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Collection Creator:

Namuth, Hans  Search this

Extent:

0.8 Linear feet (Box 1, OV 11)

Type:

Archival materials

Date:

1945-circa 1981

Scope and Contents:

Hans Namuth's film Alfred Stieglitz, Photographer is documented through research articles, correspondence, exhibition materials, grant program request sheets, magazines and catalogs, photo requests and photographic materials featured in the film, project outline papers, and various forms of the film script and interview transcripts. Correspondence is with Ansel Adams, Henri-Cartier Bresson, Peter C. Bunnell, Harold Clurman, Aaron Copland, Arthur Fellig (Weegee), the Guggenheim Museum, Juan Hamilton, Lincoln Kirstein, Arnold Newman, Isamu Noguchi, Dorothy Norman, Georgia O'Keeffe, Philadelphia Museum of Art, Elizabeth Pollock, School of American Ballet, William Woolfenden, and the Zabriskie Gallery. Interviewees include Ansel Adams, Arnold Newman, Aaron Copland, Dorothy Norman, and others. Also of note are two oversized photographs of Alfred Stieglitz by Arthur Fellig (Weegee).

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Collection Rights:

All Photographs by Hans Namuth: All requests for image reproductions are to be sent to: Assistant Registrar for Rights & Reproductions; Center for Creative Photography. Contact Reference Services for more information.

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:

Hans Namuth photographs and papers, 1945-1985. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.namuhans, Series 1

See more items in:

Hans Namuth photographs and papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92ce4fc86-efe8-4870-a5a5-eeb43b2583df

EDAN-URL:

ead_component:sova-aaa-namuhans-ref1

Creator:

Robert Schoelkopf Gallery  Search this

Names:

Zabriskie Gallery  Search this

Andrejevic, Milet, 1925-1989  Search this

Aponovich, James, 1948-  Search this

Bailey, William, 1930-2020  Search this

Bell, Leland  Search this

Brassaï, 1899-  Search this

Cameron, Julia Margaret Pattle, 1815-1879  Search this

Cartier-Bresson, Henri, 1908-  Search this

Cornell, Joseph  Search this

Dawson, Manierre, 1887-1969  Search this

Driggs, Elsie, 1898-1992  Search this

Erlebacher, Martha Mayer  Search this

Evans, Walker, 1903-1975  Search this

Fiske, Gertrude, 1878-1961  Search this

Freund, Gisèle  Search this

Horton, William S., 1865-1936  Search this

Ito, Miyoko, 1918-1983  Search this

Lachaise, Gaston, 1882-1935  Search this

Laderman, Gabriel, 1929-  Search this

Ligare, David  Search this

Matthiasdottir, Louisa  Search this

Matulka, Jan, 1890-1972  Search this

Myers, Ethel  Search this

Nadelman, Elie, 1882-1946  Search this

Schoelkopf, Robert J., 1927-1991  Search this

Stella, Joseph, 1877-1946  Search this

Storrs, John Henry Bradley, 1885-1956  Search this

Wiesenfeld, Paul  Search this

Extent:

29 Linear feet

Type:

Collection descriptions

Archival materials

Gallery records

Illustrated letters

Photographs

Date:

1851-1991

bulk 1962-1991

Summary:

The collection comprises 29 linear feet of records that document the day-to-day administration of the Robert Schoelkopf Gallery from 1962 to 1991, with additional items predating the founding of the gallery from 1851 to 1961. The collection records artist and client relations, exhibitions, and daily business transactions through artist files, correspondence, printed matter, and photographic material.

Scope and Content Note:

The records of the Robert Schoelkopf Gallery comprise 29 linear feet of material from 1851 to 1991, with some items predating the founding of the gallery. The bulk of the records date from 1962 to 1991, providing researchers with fairly comprehensive coverage of the gallery's development and operations from its inception in 1962 until its closure in 1991. Items dated prior to 1962 relate principally to the period of transition during which Robert Schoelkopf ended his partnership with the Zabriskie Gallery and established his own business. There are also some items relating to artists of the nineteenth and early twentieth century.

The collection consists primarily of artist files documenting relations with contemporary artists, representation of deceased artists, and other works of art handled by the gallery. It also chronicles the gallery's exhibition schedule and the day-to-day administration of the business. The types of material that can be found here include correspondence, exhibition inventories, price lists, accounting and consignment records, shipping and insurance records, printed material, and photographs.

The collection is a valuable source of information on twentieth-century American art history, focusing primarily on early-twentieth-century modernists as well as an important group of American realist painters and sculptors from the latter half of the century. The collection illuminates, in detail, the developing market for these schools and, in the case of the latter group, provides personal insights from artists on the realist perspective.

