 3-23, 1973 -- Robert Rauschenberg, Horsefeathers XIII (Castelli Graphics); 4 E 77 St

Mar. 10-24, 1973 -- Nassos Daphnis, Retrospective 1958-1972; 420 W Broadway

Mar. 14-16, 1973 -- Lawrence Weiner, Film screening "A First Quarter"; 420 W Broadway

Mar. 17-31, 1973 -- Nassos Daphnis, Monoprints; 4 E 77 St

Mar. 17-31, 1973 -- Bruce Nauman, Floating Room; 4 E 77 St

Mar. 24 - Apr. 14, 1973 -- Bruce Nauman (Castelli Graphics); 4 E 77 St

Mar. 31 - Apr. 21, 1973 -- Dan Flavin, 40th Birthday Drawing Exhibition; 420 W Broadway

Mar. 31 - Apr. 21, 1973 -- Robert Rauschenberg, Venetian Series; 420 W Broadway

Apr. 7-28, 1973 -- Ellsworth Kelly, Curved Series; 4 E 77 St

Apr. 27 - May 19, 1973 -- Group Show, Mirrors (Castelli Graphics); 4 E 77 St

Apr. 28 - May 19, 1973 -- Hanne Darboven; 420 W Broadway

May 5-26, 1973 -- Paul Waldman, Recent Paintings; 4 E 77 St

May 19 - June 6, 1973 -- Laura Grisi, Pebbles; 420 W Broadway

May 26 - June 7, 1973 -- James Rosenquist, Horseblinders (Castelli Graphics); 4 E 77 St

May 26 - June 16, 1973 -- James Rosenquist; 420 W Broadway

June [3] - Sept. 15, 1973 -- Summer Group Exhibition: Darboven, Dibbets, Flavin, Huebler, Kosuth, Nauman, Rauschenberg, Rosenquist, Stella, Waldman, Warhol; 4 E 77 St

June 8-22, 1973 -- Don Judd, Woodcuts, Silkscreens (Castelli Graphics); 4 E 77 St

June 23 - Sept. 9, 1973 -- Roy Lichtenstein, Bulls (Castelli Graphics); 4 E 77 St

June 23 - Sept. 22, 1973 -- Summer Group Exhibition: Artschwager, Chamberlain, Davis, Kelly, Lichtenstein, Morris, Owen, Rauschenberg, Rosenquist, Stella; 420 W Broadway

1973-1974 SeasonSept. 10-28, 1973 -- Ellsworth Kelly, Black and White Prints from Gemini (Castelli Graphics); 4 E 77 St

Sept. 22 - Oct. 16, 1973 -- Group Exhibition: Flavin, Judd, Kelly, Lichtenstein, Rosenquist, Stella; 4 E 77 St

Sept. 29 - Oct. 20, 1973 -- Videotapes by Twelve Artists: Benglis, Chamberlain, Freed, Jonas, Kos, Landry, Mann, Morris, Nauman, Serra, Sonnier, Weiner; 420 W Broadway

Sept. 29 - Nov. 16, 1973 -- Stockholm Show (Castelli Graphics); 4 E 77 St

Oct. 18 - Nov. 10, 1973 -- Benefit Exhibition for the Committee to Save Venice: Cornell, Dine, Frankenthaler, Johns, Kelly, Lichtenstein, Louis, Noland, Oldenburg, Olitski, Rauschenberg, Stella; 4 E 77 St

Nov. 1-3, 1973 -- Group Film Exhibition: Chamberlain, Jonas, Ruscha, Weiner; 420 W Broadway

Nov. 1-14, 1973 -- Group Show: Artschwager, Lichtenstein, Rosenquist, Warhol; 420 W Broadway

Nov. 10 - Dec. 1, 1973 -- Douglas Huebler; 420 W Broadway

Nov. 15 - Dec. 1, 1973 -- Hans Namuth, Photographs; 420 W Broadway

Nov. 17 - Dec. 7, 1973 -- Lewis Baltz, Photographs (Castelli Graphics); 4 E 77 St

Nov. 17 - Dec. 15, 1973 -- Richard Artschwager; 4 E 77 St

Dec. 8, 1973 - Jan. 12, 1974 -- Group Show of New Prints: Balog, Petersen, Rauschenberg, Sonnier (Castelli Graphics); 4 E 77 St

Dec. 8, 1973 - Jan. 12, 1974 -- John Chamberlain; 420 W Broadway

Dec. 15, 1973 - Jan. 19, 1974 -- Edward Ruscha, Retrospective Show, Graphics from the Collection of Donald Marron (Castelli Graphics); 4 E 77 St (upstairs)

Jan. 12-26, 1974 -- [García] Uriburu (Castelli Graphics); 4 E 77 St

Jan. 19 - Feb. 9, 1974 -- Robert Barry; 420 W Broadway

Feb. 2-16, 1974 -- James Rosenquist (Castelli Graphics); 4 E 77 St

Feb. 2-23, 1974 -- Ron Davis; 4 E 77 St

Feb. 16 - Mar. 2, 1974 -- Group Drawing Exhibition: Artschwager, Bontecou, Chamberlain, Daphnis, Darboven, Davis, Flavin, Huebler, Johns, Judd, Kelly, Lichtenstein, Morris, Nauman, Oldenburg, Owen, Rauschenberg, Rosenquist, Ruscha, Serra, Stella, Twombly; 420 W Broadway

Feb. 23 - Mar. 9, 1974 -- Keith Sonnier, Video Still Screens (Castelli Graphics); 4 E 77 St

Mar. 2-23, 1974 -- Dan Flavin; 4 E 77 St

Mar. 9-30, 1974 -- Keith Sonnier, Amplified Local Time: Radio Installation; 420 W Broadway

Mar. 16 - Apr. 6, 1974 -- Bruce Nauman (Castelli Graphics); 4 E 77 St

Mar. 30 - Apr. 20, 1974 -- Edward Ruscha; 4 E 77 St

Apr. 6-20, 1974 -- Roy Lichtenstein (Castelli Graphics); 4 E 77 St

Apr. 6-27, 1974 -- Robert Morris, Voice; 420 W Broadway

Apr. 27 - May 11, 1974 -- Jasper Johns (Castelli Graphics); 4 E 77 St

Apr. 27 - May 18, 1974 -- Claes Oldenburg; 4 E 77 St

May 4-25, 1974 -- Robert Rauschenberg and Cy Twombly; 420 W Broadway

May 18 - June 1, 1974 -- Robert Rauschenberg, Pages and Fuses (Castelli Graphics); 4 E 77 St

May 28 - June 15, 1974 -- Lucia Wilcox; 4 E 77 St

June, 1974 -- Ron Davis (Castelli Graphics); 4 E 77 St

June, 1974 -- Richard Landry, Concert; 420 W Broadway

June 1-15, 1974 -- Group Video Exhibition: Acconci, Baldessari, Bell, Benglis, Campus, Gillette, Girouard, Haxton, Holt, Jonas, Kos, Landry, Mann, Morris, Oldenburg, Palestine, Serra, Smithson, Wegman (Castelli/Sonnabend Tapes + Films); 420 W Broadway

June 1-15, 1974 -- Richard Landry, Photographs (Castelli Graphics); 420 W Broadway

June 21 - Sept. 14, 1974 -- Group Exhibition: Darboven, Flavin, Judd, Lichtenstein, Morris, Oldenburg, Rauschenberg, Ruscha, Stella, Warhol; 4 E 77 St

June 21 - Sept. 14, 1974 -- Group Graphics Exhibition: Artschwager, Baltz, Bontecou, Daphnis, Huebler, Johns, Judd, Kelly, Lichtenstein, Morris, Nauman, Oldenburg, Petersen, Pistoletto, Rauschenberg, Rosenquist, Ruscha, Serra, Sonnier, Stella, Twombly, Warhol (Castelli Graphics); 420 W Broadway

1974-1975 SeasonSept. 21 - Oct. 4, 1974 -- Frank Stella, Eccentric Polygons (Castelli Graphics); 4 E 77 St

Sept. 21 - Oct. 5, 1974 -- Jasper Johns, Recent Four Panel Prints (Castelli Graphics); 4 E 77 St

Sept. 21 - Oct. 12, 1974 -- Group Sculpture Show, In Three Dimensions: Artschwager, Bontecou, Chamberlain, Daphnis, Flavin, Judd, Kelly, Lichtenstein, Morris, Nauman, Oldenburg, Rauschenberg, Rosenquist, Scarpitta, Serra, Sonnier, Stella, Waldman; 420 W Broadway

Oct. 5-19, 1974 -- Peter Mauss, Recent Photographs (Castelli Graphics); 4 E 77 St

Oct. 12-26, 1974 -- Richard Serra, Drawings; 4 E 77 St

Oct. 19 - Nov. 9, 1974 -- Lawrence Weiner; 420 W Broadway

Oct. 26 - Nov. 9, 1974 -- Claes Oldenburg, Selected Show of Prints from 1968-1974 (Castelli Graphics); 4 E 77 St

Nov. 2 - 30, 1974 -- Roy Lichtenstein, Artist's Studio Paintings; 4 E 77 St

Nov. 12-30, 1974 -- James Rosenquist, Selected Show of Prints from 1965-1974 (Castelli Graphics); 4 E 77 St

Nov. 16-30, 1974 -- Hanne Darboven, 24 Songs; 420 W Broadway

Nov. 21, 1974 -- Philip Glass, Concert; 420 W Broadway

Dec. 7-21, 1975 -- Robert Rauschenberg, Hoarfrost Series; 420 W Broadway

Dec. 7, 1974 - [Jan. 4], 1974 -- Michelangelo Pistoletto, New Multiples (Castelli Graphics); 4 E 77 St

Dec. 7, 1974 - Jan. 4, 1975 -- Robert Rauschenberg, Hoarfrost Editions (Castelli Graphics); 4 E 77 St

Dec. 14, 1974 - Jan. 11, 1975 -- Andy Warhol, Hand Colored Flowers (Castelli Graphics); 420 W Broadway

Jan. 4-18, 1975 -- Bruce Nauman, Cones/Cojones; 420 W Broadway

Jan. 11-25, 1975 -- Edward Ruscha, Domestic Tranquility, Four New Lithographs (Castelli Graphics); 4 E 77 St

Jan. 11 - Feb. 2, 1975 -- Salvatore Scarpitta, Sleds; 4 E 77 St

Jan. 15-18, 1975 -- Peter Campus and Paul Kos, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway

Jan. 25 - Feb. 8, 1975 -- Joseph Kosuth, The Tenth Investigation, Proposition Four; 420 W Broadway

Feb. 1-15, 1975 -- Group Show: Huebler, Morris, Nauman, Sonnier (Castelli Graphics); 4 E 77 St

Feb. 8-22, 1975 -- Keith Sonnier, Air to Air; 4 E 77 St

Feb. 15 - Mar. 8, 1975 -- Nassos Daphnis, A Continuous Painting; 420 W Broadway

Feb. 26 - Mar. 1, 1975 -- Benefit Exhibition for the Merce Cunningham Portfolio: Cage, Johns, Morris, Nauman, Rauschenberg, Stella, Warhol; 4 E 77 St

Feb. 26 - Mar. 1, 1975 -- Joan Jonas and Charlemagne Palestine, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway

Mar. 5-8, 1975 -- Frank Gillette and William Wegman, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway

Mar. 8 - Apr. 5, 1975 -- Ellsworth Kelly, Sculptures; 4 E 77 St

Mar. 15-29, 1975 -- Richard Artschwager, Drawings; 420 W Broadway

Mar. 15-29, 1975 -- Larry Stark, Silkscreens on Canvas; 420 W Broadway

Mar. 15 - [Apr. 5], 1975 -- Richard Landry, "1, 2, 3, 4" from Videotapes (Castelli Graphics); 4 E 77 St

Apr. 2-5, 1975 -- Benefit Exhibition for the Allen Memorial Art Museum, Oberlin College; 420 W Broadway

Apr. 12-26, 1975 -- Ellsworth Kelly, New Prints (Castelli Graphics); 4 E 77 St

Apr. 12-26, 1975 -- Dan Flavin, Flourescent Light; 420 W Broadway

Apr. 12 - May 3, 1975 -- Ellsworth Kelly, Gray Series Paintings; 4 E 77 St

Apr. 19 - May 3, 1975 -- James Klosty, Around and About Merce Cunningham, Photographs 1968-1972; 420 W Broadway

May 3-17, 1975 -- Richmond Jones, Photographs (Castelli Graphics); 4 E 77 St

May 3-31, 1975 -- Frank Stella, Metal Reliefs; 420 W Broadway

May 10-31, 1975 -- Ron Davis, Paintings; 4 E 77 St

May 10-31, 1975 -- Laura Grisi, Stripes; 420 W Broadway

May 24 - June 7, 1975 -- Laura Grisi, New Graphics (Castelli Graphics); 4 E 77 St

June 7 - Sept. 5, 1975 -- Summer Group Exhibition: Artschwager, Chamberlain, Darboven, Grisi, Huebler, Judd, Kelly, Kosuth, Lichtenstein, Morris, Nauman, Owen, Rauschenberg, Rosenquist, Warhol; 420 W Broadway

June 7 - Sept. 20, 1975 -- Summer Group Exhibition, Black and White: Kelly, Rauschenberg, Ad Reinhardt, Serra, Stella; 4 E 77 St

June 14-28, 1975 -- Bruce Nauman, New Graphics (Castelli Graphics); 4 E 77 St

July 7-25, 1975 -- Group Exhibition (Castelli Graphics); 4 E 77 St

1975-1976 SeasonSept. 13-27, 1975 -- Autumn Group Exhibition: Artschwager, Chamberlain, Davis, Lichtenstein, Nauman, Oldenburg, Rauschenberg, Rosenquist, Scarpitta; 420 W Broadway

Sept. 27 - Oct. 18, 1975 -- James Rosenquist, Drawings; 4 E 77 St

Oct. 4-18, 1975 -- Robert Rauschenberg, Bones and Unions (Castelli Graphics); 4 E 77 St

Oct. 4-25, 1975 -- Jan Dibbets; 420 W Broadway

Oct. 11-25, 1975 -- Frank Owen; 420 W Broadway

Oct. 25 - Nov. 15, 1975 -- Hans Namuth, Photographs (Castelli Graphics); 4 E 77 St

Nov. 1-15, 1975 -- Robert Rauschenberg, Bones and Unions (Castelli Graphics); 420 W Broadway

Nov. 1-22, 1975 -- Roy Lichtenstein, Recent Paintings; 420 W Broadway

Nov. 22 - Dec. 13, 1975 -- Group Exhibition: Flavin, Judd, Kelly, Morris, Stella; 4 E 77 St

Nov. 29 - Dec. 20, 1975 -- Lewis Baltz, The New Industrial Parks Near Irving, CA, 1974 (a portfolio of 51 photographs) (Castelli Graphics); 420 W Broadway

Nov. 29 - Dec. 20, 1975 -- Paul Waldman, Recent Paintings; 420 W Broadway

Jan. 3-17, 1976 -- Ralph Gibson, Photographs (Castelli Graphics); 4 E 77 St

Jan. 10-24, 1976 -- Robert Barry, Recent Drawings; 420 W Broadway

Jan. 10-24, 1976 -- Alan Charlton; 420 W Broadway

Jan. 24 - Feb. 14, 1976 -- Jasper Johns; 4 E 77 St

Jan. 31 - Feb. 14, 1976 -- Peter Campus; 420 W Broadway

Jan. 31 - Feb. 14, 1976 -- Peter Campus and Frank Gillette, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway

Feb. 10, 1976 -- Lawrence Weiner, Film screening, "A Second Quarter"; 420 W Broadway

Feb. 21 - Mar. 13, 1976 -- Robert Rauschenberg, Jammers; 420 W Broadway

Feb. 21 - Mar. 13, 1976 -- Keith Sonnier, Abaca Code; 420 W Broadway

Feb. 28 - Mar. 20, 1976 -- Joseph Cornell; 4 E 77 St

Mar. 20 - Apr. 10, 1976 -- Dan Flavin, Colored Fluorescent Light; 420 W Broadway

Mar. 20 - Apr. 10, 1976 -- Donald Judd; 420 W Broadway

Mar. 27 - Apr. 17, 1976 -- John Chamberlain; 4 E 77 St

Apr. 17 - May 8, 1976 -- Robert Morris; 420 W Broadway

Apr. 22-24, 1976 -- Benefit Drawing Exhibition for the New York Studio School; 4 E 77 St

Apr. 24 - May 15, 1976 -- Laura Grisi; 420 W Broadway

May 1-22, 1976 -- Hanne Darboven, For Jean-Paul Sartre; 4 E 77 St

May 15 - June 5, 1976 -- Douglas Huebler; 420 W Broadway

May 22 - June 12, 1976 -- Gianfranco Gorgoni, Photographs; 420 W Broadway

May 29 - June 12, 1976 -- Robert Adams, Photographs (Castelli Graphics); 4 E 77 St

June 19 - Sept. 10, 1976 -- Summer Group Exhibition: Artschwager, Chamberlain, Daphnis, Dibbets, Flavin, Judd, Kelly, Lichtenstein, Morris, Nauman, Noland, Oldenburg, Owen, Rauschenberg, Serra, Stella, Weiner; 420 W Broadway

June 26 - Sept. 10, 1976 -- Summer Group Drawing Exhibition: Artschwager, Barry, Bontecou, Darboven, Flavin, Morris, Ruscha; 4 E 77 St

1976-1977 SeasonSept. 11 - Oct. 2, 1976 -- Portraits: Cohen, Eggleston, Gibson, Gossage, Kelly, Namuth, Sonneman, Warhol (Castelli Graphics); 4 E 77 St

Sept. 15 - Oct. 2, 1976 -- Daniel Buren, To Transgress; 420 W Broadway

Sept. 25 - Oct. 16, 1976 -- Cy Twombly, Watercolors; 4 E 77 St

Oct. 9-30, 1976 -- Robert Morris, Black and White Felts; 420 W Broadway

Oct. 9-30, 1976 -- Paul Kos, Tokyo Rose (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)

Oct. 23 - Nov. 13, 1976 -- Kenneth Noland; 4 E 77 St

Nov. 2-27, 1976 -- Bruce Nauman; 420 W Broadway (back room)

Nov. 6 - Dec. 4, 1976 -- Claes Oldenburg; 420 W Broadway

Dec. 11-18, 1976 -- Poppy Johnson, Performance; 420 W Broadway (middle room)

Dec. 11-22, 1976 -- Group Exhibition: Chamberlain, Kelly, Lichtenstein, Noland, Oldenburg, Rauschenberg, Rosenquist, Stella, Warhol; 420 W Broadway

