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Betty Parsons Gallery records and personal papers

Creator:
Parsons, Betty  Search this
Names:
Betty Parsons Gallery  Search this
Bess, Forrest, 1911-1977  Search this
Congdon, William, 1912-1998  Search this
Pollock, Jackson, 1912-1956  Search this
Reinhardt, Ad, 1913-1967  Search this
Rothko, Mark, 1903-1970  Search this
Extent:
61.1 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Interviews
Video recordings
Drawings
Date:
1916-1991
bulk 1946-1983
Summary:
The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.
Scope and Content Note:
The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection. Personal papers also include personal photographs.

Artists files, the largest and most extensive series, consist of a wide variety of documents, including biographical materials, correspondence with or related to the artist, exhibition catalogs and announcements, sales and expense invoices, clippings, price lists, and photographs of the artist, exhibitions, and artwork. The files reflect Parsons's close personal relationships with certain artists, particularly Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman. Extensive documentation is also found for Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Historians and researchers will find these files to be an invaluable resource both in tracing Betty Parsons's role in promoting Abstract Expressionism and researching individual artists.

Exhibition files primarily document the gallery's infrequent group or themed exhibitions. Of particular note are the files on The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still. Price lists, artist biographies and exhibition schedules are housed in the general exhibition files. Loan exhibition files provide documentation of artwork borrowed by other galleries or institutions for exhibitions, as well as shows outside of the gallery that were organized by Betty Parsons. Also found are gallery exhibition guest books, and announcements and catalogs.

Gallery correspondence is primarily with galleries and dealers, museums, arts organizations, and collectors. Scattered letters from artists are also found, although the bulk of the artists' correspondence is filed in the Artists Files. Also found here are memoranda and letters between Betty Parsons and her staff that contain detailed information concerning Parsons's schedule and gallery activities. Similar correspondence is found amongst the correspondence files within the series Betty Parsons papers.

Appraisal and conservation files include correspondence, appraisal invoices, forms, and appraisal requests and other information from the Art Dealers Association of America, and conservation invoices and reports. The majority of the appraisal records contain information about the specific works of art, including artist, title, date, current owner and the estimated value at the time of the request. Conservation records document conservation treatments undertaken by outside conservators to gallery stock.

Sales, purchases, stock and inventory are well documented in the sales and inventory records. The records provide detailed information about individual sales, prices of individual pieces of artwork, consignments, and loans. Most sales records also include detailed information about the buyer and are a valuable resource for provenance research. Files documenting the general administration, routine business operations, and financial transactions (not individual sales) of the gallery are housed in the general business and financial records. These records include ledgers, receipts, tax records, and banking records. There is some limited information about works of art scattered amongst the receipts and in the "in/out slips" files. Legal records house general legal documents and those concerning specific lawsuits. Of particular note is the file detailing the lawsuit between Betty Parsons and Sidney Janis over the fifth floor of 24 West 57th Street.

The remainder of the collection consists of Betty Parsons's personal papers which document her career prior to opening her own gallery, her work as an artist, and her personal art collection.

Some information about Parsons's work prior to opening her own gallery is found in the early curatorial files she retained from her curatorial and administrative work at the Wakefield Gallery and the Mortimer Brandt Gallery. Clippings, correspondence, announcements, exhibition lists and exhibition files are found. For both positions, she kept only the exhibition files for a small group of exhibitions organized around a specific theme, the most notable being the exhibition of Pre-Columbian Sculpture at the Wakefield Gallery.

Biographical materials include copies of her biography, family genealogies, photographs of Parsons, interviews with Colette Roberts and WYNC radio, memberships, photographs, and ephemera, including a collection of programs and invitations from events that she attended. Throughout her life Parsons gave generously of her time to various cultural and charitable institutions and was awarded for her contributions. There are also a number of files that document her speaking engagements, her participation as a juror in numerous juried exhibitions, charitable work, and awards that she received.

Parsons's personal correspondence files reflect how deeply Parsons's life was intertwined with the gallery. There are letters from museum directors, dealers, artists seeking representation, and personal letters from artists with whom she had close personal relationships, most notably Larry Bigelow, Alexander Calder, William Condon, and Ad Reinhardt. There are also letters from the English artist Adge Baker, with whom Parsons was romantically involved. Correspondence also includes several files of postcards and Christmas cards.

Pocket diaries and engagement calendars, spanning from 1933-1981, record social engagements, meetings, vacations, and telephone numbers. Also found are circa two linear feet of notebooks and sketchbooks, many of which are annotated with addresses, poetry, journal entries, and other observations of people, places, and travels. Writings by others include writings about Betty Parsons or the Betty Parsons Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics.

Printed material consists of exhibition announcements and catalogs, art magazines, and newspaper and magazine clippings about Betty Parsons, her family and acquaintances, artists, and other art related topics, coupled with a miscellaneous selection of clippings, and a video recording, on topics that presumably captured Parsons's attention.