The records also document the Robert Schoelkopf Gallery's significant contribution to the resurgence of interest in fine art photography during the 1960s and 1970s as reflected in an increase in the value of works by important American photographers such as Walker Evans.

Much of the outgoing correspondence from the gallery consists of copies of letters written by Robert Schoelkopf, with additional business being handled by assistant staff and, from the mid-1970s, Schoelkopf's wife, Laura Jane Schoelkopf. The records offer insight into the personalities of the Schoelkopfs and how their congenial and candid management style influenced their relationships with the contemporary artists they represented.

Arrangement:

Originally the collection was organized as one large file arranged alphabetically by folder title, with titles ranging from names of artists to general subject headings such as "Correspondence." During processing it became clear that the gallery delineated operations into three main functions: artist relations, client-dealer relations, and exhibitions. Consequently the collection is arranged as three main series based on these areas of concern. A small group of miscellaneous photographs of artists constitutes an additional series at the end of the collection.

Originally paper records throughout the collection were generally arranged chronologically, although this order was not strictly adhered to. Frequently, correspondence and memoranda were attached to related records going back several years. To preserve the relationship between such documents, records stapled together in this way have been left together. They are arranged in reverse chronological order and filed in the folder corresponding to the primary date (i.e., the date of the first and most recent paper in the group). Researchers should be aware that date ranges provided on folders refer to the primary dates of documents contained therein and that some items in the folder may predate that range. Otherwise, the general chronological scheme has been retained throughout the collection, with undated material placed at the beginning of the appropriate file.

Printed material is arranged in chronological order, with undated material at the beginning of the folder, and may include press releases, exhibition announcements, exhibition catalogs, posters, clippings from newspapers, magazines, and journals, and other publicity material. Large amounts of printed material are broken down into several discrete folder units.

The most consistent labeling system for photographic material apparent throughout the collection was title of work of art. The majority of images are not dated with a printing date or the date that the work of art was produced, and although many of them have a processing number, these are by no means consistent and there are no master lists that can be used to interpret them. Consequently, images are arranged primarily by media type and then alphabetically by title. Untitled images are placed at the beginning of a media group; "the" in a title is ignored. Exceptions to this method are addressed in the appropriate series descriptions.

Files labeled "Photographs of Works of Art" will typically include any or all of the following: black-and-white copy prints, black-and-white transparencies, color transparencies, slide transparencies, Polaroid prints, color snapshots, contact sheets, and separation sheets. Often the same image will be duplicated in several different formats. Any notes on photographic material found in or on the original folder in which the material was filed have been preserved with the material or transcribed onto a sheet of acid-free paper that either encloses or is placed directly before the item to which the information applies.

The designation "General" indicates that a file may contain any or all of the types of material outlined above.

Missing Title

Series 1: Artist Files, 1851-1991, undated (Boxes 1-23; 23 linear ft.)

Series 2: General Business Files, 1960-1991, undated (Boxes 24-28; 4.74 linear ft.)

Series 3: Group Exhibition Files, 1960-1988, undated (Boxes 28-29; 1 linear ft.)

Series 4: Photographs of Artists, undated (Box 29; 0.25 linear ft.)

Historical Note:

Robert Schoelkopf, Jr., was born in Queens, New York, in 1927. He graduated from Yale College in 1951 with a bachelor of arts degree and then taught briefly at his alma mater while conducting graduate research in art history. Schoelkopf began his career in commercial art in 1957 as an independent dealer of American painting and sculpture and became a member of the Art Dealers Association of America in 1958. In 1959 he formed a partnership with Virginia Zabriskie, of the Zabriskie Gallery in New York, which lasted until 1962. The gallery exhibited late-nineteenth and early-twentieth-century American painting, together with contemporary painting of a somewhat conservative style.

In 1962 Schoelkopf signed a three-year lease for the fourth floor of a building at 825 Madison Avenue in New York, where he opened the Robert Schoelkopf Gallery. From the outset, Schoelkopf aimed to specialize in American painting of the nineteenth and twentieth century and sculpture of all schools. He predicted a burgeoning market for the Hudson River School in particular, believing that American painting was increasingly perceived as being worthy of serious attention. In a letter dated January 3, 1963, Schoelkopf congratulated John Spencer for his decision to collect nineteenth-century American paintings for the Allen Memorial Art Museum at Oberlin College, assuring him that "progressive chauvanism [ sic] will operate to elevate prices in American painting. Every year more colleges teach Art History, and soon they shall have reached the level of sophistication and development where they will be obliged (for face) to offer tuition in specifically American art - hitherto neglected of academicians.... I and many other dealers have plans for exhibitions of nineteenth-century American painting, especially the Hudson River School."