Jan. 8-29, 1977 -- Andy Warhol, Still Life Paintings and Drawings; 420 W Broadway

Feb. 5-26, 1977 -- Ellsworth Kelly; 420 W Broadway

Mar. 5-19, 1977 -- Robert Barry, Donald Judd, Robert Morris, and Keith Sonnier; 420 W Broadway

Mar. 5-26, 1977 -- Hans Namuth and Georg Reisner, Photographs from the Spanish Civil War; 4 E 77 St

Mar. 5-26, 1977 -- Beryl Korot, Text and Commentary (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)

Mar. 5 - Apr. 2, 1977 -- Robert Rauschenberg (Castelli Graphics); [4 E 77 St]

Mar. 26 - Apr. 16, 1977 -- Louis Cane; 420 W Broadway

Mar. 28, 1977 -- Brazos River: Videotape by Viola Farber, Robert Rauschenberg, and David Tudor; 420 W Broadway

Apr. 2-16, 1977 -- Frank Gillette, Mecox (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)

Apr. 23 - May 21, 1977 -- Robert Rauschenberg, Spreads and Scales; 420 W Broadway

Apr. 30 - May 21, 1977 -- Billy Apple, Extension of the Given; 420 W Broadway

May 7-28, 1977 -- Drawings: Artschwager, Flavin, Johns, Judd, Kelly, Lichtenstein, Morris, Nauman, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Twombly, Waldman, Warhol (Castelli Graphics); 4 E 77 St

May 7-28, 1977 -- Drawings - Castelli Uptown; 420 W Broadway

May 28 - June [18], 1977 -- Mia Westerlund Roosen; 420 W Broadway

May 28 - Sept. 17, 1977 -- Summer Group Exhibition: Flavin, Judd, Kelly, Kosuth, Lichtenstein, Rauschenberg, Ruscha, Warhol; 420 W Broadway

1977-1978 SeasonSept. 24 - Oct. 15, 1977 -- James Rosenquist, Recent Paintings; 420 W Broadway

Oct. 15 - Nov. 12, 1977 -- Jasper Johns (Castelli Graphics); 4 E 77 St

Oct. 22 - Nov. 12, 1977 -- Architecture I: Abraham, Ambasz, Meier, Pichler, Rossi, Stirling, Venturi and Rauch; 420 W Broadway

Nov. 19 - Dec. 17, 1977 -- Roy Lichtenstein, Sculptures; 420 W Broadway

Nov. 25 - Dec. 17, 1977 -- William Eggelston, Color Photographs, 1966-1977 (Castelli Graphics); 420 W Broadway (middle room)

Jan. 7-28, 1978 -- Numerals 1924-1977; 420 W Broadway

Feb. 4-25, 1978 -- Bruce Nauman; 420 W Broadway (front room)

Feb. 4-25, 1978 -- Billy Apple, Extension of the Given; 420 W Broadway (front office)

Feb. 4-25, 1978 -- Dan Flavin; 420 W Broadway (middle room)

Feb. 4-25, 1978 -- Robert Barry, A Wall Drawing; 420 W Broadway (back room)

Mar. 4-25, 1978 -- Donald Judd; 420 W Broadway

Mar. 4-25, 1978 -- Paul Waldman; 420 W Broadway

Apr. 1-15, 1978 -- Keith Sonnier, Black Ground Series Drawings; 420 W Broadway (middle room)

Apr. 1-29, 1978 -- Hanne Darboven, Card-Index, Filing Cabinet; 420 W Broadway

Apr. 22-29, 1978 -- Barbaralee Diamonstein, Inside New York's Art World; 420 W Broadway (middle room)

May 6 - June 24, 1978 -- Joseph Cornell, Collages 1931-1972; 420 W Broadway

June 10-24, 1978 -- Alan Sonfist; 420 W Broadway (middle room)

July 5 - Sept. 23, 1978 -- Summer Group Exhibition: Dibbets, Flavin, Judd, Lichtenstein, Morris, Noland, Oldenburg, Rauschenberg, Ruscha, Serra, Sonnier; 420 W Broadway

1978-1979 SeasonSept. 30 - Oct. 21, 1978 -- Jan Dibbets, Structure Panoramas 1977-78; 420 W Broadway (front room)

Sept. 30 - Oct. 21, 1978 -- Douglas Huebler, Mediations; 420 W Broadway (middle room)

Oct. 28 - Nov. 18, 1978 -- Group Exhibition: Chamberlain, Johns, Kelly, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Warhol; 420 W Broadway

Oct. 28 - Nov. 18, 1978 -- Laura Grisi; 420 W Broadway (middle room)

Dec. 2-20, 1978 -- Film/Video 1976-78: Baldessari, Benglis, Campus, Downey, Freed, Girouard, Haxton, Holt, Jonas, Kos, Rappaport, Wegman, Wiener (Castelli/Sonnabend Tapes + Films); 420 W Broadway

Jan. 6-27, 1979 -- Frank Stella, Indian Birds, Painted Metal Reliefs; 420 W Broadway

Feb. 3-24, 1979 -- Donald Judd, Survey of Work; 420 W Broadway

Mar. 3-24, 1979 -- Robert Morris, 6 Mirror Works; 420 W Broadway (front room)

Mar. 3-24, 1979 -- Robert Barry and Carole Gallagher, Again and Again; 420 W Broadway (middle room)

Mar. 31 - Apr. 21, 1979 -- Hans Namuth, Todos Santos: Portraits (Castelli Graphics); 4 E 77 St

Mar. 31 - Apr. 21, 1979 -- Lawrence Weiner; 420 W Broadway (front room)

Mar. 31 - Apr. 21, 1979 -- Mia Westerlund Roosen; 420 W Broadway (middle room)

Apr. 28 - May 19, 1979 -- Roy Lichtenstein, Recent Paintings; 420 W Broadway

May 26 - June 16, 1979 -- Joseph Kosuth, Text/Context (New York); 420 W Broadway

May 26 - June 16, 1979 -- Keith Sonnier, Expanded Sel Series; 420 W Broadway

June 23 - Sept. 15, 1979 -- Summer Group Exhibition: Andre, Daphnis, Flavin, Judd, Kelly, Lichtenstein, Morris, Noland, Owen, Rauschenberg, Ruscha, Serra, Stella, Twombly; 420 W Broadway

1979-1980 SeasonSept. 22 - Oct. 13, 1979 -- Richard Artschwager; 420 W Broadway

Oct. 20 - Nov. 10, 1979 -- Dan Flavin, 1960's and 1970's Installations; 420 W Broadway

Nov. 17 - Dec. 15, 1979 -- Kenneth Noland; 420 W Broadway

Jan. 5-19, 1980 -- Michele Zaza; 420 W Broadway (middle room)

Jan. 5-26, 1980 -- Hanne Darboven; 420 W Broadway

Jan. 19 - Feb. 9, 1980 -- Jasper Johns; 4 E 77 St

Jan. 22-26, 1980 -- Barbaralee Diamonstein, Inside New York's Art World (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)

Feb. 2-23, 1980 -- Salvatore Scarpitta; 420 W Broadway

Feb. 2-23, 1980 -- Charles Gaines, Falling Leaves; 420 W Broadway (middle room)

Feb. 19 - [Mar. 15], 1980 -- Leo Castelli: A New Space: Judd, Lichtenstein, Morris, Nauman, Rauschenberg, Serra, Stella; 142 Greene St

Mar. 1-22, 1980 -- Nassos Daphnis, Paintings From the 50's; 420 W Broadway

Mar. 1-22, 1980 -- Robert Barry, Wall Piece; 420 W Broadway (back office)

Mar. 29 - Apr. 19, 1980 -- Robert Rauschenberg; 420 W Broadway

Apr. [5] - May 10, 1980 -- Ellsworth Kelly, "Color Panels for a Large Wall," 1978, from the Central Trust Company, Cincinnati; 142 Greene St

Apr. 12 - May 3, 1980 -- Ellsworth Kelly, Prints 1978-1980 (Castelli Graphics); 4 E 77 St

Apr. 26 - May 17, 1980 -- Bruce Nauman; 420 W Broadway

Apr. 26 - May 17, 1980 -- Cletus Johnson, Theaters; 420 W Broadway (middle room)

May 17 - June 21, 1980 -- James Rosenquist; 420 W Broadway

May 24 - June 14, 1980 -- Claes Oldenburg; 142 Greene St

May 24 - June 14, 1980 -- Claes Oldenburg; 420 W Broadway

1980-1981 SeasonSept. 13 - Oct. 18, 1980 -- Group Exhibition: Lichtenstein, Nauman, Stella, Judd, Warhol, Kelly; 142 Greene St

Sept. 20 - Oct. 11, 1980 -- Edward Ruscha, New Paintings; 420 W Broadway (front room)

Sept. 20 - Oct. 11, 1980 -- Peter Young, Homage to Agnes Martin; 420 W Broadway

Sept. 27 - Oct. 18, 1980 -- Roy Lichtenstein (Castelli Graphics); 4 E 77 St

Oct. 18 - Nov. 22, 1980 -- Architecture II Houses For Sale: Ambasz, Eisenman, Gregotti, Isozaki, Moore, Pelli, Price, Ungers; 420 W Broadway

Oct. 25 - Nov. 15, 1980 -- Hans Namuth, Pollock Painting, 1950-1951 (Castelli Graphics); 4 E 77 St

Oct. 25 - Nov. 15, 1980 -- Robert Morris; 142 Greene St

Nov. 1980 -- Group Exhibition; 420 W Broadway (rear office)

Nov. 29 - Dec. 6, 1980 -- Barbaralee Diamonstein, American Architecture Now (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)

Nov. 29 - Dec. 13, 1980 -- Benefit Exhibition for Foundation for Contemporary Performance Arts, Inc.; 420 W Broadway

Nov. 29 - Dec. 20, 1980 -- James Turrell; 142 Greene St

Dec. 13-20, 1980 -- Group Installation: Huebler, Kosuth, Nauman, Sonnier; 420 W Broadway (middle room)

Jan. 10 - Feb. 7, 1981 -- Jasper Johns, Drawings 1970-1980; 420 W Broadway

Jan. 17 - Feb. 21, 1981 -- James Rosenquist, Star Thief; 142 Greene St

Feb. 14-28, 1981 -- Lawrence Weiner; 420 W Broadway (front room)

Feb. 14-28, 1981 -- Edward Ruscha, Drawings; 420 W Broadway (middle room)

Feb. 28 - Apr. 4, 1981 -- Richard Serra, Slice; 142 Greene St

Mar. 7-28, 1981 -- Paul Waldman; 420 W Broadway

Mar. 7-28, 1981 -- Laura Grisi; 420 W Broadway (middle room)

Mar. 12 - Apr. 4, 1981 -- Richard Serra, Film screenings, "Railroad Turnbridge" and "Steelmill/Stahlwerk" (Castelli/Sonnabend Tapes + Films); 142 Greene St

Apr. 4 - May 2, 1981 -- Julian Schnabel; 420 W Broadway

Apr. 4 - May 2, 1981 -- Douglas Huebler, Crocodile Tears; 420 W Broadway (middle room)

Apr. 11 - May 9, 1981 -- Ellsworth Kelly; 142 Greene St

Apr. 18 - May 9, 1981 -- Michael Harvey, Film screenings, "Sub Rosa" and "Dead Letter" (Castelli/Sonnabend Tapes + Films); 142 Greene St

May 13, 1981 -- Joan Jonas, Upsidedown and Backwards (Castelli/Sonnabend Tapes + Films); 142 Greene St

May 16-30, 1981 -- Artists' Benefit For the Trisha Brown Dance Company; 142 Greene St

May 16 - Sept. 4, 1981 -- Dan Flavin, Barred Corridors; 420 W Broadway

1981-1982 SeasonSept. 15 - Oct. 31, 1981 -- Donald Judd; 142 Greene St (lower gallery)

Sept. 19 - Oct. 10, 1981 -- Richard Serra (Castelli Graphics); 4 E 77 St

Sept. 19 - Oct. 10, 1981 -- Robert Barry and Carole Gallagher, Collaboration; 420 W Broadway

Oct. 17 - Nov. 7, 1981 -- Charles Gaines, Landscape: Assorted Trees with Regressions; 420 W Broadway

Oct. 17 - Nov. 7, 1981 -- Roy Lichtenstein; 420 W Broadway

Nov. 14 - Dec. 19, 1981 -- Richard Artschwager; 420 W Broadway

Nov. 17-21, 1981 -- Barbaralee Diamonstein, Visions and Images - American Photographers on Photography (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)

Nov. 21 - Dec. 12, 1981 -- Hermine Freed, Beads + Marbles [Castelli/Sonnabend Tapes + Films]; 142 Greene St (lower gallery)

Nov. 21 - Dec. 19, 1981 -- Hanne Darboven; 142 Greene St

Nov. 28 - Dec. 19, 1981 -- Eight Lithographs to Benefit the Foundation for Contemporary Performance Arts, Inc.; 420 W Broadway (middle room)

Nov. 28 - Dec. 23, 1981 -- Julian Schnabel; 142 Greene St

Jan. 9-30, 1982 -- Bruce Nauman, Violins, Violence, Silence; 142 Greene St

Jan. 9-30, 1982 -- Andy Warhol, Dollar Signs; 142 Greene St (lower gallery)

Jan. 9-30, 1982 -- Andy Warhol, Reversals; 420 W Broadway (front room)

Jan. 9 - Feb. 13, 1982 -- Hans Namuth, Portraits; 420 W Broadway (middle room)

Feb. 6-27, 1982 -- Claude Viallat; 142 Greene St

Feb. 6-27, 1982 -- Louis Cane; 420 W Broadway

Feb. 20 - Mar. 27, 1982 -- Dan Flavin, Donald Judd, Richard Serra; 420 W Broadway (middle room)

Mar. 6-27, 1982 -- Mia Westerlund Roosen; 142 Greene St

Mar. 6-27, 1982 -- David Salle; 420 W Broadway (front room)

Mar. 20-27, 1982 -- Sandro Chia; 142 Greene St (lower gallery)

Apr. 3-24, 1982 -- Richard Serra, "Marilyn Monroe-Greta Garbo," 1981,-(A Sculpture for Gallery-Goers.); 142 Greene St

Apr. 3-24, 1982 -- Joseph Kosuth; 420 W Broadway

Apr. 3-24, 1982 -- Richard Serra; 420 W Broadway

Apr. 3 - May 1, 1982 -- Frank Gillette; 142 Greene St

May 1-22, 1982 -- Keith Sonnier; 420 W Broadway

June 1 - Oct. 23, 1982 -- Summer Group Show: Chia, Johns, Kelly, Lichtenstein, Rauschenberg, Rosenquist, Ruscha, Salle, Schnabel, Stella, Warhol; 420 W Broadway

Summer 1982 -- Castelli and His Artists 25 Years; 420 W Broadway

1982-1983 SeasonSept. 11 - Oct. 9, 1982 -- 25th Anniversary Exhibition of Leo Castelli, Castelli and His Artists 25 Years: Artschwager, Barry, Bontecou, Chamberlain, Daphnis, Darboven, Dibbets, Flavin, Grisi, Huebler, Johns, Johnson, Judd, Kelly, Kosuth, Lichtenstein, Morris, Nauman, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Salle, Scarpitta, Schnabel, Serra, Sonnier, Stella, Twombly, Waldman, Warhol, Weiner, Westerlund Roosen; 142 Greene St

Oct. 16-23, 1982 -- Barbaralee Diamonstein, Interior Design: The New Freedom; 142 Greene St

Oct. 16-23, 1982 -- Architectural Drawings and Models: Skowhegan School of Painting and Sculpture Charrette Competition Entries; 420 W Broadway

Oct. 16 - Nov. 6, 1982 -- Group Show: Flavin, Nauman, Oldenburg, Serra, Stella; 142 Greene St

Oct. 30 - Nov. 20, 1982 -- Frank Stella; 420 W Broadway

[Nov. 20 - Dec. 12, 1982] -- Salvatore Scarpitta, American Cycle: 1958-1982; 142 Greene St

Nov. 27 - Dec. 18, 1982 -- John Chamberlain; 420 W Broadway

Dec. 31, 1982 - Jan. 29, 1983 -- Robert Rauschenberg; 142 Greene St

Jan. 8-29, 1983 -- Margrete Sørensen; 142 Greene St (lower gallery)

Jan. 8-29, 1983 -- Robert Morris, Psychomachia; 420 W Broadway

Feb. 3-24, 1983 -- Robert Morris; 142 Greene St

Feb. 3-26, 1983 -- Diane Blell; 142 Greene St (lower gallery)

Feb. 5-26, 1983 -- Robert Longo; 142 Greene St

Feb. 5-26, 1983 -- Gerard Garouste; 420 W Broadway

Mar. 5-26, 1983 -- Robert Mapplethorpe; 142 Greene St

Mar. 5-26, 1983 -- Douglas Huebler; 142 Greene St (lower gallery)

Mar. 5-26, 1983 -- Nassos Daphnis; 420 W Broadway

Mar. 5-26, 1983 -- Sandy Skoglund; 420 W Broadway (middle room)

Apr. 2-23, 1983 -- Julian Schnabel; 142 Greene St

Apr. 2-23, 1983 -- Jan Dibbets; 420 W Broadway

Apr. 2-23, 1983 -- Ellsworth Kelly, Robert Morris, and Bruce Nauman; 420 W Broadway (middle room)

Apr. 30 - June 3, 1983 -- Donald Judd; 420 W Broadway

Apr. 30 - June 4, 1983 -- Sandro Chia; 142 Greene St

Apr. 30 - June 4, 1983 -- Julian Schnabel; 142 Greene St (lower gallery)

May 11 - June 30, 1983 -- Michael Smith, Government Approved Home Fallout snack bar (Castelli Graphics); 43 West 61st St

June [11] - Aug. [4], 1983 -- Drawings/Photographs; 420 W Broadway

Summer 1983 -- Summer Show, Sculpture; 142 Greene St

1983-1984 SeasonSept. 17 - Oct. 8, 1983 -- Robert Rauschenberg, Photogravures (Castelli Graphics); 4 E 77 St

Sept. 24 - Oct. 15, 1983 -- Ken Price; 420 W Broadway (front room)

Sept. 24 - Oct. 15, 1983 -- Robert Barry; 420 W Broadway (middle room)

Oct. 1-[22], 1983 -- James Rosenquist; 142 Greene St

Oct. 22 - Nov. 19, 1983 -- Architectural "Follies": Drawings and Models; 420 W Broadway