Personal art work records document Betty Parsons's career as an artist through inventories, group and solo exhibitions files, price lists, appraisals, sales and consignment invoices. Photographs are primarily reproductions of her works of art, although there are scattered photographs of exhibition installations.

Betty Parsons's private art collection files document her extensive personal collection of art that included works by Jackson Pollock, Agnes Martin, Romare Bearden, Barnett Newman, and Mark Rothko, in addition to Amlash sculpture from ancient Persia and primitive sculpture from New Hebrides. These files include inventories, lists, exhibition records, sales and purchase invoices, and photographs. There are also files for donations and loans from Parsons's personal collection to museums and fund raising auctions for several non-profit institutions.

Finally, the personal financial records provide information about the Parsons's family finances and her personal financial success as an art dealer. In addition to her own investments, Parsons inherited shares in family investments through the estates of her parents, J. Fred Pierson, Jr. and Suzanne Miles Pierson, and younger sister, Emily Rayner. Real estate files include correspondence, utility bills, receipts, area maps, and land plots for houses in Sheepscot, Maine and St. Maartens, Netherlands Antilles. Tax returns, ledger worksheets, receipts, banking statements, deposit slips, and cancelled checks are among the other financial records.
Arrangement:
The collection is arranged as seven series. Many of the series are further divided into subseries.

Series 1: Artists Files, 1935-1983 (19.4 linear feet; Boxes 1-18, 51, 55-56, OVs 53, 65)

Series 2: Exhibition Files, 1941-1983 (2.9 linear feet; Boxes 18-21, 51, 55, OVs 54, 66)

Series 3: Correspondence Files, 1941-1983 (3.9 linear feet; Boxes 21-24, 52, 56)

Series 4: Appraisal Files, 1954-1983 (0.7 linear feet; Box 24)

Series 5: Sales and Inventory Records, 1946-1983 (3.9 linear feet; Boxes 25-28, 51)

Series 6: General Business and Financial Records, 1946-1983 (9.3 linear feet; Boxes 28-38, 51, 56)

Series 7: Betty Parsons Personal Papers, 1916-1991 (21 linear feet; Boxes 38-51, 55-64, OVs 65-67)
Historical Note:
Betty Parsons (1900-1982) was one of the leading art dealers in New York City specializing in modern art, particularly the work of the Abstract Expressionists, and an abstract painter and sculptor in her own right. She opened Betty Parsons Gallery in 1946 at 15 E. 57th St., later moving to 24 W. 57th St.

The history of the Betty Parsons Gallery is inextricably bound to the life and experiences of its founder. Betty Parsons was born Betty Bierne Pierson on January 31, 1900 in New York City. She enjoyed a privileged childhood, which included vacation homes in Newport and Palm Beach. Her only formal education was a five-year stint at the prestigious Chapin School from 1910-1915, where she met many of the women who would become life-long friends and supporters. In the spring of 1920, she married Schuyler Livingston Parsons from one of New York's oldest families. The marriage ended after only three years and the couple traveled to Paris where they could obtain a divorce on the grounds of incompatibility. She retained her married surname and purchased a house on the rue Boulard in Paris, where she remained for ten years, pursuing studies in painting and sculpture.

Financial constraints forced Parsons to return to the United States in 1933. She first traveled west to California, but it was her return to New York in 1935 that marked the start of her career as an art dealer. Her first opportunity to connect with the New York art world came after a successful exhibition of her watercolors at the Midtown Galleries where the owner, Alan Gruskin, noted Parson's faithful and wealthy group of supporters and offered her work installing exhibitions and selling paintings on commission. Her work for the Midtown Galleries led to a second position in the Park Avenue gallery of Mary Sullivan, one of the founders of the Museum of Modern Art. Here, Parsons learned the business of running a gallery. By 1940 Parsons was ready to take on more independent responsibility and agreed to manage a gallery within the Wakefield Bookshop. In this job, she exercised full curatorial control by selecting artists and organizing exhibitions. She championed then unknown contemporary American artists and the gallery's roster soon included Saul Steinberg, Hedda Sterne, Alfonso Ossorio, Joseph Cornell, Walter Murch, and Theodore Stamos. Although the majority of the exhibitions were solo shows, there were a few group shows and themed exhibitions, such as Love in Art (1941) and Ballet in Art (1942). Under Parson's direction, the gallery hosted an important exhibition of Pre-Columbian sculpture, curated by Barnett Newman.

When the owners of the Wakefield Bookshop decided to close the gallery late in 1944, Mortimer Brandt, a dealer who specialized in Old Master paintings and drawings, offered her a position as head of the newly created contemporary section of his gallery. Many of the artists who had shown with Parsons at the Wakefield Gallery followed her to her new gallery, where they were joined by Ad Reinhardt, Boris Mango, and Hans Hofmann. While the exhibitions garnered attention from the press and the interest of contemporary artists, the contemporary section was not a financial success and Brandt opted to close his gallery in 1946.