Schoelkopf's instincts regarding the Hudson River School were undoubtedly correct, and consequently nineteenth-century American painters formed a permanent mainstay of his inventory. He is perhaps remembered more, however, for his dedication to reviving interest in lesser-known American painters from the turn-of-the-century who were impressionist or modernist in style. Schoelkopf developed something of a reputation for unearthing forgotten talent that, while sometimes mediocre or inconsistent, was occasionally exceptional and certainly worthy of note. He was committed to reinstalling Joseph Stella in the pantheon of major American artists, representing Stella's estate from 1963 to 1971 and holding regular exhibitions of the artist's work from 1962 on. In 1969 the gallery held the first New York exhibition of the paintings of Manierre Dawson, who was subsequently acclaimed by the critics for his important and innovative contributions to modernism. In 1970 Schoelkopf began showing the work of Jan Matulka, an artist whose work had been neglected since the 1930s, and his enthusiastic representation of the Matulka estate paved the way for a retrospective at the Whitney Museum of American Art in 1979.

Schoelkopf's interest in turn-of-the-century artists also extended to sculptors such as John Flannagan, Ethel Myers, Elie Nadelman, and John Henry Bradley Storrs, and he directed considerable energy to furthering Gaston Lachaise's reputation as an artist of major stature. When Lachaise died at the peak of his career in 1935, his estate was left to his wife, Isabel, and in 1957 to Isabel's son, Edward. When Edward died shortly thereafter, John B. Pierce, Jr., a nephew of Isabel Lachaise, was appointed trustee of the estate and formed the Lachaise Foundation. In 1962 Pierce entered an agreement with Robert Schoelkopf and Felix Landau to represent Lachaise's sculpture on the East and West Coasts, respectively. In this capacity Schoelkopf helped to launch a major retrospective of the artist's work at the Whitney Museum of American Art in 1964 and a traveling exhibition that began circulating in 1967.

The gallery's other major commitment was to painting and sculpture by contemporary American realists, many of whom worked in a figurative style and explored elements of allegory and classical mythology in their work, presenting landscapes, still lifes, and portraits from a realist perspective. The bulk of the gallery's exhibitions were, in fact, of work by contemporary artists, including metaphysical still-life painter William Bailey, colorist Leland Bell, figurative painter Martha Mayer Erlebacher, landscape and narrative painter Gabriel Laderman, and Icelandic artist Louisa Matthiasdottir. William Bailey was one of the gallery's most commercially successful artists, and his first one-person exhibition in New York was held there in 1968. Demand for Bailey's paintings often far exceeded his output, and by the late 1970s Schoelkopf invariably sold out his exhibitions and had compiled a lengthy waiting list for his work.

In its early years the Robert Schoelkopf Gallery contributed considerably to the development of interest in fine art photography that fostered an increasingly lucrative market for photographic prints during the 1960s and 1970s. In 1965 Schoelkopf began incorporating photography into the gallery's exhibition schedule and, in the spring of 1974, opened a gallery dedicated to photography on the second floor at 825 Madison Avenue. Between 1965 and 1979 Schoelkopf's was the only serious New York gallery dealing in painting and sculpture that also regularly exhibited photography as fine art. His interests lay primarily in antiquarian photography and the work of nineteenth-century and twentieth-century masters including Eugéne Atget, Mathew Brady, James Robertson, and Carleton Watkins. Schoelkopf organized shows examining specific photographic processes, the photogravure and the cyanotype, and presented surveys of genres such as portrait and landscape photography. In 1967 he held the first exhibition in many years of the work of Julia Margaret Cameron, an important figure in the history of Victorian photography, timing it to coincide with a show at the Metropolitan Museum of Art that focused on Cameron as one of four Victorian photographers.

Schoelkopf also handled the work of several influential contemporaries, most notably Brassaï, Henri Cartier-Bresson, Walker Evans, and Gisèle Freund. The gallery held Freund's first exhibition in the United States in 1975 and was, for a time, the only place in New York where one could see and purchase prints by Cartier-Bresson. Schoelkopf began exhibiting Evans's work in 1966 and regularly thereafter, including a 1971 exhibition that coincided with a major retrospective at the Museum of Modern Art.