Oct. 29 - Nov. 5, 1983 -- Barbaralee Diamonstein, Handmade in America; 142 Greene St (lower gallery)

Nov. 12-26, 1983 -- Marvin Torffield, Pandora's Tears; 142 Greene St (lower gallery)

Dec. 3-17, 1983 -- 8 x 8 to Celebrate the Temporary Contemporary; 142 Greene St (lower gallery)

Dec. 3, 1983 - Jan. 14, 1984 -- Roy Lichtenstein, Greene St Mural; 142 Greene St

Dec. 3, 1983 - Jan. 14, 1984 -- Roy Lichtenstein; 420 W Broadway

Jan. 21 - Feb. 18, 1984 -- Ellsworth Kelly, Corten Wall Sculptures; 420 W Broadway

Jan. 28 - Feb. 25, 1984 -- Jasper Johns, Paintings; 142 Greene St

Feb. 18 - Mar. 10, 1984 -- Richard Serra; 420 W Broadway

Mar. 3-17, 1984 -- Artists Call Against US Intervention in Central America; 142 Greene St (lower gallery)

Mar. 3-31, 1984 -- Edward Ruscha; 142 Greene St

Mar. 10-31, 1984 -- Castelli Graphics 15th Anniversary Exhibition: Graphics, Photographs, Drawings, and Multiples (Castelli Graphics); 4 E 77 St

Mar. 17 - Apr. 7, 1984 -- David Salle; 420 W Broadway

Mar. 31 - Apr. 21, 1984 -- Lucio Pozzi; 142 Greene St (lower gallery)

Apr. 3-28, 1984 -- Dan Flavin; 142 Greene St

Apr. 14 - May 12, 1984 -- Paul Waldman; 420 W Broadway

Apr. 28 - May 19, 1984 -- Eve Sonneman; 142 Greene St (lower gallery)

May 19 - June 9, 1984 -- Jean-Charles Blais; 420 W Broadway

June 6, 1984 -- Michael Smith, Video: Go For It Mike (Castelli/Sonnabend Tapes + Films); 142 Greene St

June 15 - July 27, 1984 -- Summer Group Exhibition: Flavin, Judd, Kelly, Morris, Rauschenberg, Serra, Stella; 142 Greene St

June 23 - Sept. 8, 1984 -- Summer Group Exhibition: Artschwager, Blell, Chia, Johns, Judd, Kelly, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Salle, Warhol; 420 W Broadway

1984-1985 SeasonSept. 15-29, 1984 -- Billy Apple, Survey: 1962-1974; 142 Greene St

Sept. 15 - Oct. 6, 1984 -- Hanne Darboven, Ansichten '82; 420 W Broadway

Oct. 6 - Nov. 3, 1984 -- Bruce Nauman; 142 Greene St

Oct. 13 - Nov. 10, 1984 -- Charles Simonds; 420 W Broadway

Oct. 19, [1984] -- Mitchell Kriegman, Video, "The Effect of Gravity on Dogs" (Castelli/Sonnabend Tapes + Films); 142 Greene St

Nov. 17 - Dec. 15, 1984 -- Donald Judd; 142 Greene St

Nov. 17 - Dec. 15, 1984 -- Keith Sonnier; 142 Greene St (lower gallery)

Nov. 17 - Dec. 15, 1984 -- Donald Judd; 420 W Broadway

Nov. 29 - Dec. 8, 1984 -- Cunningham Dance Foundation Benefit Art Sale; 420 W Broadway

Jan. 5-26, 1985 -- Sandro Chia; 420 W Broadway

Jan. 12 - Feb. 9, 1985 -- Robert Morris; 142 Greene St

Feb. 2-23, 1985 -- Richard Artschwager; 420 W Broadway

Feb. 16 - Mar. 23, 1985 -- Nassos Daphnis; 142 Greene St

Mar. 2-23, 1985 -- Joseph Kosuth; 420 W Broadway

Mar. 2-23, 1985 -- Ralph Gibson; 420 W Broadway (middle room)

Mar. 30 - Apr. 13, 1985 -- Group Exhibition: Flavin, Judd, Morris, Nauman, Serra, Warhol; 420 W Broadway (front room)

Mar. 30 - Apr. 13, 1985 -- Ellsworth Kelly, New Wall Reliefs; 420 W Broadway (middle room)

Mar. 30 - Apr. 20, 1985 -- Francesco Clemente; 142 Greene St

Apr. 20 - May 11, 1985 -- Gerard Garouste; 420 W Broadway (front room)

Apr. 20 - May 11, 1985 -- Charles Gaines; 420 W Broadway (middle room)

Apr. 27 - May 18, 1985 -- James Rosenquist; 142 Greene St

May 18 - June 15, 1985 -- Dan Flavin; 420 W Broadway (front room)

May 18 - June 15, 1985 -- Dianne Blell; 420 W Broadway (middle room)

June 22 - July 27, 1985 -- Summer Group Exhibition: Chia, Lichtenstein, Rosenquist, Serra, Sonnier, Warhol, Weiner, Westerlund Roosen; 142 Greene St

1985-1986 SeasonSept. 7-21, 1985 -- Group Exhibition: Artschwager, Ruscha, Salle, Scarpitta, Sonnier, Warhol, Weiner; 142 Greene St

Sept. 28 - Oct. 19, 1985 -- Keith Sonnier; 142 Greene St

Sept. 28 - Oct. 19, 1985 -- Jiri Georg Dokoupil; 420 W Broadway

Oct. 26 - Nov. 16, 1985 -- Keith Haring; 142 Greene St

Oct. 26 - Nov. 16, 1985 -- Bruce Nauman; 420 W Broadway (front room)

Oct. 26 - Nov. 16, 1985 -- Judy Tompkins; 420 W Broadway (middle room)

Nov. 15 - Dec. 7, 1985 -- Roy Lichtenstein, Landscapes (Castelli Graphics); 4 E 77 St

Nov. 23 - Dec. 21, 1985 -- Roy Lichtenstein; 420 W Broadway (front room)

Nov. 23 - Dec. 21, 1985 -- Gianfranco Gorgoni; 420 W Broadway (middle room)

Nov. 30 - Dec. 21, 1985 -- Mario Merz; 142 Greene St

Jan. 11 - Feb. 1, 1986 -- Hanne Darboven; 142 Greene St

Jan. 11 - Feb. 1, 1986 -- Group Exhibition: Chia, Judd, Nauman, Rauschenberg, Ruscha, Sonnier, Warhol, Westerlund Roosen; 142 Greene St (lower gallery)

Jan. 11 - Feb. 1, 1986 -- Robert Ryman; 420 W Broadway (front room)

Jan. 11 - Feb. 1, 1986 -- Douglas Huebler; 420 W Broadway (middle room)

Feb. 8 - Mar. 1, 1986 -- Laura Grisi; 142 Greene St

Feb. 8 - Mar. 1, 1986 -- Edward Ruscha; 420 W Broadway (front room)

Feb. 8 - Mar. 1, 1986 -- Nassos Daphnis; 420 W Broadway (middle room)

Mar. 8-29, 1986 -- Robert Combas; 420 W Broadway (front room)

Mar. 8-29, 1986 -- Dan Rodan; 420 W Broadway (middle room)

Mar. 8 - Apr. 5, 1986 -- Richard Serra, Prints; 142 Greene St

Apr. 5 - May 3, 1986 -- David Salle; 420 W Broadway

Apr. 5 - May 3, 1986 -- Jean Kallina; 420 W Broadway (office)

Apr. 12 - May 3, 1986 -- Miquel Barceló; 142 Greene St

May 10 - June 14, 1986 -- Robert Therrien; 420 W Broadway

May 17 - June 14, 1986 -- Joseph Kosuth, Selected Works, 1965-1986; 142 Greene St

June 14 - Sept. 13, 1986 -- Summer Group Exhibition: Barceló, Dokoupil, Kosuth, Morris, Moskowitz, Nauman, Oldenburg, Rauschenberg, Ruscha, Scarpitta, Serra, Stella, Warhol; 142 Greene St

June 14 - Sept. 13, 1986 -- Summer Group Exhibition: Artschwager, Blais, Blell, Brown, Chia, Combas, Gibson, Johns, Kelly, Kosuth, Lichtenstein, Morris, Nauman, Rauschenberg, Rosenquist, Ruscha, Ryman, Salle, Serra, Therrien; 420 W Broadway

1986-1987 SeasonSept. 19-27, 1986 -- The Law and Order Show; 420 W Broadway

Sept. 20 - Oct. 11, 1986 -- Mia Westerlund Roosen, Sculpture and Drawings, 1983-1986; 142 Greene St

Oct. 4-11, 1986 -- Barbaralee Diamonstein, Color Video Selections; 142 Greene St (lower gallery)

Oct. 4-25, 1986 -- James Brown; 420 W Broadway

Oct. 18-25, 1986 -- Skowhegan: A Ten-Year Retrospective; 142 Greene St

Nov. 1-22, 1986 -- Lawrence Weiner; 142 Greene St

Nov. [1]-22, 1986 -- Robert Therrien, 1st Installation; 142 Greene St (lower gallery)

Nov. 1-22, 1986 -- Robert Rauschenberg, Gluts; 420 W Broadway

Dec. 13, 1986 - Jan. 24, 1987 -- Claes Oldenburg, Coosje van Bruggen, and Frank Gehry, The Course of the Knife; 142 Greene St

Dec. 13, 1986 - Jan. 24, 1987 -- Claes Oldenburg, Coosje van Bruggen, and Frank Gehry, The Course of the Knife; 420 W Broadway

Jan. 31 - Mar. 7, 1987 -- XXXth Anniversary, the first fifteen years, part 1: Artschwager, Bontecou, Chamberlain, Daphnis, Johns, Kelly, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Scarpitta, Stella, Twombly, Warhol; 142 Greene St

Jan. 31 - Mar. 7, 1987 -- Group Exhibition: Artschwager, Barceló, Flavin, Grisi, Simonds; 142 Greene St (lower gallery)

Jan. 31 - Mar. 7, 1987 -- Robert Therrien, 2nd Installation; 142 Greene St (lower gallery)

Jan. 31 - Mar. 7, 1987 -- Jasper Johns; 420 W Broadway

Mar. 7-28, 1987 -- Charles Gaines, Numbers + Trees; 142 Greene St

Mar. 14 - Apr. 4, 1987 -- XXXth Anniversary, the first fifteen years, part 2: Barry, Darboven, Dibbets, Flavin, Grisi, Huebler, Judd, Kosuth, Morris, Nauman, Serra, Sonnier, Waldman, Weiner; 142 Greene St

Mar. 14 - Apr. 4, 1987 -- Roy Lichtenstein; 420 W Broadway

Mar. 26 - May 2, 1987 -- Group Exhibition: Grisi, Nauman, Rauschenberg, Rosenquist, Warhol; 142 Greene St (lower gallery)

Apr. 18 - May 2, 1987 -- Jean-Charles Blais; 142 Greene St

Apr. 18 - May 9, 1987 -- Dan Flavin, A New Work; 420 W Broadway

Apr. 18 - May 9, 1987 -- Ti Shan Hsu; 420 W Broadway

May [9]-30, 1987 -- Group Show: Kosuth, Morris, Oldenburg, Serra, Stella, Therrien; 142 Greene St

May 12 - June 27, 1987 -- Robert Therrien, 3rd Installation; 142 Greene St (lower gallery)

May 16 - June 6, 1987 -- Richard Artschwager, Bruce Nauman, and Frank Stella; 420 W Broadway

June 4-13, 1987 -- Art Against Aids; 142 Greene St

June 20 - July 31, 1987 -- Andy Warhol; 142 Greene St

1987-1988 SeasonSept. 26 - Oct. 17, 1987 -- Richard Serra, Three Sculptures; 142 Greene St

Oct. 3-31, 1987 -- Miquel Barceló; 420 W Broadway

Oct. 24 - Nov. 14, 1987 -- Peter Schuyff; 142 Greene St

Nov. 7-28, 1987 -- Meyer Vaisman; 420 W Broadway

Nov. 21 - Dec. 19, 1987 -- Edward Ruscha; 142 Greene St

Nov. 21 - Dec. 19, 1987 -- Edward Ruscha; 420 W Broadway

Dec. 5-22, 1987 -- Similia/Dissimilia; 420 W Broadway

Jan. 9-30, 1988 -- Robert Morris; 142 Greene St

Jan. 9-30, 1988 -- Mike Bidlo, Picasso's Women; 142 Greene St (lower gallery)

Jan. 9-30, 1988 -- Richard Artschwager, Drawings; 420 W Broadway

Jan. 9-30, 1988 -- Group Exhibition: Artschwager, Kelly, Lichtenstein, Rosenquist, Ruscha, Warhol; 420 W Broadway

Feb. 6-27, 1988 -- Hanne Darboven; 142 Greene St

Feb. 6-27, 1988 -- Paul Waldman; 420 W Broadway (front room)

Feb. 6-27, 1988 -- Cletus Johnson; 420 W Broadway (middle room)

Mar. 5-12, 1988 -- School of Visual Arts Alumni Show, 1977-87; 142 Greene St

Mar. 5-26, 1988 -- Nassos Daphnis; 420 W Broadway

Mar. 26 - Apr. 16, 1988 -- Chryssa, Cityscapes 1980-88; 142 Greene St

Apr. 2-23, 1988 -- Gerard Garouste; 420 W Broadway

Apr. 23 - May 14, 1988 -- James Rosenquist; 142 Greene St

Apr. 30 - May 21, 1988 -- Robert Therrien; 420 W Broadway

May [28] - June 18, 1988 -- Richard Artschwager, His Peers and Persuasions, 1963-1988; 142 Greene St

May 28 - July 31, 1988 -- Frank O. Gehry, Furniture; 420 W Broadway

May 28 - July 31, 1988 -- Edward Ruscha, Drawings; 420 W Broadway

1988-1989 SeasonSept. 17 - Oct. 15, 1988 -- Joseph Kosuth; 578 Broadway

Sept. 17 - Oct. 22, 1988 -- The Last Show: Kelly, Lichtenstein, Serra, Stella; 142 Greene St

Sept. 24 - Oct. 15, 1988 -- Mike and Doug Starn; 420 W Broadway

Oct. 5 - Nov. 12, 1988 -- Jasper Johns, Bruce Nauman, and David Salle; 420 W Broadway

Oct. 22 - Nov. 19, 1988 -- Robert Cumming (Castelli Graphics); 578 Broadway

Oct. 22 - Nov. 19, 1988 -- Bruce Nauman and Richard Serra; 578 Broadway

Nov. 19 - Dec. 22, 1988 -- Robert Therrien; 420 W Broadway

Dec. 8-30, 1988 -- Benefit for Foundation for Contemporary Performing Arts, Inc.; 420 W Broadway

Circa 1989 -- Castelli Graphics 1969-1989 (Castelli Graphics); 4 E 77 St

Jan. 7-28, 1989 -- Keith Sonnier; 420 W Broadway

Jan. 7-28, 1989 -- Robert Barry; 578 Broadway

Feb. 4-25, 1989 -- Richard Artschwager; 420 W Broadway

Feb. 4-25, 1989 -- David Lynch; 578 Broadway

Mar. 4-25, 1989 -- James Rosenquist, Joseph Kosuth, and Meyer Vaisman; 420 W Broadway

Mar. 4-25, 1989 -- Dianne Blell; 578 Broadway

Apr. 1-22, 1989 -- James Brown; 578 Broadway

Apr. 1-29, 1989 -- Dan Flavin, To the Citizens of the Republic of France on the 200th Anniversary of their Revolution; 420 W Broadway

Apr. 8 - May 13, 1989 -- Walter De Maria; 65 Thompson

May 6-27, 1989 -- Edward Ruscha; 420 W Broadway (front room)

May 6-27, 1989 -- Charles Simonds, Wall Smears and Rocks; 420 W Broadway (middle room)

May 19 - July 1, 1989 -- Roy Lichtenstein, Bronze Sculpture 1976-1989; 65 Thompson

May 20 - June 10, 1989 -- Dan Flavin; 578 Broadway

June 3-24, 1989 -- Summer Group Show: Artschwager, Johns, Kosuth, Rosenquist, Ruscha, Salle, Sonnier, Starn Twins; 420 W Broadway (front room)

June 3-24, 1989 -- Mike and Doug Starn; 420 W Broadway (middle room)

1989-1990 SeasonSept. 16 - Oct. 14, 1989 -- Lewis Baltz (Castelli Graphics); 578 Broadway

Sept. 23 - Oct. 14, 1989 -- Richard Serra, 8 Drawings: Weights and Measures; 420 W Broadway

Oct. 14 - Nov. 30, 1989 -- Dan Flavin, (To Sabine) Fall, 1989; 65 Thompson

Oct. 21 - Nov. 11, 1989 -- Roy Lichtenstein, Reflections; 420 W Broadway

Oct. 21 - Nov. 11, 1989 -- Group Drawing Show: Artschwager, Barry, Brown, Flavin, Johns, Kelly, Kosuth, Lichtenstein, Morris, Nauman, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Salle, Starn Twins, Therrien, Vaisman, Weiner; 578 Broadway

Nov. 18 - Dec. 21, 1989 -- Miquel Barceló, Paintings; 420 W Broadway

Nov. 18 - Dec. 21, 1989 -- Miquel Barceló, Drawings from Mali; 578 Broadway

Nov. 18 - Dec. 21, 1989 -- Recent Prints (Castelli Graphics); 578 Broadway

Dec. 1, 1989 - Feb. 24, 1990 -- Dan Flavin, (To Sabine) Winter, 1989; 65 Thompson

Jan. 6-27, 1990 -- Roni Horn, Thicket No. 1; 420 W Broadway

Jan. 6-27, 1990 -- Hanne Darboven, Requiem For M. Oppenheimer; 420 W Broadway (front room)

Jan. 6-27, 1990 -- The 60's Revisited: New Concepts/New Materials; 578 Broadway

Jan. 6-27, 1990 -- Edward Ruscha, Selected Portfolios (Castelli Graphics); 578 Broadway

Feb. 3-24, 1990 -- Nassos Daphnis, Thirty Years With Leo Castelli; 420 W Broadway (front room)

Feb. 3-24, 1990 -- Robert Therrien; 420 W Broadway (middle room)

Feb. 3-24, 1990 -- Douglas Huebler; 578 Broadway

Feb. 3-24, 1990 -- Robert Petersen, Selected Works (Castelli Graphics); 578 Broadway

Mar. 3-24, 1990 -- Bruce Nauman; 65 Thompson

Mar. 3-31, 1990 -- Bruce Nauman; 420 W Broadway

Mar. 3-31, 1990 -- Ellsworth Kelly, Portraits: Recent Prints from Gemini G.E.L. (Castelli Graphics); 578 Broadway