Using $1000 of her own money and an additional borrowed $4000, Parsons sublet the space that previously housed Mortimer Brandt's contemporary section, on the fifth floor of 15 East 57th Street, and opened the Betty Parsons Gallery.

In many respects the early years of the Betty Parsons Gallery were the most vital, as it was during the period of 1947-1951 that the gallery became linked with the Abstract Expressionists and the history of post-WWII American Art. In an unpublished history of the gallery, noted art critic Lawrence Alloway stated that the significance of the gallery's early exhibitions ranks with Durand-Ruel's Impressionists exhibitions or Kahnweiler's shows of the Cubists. Betty Parsons Gallery quickly became one of the most prestigious galleries in New York City associated with new American Art of all styles. Her close friend Barnett Newman organized the gallery's inaugural exhibition of Northwest Coast Indian Art and he soon began to exhibit his own work at the gallery. When Peggy Guggenheim's Art of This Century Gallery closed, Jackson Pollock, Clyfford Still, and Mark Rothko joined Parsons' growing stable of artists. Although Parsons continued to promote and exhibit many of the artists whom she had previously discovered, these four artists dominated this period. Newman, Pollock, Still, and Rothko worked closely together, holding themselves apart from the other artists somewhat. They were actively involved in the curatorial process and often hung their own shows. For these artists, the exhibition itself was an artistic act of creation.

Parsons provided a supportive environment and allowed her artists enormous freedom in planning and designing their exhibitions. She was not, however, an aggressive salesperson. During this early period the gallery ledgers document sales to an impressive array of museums including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago, as well as important collectors such as Edward Root and Duncan Phillips. Nevertheless, the art that the gallery promoted was not yet widely accepted. Sales were few, prices were low and the business would not turn a profit for several years. Meanwhile, there was mounting pressure from Pollock, Newman, Still, and Rothko to drop some of the other artists from Parsons' stable and focus all resources on them. They wanted to be promoted to a larger audience and have their work sold at higher prices, but Parsons enjoyed discovering new artists and did not want to be restricted in this endeavor. The year 1951 marks the last time that Pollock's drip paintings or the monumental works of Newman, Rothko or Still were shown at the Betty Parsons Gallery.

In the following years the Betty Parsons Gallery continued to attract a diverse group of talented artists. Ellsworth Kelly, Richard Tuttle, Robert Rauschenberg, and Jack Youngerman had their first New York exhibitions at the Betty Parsons Gallery. Parsons opened Section Eleven in 1958, a short-lived annex to the main gallery, so that she could promote younger, less well-known artists. It closed in 1960 due to the administrative difficulties in running two essentially separate galleries.

In 1962, Sidney Janis, another prominent art dealer, started proceedings to evict Parsons from the floor that they shared on 15 East 57th Street. The Betty Parsons Gallery moved to 24 West 57th Street in 1963, where it remained until it closed in 1983, following Parsons' death the preceding year. Throughout the gallery's history, Parsons continued to promote faithful artists such as Hedda Sterne and Saul Steinberg, who had been with her from the beginning and to seek out new talent, both for her main gallery and for other venues, such as the short-lived Parsons-Truman Gallery, which she opened in 1974 with former Parsons Gallery director Jock Truman to show works on paper by emerging artists.

In addition to being an art dealer, Betty Parsons was a respected artist and collector. With her connoisseur's eye and connections, Parsons amassed an impressive private collection of art. She bought her first piece while an art student in Paris in the 1920s, a small gouache by Zadkine, but did not begin acquiring works in earnest until she was established as an art dealer. Partial inventories of her personal collection show that the majority of her collection contained works by artists associated with the gallery. Mark Rothko, Hans Hofmann, Ad Reinhardt, Agnes Martin, and Kenzo Okada were among the artists represented. Many were gifts from the artists, such as an ink drawing by Jackson Pollock, inscribed "For Betty." Selections from her collection appeared in small museums across the United States, including a traveling exhibition organized by Fitch College, New York, in 1968. In her role as a promoter of contemporary American art, Parsons lent generously from her collection, particularly to the federal Art in the Embassies Program. Throughout her life she also donated works to a variety of museums, most notably, the Whitney Museum of American Art, Museum of Modern Art, New York, and the Louisiana Museum of Modern Art, Denmark.