In the fall of 1976 the second-floor gallery space was turned over to Marcuse (Cusie) Pfeifer, then the gallery's director, who planned to use it to show the work of young photographers in a gallery under her own name. Schoelkopf continued to hold several photography exhibitions a year in the fourth-floor gallery but decided to concentrate primarily on nineteenth-century masters.

In March 1971 a fire in the building at Madison Avenue resulted in substantial water damage to the gallery space. Although very little of the inventory was destroyed, the incident forced Schoelkopf to close until September. This temporary loss of revenue compounded with a nationwide recession cut into Schoelkopf's financial resources and left him questioning his commission policy and his level of commitment to contemporary work in all media. A letter to artist Adolph Rosenblatt dated May 3, 1971, records how Schoelkopf had become increasingly disenchanted with "all contemporary work" and would begin taking 40 percent commission on sales, instead of 33.3 percent. "Beside the matter of enthusiasm is the matter of economics," Schoelkopf remarked, "and the last year and a half have been really dreadful for the art business."

This difficult period was followed immediately by more prosperous times. January 1973 proved to be the gallery's most successful month to date, encouraging Schoelkopf to purchase a house in Chappaqua, New York, later that year. In November 1974 Schoelkopf wrote to Anthony D'Offay that business "is as slow as it has ever been, but what sales we make are big ones" and revealed that auctions had, at that point, become his primary avenue for trade.

Around 1975 Schoelkopf's wife of eleven years, Laura Jane Schoelkopf, began working in the gallery. Although seemingly dubious of the work at first, she became a considerable asset to the business and reputedly complemented her husband's relationship with the gallery's contemporary artists through her warmth and hospitality, qualities often noted by artists who corresponded regularly with the couple.

The financial instability that characterized the 1970s undoubtedly influenced Schoelkopf's decision to cease exhibiting photography in 1979. By 1978 however, his investment in early-twentieth-century art appeared to be paying off. Jan Matulka, Joseph Stella, and John Henry Bradley Storrs had all been represented in exhibitions at major museums, and sales of their work had increased considerably. Gaston Lachaise's reputation continued to grow, and the traveling exhibition still circulated, garnering far more interest than had originally been anticipated.

Although contemporary artists continued to take up the largest portion of the gallery's changing exhibitions, Schoelkopf's interest in contemporary work was growing more conservative, tending toward a narrower focus on the narrative and allegorical. By 1979 he no longer exhibited contemporary sculpture, admitting to a lack of enthusiasm for the work of any of the current figurative sculptors and a dislike of all contemporary abstract work. In a letter to Lillian Delevoryas, dated March 17, 1982, he confessed, "With age has come a hardening of the aesthetic arteries perhaps. What we have been showing is realism, but getting tighter all the time."

In April 1984 the gallery was moved to 50 West Fifty-seventh Street, and, during the years that followed, the Schoelkopfs pared down the number of contemporary artists they represented, handling only those to whom they felt most strongly committed while continuing to specialize in nineteenth-century and early-twentieth-century American painting and sculpture. As the gallery approached its thirtieth anniversary, Schoelkopf's achievements were considerable. He had operated a successful New York gallery for almost three decades, rejuvenated the reputations of several important American artists, and was respected by artists and clients alike for the integrity, intelligence, and humor with which he conducted his business affairs. In 1987 he had been appointed to the board of trustees of the Williamstown Regional Art Conservation Laboratory. By this time he was also a member of the advisory board to the National Academy of Design, and in 1988 he became a co-trustee of the Joseph and Robert Cornell Memorial Foundation.

In March 1990, Robert Schoelkopf was diagnosed with leukemia and underwent a regimen of cancer treatment that resulted in a brief remission by the summer. Schoelkopf returned to work temporarily, but by 1991 his condition had worsened and he died in April of that year. Having known for some time that her husband's prognosis was poor, Laura Jane Schoelkopf had apparently decided that she would not continue the gallery in the event of his death. With the help of the youngest of their two sons, Andrew, she settled final accounts and assisted the gallery's contemporary artists in finding representation elsewhere before closing the business in August 1991.

Provenance:

Twenty-seven linear feet of records were donated to the Archives of American Art by Laura Jane Schoelkopf, Robert Schoelkopf's widow, and the Coe Kerr Gallery in 1991 and 1992. An additional gift of 3.4 linear feet was donated by Laura Jane Schoelkopf in 1996. The collection was reduced slightly during processing.

Restrictions:

The collection is open for research. Use 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

Works of art  Search this

Photography, Artistic  Search this

Realism  Search this

Art, American  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Gallery records

Illustrated letters

Photographs

Citation:

Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation.