Mar. 3-31, 1990 -- Bernar Venet, Drawings Scale: 1 (Castelli Graphics); 578 Broadway

Apr. 1990 -- John Gutmann, Talking Picture; 578 Broadway

Apr. 7-28, 1990 -- Robert Morris; 420 W Broadway

Apr. 7-28, 1990 -- Taking the Picture: Photography and Appropriation; 578 Broadway

Apr. 7 - May 12, 1990 -- Hiroshi Teshigahara, Echizen Ware; 65 Thompson

May 5-26, 1990 -- Robert Rauschenberg, Currents '70 (Castelli Graphics); 578 Broadway

May 5 - June 2, 1990 -- Jan Dibbets; 420 W Broadway

May 12 - July 28, 1990 -- Ellsworth Kelly; 65 Thompson

June 9 - Sept. 15, 1990 -- Group Exhibition of Gallery Artists: Artschwager, Johns, Kosuth, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Salle, Sonnier, Starn Twins, Stella, Vaisman, van Bruggen, Weiner; 420 W Broadway

1990-1991 SeasonSept. 22 - Oct. 13, 1990 -- Robert Barry; 420 W Broadway

Sept. 22 - Oct. 13, 1990 -- David Salle, Recent Prints (Castelli Graphics); 578 Broadway

Oct. 20 - Nov. 17, 1990 -- James Rosenquist; 420 W Broadway

Oct. 20 - Nov. 17, 1990 -- Cletus Johnson; 578 Broadway

Oct. 20 - Nov. 17, 1990 -- Roy Lichtenstein, Reflections Series (Castelli Graphics); 578 Broadway

Nov. 27, 1990 - Jan. 12, 1991 -- Claes Oldenburg and Coosje van Bruggen; 420 W Broadway

Nov. 27, 1990 - Jan. 12, 1991 -- Claes Oldenburg, Works from Gemini G.E.L., 1988-1990 (Castelli Graphics); 578 Broadway

Nov. 27, 1990 - Jan. 12, 1991 -- Robert Watts; 578 Broadway

Dec. 8, 1990 - Feb. 9, 1991 -- Frank Stella, New Work; 65 Thompson

Jan. 19 - Feb. 9, 1991 -- Lawrence Weiner; 420 W Broadway

Jan. 19 - Feb. 9, 1991 -- Chryssa; 420 W Broadway (middle room)

Jan. 19 - Feb. 9, 1991 -- Lewis Baltz, Rule without Exception (Castelli Graphics); 578 Broadway

Jan. 19 - Feb. 9, 1991 -- Hanne Darboven, Urzeit; 578 Broadway

Feb. 16 - Mar. 9, 1991 -- Jasper Johns; 420 W Broadway

[Feb. 16 - Mar. 9, 1991] -- [Robert Cumming; 578 Broadway]

Mar. 9 - Apr. 6, 1991 -- Robert Morris; 65 Thompson

Mar. 16 - Apr. 6, 1991 -- Richard Artschwager; 420 W Broadway

Mar. 16 - Apr. 6, 1991 -- James Brown, Prints (Castelli Graphics); 578 Broadway

Apr. 13 - May 4, 1991 -- Bertrand Lavier; 420 W Broadway

Apr. 13 - May 4, 1991 -- Roy Lichtenstein, Interior Series (Castelli Graphics); 578 Broadway

Apr. 13 - May 11, 1991 -- Group Drawing Show: Janie Lee Master Drawings; 65 Thompson

May 11-25, 1991 -- Edward Ruscha, Prints; 578 Broadway

May 11 - June 1, 1991 -- Edward Ruscha; 420 W Broadway

[May 11 - June 1, 1991] -- [Charles Simonds; 420 W Broadway (middle room)]

May 21 - [June 22], 1991 -- Robert Therrien; 65 Thompson

June 1-22, 1991 -- Charles Gaines; 578 Broadway

June 5-22, 1991 -- Group Drawings Exhibition; 578 Broadway

[July 16 - Nov. 9], 1991 -- Frank Stella; 65 Thompson

Summer 1991 -- Summer Group Exhibition: Artschwager, Flavin, Johns, Kelly, Lichtenstein, Nauman, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Salle, Starn Twins, Stella, Therrien, Vaisman, Warhol, Weiner; 420 W Broadway

1991-1992 SeasonSept. 21 - Oct. 12, 1991 -- Dianne Blell, Wild Lives, Photographic Portraits Documenting Africa's Vanishing Wildlife; 420 W Broadway

Sept. 21 - Oct. 12, 1991 -- Group Exhibition: Johns, Kelly, Lavier, Lichtenstein, Starn Twins, Stella, Ruscha; 420 W Broadway (middle room)

Oct. 19 - Nov. 16, 1991 -- Paul Waldman; 420 W Broadway

Oct. 26 - Nov. 30, 1991 -- Robert Rauschenberg, Print Survey in Themes, 1952-1992; 578 Broadway

Nov. 23 - Dec. 14, 1991 -- Jean-Pierre Raynaud; 420 W Broadway

Dec. 14, 1991 - Feb. 1, 1992 -- Group Exhibition, Large Scale Prints: Kosuth, Morris, Nauman, Rauschenberg, Rosenquist, Serra, Starn Twins; 578 Broadway

Jan. 4-25, 1992 -- Pruitt-Early; 420 W Broadway

Feb. 1-29, 1992 -- Roy Lichtenstein, Interiors; 65 Thompson

Feb. 1-29, 1992 -- Roy Lichtenstein, Interiors; 420 W Broadway

Feb. 1-29, 1992 -- Leo Castelli XXXV Anniversary, Installation; 578 Broadway

Feb. 8-29, 1992 -- Salvatore Scarpitta, Early Works; 578 Broadway

Mar. 7-28, 1992 -- Laura Grisi; 420 W Broadway

Mar. 7-28, 1992 -- Hans Namuth; 578 Broadway

[Apr. - July], 1992 -- Elyn Zimmerman, Portals and Passages; 65 Thompson

Apr. 4-25, 1992 -- Keith Sonnier; 65 Thompson

Apr. 4-25, 1992 -- Charles Simonds, Stugg. Thebb?The Singing Monkey, 1992; 420 W Broadway

Apr. 4-25, 1992 -- Keith Sonnier; 420 W Broadway

Apr. 4-25, 1992 -- Keith Sonnier, Prints, Drawings and Multiples 1990-1992; 578 Broadway

May 2-23, 1992 -- Mike and Doug Starn; 420 W Broadway

May 9 - June 6, 1992 -- James Brown, Survey of Work 1986-1992; 578 Broadway

May 30 - June 13, 1992 -- Summer Group Exhibition: Flavin, Lichtenstein, Kosuth, Nauman, Rauschenberg, Warhol, Rosenquist, Ruscha, Salle, Starn Twins, Therrien; 420 W Broadway

June 6 - July 31, 1992 -- Group Exhibition, Drawings, Prints, Multiples, Photographs; 578 Broadway

June 23 - July 31, 1992 -- The Guggenheim in Europe: Architectural Models and Drawings; 420 W Broadway

Aug. 17 - Sept. 19, 1992 -- Summer Group Exhibition 1992, Part II: Artshwager, Lichtenstein, Kosuth, Nauman, Rauschenberg, Rosenquist, Ruscha, Salle, Starn Twins, Therrien, Warhol; 420 W Broadway

1992-1993 SeasonSept. 19 - Oct. 24, 1992 -- Dan Flavin, Donald Judd, Robert Morris, Minimalist Works; 578 Broadway

Sept. 26 - Oct. 17, 1992 -- Meyer Vaisman, Turkey; 420 W Broadway

Sept. 26 - Nov. 7, 1992 -- Group Architecture Exhibition, Angels and Franciscans: Innovative Architecture from Los Angeles and San Francisco; 65 Thompson

Oct. 24 - Nov. 14, 1992 -- Miquel Barceló; 420 W Broadway

Oct. 31 - Dec. 5, 1992 -- Bruce Nauman, Richard Serra, Keith Sonnier, Post-Minimal Works; 578 Broadway

Nov. 14, 1992 - Jan. 9, 1993 -- Andrew Lord, Modelling: A Sculpture of 27 Pieces and Related Works; 65 Thompson

Nov. 21 - Dec. 19, 1992 -- Ellsworth Kelly; 420 W Broadway (front room)

Nov. 21 - Dec. 19, 1992 -- Roy Lichtenstein, Waterlilies; 420 W Broadway (middle room)

Dec. 12, 1992 - Jan. 30, 1993 -- Group Sculpture Exhibit, Object Lessons; 578 Broadway

Jan. 9 - Feb. 6, 1993 -- Jasper Johns, 35 Years with Leo Castelli; 420 W Broadway

Jan. 16-23, 1993 -- Benefit for Cunningham Dance Foundation; 65 Thompson

Jan. 30 - Mar. 13, 1993 -- Richard Long; 65 Thompson

Feb. 6 - Mar. 6, 1993 -- Word Play: Darboven, Kosuth, Ruscha, Weiner; 578 Broadway

Feb. 13 - Mar. 13, 1993 -- Blind Color: Calle, Charlton, Klein, Manzoni, Rauschenberg, Richter, Rinehardt; 420 W Broadway

Feb. 13 - Mar. 13, 1993 -- Sophie Calle, Last Seen; 420 W Broadway

Mar. 20 - Apr. 17, 1993 -- Frank Stella and James Rosenquist, New Prints; 65 Thompson

Mar. 20 - Apr. 17, 1993 -- James Rosenquist; 420 W Broadway

Mar. 20 - Apr. 17, 1993 -- James Rosenquist, Prints from "Welcome to the Water Planet" and "House of Fire"; 578 Broadway

Mar. 20 - Apr. 17, 1993 -- Keith Sonnier, Robert Morris, and Robert Rauschenberg, Soft Ware; 578 Broadway

Apr. 24 - May 22, 1993 -- Hanne Darboven; 420 W Broadway

Apr. 24 - May 29, 1993 -- Group Exhibition, Graphic Works; 578 Broadway

May 15 - July 31, 1993 -- Summer Group Exhibition: Chamberlain, Long, Lord, Morris, Rauschenberg, Sonnier, Stella; 65 Thompson

May 29 - Oct. 2, 1993 -- British and American Sculpture: Cragg, Deacon, Kapoor, Long, Kelly, Nauman, Serra, Stella; 420 W Broadway

June 5 - July 24, 1993 -- Group Exhibition, Faces and Figures; 578 Broadway

1993-1994 SeasonSept. 25 - Oct. 23, 1993 -- Robert Morris; 65 Thompson

Sept. 25 - Oct. 23, 1993 -- Robert Morris, Blind Time Drawings; 578 Broadway

Sept. 25 - Nov. 27, 1993 -- Group Exhibition: Artschwager, Kosuth, Morris, Ruscha, Starn Twins, Vaisman; 578 Broadway

Oct. 16 - Nov. 6, 1993 -- Joseph Kosuth, The Thing-in-itself is found in its Truth through the loss of its immediacy; 420 W Broadway

Oct. 30 - Nov. 27, 1993 -- Charles Simonds, Retrospective; 578 Broadway

Nov. 12 - Dec. 4, 1993 -- Robert Therrien; 420 W Broadway

Dec. 3, 1993 - Jan. 15, 1994 -- Frank Stella, Moby Dick Deckle Edges (New Prints from Tyler Graphics); 578 Broadway

Dec. 4, 1993 - Jan. 15, 1994 -- Andrew Lord; 578 Broadway

Dec. 9, 1993 - Jan. 8, 1994 -- Benefit for Foundation for Contemporary Performance Arts; 420 W Broadway

Jan. 22 - Feb. 19, 1994 -- Bruce Nauman, Falls, Pratfalls, and Sleights of Hand; 420 W Broadway

Jan. 22 - Mar. 5, 1994 -- Robert Morris; 578 Broadway

Jan. 22 - Mar. 5, 1994 -- Bruce Nauman, Prints and Drawings; 578 Broadway

Feb. 26 - Apr. 2, 1994 -- Robert Rauschenberg, Scores (Off Kilter Keys); 65 Thompson

Feb. 26 - Apr. 2, 1994 -- Robert Rauschenberg, Scores (Off Kilter Keys); 420 W Broadway

Mar. 12 - Apr. 2, 1994 -- Barbaralee Diamonstein, Inside the New York Art World; 578 Broadway

Mar. 12 - Apr. 2, 1994 -- Group Exhibition: Lord, Nauman, Rauschenberg, Starn Twins, Stella, Therrien; 578 Broadway

Apr. 9 - May 7, 1994 -- Mike and Doug Starn, Spectroheliographs; 420 W Broadway

Apr. 9 - May 14, 1994 -- Lee Bontecou, Edward Higgins, and Robert Moskowitz, Sculpture and Painting from the Early 1960's; 578 Broadway

Apr. 30 - June 18, 1994 -- Sandro Chia, New Paintings; 65 Thompson

May 17 - June 11, 1994 -- Hannah Collins, Signs of Life; 420 W Broadway

May 21 - June 25, 1994 -- Jasper Johns, The Prints of Jasper John 1960-1993; 578 Broadway

June 18 - Sept. 10, 1994 -- Summer Group Exhibition; 420 W Broadway

July 5 - Oct. 8, 1994 -- Group Sculpture Exhibition, Major Works: Artschwager, Judd, Flavin, Lichtenstein, Nauman, Rauschenberg, Starn, Therrien; 578 Broadway

1994-1995 SeasonSept. 17 - Oct. 8, 1994 -- Richard Meier, Sculpture; 420 W Broadway

Oct. 8 - Nov. 12, 1994 -- Dan Flavin, Selected Works 1969-1990; 578 Broadway

Oct. 15 - Nov. 12, 1994 -- James Rosenquist; 420 W Broadway

Nov. 19 - Dec. 17, 1994 -- Roy Lichtenstein, Nudes; 420 W Broadway

Nov. 19 - Dec. 23, 1994 -- Roy Lichtenstein, Nudes: 9 Color Relief Prints; PACT 95 International America's Cup Class Yacht; 578 Broadway

Jan. 7-28, 1995 -- Lawrence Wiener, Stones + Stones + Stones; 420 W Broadway

Jan. 14 - Feb. 11, 1995 -- Robert Morris, Malaprops; The Fallen and the Saved; 578 Broadway

Feb. 4-25, 1995 -- James Brown; 420 W Broadway

Feb. 18 - Mar. 18, 1995 -- Richard Artshwager, Robert Therrien, and Edward Ruscha; 578 Broadway

Mar. 4-25, 1995 -- Kenneth Noland; 420 W Broadway

Mar. 25 - Apr. 29, 1995 -- Robert Rauschenberg, Tribute 21; 578 Broadway

Apr. 1-22, 1995 -- Hannah Collins; 420 W Broadway

Apr. 1-22, 1995 -- Edward Ruscha, Anamorphic Paintings; 420 W Broadway

Apr. 29 - May 20, 1995 -- Miquel Barceló; 420 W Broadway

May 6 - June 2, 1995 -- New Editions: Johns, Nauman, Rauschenberg, Ruscha; 578 Broadway

May 31 - June 30, 1995 -- Barbara Bloom, Pictures from the Floating World; 420 W Broadway

June 10 - July 8, 1995 -- Frank Stella, Imaginary Places (Castelli Graphics); 578 Broadway

June 10 - July 8, 1995 -- Summer Group Exhibition: Collins, Lichtenstein, Rauschenberg, Rosenquist, Ruscha, Vaisman; 578 Broadway

July 11 - Sept. 1, 1995 -- Summer Group Exhibition; 420 W Broadway

1995-1996 SeasonSept. 16 - Oct. 14, 1995 -- Group Sculpture Exhibition: Flavin, Judd, Kelly, Serra; 578 Broadway

Sept. 16 - Oct. 14, 1995 -- Edward Ruscha, Sayings, Puddinhead Wilson; 578 Broadway

Sept. 18 - Oct. 7, 1995 -- Hanne Darboven, South Korean Calendar; 420 W Broadway

Oct. 14 - Nov. 4, 1995 -- Nassos Daphnis, Energies in Outer Space; 420 W Broadway

Oct. 21 - Nov. 18, 1995 -- Joseph Kosuth, Editions The Past 10 Years; 578 Broadway

Nov. 11 - Dec. 16, 1995 -- Frank Stella, Free Standing Murals; 420 W Broadway

Dec. 2, 1995 - Jan. 13, 1996 -- Frank Stella, Editions; 578 Broadway

Jan. 13 - Feb. 3, 1996 -- Paul Waldman; 420 W Broadway

Jan. 30 - Feb. 10, 1996 -- Bailey House Auction; 578 Broadway

Feb. 10 - Mar. 9, 1996 -- Group Exhibition, New Works by Gallery Artists: Johns, Lichtenstein, Morris, Nauman, Rauschenberg, Rosenquist, Ruscha, Sonnier, Stella, Therrien; 420 W Broadway

Feb. 17 - Mar. 16, 1996 -- Collage - Gallery Artists: Brown, Darboven, Lichtenstein, Nauman, Rauschenberg, Ruscha, Starn Twins, Therrien, Vaisman; 578 Broadway

Mar. 16 - Apr. 13, 1996 -- Robert Therrien; 420 W Broadway

Mar. 23 - Apr. 20, 1996 -- Photography: Calle, Collins, Kosuth, Ruscha, Starn Twins, Therrien; 578 Broadway

Apr. 20 - May 18, 1996 -- James Rosenquist, Horizon Home Sweet Home; 420 W Broadway

Apr. 20 - May 24, 1996 -- Roy Lichtenstein, Eight New Prints; 578 Broadway

May 28 - July 26, 1996 -- Ralph Gibson, Infanta; 420 W Broadway

May 28 - July 26, 1996 -- Group Drawing Exhibition, Works on Paper: Chryssa, Daphnis, Darboven, Johns, Lichtenstein, Morris, Nauman, Rauschenberg, Ruscha, Serra, Stella, Sonnier, Therrien, Weiner; 420 W Broadway

June 1 - July 26, 1996 -- Summer Group Show: Johns, Kosuth, Lichtenstein, Ruscha, Stella, Therrien; 578 Broadway

1996-1997 SeasonSept. 14 - Oct. 12, 1996 -- Gianfranco Gorgoni, 25 Years of Artists Portraits; 578 Broadway

Sept. 14 - Oct. 12, 1996 -- Ellsworth Kelly, Prints; 578 Broadway

Sept. 28 - Oct. 26, 1996 -- Roy Lichtenstein, Landscapes in the Chinese Style; 420 W Broadway