Parsons frequently claimed that her desire to pursue a career as an artist stemmed from a visit to the Armory Show when she was thirteen. In her late teens, after pressuring her father for art lessons, she studied with the sculptor Gutzon Burglum of Mount Rushmore fame. In Paris, she continued her studies first with Antoine Bourdelle, whose sculptures she had admired at the Armory Show, and later with Ossip Zadkine. The first exhibition of her work, figurative watercolors and sculptures, took place in Paris in 1927. As she matured as an artist, her art became more abstract. Her late works were painted wood sculptures that she pieced together from wood that she found near her studio in Long Island. Parsons's work was exhibited in more than thirty solo exhibitions, including, Betty Parsons; Paintings, Gouaches and Sculpture, 1955-1968, at the Whitechapel Gallery in London. During her lifetime, she would not allow her works to be shown in her own gallery. Shortly after she died of a stroke in 1982, In Memoriam, Betty Parsons: Late Sculptures, opened at the Betty Parsons Gallery.
Related Material:
Also found in the Archives of American Art are oral history interviews with Betty Parsons, June 4-9, 1969, by Paul Cummings, and June 11, 1981 by Gerald Silk.
Separated Material:
Some of the material originally loaned for microfilming in 1968 and 1969 was not included in later donations and can be viewed on microfilm reels N68/62-N68/74 and N69/105-N69/106. Loaned materials are not described in the container listing in this finding aid.
Provenance:
The gallery donated some records in 1974, many of which had been loaned earlier for microfilming. The bulk of the collection was donated in 1984 and 1986 by William Rayner and Christopher Schwabacher, executors of the Estate of Betty Parsons. Additional material was donated by William Rayner in 1998 and Christopher Schwabacher in 2017. Additional material was donated in 2018 by the Lee Hall estate via Carolyn Crozier and Deborah Jacobson, co-executors. Hall was Parsons's biographer and had the material in her possession at the time of Parsons's death. An additional photograph of Parons and Marie Carr Taylor by Henri Cartier-Bresson was donated in 2021 by Mary Carpenter, who inherited the photograph from her mother, Nan Thorton Jones, who received it as a gift from Taylor.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Gallery owners -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Women art dealers  Search this
Women artists  Search this
Abstract expressionist  Search this
Genre/Form:
Sketchbooks
Interviews
Video recordings
Drawings
Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parsbett
See more items in:
Betty Parsons Gallery records and personal papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-parsbett
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Walter Tandy Murch papers

Creator:
Murch, Walter  Search this
Names:
Betty Parsons Gallery  Search this
Brooklyn Museum  Search this
Rhode Island School of Design  Search this
Bishop, Isabel, 1902-1988  Search this
Bocour, Leonard, 1910-1993  Search this
Bonnard, Pierre, 1867-1947  Search this
Dubuffet, Jean, 1901-  Search this
Gonzalez, Xavier, 1898-1993  Search this
Kepes, Gyorgy, 1906-2001  Search this
Murch, Katherine  Search this
Murch, Walter Scott  Search this
Scott, Katharine  Search this
Extent:
8.2 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Awards
Woodcuts
Resumes
Lecture notes
Drawings
Photographs
Notebooks
Sketches
Notes
Sketchbooks
Date:
1880-1970
Summary:
The papers of New York City still life painter and art instructor Walter Tandy Murch date from 1880-1970 and measure 8.2 linear feet. Found within the papers are biographical materials, four diaries, correspondence with colleagues and family members, personal business records, exhibition files, notes and writings, two sketchbooks and additional art work, printed material, and photographs of Murch, family members, and art work.
Scope and Content Note:
The papers of New York City still life painter and art instructor Walter Tandy Murch date from 1880-1970 and measure 8.2 linear feet. Found within the papers are biographical materials, four diaries, correspondence with colleagues and family members, personal business records, exhibition files, notes and writings, two sketchbooks and additional art work, printed material, and photographs of Murch, family members, and art work.

Biographical material includes registration documents for births, marriages, and naturalization of Murch family members, biographical accounts, resumes, school and award certificates, passports, Selective Service records, and address books.

One diary by Walter Murch and three diaries by Katharine Murch contain sporadic entries briefly describing daily activities.

Correspondence primarily consists of letters exchanged between Murch, art schools and universities, arts organizations, galleries including the Betty Parsons Gallery, miscellaneous companies and publishers that commissioned commercial art work, and students. There are scattered letters from Isabel Bishop, Leonard Bocour, Xavier Gonzales, and Gyorgy Kepes. There is also correspondence with miscellaneous family members and letters to Katharine Scott.

Personal business records include organizational membership records, family legal documents, insurance records, leases, loan and consignment records, contracts and invoices for art work sold by the Betty Parsons Gallery, expense notebooks, and other routine financial documents.

Exhibition files include documentation of miscellaneous exhibitions of Murch's art work and of exhibitions juried and organized by Murch, including the Jean Dubuffet exhibition organized by Murch and retrospectives of Murch's art work at the Rhode island School of Design and at the Brooklyn Museum.

Notes and writings include the funeral register for Murch, miscellaneous address lists, travel notebooks of Murchs' 1934 trip to Mexico, miscellaneous notebooks concerning various art-related topics, classroom lectures and notes, and miscellaneous writings by others.

Art work includes two sketchbooks, drawings and sketches, woodcuts, sketches for "Novel in Woodcut," an oil portrait of a woman, a mock-up for book Notes on the Hound of Heaven, and art work by others including a sketchbook by Murch's son, Walter Scott Murch.

Printed material includes clippings, a copy of a handmade Collegiate School magazine The New Thinker, and exhibition announcements and catalogs. for Murch and others, press releases, prospectuses, reproductions of art work and book jackets designed by Murch, programs, brochures, a book about Pierre Bonnard, and miscellaneous printed material.

Photographs are of Murch, family members, travel, buildings, Murch's studio, Murch with colleagues, And art work by Murch and others. There are also photographs of various resource subjects.
Arrangement:
The collection is arranged as 9 series:

Series 1: Biographical Material, 1924-1968 (Box 1, 10; 24 folders)

Series 2: Diaries, 1941-1965 (Box 1; 3 folders)

Series 3: Correspondence, 1880-1969 (Box 1-3, 10; 1.8 linear feet)

Series 4: Personal Business Records, 1928-1970 (Box 3-5; 2.9 linear feet)

Series 5: Exhibition Files, 1953-1968 (Box 6; 17 folders)

Series 6: Notes and Writings, 1907-1968 (Box 6-7, 10, OV 11; 1.5 linear feet)

Series 7: Art Work, 1891-1967 (Box 7, 10, OV 11; 33 folders)

Series 8: Printed Material, 1926-1968 (Box 7-8, 10, OV 11; 50 folders)

Series 9: Photographs, 1908-1967 (Box 9-10; 41 folders)
Biographical Note:
Walter Tandy Murch (1907-1967) of Toronto, Canada, was a painter and art teacher. His painting were primarily of still life subjects including machine parts, tools, broken dolls, and scientific equipment mingled with fruit, bread and fragments of rock as if seen through frosted glass.

Walter Tandy Murch was born on August 17, 1907, in Toronto, Canada, the son of Clara Louise Tandy and jeweller Walter Murch. Following his studies of architectural drafting and woodworking at the Technical High School in Toronto, he studied at the Ontario College of Art in Toronto with Arthur Lismer from 1924 to 1927. During the following year, Murch studied at the Grand Central School of Art in New York City with Arshile Gorky. From 1927 to 1929, he studied with Von Schlegel and K. H. Miller at the Art Students League. In 1930, Murch married Katharine Louise Scott.

From 1930 to 1933, Murch designed stained glass windows for Montague Castle, Inc., in New York City. Following a lengthy painting trip to Mexico in 1934, Murch returned to New York City and earned a living painting murals, designing department store windows, and creating illustrations for various magazines including Fortune and Scientific American.

Murch had his first solo exhibition at Betty Parsons' Wakefield Gallery in New York in 1941, and for many years Parsons was his principal dealer. Murch became a United States citizen in 1947.

Beginning in the 1950s, Murch taught at Pratt Institute, Columbia University, New York University, and at Boston University, and attended summer sessions at Yaddo and Skowhegan. In 1966, the Rhode Island School of Design organized Murch's first major retrospective.

Murch's work is in the collections of the Barnes Foundation, Brooklyn Museum, Corcoran Gallery of Art, Metropolitan Museum of Art, Pennsylvania Academy of the Fine Arts, Smithsonian American Art Museum, and the Whitney Museum of American Art.

Walter Tandy Murch died on December 11, 1967 in New York City.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reels N707, N708, N713, and N68-5) including correspondence, notes, sketchbooks, clippings, exhibition catalogs, and photographs. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1967-1968, Walter Tandy Murch loaned the Archives of American Art material for microfilming. The artist's widow, Katharine Scott Murch, donated papers 1969.
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.
Occupation:
Art teachers -- New York (State) -- New York  Search this
Topic:
Painters -- New York (State) -- New York  Search this
Painting, American  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Diaries
Awards
Woodcuts
Resumes
Lecture notes
Drawings
Photographs
Notebooks
Sketches
Notes
Sketchbooks
Citation:
Walter Tandy Murch papers, 1880-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.murcwalt
See more items in:
Walter Tandy Murch papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-murcwalt

Hedda Sterne papers

Creator:
Sterne, Hedda, 1910-  Search this
Names:
Mathieu, Georges, 1921 -- Photographs  Search this
Saint-Exupéry, Antoine de, 1900-1944  Search this
Steinberg, Saul  Search this
Werth, Léon, 1878-1955  Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Transcripts
Sketchbooks
Drawings
Interviews
Date:
1939-1977
Summary:
The papers of painter Hedda Sterne measure 1.3 linear feet and date from 1939 to 1977. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Sterne's second husband Saul Steinberg, the artist known for his New Yorker drawings; writings; exhibition files; printed material; drawings and 3 sketchbooks; photographs and slides of Sterne, her family, and her work; and originals of Antoine de Saint-Exupéry's work Lettre A Leon Werth and 4 drawings Saint-Exupéry sent to Sterne.
Scope and Contents:
The papers of painter Hedda Sterne measure 1.3 linear feet and date from 1939 to 1977. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Sterne's second husband Saul Steinberg, the artist known for his New Yorker drawings; writings; exhibition files; printed material; drawings and 3 sketchbooks; photographs and slides of Sterne, her family, and her work; and originals of Antoine de Saint-Exupéry's work Lettre A Leon Werth and 4 drawings Saint-Exupéry sent to Sterne.