Oct. 19 - Dec. 14, 1996 -- Jasper Johns, Prints 1960-1996 (Castelli Graphics); 578 Broadway

Nov. 2 - Dec. 14, 1996 -- Bruce Nauman, Bronze Heads and End of the World; 420 W Broadway

Jan. 11 - Feb. 8, 1997 -- Robert Morris, Horizons Cut Between Clio and Mnemosyne; 420 W Broadway

Jan. 18 - Feb. 22, 1997 -- Robert Therrien, Drawings; 578 Broadway

Jan. 18 - Feb. 22, 1997 -- Andy Warhol, Prints; 578 Broadway

Feb. 15 - Mar. 15, 1997 -- Lawrence Weiner, Then Now + Then; 420 W Broadway

Mar. 1-22, 1997 -- Dan Flavin; 578 Broadway

Mar. 22 - Apr. 26, 1997 -- Keith Sonnier, Alternating Currents; 420 W Broadway

Mar. 29 - Apr. 5, 1997 -- The Printmaking Workshop Benefit Exhibition and Auction; 420 W Broadway

Apr. 17 - May 17, 1997 -- Columbia University MFA Exhibition; 420 W Broadway

May 3 - June 7, 1997 -- Edward Ruscha, Cityscapes and "O" Books; 420 W Broadway

July - Sept., 1997 -- Summer Group Show: Kosuth, Morris, Serra; 420 W Broadway

1997-1998 SeasonSept. 27 - Oct. 18, 1997 -- Joseph Kosuth; 420 W Broadway

Oct. 25 - Nov. 15, 1997 -- 40 Years of Exploration and Innovation Part 1: Bontecou, Chryssa, Cornell, Johns, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Twombly, Warhol; 420 W Broadway

Nov. 22 - Dec. 13, 1997 -- 40 Years of Exploration and Innovation Part 2: Daphnis, Flavin, Judd, Kelly, Morris, Serra, Stella, Therrien, Waldman; 420 W Broadway

Jan. 10-31, 1998 -- 40 Years of Exploration and Innovation Part 3: Barry, Darboven, Dibbets, Grisi, Huebler, Kosuth, Nauman, Scarpitta, Sonnier, Starn Twins, Weiner; 420 W Broadway

Feb. 7 - Mar. 14, 1998 -- Dan Flavin, Some Drawings and Installations of Fluorescent Light; 420 W Broadway

Mar. 28 - Apr. 25, 1998 -- Hannah Collins, True Stories; 420 W Broadway

May 2 - June 6, 1998 -- Mike and Doug Starn, Black Hole Sun Burned; 420 W Broadway

June 24 - Aug. 29, 1998 -- Summer Show; 420 W Broadway

1998-1999 SeasonSept. 26 - Oct. 31, 1998 -- Robert Morris, The Rationed Years; 420 W Broadway

Nov. - Dec., 1998 -- Joseph Kosuth, Richard Serra, Keith Sonnier; 420 W Broadway

Jan. - Feb. 1999 -- Robert Rauschenberg, Arcadian Survey; 420 W Broadway
Related Material:
Available in the Archives of America Art are three oral history interviews with Leo Castelli. Paul Cummings interviewed Castelli between May 14, 1969 and June 8, 1973; Barbara Rose in July, 1969; and Andrew Decker on May 22, 1997.
Separated Materials:
The Archives of American Art also holds items lent for microfilming (reel N68) including printed material. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
Leo Castelli loaned printed material for microfilming in 1968. Leo Castelli's wife, Barbara Bortuzzo Castelli, and his children, Nina Castelli Sundell and Jean-Christophe Castelli, donated the Leo Castelli Gallery records to the Archives of American Art in 2007.
Restrictions:
Use of original records requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art dealers  Search this
Topic:
Gallery owners -- local  Search this
Art, Modern -- 20th century -- History -- New York (State)New York  Search this
Painting, Modern -- 20th century -- History -- New York (State)New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Video recordings
Sketches
Transcripts
Sound recordings
Notes
Visitors' books
Photographs
Notebooks
Awards
Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.leocast
See more items in:
Leo Castelli Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-leocast
Online Media:

Alexander Archipenko papers

Creator:
Archipenko, Alexander, 1887-1964  Search this
Names:
Archipenko Art School (Woodstock, N.Y.)  Search this
Archipenko, Angelica  Search this
Archipenko, Frances  Search this
Spies, Walter  Search this
Extent:
19.5 Linear feet
Type:
Collection descriptions
Archival materials
Transcripts
Sound recordings
Scrapbooks
Photographs
Date:
1904-1986
bulk 1930-1964
Summary:
The Alexander Archipenko papers measure 19.5 linear feet and date from 1904 to 1986, with the bulk of materials dating from 1930 to 1964. The sculptor's personal and professional life is documented by correspondence, financial records, scrapbooks, printed matter, and photographs documenting his art, exhibitions, travel, teaching activities, and the Archipenko Art School. Archipenko wrote and lectured extensively about his philosophies of art and the relationship between art and nature. The papers include drafts, notes, and final manuscripts of published and unpublished writings, and notes, outlines, transcripts, and audio recordings of some of his lectures.
Scope and Content Note:
The Alexander Archipenko papers measure 19.5 linear feet and date from 1904 to 1986, with the bulk of materials dating from 1930 to 1964. The sculptor's personal and professional life is documented by correspondence, financial records, scrapbooks, printed matter, and photographs documenting his art, exhibitions, travel, teaching activities, and the Archipenko Art School. Archipenko wrote and lectured extensively about his philosophies of art and the relationship between art and nature. The papers include drafts, notes, and final manuscripts of published and unpublished writings, and notes, outlines, transcripts, and audio recordings of some of his lectures.

Correspondence concerns both personal and professional matters. Among Archipenko's personal correspondents are relatives and friends in the Ukraine, his wife Angelica during her extended stays in Mexico and California, and other women. Professional correspondence is with dealers, curators, scholars, collectors, colleges and universities concerning exhibitions, sales and commissions, loans, and teaching and lecture engagements.

Archipenko wrote and lectured extensively about his philosophy of art, art in nature, and theories concerning creativity and the universe. His papers include manuscripts, drafts, notes and supporting materials for his book published in 1960, Archipenko: Fifty Creative Years, 1908-1958. Similar documentation of unpublished writings, as well as notes, outlines, and some transcripts of lectures and talks are also in the series.

Records concerning the Archipenko Art School are sparse, with only one photograph of students in Berlin, 1921. Surviving records include printed matter, a cashbook, student roster, and scrapbook containing photographs, printed matter, and a typescript copy of a statement by Archipenko, "How I Teach." Most of this material focuses on the New York and Woodstock schools, with only a few items concerning Chicago. In addition, files regarding Archipenko's teaching activities at schools other than his own include course descriptions, student rosters, grades, and printed matter.

Financial records consist of banking records, paid bills, and miscellaneous items. Paid bills include invoices and receipts for art supplies, shipping, and storage. Among the miscellaneous items are price lists, royalties paid by the Museum of Modern Art for Woman Combing Her Hair, and sales records.

Nine scrapbooks contain clippings, exhibition announcements and catalogs, lecture notices, advertisements and brochures of the Archipenko Art School, and a small number of photographs. Printed matter consists primarily of clippings about Archipenko and exhibition catalogs with related announcements and invitations. Miscellaneous items include books about Archipenko, catalogs of museum collections containing works by Archipenko, and reproductions. Of special interest is a brochure about the Multiplex Advertising Machine that bears a similarity to the Archipentura, an "apparatus for displaying Changeable Pictures" Archipenko invented circa 1924 and patented in 1927.

Photographs are of people, Archipenko's travels and miscellaneous places, exhibitions, works of art, events, and miscellaneous subjects. Five photograph albums mainly document travels. Slides and transparencies include black and white lantern slides probably used to illustrate lectures.
Arrangement:
The collection is arranged as 10 series. Lantern slides and glass plates are housed separately and closed to researchers, but listed where they fall intellectually within the collection.

Series 1: Biographical Material, 1908-1964 (0.5 linear feet; Box 1, OV 28)

Series 2: Correspondence, 1922-1970 (4.1 linear feet; Boxes 1-5)

Series 3: Subject Files, 1940-1958 (6 folders; Box 5)

Series 4: Writings, 1923-1971 (3.2 linear feet; Boxes 5-8, Film can FC 30)

Series 5: Teaching, 1921-1952 (0.8 linear feet; Box 9, Film cans FC 31-33)

Series 6: Financial Records, 1923-1971 (1.5 linear feet; Box 9-10)

Series 7: Scrapbooks, 1910-1961 (1.2 linear feet; Boxes 22-25)

Series 8: Printed Material, 1913-1987 (3.7 linear feet; Boxes 11-14, 26, OV 29)

Series 9: Miscellaneous, 1916-1966 (0.5 linear feet; Box 14, 16, Film can FC 34)

Series 10: Photographic Material, 1904-1964 (3.6 linear feet; Boxes 14-15, 17-21, 26-27)
Biographical Note:
Alexander Archipenko (1887-1964) was the son of an engineer/inventor and grandson of an icon painter. Among the first modern sculptors of the 20th century to be associated with the Cubist movement, Archipenko was known for his innovative use of concave space. His major contribution was the realization of negative form through use of a hole to create a contrast of solid and void. His sculpto-paintings united form and color; begun in 1912, these polychromed constructions are among the earliest mixed-media works known, and sometimes incorporated objects. Eventually, his Cubist-inspired work evolved into the simplified, abstract shapes for which he is best known. Although known primarily as a sculptor, Archipenko produced paintings, drawings, and prints as well.

At age 15, Archipenko began studying art at the University of Kiev in his native city; he was expelled three years later for criticizing the teachers. He then went to Moscow where he worked on his own and exhibited in several group shows; his first solo exhibition was held in the Ukraine in 1906.

Archipenko made Paris his home from 1908 until the outbreak of World War I. Soon after his arrival, he enrolled in the Ecole des Beaux-Arts; this association lasted but two weeks, and marked the end of Archipenko's formal training. He continued to study art by spending large amounts of time visiting art museums and painting on his own. During this period, he began exhibiting in the Salon des Independents with the Cubists, and as a member of the "Section d'Or" participated in that group's exhibitions. His first one-man exhibition in Germany was held at the Folkwant Museum (1912) and his work was featured in the Armory Show (1913).

In 1912, at the age of 25, Archipenko established his first art school in Paris. He spent the war years working quietly outside of Nice, and soon afterwards circulated an extensive exhibition of his works throughout Europe. In 1921, Archipenko settled in Berlin, opened an art school there, and married sculptor Angelica Bruno-Schmitz, who was known professionally as Gela Forster.

Archipenko's reputation was solidly established and the majority of his ground-breaking work - adaptation of Cubist ideas to sculpture, sculpto-paintings and incorporation of negative space in sculpture - was accomplished prior to his 1923 arrival in the United States. One of his most innovative works executed in America was the Archipentura, invented circa 1924 and patented in 1927, a machine with rolling cylinders that displayed "animated paintings" using motion and light. Other creations of note are carved Lucite sculptures, illuminated from within, that were executed in the mid-1940s.

Upon settling in the United States in 1923, Archipenko opened his art school in New York City; a summer school was established in Woodstock, New York the following year. Within a few years, Archipenko purchased land near Woodstock and began construction of a home, personal studio, and buildings for the school. At various times during the 1930s, Archipenko resided in Chicago and Los Angeles, and operated schools while living in those cities. For many years during the 1940s, Angelica served on the sculpture faculty at the Escuela de Belles Artes in San Miguel Allende, Mexico.

In addition to running his own schools, Archipenko taught at a number of colleges and universities, where he ran workshops, and served as a visiting professor. He wrote and lectured extensively about his philosophy of art and theories of creativity, publishing several articles and a book, Archipenko: Fifty Creative Years, 1908-1958 (1960).

Angelica Archipenko died in 1957. Three years later Archipenko married sculptor Frances Gray, a former student. During the early 1960s, the couple traveled extensively on a lecture tour that accompanied a solo exhibition to several German cities. Archipenko died in New York City, February 25, 1964.

The following chronology is excerpted from Alexander Archipenko: A Centennial Tribute by Katherine Janszky Michaelsen and Nehama Guralnik (National Gallery of Art, Washington, DC, 1986) and Archipenko: The Sculpture and Graphic art, Including a Print Catalogue Raisonne by Donald Karshan, Ernst Wasmuth Verlag (Tubingen, Germany, 1974).

1887 -- Born to Porfiry Antonovich and Poroskovia Wassilievna Machova Archipenko in Kiev, Ukraine, Russia. Father a mechanical engineer, professor of engineering, and inventor; grandfather an icon painter.

1900 -- Studied and copied Michelangelo drawings from a book given him by his grandfather during a long confinement following a leg injury.

1902-1905 -- Painting and sculpture student in Kiev art school; expelled for criticizing his teachers.

1906 -- First one-man show in the Ukraine. Worked in Moscow and exhibited in several group shows.

1908 -- Moved to Paris and enrolled in the Ecole des Beaux-Arts. Quit formal art instruction after two weeks, continued to study art on his own by visiting museums.

1910 -- Exhibited in the Salon des Independants with the cubists (also in 1911-1914 and 1919).

1912 -- Opened art school in Paris. "Section d'Or" formed in Paris with Archipenko among its members. The group exhibited until 1914, and briefly after World War I. First solo exhibition in Germany, Folkwant Museum, Hagen.

1913 -- Represented in the Armory Show. Executed first prints (lithographs).

1914 -- Began making sculpto-paintings.

1914-1918 -- Spent the war years working near Nice.

1919-1920 -- Began extensive tour exhibiting his works in various European cities (Geneva, Zurich, Paris, London, Brussels, Athens, Berlin, Munich, etc.).

1920 -- One-man exhibition in the Venice Biennale.

1921 -- First solo exhibition in the United States at the Societe Anonyme, Inc., New York; a symposium, Psychology of Modern Art and Archipenko, was held during the course of the show. Moved to Berlin and opened art school. Married sculptor Angelica Bruno-Schmitz [known professionally as Gela Forster]. First print commission.

1923 -- Moved to the United States and opened art school in New York City.

1924 -- Established a summer school at Woodstock, New York.

1927 -- "Archipentura" patented ("Apparatus for displaying Changeable Pictures and methods for Decorating Changeable Display Apparatus," nos. 1,626, 946 and 1,626,497).

1928 -- Became an American citizen.

1929 -- Bought land near Woodstock, New York, and began construction of school and studio buildings.

1932 -- Lectured on his theories of creativeness at colleges and universities throughout the United States.

1933 -- Taught summer session at Mills College, Oakland, California, and Chouinard School, Los Angeles.

1935 -- Moved to Los Angeles and opened art school.

1935-1936 -- Taught summer sessions at the University of Washington, Seattle.

1936 -- Moved to Chicago and opened art school. Associate instructor at New Bauhaus School, Chicago.

1938 -- Returned to New York; reopened art school and Woodstock summer school.

1944 -- Taught at the Dalton School, New York City.

1946-1947 -- Returned to Chicago; taught at the Institute of Design.

1947 -- Began making carved plastic sculptures with internal illumination.

1950 -- Taught at University of Kansas City, Missouri.

1950-1951 -- Lecture tour of the southern cities of the United States.

1951 -- Taught at Carmel Institute of Art, California, University of Oregon, and University of Washington, Seattle.

1952 -- Taught at University of Delaware, Newark.

1953 -- Elected Associate Member of International Institute of Arts and Letters.

1955-1956 -- One-man exhibition tours in Germany (Dusseldorf, Darmstadt, Mannheim, and Recklinghausen).

1956 -- Taught at University of British Columbia, Vancouver, Canada.

1957 -- Death of Angelica.

1959 -- Awarded gold medal, XIII Biennale de'Arte Triveneta, III Concorso Internationale del Bronzetto, Padua, Italy.

1960 -- Archipenko: Fifty Creative Years, 1908-1958 by Alexander Archipenko and Fifty Art Historians published by Tekhne (a company established by Archipenko for the purpose). Married Frances Gray, a sculptor and former student. Recovered plasters of early work stored by French friends since the end of World War I. Traveling exhibition in Germany (Hagen, Münster, and Dusseldorf).

1962 -- Elected to the Department of Art, National Institute of Arts and Letters.

1964 -- Dies in New York City.
Related Material:
Among the holdings of the Archives are the Donald H. Karshan papers relating to Alexander Archipenko, originally accessioned as part of the Alexander Archipenko papers, but later separated to form a distinct collection.

The Archives also has the National Collection of Fine Arts records relating to Alexander Archipenko.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels NA11-NA12, NA16-NA18, and NA 20-NA22) including biographical material, correspondence, exhibition records, writings, printed material and photographs. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1967, the Alexander Archipenko papers, previously on deposit at Syracuse University, were loaned to the Archives of American Art for microfilming by his widow Frances Archipenko Gray. In 1982, Ms. Gray donated most of the material previously loaned and microfilmed to the Archives of American Art, along with additional items.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Lantern slides and glass plate negatives are housed separately and closed to researchers.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art -- Philosophy  Search this
Sculpture, Modern -- 20th century  Search this
Sculpture -- Technique  Search this
Sculptors  Search this
Art -- Study and teaching  Search this
Cubism  Search this
Genre/Form:
Transcripts
Sound recordings
Scrapbooks
Photographs
Citation:
Alexander Archipenko papers, 1904-1986, bulk 1930-1964. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.archalex
See more items in:
Alexander Archipenko papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-archalex
Online Media:

Poindexter Gallery records

Creator:
Poindexter Gallery  Search this
Names:
Corcoran Gallery of Art  Search this
Denver Art Museum  Search this
Fogg Art Museum  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Montana Historical Society  Search this
Oberlin College  Search this
Smithsonian Institution  Search this
Solomon R. Guggenheim Museum  Search this
University of Arizona  Search this
Worcester Art Museum  Search this
Yale University  Search this
De Kooning, Willem, 1904-1997  Search this
De Niro, Robert, Sr., 1922-1993  Search this
Dickinson, Eleanor, 1931-  Search this
Diebenkorn, Richard, 1922-1993  Search this
Harris, Paul, 1925-  Search this
Kerkam, Earl, 1891-1965  Search this
Kline, Franz, 1910-1962  Search this
Olitski, Jules, 1922-2007  Search this
Resnick, Milton, 1917-2004  Search this
Spaventa, George, 1918-  Search this
Extent:
7.1 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1931-1985
bulk 1955-1978
Summary:
The records of the Poindexter Gallery measure 7.1 linear feet and date from 1931-1985 with the bulk of the materials dating from 1955-1978 when the gallery was active. The majority of the collection consists of artists' files documenting the gallery's relationships with its artists, including exhibitions, and containing a wide variety of materials, including photographs. Also found are the "desk files" kept by the gallery's founder, Elinor Poindexter; correspondence; and financial and legal records.
Scope and Contents:
The records of the Poindexter Gallery measure 7.1 linear feet and date from 1931-1985 with the bulk of the materials dating from 1955-1978 when the gallery was active. The majority of the collection consists of artists' files documenting the gallery's relationships with its artists, including exhibitions, and containing a wide variety of materials, including photographs. Also found are the "desk files" kept by the gallery's founder, Elinor Poindexter; correspondence; and financial and legal records.