Biographical material includes certificates, curriculum vitae, a Fulbright application, lists of artworks, and Saul Steinberg's fingerprints. Correspondence is primarily with Sterne's friends, and business associates. There is significant correspondence from the artist Georges Mathieu and from her second husband Saul Steinberg.

Writings consist of numerous miscellaneous handwritten and typescript notes on art. Exhibition files include an article, interview transcript, and press release for Sterne's 1970 exhibition Everyone at the Betty Parsons Gallery. Printed material includes cards, clippings, exhibition announcements, and an exhibition catalog.

Artwork consists of drawings and 3 sketchbooks. Photographs are of Sterne, her family and friends, and her artwork. Materials related to Antoine de Saint-Exupéry include copies of his Lettre A Leon Werth and 4 drawings Saint-Exupéry sent to Sterne.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical materials, 1941-1970 (8 folders; Box 1)

Series 2: Correspondence, circa 1943-1965 (0.5 linear feet; Box 1-2)

Series 3: Writings, circa 1945-1965 (5 folders; Box 1)

Series 4: Exhibitions, 1970 (3 folders; Box 1)

Series 5: Printed material, 1946-1977 (3 folders; Box 1)

Series 6: Artwork, circa 1945-1965 (4 folders; Box 1)

Series 7: Photographic Materials, 1939-1969 (0.3 linear feet; Box 1-2)

Series 8: Antoine de Saint Exupéry, circa 1942 (4 folders; Box 1)
Biographical / Historical:
Painter Hedda Sterne (1910-2011) lived in New York City and was known for working in many artistic styles, including surrealism and abstract expressionism. She was the only woman in the group of abstract expressionists known as "The Irascibles."

Sterne was born in Bucharest, Romania to Simon Lindenberg, a high school language teacher, and his wife Eugenie. Her early interest in art was encouraged by her family and, after graduating from high school at the age of seventeen, she traveled to Vienna to study art. In 1932, she married childhood friend and businessman Frederick Stern. Through the 1930s, she continued to develop as an artist, traveling between Bucharest and Paris, where she attended Fernand Léger's atelier for a time. In 1938, her work with torn paper collages at that year's Paris Salon caught the eye of Hans Arp, who convinced her to exhibit at Peggy Guggenheim's London gallery. The chaos and persecution of Jews during World War II precipitated Sterne's arrival in America, where she joined her husband in New York City.

In New York, Peggy Guggenheim welcomed Sterne into her circle of artist friends and invited her to exhibit in Guggenheim's gallery in New York City, Art of This Century. In 1944, Sterne married Saul Steinberg, the artist known for his New Yorker drawings, and became a U.S. citizen. Through the 1940s, Sterne created works in realist and surrealist styles, but by the late 1940s, she began exploring abstract expressionism. In 1943, Sterne exhibited at the Wakefield Gallery, where she met the gallery manager Betty Parsons and where she received her first one woman show in 1945. After Betty Parsons opened her own gallery in 1946, Sterne joined Parsons' stable and continued to meet and befriend other prominent abstract artists. In 1950, she signed an open letter along with 14 other artists protesting the Metropolitan Museum's conservatism towards abstract art. This led to a feature article in Life magazine where she was the only woman to be photographed alongside "The Irascibles." This group included Jackson Pollock, Willem de Kooning, Barnett Newman, Mark Rothko, and Ad Reinhardt, among others. Through the 1950s, Sterne continued to explore new avenues of art by painting cityscapes, abstract mechanical structures, portraits, and faces, and by using mediums ranging from oil, spray paint, pen and ink, pencil, and diary/text reproductions on stretched canvas.

In 1960, Sterne and Steinberg separated but remained friends until his death in 1999. The recipient of numerous awards and one woman shows, retrospectives of her work were exhibited at the Montclair Art Museum (1977), Queens Museum of Art (1985), and the Krannert Art Museum (2006). Sterne died in her home in Manhattan in 2011 at the age of 100.
Related Materials:
Also found in the Archives is an oral history interview with Hedda Sterne conducted by Phyllis Tuchman, December 17, 1981, for the Archives of American Art's Mark Rothko and His Times oral history project. Additional correspondence and photographs of Sterne are located in the Saul Steinberg papers at the Beinecke Rare Book and Manuscript Library at Yale University.
Provenance:
Hedda Sterne donated her papers in 1970, 1971, and 1972.
Restrictions:
Use of original papers requires an appointment and is limited to the Archvies' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Women painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Transcripts
Sketchbooks
Drawings
Interviews
Citation:
Hedda Sterne papers, 1939-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sterhedd
See more items in:
Hedda Sterne papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sterhedd
Online Media:

Oral history interview with Betty Parsons

Interviewee:
Parsons, Betty  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Betty Parsons Gallery  Search this
Club (New York, N.Y.)  Search this
Wakefield Gallery  Search this
Gorky, Arshile, 1904-1948  Search this
Graham, John, 1887-1961  Search this
Janis, Sidney, 1896-1989  Search this
Newman, Barnett, 1905-1970  Search this
Okada, Kenzo, 1902-1982  Search this
Extent:
44 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1969 June 4-9
Scope and Contents:
An interview of Betty Parsons conducted 1969 June 4-9, by Paul Cummings, for the Archives of American Art. Parsons speaks of her family background; her years in Paris; living in California for four years; teaching sculpture and drawing; the Wakefield Gallery; the establishment of her own gallery, and some of her clients and artists; a pre-Columbian show at her gallery; the New York gallery scene; her own collection; her affiliation with Arshile Gorky and John Graham; the importance of The Club; and the influence of critics and art magazines. She recalls Kenzo Okada, Barnett Newman and Sidney Janis.
Biographical / Historical:
Betty Parsons (1900-1982) was a painter and art dealer from New York, N.Y.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 2 hrs., 7 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Topic:
Art dealers -- New York (State) -- New York -- Interviews  Search this
Function:
Art galleries, Commercial -- New York (State) -- New York
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.parson69
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-parson69

Betty Parsons Personal Papers

Collection Creator:
Parsons, Betty  Search this
Extent:
21 Linear feet (Boxes 38-51, 56-64, OVs 65-67)
Type:
Archival materials
Date:
1916-1991
Scope and Contents note:
This series documents the more personal and professional activities of Betty Parsons through early curatorial files from her work at Wakefield Gallery and Mortimer Brandt Gallery, biographical files, family papers, correspondence, pocket diaries, annotated sketchbooks, writings, photographs, printed materials, and financial records. Parsons' extensive personal papers also include files that provide an overview of her own career as an artist as well as her extensive private art collection.
Arrangement note:
This series is arranged into 10 subseries:

7.1: Early Curatorial Files, circa 1940-1958

7.2: Biographical Material, 1916-1982

7.3: Correspondence, 1922-1983

7.4: Pocket Diaries and Notebooks, 1933-1981

7.5: Annotated Sketchbooks, circa 1920s-1981

7.6: Writings, circa 1930-1981

7.7: Printed Material, circa 1927-1991

7.8: Betty Parsons's Art Work Files, circa 1920s-1983

7.9: Betty Parsons's Private Collection Files, circa 1950s-1983

7.10: Personal Financial Records, 1923-1982
Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parsbett, Series 7
See more items in:
Betty Parsons Gallery records and personal papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1452

Early Curatorial Files

Collection Creator:
Parsons, Betty  Search this
Type:
Archival materials
Date:
circa 1940-1958
Scope and Contents note:
This subseries consists of files that Parsons retained from her work at the Wakefield Gallery and the Mortimer Brandt Gallery. Files include correspondence, clippings, group exhibition files, announcements, catalogs, photographs, and exhibition and price lists.
Arrangement note:
Early Curatorial Files are arranged into two sub subseries:

7.1.1: Wakefield Gallery, circa 1940-1944

7.1.2: Mortimer Brandt Gallery, circa 1944-1958
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parsbett, Subseries 7.1
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1453

Wakefield Gallery

Collection Creator:
Parsons, Betty  Search this
Type:
Archival materials
Date:
circa 1939-1944
Scope and Contents note:
Found here are files from Betty Parsons's job as director of the Wakefield Gallery, including clippings, correspondence, announcements, exhibition files, exhibition lists, schedules, invoices, receipts and a scrapbook of clippings and exhibition announcements created from a bound dummy copy of A Treasury of Art Masterpieces. There are no solo exhibition files, only files for the themed exhibitions, Love in Art (1941), Ballet in Art (1942), and Pre-Columbian Stone Sculpture (1944). The Pre-Columbian Stone Sculpture exhibition files are of particular note as they contain vintage photographs by Aaron Siskind of the sculptures that were produced for reproduction in the exhibition catalogue.
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parsbett, Subseries 7.1.1
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.1: Early Curatorial Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1454

Clippings

Collection Creator:
Parsons, Betty  Search this
Container:
Box 38, Folder 7
Type:
Archival materials
Date:
circa 1941-1944
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.1: Early Curatorial Files / 7.1.1: Wakefield Gallery
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1455