Elinor Poindexter's desk files consist of documents she kept as a reference for both her personal needs and gallery business. Correspondence is with artists, museums, colleges and universities, and art institutes. Notable correspondents include Worcester Art Museum, Corcoran Gallery of Art, Metropolitan Museum of Art, the Solomon Guggenheim Museum, Denver Art Museum, Yale University, Oberlin College, University of Arizona, the Fogg Art Museum at Harvard University, Smithsonian Institution, and the Montana Historical Association. Additional correspondence is found throughout desk files and artists' files as well.

Artists' files are found for artists represented by the gallery, or in whom the gallery took an interest. Contents of the files vary, but may contain correspondence, photographs, sales records, exhibition files, and printed materials. There is extensive material relating to artists Richard Diebenkorn, Willem de Kooning, Giorgio Spaventa, Robert De Niro, Earl Kerkam, Franz Kline, Milton Resnick, Eleanor Dickinson, Paul Harris, Jules Olitski, among others.

The remainder of the collection consists of financial and legal files containing sales inventories and receipts, price lists, bills, loan agreements, and documents pertaining to the estate of Giorgio Spaventa, as well as photographic materials consisting of prints, negatives, slides and color transparencies of artwork.
Arrangement:
This collection is arranged as 5 series.

Series 1: Elinor Poindexter Desk Files, 1947-1969 (Box 1, 8 folders)

Series 2: Correspondence, 1955-1971 (Box 1-2, 1.8 linear feet)

Series 3: Artists' Files, 1931-1983, undated (Box 2-5, 2.4 linear feet)

Series 4: Financial and Legal Files, 1955-1985 (Box 5-6, 1.0 linear feet)

Series 5: Photographic Materials, 1933-1977 (Box 6-7, 1.4 linear feet)
Biographical / Historical:
The Poindexter Gallery was founded in 1955 in New York City by Elinor Poindexter. The gallery specialized in sculpture, abstract, and figurative art and featured the works of such artists as Richard Diebenkorn, Jules Olitski, Nell Blaine, Willem de Kooning, Giorgio Spaventa, Franz Kline, Earl Kerkam, Milton Resnick and Robert De Niro, among others. The Poindexter Gallery closed in 1978.
Related Materials:
Among other resources relating to the Poindexter Gallery records in the Archives of American Art is an oral history with gallery owner, Elinor Poindexter, conducted by Paul Cummings on September 9, 1970.
Provenance:
The Poindexter Gallery records were donated over a period from 1968-1978 by the Poindexter Gallery via owners Elinor Poindexter and art director Harold Fondren. A 2006 accession was donated by Christie Poindexter Dennis, daughter of Elinor.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern -- 20th century  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Poindexter Gallery records, 1931-1985, bulk 1955-1978, Archives of American Art, Smithsonian Institution
Identifier:
AAA.poingall
See more items in:
Poindexter Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-poingall
Online Media:

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives

Creator:
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Custom Craft  Search this
Scurlock, Addison N., 1883-1964  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Names:
Howard University -- 20th century  Search this
DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this
Washington, Booker T., 1856-1915  Search this
Extent:
320 Boxes
Type:
Collection descriptions
Archival materials
Photographs
Matrices, color separation
Dye transfer process
Studio portraits
Color separation negatives
Place:
Washington (D.C.) -- Small business -- 20th century
Washington (D.C.) -- African Americans
Shaw (Washington, D.C.)
Date:
undated
Summary:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Subseries 4.1 includes black and white silver gelatin negatives. An overview to the entire Scurlock collection is available here: Scurlock Studio Records
Scope and Contents:
Subseries 4.1 includes black and white silver gelatin negatives. The majority of the negatives, not all, have been scanned.
Arrangement note:
The negatives are not arranged in a clear order, and the negatives document clients and subjects. Researchers will need to look in two different box sizes for negatives of different sizes that were originally housed together in freezer boxes but are now housed separately according to size. A number of freezer boxes are missing, this is the reason for box number gaps, and contain varying numbers of negatives. The physical number of boxes was condensed during rehousing but the original freezer box numbers were retained in combination on the new boxes. The beginning and end of a freezer box are indicated inside the new box by blue dividers.
Biographical/Historical note:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...
Forms Part Of:
Subseries 4.1 forms part of Series 4, within the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications
Restrictions:
Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
African Americans -- History -- 20th century  Search this
Commercial photography -- 20th century -- Washington (D.C)  Search this
Segregation  Search this
Photography -- 20th century -- Washington (D.C.)  Search this
Portraits -- 20th century  Search this
Politicians -- 20th century  Search this
African American photographers  Search this
African American entertainers -- 20th century  Search this
Genre/Form:
Photographs -- 20th century
Matrices, color separation
Dye transfer process
Studio portraits
Color separation negatives
Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Identifier:
NMAH.AC.0618.S04.01
See more items in:
Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0618-s04-01
Online Media:

Fischbach Gallery records

Creator:
Fischbach Gallery  Search this
Names:
Thiabaut Galley  Search this
Altoon, John, 1925-  Search this
Antonakos, Stephen, 1926-2013  Search this
Bladen, Ronald, 1918-1988  Search this
Chamberlain, Wynn  Search this
D'Arcangelo, Allan, 1930-  Search this
Davis, Gene, 1920-1985  Search this
Dunn, Anne  Search this
Gilardi, Piero, 1942-  Search this
Hesse, Eva, 1936-1970  Search this
Katz, Alex, 1927-  Search this
Krushenick, Nicholas, 1929-1999  Search this
Levine, Les, 1935-  Search this
Mangold, Robert, 1937-  Search this
Ohlson, Douglas Dean, 1936-  Search this
Ryan, Anne, 1889-1954  Search this
Ryman, Robert, 1930-  Search this
Slavin, Arlene, 1942-  Search this
Smith, Tony, 1912-  Search this
Sugarman, George, 1912-1999  Search this
Swain, Robert, 1940-  Search this
Extent:
39.5 Linear feet
Type:
Collection descriptions
Archival materials
Gallery records
Photographs
Date:
1937-2015
bulk 1963-1977
Summary:
The records of New York City Fischbach Gallery measure 39.5 linear feet and date from 1937 to 2015, with the bulk of materials dating from 1963 to 1977. The majority of the collection consists of artists files containing a wide variety of materials documenting the gallery's relationship with its stable of modern and avant garde artists, as well as gallery exhibitions. Files include biographical materials, correspondence, printed materials, and photographs. Gallery records also include general business correspondence, access-restricted financial records; and additional printed materials. The 2015 addition of 14 linear feet consists of inventory and client sales records in the form of card indexes. The 2019 addition consists of material related to Marilyn Fischbach's art collection.
Scope and Content Note:
The records of New York City Fischbach Gallery measure 39.5 linear feet and date from 1937 to 2015, with the bulk of materials dating from 1963 to 1977. The majority of the collection consists of artists files containing a wide variety of materials documenting the gallery's relationship with its stable of modern and avant garde artists, as well as gallery exhibitions. Files include biographical materials, correspondence, printed materials, and photographs. Gallery records also include general business correspondence, access-restricted financial records; and additional printed materials.

Artists and Exhibition Files contain information on over one hundred Fischbach Gallery artists and measure 18 linear feet. The contents of each file varies, but typically may include biographical information; correspondence between the artist, museums, and other galleries; scattered consignment information; printed materials including articles, clippings, exhibition announcements and catalogs, and press releases; photographs of the artist, installations, constructions, and works of art; and negatives, slides, and transparencies. Substantial files are found for John Altoon, Stephen Antonakos, Ronald Bladen, Wynn Chamberlain, Allan D'Arcangelo, Gene Davis, Anne Dunn, Piero Gilardi, Eva Hesse, Alex Katz, Nicholas Krushenick, Les Levine, Robert Mangold, Doug Ohlson, Anne Ryan, Robert Ryman, Arlene Slavin, Tony Smith, George Sugarman, and Robert Swain, among others. Also included are files pertaining to group exhibitions including "According to the Letter" (1963), "Hard Center" (1963), "Six Women" (1965), "Game Without Rules" (1966), "Direct Representation" (1969), and "Eccentric Abstraction" (1966) which was organized by Lucy Lippard.

General gallery correspondence is business correspondence between the gallery and companies, individuals, museums, galleries, dealers, new or non-Fischbach artists, and institutions. Additional business records consist of an address book, lists of Fischbach artists, gallery plans, a notebook, as well as guest lists, mailing lists, and press lists.

Financial records are access restricted and require written permission from the donor's representative for use. The files document financial transactions for many of the artists represented in the artists files and includes sales records, invoices, artists' payments, and correspondence about sales and possible sales. The alphabetical financial files document routine gallery business, such as framing, shipping, insurance, messenger, publicity, etc. and are organized by name of business. General financial files consist of accounting ledgers, banking documents, insurance claims, and travel accounts.

Printed materials consist of various business cards, clippings concerning the Fischbach Gallery, and a pamphlet by Ron Williams as a guide to New York galleries. The bulk of printed materials are found in the Artists and Exhibition Files.

A small series of photographs include those from the Thiabaut Gallery, and unidentified photos of landscapes. It is likely that Fischbach Gallery occupied the space previously used by the Thiabaut Gallery and some materials were included in the collection for that reason. The bulk of photographic materials are found in the Artists and Exhibition Files.

In 2015, 14 feet of records were added to the collection. The addition consists of inventory and client sales records in the form of card indexes. The addition is access-restricted until 2065.

A 2019 addition of 0.2 linear feet, consisting of material related to Marilyn Fischbach's art collection, was processed in 2020.
Arrangement:
The collection is arranged as 9 series.

Series 1: Artists and Exhibitions Files, 1937-1977 (Boxes 1-18, 28; 18 linear feet)

Series 2: Gallery Correspondence, 1962-1974 (Boxes 18-19; 1.75 linear feet)

Series 3: Business Records, 1969-1971 (Box 27; 0.3 linear feet)

Series 4: Financial Records, 1963-1975 (Boxes 20-25; 4.5 linear feet)

Series 5: Printed Material, 1963-1972 (Box 26; 6 folders)

Series 6: Photographs, circa 1960s (Box 26; 2 folders)

Series 7: Inventory Card Indexes, circa 1960s-2015 (12.1 linear feet; Box 29-41)

Series 8: Client Sales Card Index, circa 1970s-2000s (1.9 linear feet; Box 41-42)

Series 9: Marilyn Fischbach Collection Records, circa 1975-2000 (0.2 linear feet; Box 43)
Historical Note:
The Fischbach Gallery was founded in 1960 by Marilyn Cole Fischbach at 799 Madison Avenue in New York City. The gallery was noted for its stable of minimalist young artists in the 1960s, and the work of the painterly realists in the 1970s. The gallery remains open today.

During its early years, the gallery was among the first to focus on 1960s avant-garde and minimalist artists. Marilyn possessed a talent for discovering young artists and for helping them advance their careers. Many of these young artists became well-known, including Ronald Bladen, Eva Hesse, and Alex Katz. Other artists represented by the gallery include Allan D'Arcangelo, Les Levine, Robert Mangold, Robert Ryman, George Sugarman, and Robert Swain.

The gallery also had an active exhibition schedule and organized and hosted group exhibitions of modern art, including "According to the Letter" (1963), "Hard Center" (1963), and "Direct Representation" (1969). Additionally, the Fishbach Gallery hosted "Eccentric Abstraction" in 1966, an exhibition organized by Lucy Lippard.

Later, the gallery moved to W. 57th Street in Manhattan. Fischbach hired A. Aladar Marberger as director of the gallery. Under his direction, the Fischbach Gallery shifted from the avant-garde to contemporary American realism and minimalist sculpture. In the 1980s, Marilyn Fischbach brought three investors into the gallery. She remined a co-owner, but lived in Paris, France for many years prior to her death at the age of seventy-two. The Fischbach Gallery remains open at 210 West 11th Street at 25th Street in New York City.
Provenance:
Gallery founder Marilyn C. Fischbach and director A. Aladar Marberger donated the majority of the Fischbach Gallery records in 1978. Additional records were donated in 2001 by Maureen Dawley on behalf of the Carnegie Mellon University and in 2015 and in 2019 by John Fischbach, Marilyn C. Fischbach's son.
Restrictions:
Use of original papers requires an appointment. Written permission from the donor is also required to view the series of financial records and the 2015 addition of card indexes. Contact the Reference Services Department 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.
Topic:
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, American  Search this
Art, Modern -- 20th century -- United States  Search this
Minimal art -- United States  Search this
Artists -- United States  Search this
Genre/Form:
Gallery records
Photographs
Citation:
The Fischbach Gallery records, 1937-2015, bulk 1963-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fiscgall
See more items in:
Fischbach Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fiscgall
Online Media:

Saul Nesbitt Papers

Collector:
Cooper-Hewitt Design Archive  Search this
Cooper-Hewitt Design Archive  Search this
Creator:
Nesbitt, Saul, 1920-1993  Search this
Names:
Archway Cookies, Inc.  Search this
Borden's Farm Products Co. of Illinois  Search this
Campbell Soup Company  Search this
Cooper-Hewitt Design Archive  Search this
Eastman Kodak Company  Search this
Florists' Telegraph Delivery Association  Search this
Franco American Food Co.  Search this
Lever Brothers and Unilever, ltd.  Search this
National Distillers and Chemical Corporation  Search this
Nesbitt Associates, Ltd.  Search this
P. Ballantine & Sons  Search this
Philip Morris Incorporated  Search this
Revlon, Inc.  Search this
Schick (Firm)  Search this
Scott Paper Company  Search this
Seagram Company  Search this
Extent:
3.5 Cubic feet
Type:
Collection descriptions
Archival materials
Slides
Sketches
Transparencies
Press releases
Correspondence
Photographs
Media lists
Blueprints
Drawings
Clippings
Client lists
Date:
1951-1984
Scope and Contents:
Background and biographical information consists of Nesbitt's resume, an artist/designer statement, list of clients and accomplishments of Nesbitt Associates, Ltd., press releases, articles, and photographs of the designer.,The materials in this collection document Nesbitt's work from 1951 through 1984.
The records of the office of public relations cover the years 1955-1963 and include press releases and clippings describing some Nesbitt's products, his theories on consumer motivation, and the results of his surveys, as well as correspondence with members of the press. General office correspondence is boxed separately.
Color slides, color and black & white transparencies, and black & white photographs of most of Nesbitt's designs for packaging from 1951-1981 are included. Oversized materials include books jackets and booklets designed by Nesbitt, as well as some renderings for packaging designs done in color.
Three samples of fitted presentation boxes designed by Nesbitt are included, as well as a prototype for a design award for Parsons School of Design in New York, and two "Multiplication" cubes commissioned by the Museum of Modern Art in New York.
Arrangement:
This collection has been reboxed in archivally-sound containers, but the materials have only been partially processed and arranged. Record groups include: 1) Backgound and Biographical Information; 2) Records of the Public Relations Office, 1955-1963; 3) Correspondence; 4) Slides, Transparencies, and Photographs; 5) Oversized Materials; and 6) Samples.
Biographical / Historical:
Packaging, industrial, and graphic designer. Born in New York City, August 10, 1920. Nesbitt was a student of sculptor Chaim Gross and studied art at many New York institutions including: Art Students League; New York University; Columbia University; Pratt Institute of Art; and the New School.

He served in the U.S. Army from 1942 to 1945 where he worked as a cartographer and as the head of the visual aid section in a military intelligence training center. In 1945, he joined the staff of Harper's Bazaar magazine where he was an illustrator assisting art director Alexey Brodovich. In 1946, Nesbitt was hired by the industrial design studio of Raymond Loewy as a handletterer and packaging designer.

He worked with Lippincott Industrial Design from 1948 to 1951. Nesbitt opened his own design studio, Nesbitt Associates, Ltd. in 1951. The firm specialized in package design, trademarks, and corporate identities. Some of his most recognizable designs were for the label for Campbell's Soup and the Florists' Telegraph Delivery (F.T.D.) Winged Mercury 'Interflora' figure, still used today. Nesbitt's other clients included: Franco American; Revlon; Ballantine Beer; Borden; Champion spark plugs; Kodak; Philip Morris cigarettes; Schick razors; and Archway cookies. In addition, Nesbitt developed the "Karry Kit" for Ballantine Beer which came to be widely used and known as the six pack.

Nesbitt was known for his revealing studies and surveys of the buying needs and preferences of the "average American housewife" and consumers in general. His opinions on what he referred to as "underpackaging" were widely publicized in professional magazines and journals. In 1984, Nesbitt retired from the design field and went to California to resume his career as a sculptor until his death in 1993.
Provenance:
Collection donated by the designer's wife, Mrs. Saul Nesbitt, in 1994.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Occupation:
Industrial designers  Search this
Packaging designers  Search this
Graphic designers  Search this
Topic:
Consumers -- Research  Search this
Consumers' preferences -- United States  Search this
Housewives as consumers  Search this
Labels -- Design  Search this
Corporate image -- Design  Search this
Logos (Symbols) -- Design  Search this
Graphic arts -- United States  Search this
Design, Industrial -- United States  Search this
Packaging -- Design  Search this
Genre/Form:
Slides
Sketches
Transparencies
Press releases
Correspondence
Photographs -- 20th century
Media lists
Blueprints
Drawings
Clippings
Client lists
Citation:
Saul Nesbitt Papers, 1951-1984, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1275
See more items in:
Saul Nesbitt Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1275

Glen Fishback Papers and Photographs

Photographer:
Fishback, Glen Curtis, 1912-1976  Search this
Creator:
Glen Fishback School of Photography.  Search this
Donor:
White, Judy  Search this
Manufacturer:
Ansco.  Search this
Kalart.  Search this
Eastman Kodak Company  Search this
Extent:
27 Cubic feet (101 boxes, 6 map-folders)
Type:
Collection descriptions
Archival materials
Annual reports
Magazines (periodicals)
Correspondence
Photographs
Transparencies
Slides (photographs)
Color slides
Date:
1930-1976
Scope and Contents:
Original photographic negatives, prints (black-and-white and color), and color slides and transparencies by Fishback, reflecting his career in advertising, calendar, and editorial photography; drafts of articles and correspondence by Fishback (typescripts), and incoming correspondence; copies of publications, such as magazines and annual reports, with reproductions. Lessons, assignments, outlines, and meeting minutes related to his school of photography.