Correspondence

Collection Creator:
Parsons, Betty  Search this
Container:
Box 38, Folder 8
Type:
Archival materials
Date:
circa 1941-1944
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.1: Early Curatorial Files / 7.1.1: Wakefield Gallery
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1456

Exhibition Announcements

Collection Creator:
Parsons, Betty  Search this
Container:
Box 38, Folder 9
Type:
Archival materials
Date:
circa 1940-1944
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.1: Early Curatorial Files / 7.1.1: Wakefield Gallery
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1457

Love in Art (1941)

Collection Creator:
Parsons, Betty  Search this
Container:
Box 38, Folder 10
Type:
Archival materials
Date:
circa 1940-1941
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.1: Early Curatorial Files / 7.1.1: Wakefield Gallery
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1458

Ballet in Art (1942)

Collection Creator:
Parsons, Betty  Search this
Extent:
(Partially scanned)
Container:
Box 38, Folder 11
Type:
Archival materials
Date:
circa 1942
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.1: Early Curatorial Files / 7.1.1: Wakefield Gallery
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1459

Pre-Columbian Stone Sculpture (1944)

Collection Creator:
Parsons, Betty  Search this
Extent:
(3 folders)
Container:
Box 38, Folder 12-14
Type:
Archival materials
Date:
circa 1944
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.1: Early Curatorial Files / 7.1.1: Wakefield Gallery
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1460
Online Media:

Pre-Columbian Stone Sculpture (1944) - Photographs, Works of Art

Collection Creator:
Parsons, Betty  Search this
Extent:
(vintage prints by Aaron Siskind; not scanned)
Container:
Box 38, Folder 15
Type:
Archival materials
Date:
circa 1944
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.1: Early Curatorial Files / 7.1.1: Wakefield Gallery
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1461

Exhibition Schedules and Lists

Collection Creator:
Parsons, Betty  Search this
Container:
Box 38, Folder 16
Type:
Archival materials
Date:
circa 1941-1944
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.1: Early Curatorial Files / 7.1.1: Wakefield Gallery
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1462

Invoices and Receipts

Collection Creator:
Parsons, Betty  Search this
Container:
Box 38, Folder 17
Type:
Archival materials
Date:
1940-1944
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.1: Early Curatorial Files / 7.1.1: Wakefield Gallery
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1463

Scrapbook

Collection Creator:
Parsons, Betty  Search this
Container:
Box 38, Folder 18
Type:
Archival materials
Date:
1939-1941
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.1: Early Curatorial Files / 7.1.1: Wakefield Gallery
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1464

Transcript of Radio Program The Artist Reviews Art

Collection Creator:
Parsons, Betty  Search this
Container:
Box 38, Folder 19
Type:
Archival materials
Date:
1943
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.1: Early Curatorial Files / 7.1.1: Wakefield Gallery
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1465

Mortimer Brandt Gallery

Collection Creator:
Parsons, Betty  Search this
Type:
Archival materials
Date:
circa 1944-1958
Scope and Contents note:
Found here are select files stemming from Betty Parsons work as the head of the contemporary art section of Mortimer Brandt Gallery. The files consist of clippings, correspondence, announcements, catalogs, exhibition files, and exhibition lists. As with the files from Wakefield Gallery above, these files do not constitute a complete record of Parsons' work with the Mortimer-Brandt Gallery. Exhibition files exist solely for the two exhibitions; Abstract and Surrealist Art in America (1944) and Portraits of Today by Painters of Tomorrow (1945). There is also correspondence between Parsons and Mortimer Brandt, some of which concerns lease arrangements for Parsons subletting half of the fifth floor of 15 East 57th Street to open her own gallery. There is also correspondence between Parsons and Sidney Janis, who sublet the rest of the floor for his gallery beginning in 1953.
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parsbett, Subseries 7.1.2
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.1: Early Curatorial Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1467

Printed Materials

Collection Creator:
Parsons, Betty  Search this
Type:
Archival materials
Date:
circa 1920-1991
Scope and Contents note:
Printed Material includes catalogs and announcements for exhibitions at Betty Parsons Gallery and other galleries, offsets of articles, magazines, clippings from newspapers and magazines.

Announcements and catalogs files include printed material from the Wakefield Gallery, Mortimer Brandt Gallery, Betty Parsons Gallery, as well as other galleries. Much of this material is duplicated in other series including Artists Files and Other Gallery Records.

The bulk of magazine and newspaper clippings feature Betty Parsons in her role as artist, art dealer, or collector. The file of the 1967 House and Garden feature on her Long Island Studio includes photographs, some of which appear to have been used in the article. This subseries also includes clippings on artists, particularly those whom Parsons represented, general art and architecture files, files of clippings and cartoons on miscellaneous subjects, presumably of interest to Parsons, and a video recording about the I Ching.
Series Restrictions:
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parsbett, Subseries 7.7
See more items in:
Betty Parsons Gallery records and personal papers
Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-parsbett-ref1659

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