Subjects of the photographs include children, sports, circuses, stage performers, landscapes, the Far East, the Air Force, industrial, female nudes and glamour, etc. Many photos were used in advertisements for photographic manufacturers such as Ansco, Kodak, Kalart, Rolleiflex, etc. His photos appeared in articles and on covers of popular camera periodicals and in Life, Look, Colliers, Saturday Evening Post, and Holliday. Most of his pictures have cheerful, optimistic themes or subjects, such as his laughing daughter, Judy, posing with circus clowns.
Arrangement:
Divided into twenty-two series.

Series 1: Fishback Career and Biography

Subseries 1.1: Writings and Personal Materials

Subseries 1.2: Glen Fishback School of Photography

Series 2: Photographs--Advertisements and Contests

Series 3: Numbered and labeled envelopes in Glen Fishback's numbering system

Series 4-17: Photographs by Subject

Series 4: Air Force

Series 5: Animals

Series 6: Circus

Series 7: Far East

Subseries 7.1: Places Subseries 7.2: People

Series 8: Landscapes and places

Subseries 8.1: Architecture Subseries 8.2: Grand Tetons Subseries 8.3: Nature

Series 9: Industrial

Series 10: Kids

Subseries 10.1: Babies Subseries 10.2: Children

Series 11: Men

Subseries 11.1: Glen Fishback

Subseries 11.2: Other

Series 12: Mixed Groups

Subseries 12.1: Men and Women

Subseries 12.2: Men, Women, and Children

Series 13: Nudes

Series 14: Sports

Series 15: Stage Performers

Series 16: Transportation

Series 17: Women

Series 18: Reproductions

Series 19: Duplicates

Series 20: Magazines

Series 21: Ephemera

Series 22: Slides

Series 23: Audio Visual Materials
Biographical / Historical:
Glen Fishback was born in Orange, California in 1912. He became interested in photography in the early 30s after his friend took a photograph of him diving. He bought his first camera, a 39 cent univex camera, in 1934. He began his professional career as a staff reporter at the Sacramento Bee from 1937 until 1939. He owned his own portrait and commercial studio for the next 17 years; he sold the studio in the mid-1950s in order to devote his time to free-lancing. In 1958, flew over the Far East with the U.S. Air Force as a brigadier general on a special assignment sponsored by U.S. Camera magazine, Ansco, Rolleiflex, and the Air Force. Fishback and his wife also established the Glen Fishback School of Photography in the 1950s. It was the only school at the time which taught how to become a freelancer. The school lasted until the 1990s, even after Fishback's death.

Fishback also wrote technical and popular articles for photographic magazines and publications.

Fishback won 10 first places in major national and international photography contests; at the time of his death, he had reportedly won more money in contests than any other photographer.

He developed an accurate and reliable exposure system which Pentax included with each of their spotmeters. Fishback's system worked for both black and white and color photography.

Fishback and his wife were friends with Edward Weston Fishback took photographs of Weston at Point Lobos. The two exchanged photos and correspondence. Fishback supplied his photos for a film on Edward Weston's Daybooks; He also wrote an article "Edward Weston, A Legend in His Own Time" for Petersen's Photographic. Fishback and his wife named their son, Kurt Edward Fishback, in honor of their friend.
Provenance:
Collection donated by Fishback's daughter, Judy White, who, with her brother Kurt, inherited it on her father's death. Ms. White made the availability of the collection known on an Internet listserv, where the archivist saw the description and contacted Ms. White.
Restrictions:
Collection is open for research. Some materials are restricted until 2050 and are noted in the container list.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Circuses (performances)  Search this
Photography of children -- 20th century  Search this
Photography, Industrial -- 20th century  Search this
Photographic industry -- 20th century  Search this
Photography, Advertising -- 20th century  Search this
Photography -- Schools -- 20th century  Search this
Trade schools -- 1970-1980  Search this
Photography of sports -- 20th century  Search this
Photography of the nude -- 20th century  Search this
Circus  Search this
Circus performers  Search this
Nudity  Search this
Nude in art  Search this
Airplanes  Search this
Clowns  Search this
Glamour photography -- 20th century -- United States  Search this
Sports -- 20th century  Search this
Children -- 20th century  Search this
Genre/Form:
Annual reports -- 20th century
Magazines (periodicals) -- 20th century
Correspondence -- 20th century
Photographs -- Color prints -- 20th century
Transparencies -- 20th century
Slides (photographs) -- 20th century
Photographs -- 20th century
Color slides -- 20th century
Citation:
Glen Fishback Papers and Photographs, 1930-1990, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0714
See more items in:
Glen Fishback Papers and Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0714
Online Media:

Arthur d'Arazien Industrial Photographs

Creator:
d'Arazien, Arthur  Search this
Extent:
11 Cubic feet (28 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Dye destruction process
Photographic prints
Transparencies
Cibachrome (tm)
Tear sheets
Color negatives
Color prints (photographs)
Dye destruction photoprints
Silver-dye bleach process
Type c color prints
Chromogenic processes
Place:
Canada -- Industry -- 1940-1980
Date:
circa 1930-2002
Scope and Contents:
The collection includes Arthur d'Arazien's professional work in industrial photography from the late 1940's through about 1981; personal creative photography and other types of professional work were retained by Mr. d'Arazien or placed elsewhere. Thus this collection is a very cohesive, unified body of work, which documents primarily American (and some Canadian) business and industry during a period of expansion a golden age of American industry. Although it represents the photographer's creative and artistic style and skill, the subject matter is appropriate to the National Museum of American History from several viewpoints the visual documentation of industry and technology, as well as advertising, public relations, and business history.

The photographs include black and white negatives and prints from the negatives, as well as color negative and transparency materials, up to 8" x 10" in size. Probably the majority of the transparencies were made in the large size. The black and white materials include pictures of d'Arazien at work some made by famous Life magazine photographer Alfred Eisenstaedt, a colleague at the Famous Photographers School. A number of Dye Transfer prints mounted on illustration board were made by master color printer Don Browning.

In addition to frequently extensive caption information on all of d'Araziens original envelopes and enclosures, many enclosures for color negatives and transparencies bear d'Arazien labels with technical information or instructions for color printing, such as filter pack designations and local printing controls. These enclosures therefore have been retained in the collection, although usually they are not of archival quality.

Of secondary significance are 62 large color prints, mostly Type C, with a few Cibachromes, which were made from the original transparencies for exhibition purposes. Most were made either by K & L laboratories, New York City (stickers on back) or Eastman Kodak professional laboratories, Rochester, N.Y., and have been wet mounted to non archival Masonite. At the time of acquisition, several had faded and/or changed color. These are available for research and exhibition purposes, but are not expected to survive as long as the original transparencies.

The collection contains Mr. d'Arazien's files of printed materials. These include reproductions which indicate how his photographs were used by clients. Included are annual reports, promotional pieces, magazine tearsheets from advertising and editorial uses, and other biographical items.

Series 1: Professional industrial photographs.

Photographs document primarily American business and industry (including some taken in Canada). Black-and-white negatives with prints from these negatives, also color negative and transparency materials. Most transparencies are 8" x 10". The photographs demonstrate the photographer's reputation as a master of dramatic lighting and the coordination of large-scale, complex industrial setups in factories, steel mills, and even outdoor settings. Also 65 color prints, mostly Type C with a few Cibachromes, made from the original transparencies for exhibition purposes, mostly wet-mounted to Masonite. Black-and-white photographs include pictures of d'Arazien at work--some by Life magazine photographer Alfred Eisenstaedt.

Series 2: D'Arazien's files of printed materials, some of which include photomechanical reproductions of his work, indicating how the photographs were used by clients; also annual reports, magazine tearsheets from advertising and editorial uses, and other promotional items, in addition to biographical materials.

2007 addendum: Transparencies, slides, prints and negatives of additional photographs by Arthur d'Arazien, including industrial subjects as well as travel, architectural, agricultural, portrait, art, still life and personal photographs. Also included are miscellaneous papers, mostly relating to d'Arazien's photographic work.
Arrangement:
The collection is divided into three series.

Series 1: Paper Documents

Subseries 1.1: Publications and Reproductions.

Subseries 1.2: Photographer's Labels, Envelopes, Etc.

Series 2: Photographs

Subseries 2.1: Color Phototransparencies

Subseries 2.2: Color Photonegatives and Color Photoprints

Subseries 2.3: Black and White Photonegatives and Photoprints

Subseries 2.4: Color Photoprints: Enlargements Mounted on Masonite

Material is arranged in each sub-series primarily by client names, in alphabetical order.

Series 3: Oversize prints
Biographical / Historical:
Arthur d'Arazien began his photographic career as an assistant to a famous theatrical photographer, documenting Broadway shows. A distinctive emphasis on dramatic lighting in his later work suggests the heavy influence of the theater. He did fashion and commercial photography, as well as photographing the 1939 World's Fair, for Underwood & Underwood Illustration Studios, East 44th St., New York City, in 1938 1939. He was described in a U.S. Camera Annual article as Aan architect whose interest in photography has caused him to make a profession of it.

D'Arazien taught aerial photography for the U.S. Air Corps Technical Training Command at Lowry Field, Denver, during World War II. He began his career in industrial photography with the De Laval Separator Company, New York City. His energy and creativity led to assignments which often were judged too difficult for lesser photographers. His growing reputation as an industrial photographer kept pace with the dynamic growth of the industrial and technological activities he was photographing during the 1950s through the 1980s.

Robert Vogel, former Curator of Mechanical and Civil Engineering for the National Museum of American History, wrote that d'Arazien: ...became internationally known for his dramatic color views of the American industrial scene at a time when our industry can be said to have been at the height of its powers....He was commissioned by the giants of steel, paper, chemicals, machinery, transportation, automobiles, mining, metal refining, textiles, and the other heavy (and medium) industries. ...He developed a number of special techniques for obtaining the grand, sweeping views that became his trademark, including multiple exposures to achieve dramatic lighting effects, elaborate lighting setups involving multiple flashes from several vantages employing a number of assistants intercommunicating by radio, complex arrangements with transportation lines and the various departments of the subject organization to produce the desired juxtaposition of elements in the photograph, and the like. His MO was anything but that of simply walking onto the scene and snapping the shutter; for many of his breathtaking views he appears to have been more producer and impresario than photographer.

Arthur d'Arazien describes the growth of his spectacular style as an eager response to new subjects, challenges, and photographic materials:

...knowing that color was the coming thing in corporate advertising, I pursued that line. I did lots of experimenting; every assignment gave me an opportunity to try something new, such as combination day and night exposures on a single sheet of film, multiple flash bulbs to light large interiors, multiple exposures on the same film, such as...moving objects ...automobiles, trains...to build up excitement in a picture. Colored gels to change colors. I even used old fashioned flash powder to light ...steel mills, because there were no flashbulbs powerful enough to light these dark, cavernous interiors: this idea was borrowed from the Air Corps night time aerial photography with magnesium flash powder.

A skilled painter and metal sculptor as well as photographer, d'Arazien came from a family of artists. His photographs were made primarily on assignment from industrial corporations for advertising, editorial, and public relations purposes, but have been exhibited and collected as works of art in the Smithsonian Institution (Division of Photographic History), the Metropolitan Museum of Art, and the Cleveland Museum. His work was included in the Photography in the Fine Arts exhibitions organized by Ivan Dimitri, and he was a founding faculty member of the Famous Photographers School, Westport, Connecticut, in the early 1960's.

D'Arazien married Margaret Scott and has two sons. He had a studio in Waterside Plaza, New York, and made his home in New Canaan, Connecticut, until moving to Naples, Florida, upon his retirement in 1988. The collection was brought to the Smithsonian's attention by his son Steven, and was donated to the Archives Center before this move. In anticipation of this gift, Mr. d'Arazien spent several months inspecting his collection, eliminating duplicate and technically unsuccessful images, and captioning photographs.

Sources American Aces, U.S. Camera Annual 1939. Clipping in scrapbook no. 1, box 24, first page.

Robert M. Vogel, memorandum, undated, but written after a December 1987 visit to d'[Arazien's home. In Archives Center collection control file.

Letter to the author, 26 February 1992, in collection control file.
Provenance:
Collection donated by Arthur d'Arazien, December 24, 1988.
Restrictions:
Collection is open for research but the majority of the collection is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Industry -- Photographs -- 1940-1980 -- Canada  Search this
Industry -- Photographs -- 1940-1980 -- United States  Search this
Steel industry and trade -- 1940-1980  Search this
Agriculture -- Photographs -- 20th century  Search this
Travel -- Photographs -- 1930-2000  Search this
Genre/Form:
Photographs -- Black-and-white negatives -- Acetate film
Photographs -- Chromogenic -- 1900-2000
Dye destruction process
Photographic prints
Transparencies
Cibachrome (TM)
Tear sheets
Color negatives
Color prints (photographs)
Dye destruction photoprints
Silver-dye bleach process
Photographs -- Color prints -- 20th century
Type C color prints
Chromogenic processes
Citation:
Arthur d'Arazien Industrial Photographs, ca. 1930-2002, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0314
See more items in:
Arthur d'Arazien Industrial Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0314
Online Media:

Nuclear reactor [chromogenic color transparency]

Photographer:
d'Arazien, Arthur  Search this
Collection Creator:
d'Arazien, Arthur  Search this
Extent:
1 Item (10 x 8".)
Type:
Archival materials
Transparencies
Chromogenic processes
Restrictions:
Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Nuclear energy  Search this
Genre/Form:
Transparencies -- 20th century
Chromogenic processes
Collection Citation:
Arthur d'Arazien Industrial Photographs, ca. 1930-2002, Archives Center, National Museum of American History.
See more items in:
Arthur d'Arazien Industrial Photographs
Arthur d'Arazien Industrial Photographs / Series 2: Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0314-ref1178

Nuclear reactor #2 [color transparency]

Photographer:
d'Arazien, Arthur  Search this
Collection Creator:
d'Arazien, Arthur  Search this
Extent:
1 Item (10 x 8".)
Type:
Archival materials
Chromogenic processes
Transparencies
Restrictions:
Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Nuclear energy  Search this
Genre/Form:
Chromogenic processes
Transparencies -- 20th century
Collection Citation:
Arthur d'Arazien Industrial Photographs, ca. 1930-2002, Archives Center, National Museum of American History.
See more items in:
Arthur d'Arazien Industrial Photographs
Arthur d'Arazien Industrial Photographs / Series 2: Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0314-ref1179

[Jones & Laughlin ad campaign; staged image of a grocery check-out with factory in background, Aliquippa : chromogenic color transparency]

Photographer:
d'Arazien, Arthur  Search this
Advertiser:
Jones & Laughlin  Search this
Collection Creator:
d'Arazien, Arthur  Search this
Extent:
1 Item (8" x 10".)
Container:
Box 8, Folder 6
Type:
Archival materials
Advertising
Chromogenic processes
Photographs
Date:
1960
Scope and Contents:
Set includes three female shoppers and cashier at counter, with two children observing. Customer at cash register wears red shorts. "360-C" in white ink on film.
Local Numbers:
AC0314-0000006.tif (AC Scan No.)
General:
From Box 8, folder 6.
Restrictions:
Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Shopping  Search this
Factories -- 20th century  Search this
Shorts (Clothing)  Search this
Steel industry and trade -- 1940-1980  Search this
Supermarkets  Search this
Grocery trade  Search this
Genre/Form:
Advertising
Chromogenic processes
Photographs -- 1900-2000 -- Chromogenic
Collection Citation:
Arthur d'Arazien Industrial Photographs, ca. 1930-2002, Archives Center, National Museum of American History.
See more items in:
Arthur d'Arazien Industrial Photographs
Arthur d'Arazien Industrial Photographs / Series 2: Photographs / 2.1: Color Phototransparencies
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0314-ref274
Online Media:

Lockwood-Greene Records

Source:
Mechanical and Civil Engineering, Division of (NMAH, SI)  Search this
History of Technology, Division of, NMAH, SI  Search this
Creator:
Lockwood Greene Engineers, Incorporated  Search this
Lockwood-Greene Company  Search this
Whitman, David  Search this
Greene, Stephen  Search this
Lockwood, Amos  Search this
Former owner:
History of Technology, Division of, NMAH, SI  Search this
Mechanical and Civil Engineering, Division of (NMAH, SI)  Search this
Extent:
270 Cubic feet (233 boxes, 850 oversize folders)
Type:
Collection descriptions
Archival materials
Linen tracings
Paper flimsies
Business records
Design drawings
Blueprints
Patents
Specifications
Reports
Photograph albums
Photographs
Trade literature
Date:
1784-2004, undated
bulk 1915-1930
Summary:
The engineering firm that became Lockwood Greene was founded by David Whitman, a mill engineer, in 1832. Amos D. Lockwood, a consultant, succeeded Whitman and entered a partnership with Stephen Greene in 1882. The firm specialized in industrial engineering and construction; they designed and built a wide variety of structures and work environments worldwide over the next century. Lockwood Greene was acquired by CH2M HILL in December, 2003. Before its acquisition by CH2MHILL it was reportedly the oldest industrial engineering, construction, and professional services firm in the United States.
Scope and Contents:
The Lockwood Greene records are a comprehensive range of documents related to the appraisal, building, construction, design, evaluation, and engineering of facilities for a variety of clients. The material covers the entire period of industrialization of the United States, and, provides a thorough record of the textile industry, both in New England and the South. Some of the textile mills are documented with unusual completeness, showing water and steam power layouts, factory village plans, and landscaping schedules. A broad range of other building typologies is also covered, including projects with public or retail functions, such as early automobile showrooms, hospitals, apartments and private dwellings, churches, and schools.

In-depth study of the company's earliest history is hampered by a scarcity of records, many of which were lost in the great fire that destroyed Boston's city center in 1872. Nevertheless, graphic and textual evidence does exist within the collection that illuminates these early projects, in addition to the fabric of surviving buildings. The Lockwood Greene records document several commissions that the firm would return to again and again over the course of many decades as clients requested plant additions, upgrades to mechanical and operating systems, and other substantive changes. Researchers are encouraged to examine the blueprints, elevations, and plans for these later additions in order to find illustrations of the firm's earlier interventions at the site. In addition to drawings, other visual evidence for nineteenth-century projects can be found in the company's extensive photo files, which often document structures for which drawings do not exist.

The Lockwood Greene records contain an abundance of graphic and textual evidence for structures designed after 1910 until the 1930s. After this period, visual documentation becomes much more limited. This is partially due to the evolution of drafting tools and information management technologies within the architecture and engineering profession. Lockwood Greene was an early adopter of technological innovations in rendering and data capture, beginning with the introduction of aperture cards and microfilm and extending to the adoption of computer-aided design (CAD) programs. These more modern formats were not part of the acquisition, and, at the time of writing, still reside with the company.

The Lockwood-Greene collection will be of interest to historians of architecture and engineering, as well as those that study the history of business and labor relations. It provides extensive textual and documentary evidence on the evolution and growth of American engineering and the increasing professionalization of the discipline through specialization during the nineteenth and twentieth centuries. Rich holdings of architectural drawings, photographs, and specifications provide unparalleled resources that trace the evolution of industrial buildings and their typologies; experimentation with building materials and systems, particularly with regards to fireproofing; and the history of textile manufacture in the United States. In addition, there is also rich visual and documentary evidence of the changing relationships between corporations and their employees through photographs, plans, and designs for company towns and mill villages, as well as through corporate records that illustrate the work culture of Lockwood Greene itself. The Lockwood-Greene collection will be of special interest to historic preservationists as the awareness of the significance of industrial and vernacular buildings continues to grow, and detailed design drawings and other visual material will be of especial value for restoration, rehabilitation, and adaptive-reuse projects.
Arrangement:
The collection is divided into six series.

Series 1, Project Drawings, Renderings, and Plans, 1784-1969, undated

Series 2, Photographs and Slides, 1881-2001, undated

Subseries 2.1: Photo Albums, 1906-1934

Subseries 2.2: Photographic Files, 1881-1956

Subseries 2.3: Spartanburg Office Photographic File, 1948-1974

Subseries 2.4: Spartanburg Office Photographic File, 1919-1999

Subseries 2.5: Project Negatives and Transparencies, 1956-1970

Subseries 2.6: Project Slides and Transparencies, 1985-2001

Subseries 2.7: Project Slides and Transparencies, Culls, 1974-2001

Subseries 2.8: Project Slides and Transparencies, Corporate Photography, 1976-1998

Subseries 2.9: Photograph Album Covers, 1920, undated

Series 3: Job Files, 1872-1957, undated

Subseries 3.1, Specifications, 1913-1942, undated

Subseries 3.2: List of Drawings, 1872-1951, undated

Subseries 3.3: Project Files, 1919-1969, undated

Subseries 3.4: Reports, 1913-1969

Subseries 3.5: Job Cost Records, 1913-1957, undated

Series 4, Corporate Records and History, 1881-2004, undated

Subseries 4.1: Meeting Minutes, 1913-1995

Subseries 4.2: Corporate Files, 1891-2004, undated

Subseries 4.3: Historical Research and Reference Files and Photographs, 1881-1983, undated

Subseries 4.4: Corporate Publications, 1917-2001, undated

Series 5, Non-Lockwood Greene Publications, 1910-1984, undated

Series 6, Audio-Visual, 1964
Biographical / Historical:
Lockwood Greene, one of the nation's oldest engineering firms, traces it roots to 1832, when Rhode Island native David Whitman began a machinery repair service. Riding the wave of the early industrial revolution in textile manufacturing, Whitman added mill design services to his repertoire, which formed the backbone of a flourishing consulting business for the rest of the century. Whitman was one of the first itinerant mill engineers or "doctors" that traveled throughout New England advising various industrialists on the placement, design, and construction of their factories and the layout of the complicated system of machinery and shafting that they contained. His largest commission was the design of the Bates Manufacturing Company complex in Lewiston, Maine, which was incorporated in 1850 and soon became one of the largest textile producers in New England.

Upon Whitman's death in 1858, his unfinished work was assumed by Amos D. Lockwood, a prominent mill agent and astute businessman who had built a name for himself in Connecticut and Rhode Island. The successful completion of the projects at Lewiston brought enough additional demand for Lockwood's services to prompt him to relocate to Boston, where he formally opened an independent consulting office with partner John W. Danielson in 1871. For the next ten years, A.D. Lockwood & Company was involved in a least eight major mill design projects, half of which were for new construction. One of these projects, the design and construction of the Piedmont Manufacturing Company in Greenville (now Piedmont), South Carolina was especially significant and is considered to be a prototype for the Southern textile industry.

In 1882, Lockwood established a new business, Lockwood, Greene and Company, with Stephen Greene, a professionally-trained civil engineer who had joined the firm in 1879. As the firm grew, it expanded its scope as consultants supplying all of the necessary architectural and engineering services a prospective owner needed to initiate, equip, and run a complete plant. Acting as the owners' representative, the company supervised construction and installation but did not directly act as builders or contractors. Lockwood

Greene's objective expertise was legendary and made it a leader in this emergent field. As Samuel B. Lincoln explains in his history of the company:

"The new firm's knowledge and experience in the textile industry enabled it to analyze samples of cloth and, from such samples, to provide everything necessary for a completed plant to make such goods in any desired quantity. It did not at any time act as selling agents for machinery or equipment, neither did it accept commissions or rebates from suppliers: by this policy it maintained a position as impartial and independent engineer." (pages 105-107)

Greene became president of the company upon Lockwood's death in 1884. Under his leadership, the company expanded into additional industries and designed an array of other industrial building types that would prefigure the diversity of later work. In 1893, the company revolutionized American industry by designing and constructing the first factory whose operating power was provided entirely over electric wires from a remote power plant, rather than relying upon a water source or a stockpiled fuel supply. The Columbia Mills project created a great deal of publicity for the firm and was a signal to other manufacturers that there were viable alternatives to the use of steam power.

As changing economic conditions led Lockwood Greene to move away from its traditional reliance upon the textile manufacturing industry, it was very successful at soliciting projects for a wide variety of structures, from newspaper plants and automotive factories to convention halls and schools. After 1900, Lockwood Greene expanded its operations and opened branch offices in other cities, including Chicago, New York, Philadelphia, Cleveland, Detroit, Atlanta, and Charlotte. In 1915, Edwin F. Greene, president and son of Stephen Greene, reorganized the firm as Lockwood, Greene & Company, Incorporated This new entity served as the parent company and controlled three subsidiaries: one to own and operate cotton mills that Greene had acquired; one to manage other companies' textile mills; and one to provide engineering services.

Lockwood Greene expanded its operations tremendously as the textile industry boomed under wartime demand and in the years following. The severe textile depression from 1923 to 1928 caused the collapse of this structure, however, as Lockwood Greene continued to suffer deep losses in the textile mills that it owned. The parent company was dissolved in 1928 and the engineering subsidiary, which had remained profitable, was salvaged as Lockwood Greene Engineers, Incorporated.

After a rocky start with the onset of the Depression, the company began to prosper during the Second World War and its growth continued steadily throughout the next several decades. In the late 1960s, as a result of declining business, the company's headquarters was transferred from Boston to Spartanburg, South Carolina. In 1981, Phillipp Holtzman USA, a subsidiary of Phillipp Holtzman AG of Frankfurt, Germany, acquired a majority interest in Lockwood Greene. In 2003, CH2M Hill, a global provider of engineering, construction, and operations services based in Denver, Colorado, acquired the company.

From its beginnings under David Whitman, Lockwood Greene has become one of the most diversified engineering firms in the United States. The firm is best known as a designer of industrial and institutional buildings, but the company has become a leader in many additional areas in recent years. Lockwood Greene dominates the market in the design and production of the germ- and dust-free "clean room" facilities required by the pharmaceutical industry and micro-electronics manufacturers. The company has also developed expertise in designing integrated security and networking systems for industrial plants, international port facilities, and military installations worldwide.

Banham, Raynor. A Concrete Atlantis: U.S. Industrial Building and European Modern Architecture, 1900-1925. Cambridge: MIT Press, 1986.

Biggs, Lindy. The Rational Factory: Architecture, Technology, and Work in America's Age of Mass Production. Baltimore: Johns Hopkins University Press, 1996.

Bradley, Betsy Hunter. The Works: The Industrial Architecture of the United States. New York: Oxford University Press, 1999.

Greene, Benjamin Allen. Stephen Greene: Memories of His Life, with Addresses, Resolutions and Other Tributes of Affection. Chicago, R. R. Donnelley & Sons Company, 1903.

Heiser, William J. Lockwood Greene, 1958-1968, Another Period in the History of an Engineering Business. Lockwood Greene Engineers, Incorporated, 1970.

Lincoln, Samuel B. Lockwood Greene: The History of an Engineering Business, 1832-1958. Brattleboro, Vermont: The Stephen Greene Press, 1960.

Lockwood Greene Engineers, Incorporated The Lockwood Greene Story: One-Hundred-Fifty Years of Engineering Progress. Spartanburg, South Carolina: Lockwood Greene Engineers, Incorporated; undated.
Related Materials:
Materials at the Smithsonian Instituion Libraries

"[Trade catalogs from Lockwood, Greene & Co.]", Trade Literature at the American History Museum Books, Smithsonian Institution Libraries
Provenance:
This collection was donated by Lockwood Greene, Spartanburg, South Carolina, 1997 (original drawings). An addendum to the collection was donated by CH2M HILL in 2007.
Restrictions:
The collection is open for research use. One film is tored at an off-site facility and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use. All duplication requests must be reviewed and approved by Archives Center staff.
Topic:
Architects  Search this
Architecture, Commercial  Search this
Architecture, Domestic  Search this
Building materials  Search this
Buildings  Search this
Construction industry  Search this
Company towns  Search this
Textile mills  Search this
Mills  Search this
Manufacturing industries  Search this
Industrial engineering  Search this
Industrial buildings -- Design and construction  Search this
Industrial buildings  Search this
Engineering  Search this
Factories -- Power supply  Search this
Factories -- Design and construction  Search this
Factories  Search this
Cotton textile industry  Search this
Commercial buildings  Search this
Electric power production  Search this
Genre/Form:
Linen tracings
Paper flimsies
Business records
Design drawings
Blueprints
Patents
Specifications
Reports
Photograph albums
Photographs -- 21st century
Photographs -- 20th century
Trade literature
Photographs -- 1890-1900
Citation:
Lockwood Greene Records, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1113
See more items in:
Lockwood-Greene Records
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1113
Online Media:

Andre Piette Collection

Collector:
Ceramics and Glass, Division of (NMAH, SI).  Search this
Ceramics and Glass, Division of (NMAH, SI).  Search this
Donor:
Magdoff, Sam  Search this
Magdoff, Sam  Search this
Creator:
Piette, Andre, 1934-1984 (ceramic designer, artist)  Search this
Names:
Johnson, Lady Bird, 1912-  Search this
Extent:
8 Cubic feet (8 boxes, 1 oversize folder)
Type:
Collection descriptions
Archival materials
Correspondence
Photographs
Drawings
Design drawings
Christmas cards
Designs
Clippings
Tracings
Wrapping materials
Date:
1954-1979
Summary:
Collection documents Andre Piette's career as an illustrator and designer. The materials include sketches, drawings, tracings, photographs (color transparencies, slides, and prints), and samples of wallpaper, designs for gift wrap, and a few textiles.
Scope and Contents:
The collection consists of a wide range of materials documenting Andre Piette's career as an illustrator and designer. The materials include sketches, drawings, tracings, photographs (color transparencies, slides, and prints), and samples of wallpaper, designs for gift wrap, and a few textiles. The materials are the product of the Piette's early years in the United States (1960s) as a landscape artist in New England and as an associate of Norman Rockwell and of his later work for Tiffany & Company as a freelance designer. As an employee of Tiffany, Piette designed the White House china set for Mrs. Lyndon B. Johnson. Materials documenting this effort—White House China—are the largest series in the collection. Other design work includes cards, silver, parquet flooring, and china. There also are drawings and tracings not associated with specific functional products.
Arrangement:
The collection is arranged into four series.

Series 1: White House China, 1967-1970, undated

Series 2: Other Designs, undated

Series 3: Andre Piette Scrapbook, undated

Series 4: Oversize, undated
Biographical / Historical:
Piette, artist and designer, spent his early years studying at the Academie Royale De Beaux-Arts in Liege, Belgium. He is noted for his designs of Christmas cards, wrapping paper, and wallpaper. In 1968 he was commissioned by Mrs. Lyndon B. Johnson to design a set of White House state china, consisting of 2,500 pieces.
Provenance:
Donated by Sam Magdoff, Dean of Continuing Education, Parsons School of Design, July 29, 1985.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Ceramics  Search this
Porcelain -- 20th century  Search this
Ceramics -- Design  Search this
Design -- United States  Search this
Wallpaper -- Design  Search this
Designers  Search this
White House china  Search this
Christmas card design  Search this
Genre/Form:
Correspondence -- 1940-2000
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1950-2000
Drawings -- 1950-1990
Design drawings -- 1950-2000
Christmas cards
Designs
Clippings -- 1950-2000
Tracings
Wrapping materials -- Design
Citation:
Andre Piette Collection, 1954-1979, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0129
See more items in:
Andre Piette Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0129
Online Media:

Richard H. Miller Bridge Collection of Postcards and Slides

Collector:
Engineering and Industry, Division of, NMAH, SI.  Search this
Miller, Richard H.  Search this
Work and Industry, Division of, NMAH, SI  Search this
History of Technology, Division of, NMAH, SI  Search this
Engineering and Industry, Division of, NMAH, SI.  Search this
History of Technology, Division of, NMAH, SI  Search this
Work and Industry, Division of, NMAH, SI  Search this
Extent:
3 Cubic feet (11 boxes, 1 map folder)
Type:
Collection descriptions
Archival materials
Postcards
Picture postcards
Photographs
Slides (photographs)
Date:
1900-1991
Summary:
This collection is made up of Richard H. Miller's collection of postcards and slides illustrating bridges from around the world.
Scope and Contents:
This collection is made up of postcards and photographic slides of bridges collected and organizedby Miller. Many of the postcards were sent by others before being purchased by Miller and include messages, postmarks and secondhand prices. A small number of postcards appear to have been sent to Miller by friends, while the remainder do not have any dates or notations. The slides are captioned.
Arrangement:
The collection is arranged into two series.

Series 1: Postcards, undated

Series 2: Slides, undated
Biographical / Historical:
Richard H. Miller (1913-2015) was an an industrial engineer and bridge enthusiast. A longtime resident of Cheshire, Connecticut, Miller collected postcards and slides of famous bridges as a lifelong hobby.
Provenance:
Donated by Richard H. Miller in 1991.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Bridges  Search this
Genre/Form:
Postcards
Picture postcards -- 20th century
Photographs -- Color transparencies -- 1950-2000
Slides (photographs)
Citation:
Richard H. Miller Bridge Collection of Postcards and Slides, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0950
See more items in:
Richard H. Miller Bridge Collection of Postcards and Slides
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0950

Athena Tacha papers, 1960-2019

Creator:
Tacha, Athena, 1936-  Search this
Tacha, Athena, 1936-  Search this
Subject:
Brancusi, Constantin  Search this
Rodin, Auguste  Search this
Nadelman, Elie  Search this
Topic:
Sculpture, Modern -- 20th century  Search this
Women artists  Search this
Theme:
Women  Search this
Art Theory and Historiography  Search this
Record number:
(DSI-AAA_CollID)6242
(DSI-AAA_SIRISBib)216555
AAA_collcode_tachathe
Theme:
Women
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216555

Athena Tacha papers

Creator:
Tacha, Athena, 1936-  Search this
Names:
Brancusi, Constantin, 1876-1957  Search this
Nadelman, Elie, 1882-1946  Search this
Rodin, Auguste, 1840-1917  Search this
Extent:
37 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1960-2019
Scope and Contents:
The papers of sculptor and educator, Athena Tacha, measure 37.0 linear feet and date from 1960-2019. Material primarily relates to Tacha's public projects and research files compiled by Tacha, related to her publications and involvement on various committees, panels, and symposia. Included are proposals; correspondence; meeting minutes; sketches; financial material; research material; photographs and slides of Tacha, travel, and images used as source material and transparencies of works of art; and printed material about individual commissions. Also included are files on women artists and modern sculptors, each arranged alphabetically, and files on individual artists Eli Nadelman, Auguste Rodin, and Constantin Brancusi, video artists, performance artists, and film artists, and her Ph.D. thesis on light in sculpture; and files on Oberlin College visiting artists, 1973-1997.
Biographical / Historical:
Athena Tacha (1936-) is a sculptor, and educator from Oberlin, Ohio.
Related Materials:
Athena Tacha donated her teaching files, as well as her research files relating to Ellen Johnson's Frank Lloyd Wright house in Oberlin, Ohio, to Oberlin College, Oberlin, Ohio, and her early and student writings to the Balch Institute of Ethnic Studies, Philadelphia, Pa. Tacha was also the executor of Ellen Johnson's estate, and worked with the Archives in donating Johnson's papers in 1994 (cataloged separately under Johnson).
Provenance:
Donated 1998, 2019 and 2021 by Athena Tacha.
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 such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors  Search this
Topic:
Sculpture, Modern -- 20th century  Search this
Women artists  Search this
Identifier:
AAA.tachathe
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tachathe

Animation cel from Woody Woodpecker cartoon Knock Knock

Associated person:
Lantz, Walter  Search this
Maker:
Walter Lantz Production  Search this
Physical Description:
paper (overall material)
paint (overall material)
celluloid (overall material)
Measurements:
overall (framed): 27 1/4 in x 13 1/4 in; 69.215 cm x 33.655 cm
Object Name:
cel, animation
Place made:
United States: California, Los Angeles
Date made:
1940
Subject:
Animation  Search this
Comedy  Search this
Credit Line:
Gracie and Walter Lantz
ID Number:
1982.0567.16
Accession number:
1982.0567
Catalog number:
1982.0567.16
See more items in:
Cultural and Community Life: Entertainment
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a4-e492-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_667539

Animation cel from Woody Woodpecker cartoon Knock Knock

Associated person:
Lantz, Walter  Search this
Maker:
Walter Lantz Production  Search this
Physical Description:
paper (overall material)
paint (overall material)
celluloid (overall material)
Measurements:
overall (framed): 16 1/4 in x 14 1/4 in; 41.275 cm x 36.195 cm
Object Name:
cel, animation
Place made:
United States: California, Los Angeles
Date made:
1940
Subject:
Animation  Search this
Comedy  Search this
Credit Line:
Gracie and Walter Lantz
ID Number:
1982.0567.20
Accession number:
1982.0567
Catalog number:
1982.0567.20
See more items in:
Cultural and Community Life: Entertainment
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a4-e493-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_667540

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