Identifier:

AAA.robeschg

See more items in:

Robert Schoelkopf Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9773faf46-baaa-4d12-8e4f-cc58adc2787a

EDAN-URL:

ead_collection:sova-aaa-robeschg

Container:

Box 2 of 2

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Accession 03-145, Hirshhorn Museum and Sculpture Garden, Office of the Registrar, Loan Records

See more items in:

Loan Records

Loan Records / Box 2

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-fa03-145-refidd1e3691

Artist:

Emile Pierre Branchard, American, b. New York City, 1881–1938  Search this

Medium:

Oil on canvas

Dimensions:

21 1/8 × 39 in. (53.5 × 99 cm)

Type:

Painting

Date:

(c. 1935)

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966

Accession Number:

66.607

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py229d7815e-494d-41ea-8619-4947d7ef48ed

EDAN-URL:

edanmdm:hmsg_66.607

Creator:

Tacha, Athena, 1936-  Search this

Names:

Oberlin College  Search this

Brancusi, Constantin, 1876-1957  Search this

Johnson, Ellen H.  Search this

Lippard, Lucy R.  Search this

Rodin, Auguste, 1840-1917  Search this

Extent:

36.04 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Sound recordings

Motion picture film

Date:

1959-2019

Summary:

The papers of sculptor and educator Athena Tacha measure 36.04 linear feet and date from 1959 to 2019. Found are biographical material, correspondence, writings and notes, research and writing files, commission and project files, teaching files from her position at Oberlin College, professional activities files, subject files, printed material, and photographic material. Of note are files documenting Tacha's numerous public art commissions throughout the United States.

Scope and Contents:

The papers of sculptor and educator Athena Tacha measure 36.04 linear feet and date from 1959 to 2019. Found are biographical material, correspondence, writings and notes, research and writing files, commission and project files, teaching files from her position at Oberlin College, professional activities files, subject files, printed material, and photographic material. Of note are files documenting Tacha's numerous public art commissions throughout the United States.

Biographical materials include resumes, scattered personal business records, and small sketches and handmade cards by Tacha. Largely, Tacha's correspondence comments on her professional career and includes letters from Ellen H. Johnson and Lucy Lippard and other artists, art historians, colleagues, and institutions. Writings by Tacha include her PhD thesis, drafts of articles, and an interview. More extensive files are found for Brancusi's Birds, and Rodin Sculpture.

The largest series contains material concerning Tacha's commissions and projects, both completed and unrealized. Files may contain detailed designs and construction information, correspondence, financial records, video recordings, and photographs. Professional activity and organization files concern Tacha's exhibitions of her works of art, and her participation with various groups such as the College Art Association and the New Organization for the Visual Arts. Subject files and photographic materials may include extensive source material used by Tacha to create her sculpture. Found are photographs, slides, sound and video recordings, and born-digital material.

There is a one item addition to this collection donated in 2022 that includes a handwritten notebook of works sold by Athena Tacha. The notebook dates from circa date from circa 1964-2017.

Arrangement:

The collection is arranged as 11 series.

Series 1: Biographical Material, 1960s-2000s (0.2 linear feet; Box 1, OV 37)

Series 2: Correspondence, 1961-2016 (5.3 linear feet; Boxes 1-6)

Series 3: Writings and Notes, 1959-2019 (0.6 linear feet; Boxes 6-7)

Series 4: Research and Writing Files, circa 1960-1974 (2.7 linear feet; Boxes 7-9, OV 37)

Series 5: Commission and Project Files, circa 1974-2016 (9.2 linear feet; Boxes 9-18, OV 37)

Series 6: Teaching Files, 1963-circa 2000 (1.2 linear feet; Boxes 18-19)

Series 7: Professional Activities Files, 1968-2000 (2.2 linear feet; Boxes 20-22)

Series 8: Subject Files, 1960s-2000s (5.0 linear feet; Boxes 22-27)

Series 9: Printed Material, 1963-2013 (3.1 linear feet; Boxes 27-30, OV 37)

Series 10: Photographic Material, 1960s-2015 (6.8 linear feet; Boxes 30-36, OV 37)

Series 11: Unprocessed Addition, circa 1964-2017 (.01 linear feet, Folder 38)

Biographical / Historical:

Athena Tacha (1936-) is a Greek-born sculptor, and educator active in Oberlin, Ohio.

Athena Tacha was born in Larissa, Greece in 1936. She studied at the National Academy of Fine Arts in Athens and was accepted at Oberlin College in Oberlin, Ohio under a Fulbright scholarship in 1960. There, she became close with her mentor Ellen H. Johnson. She continued her education at The Sorbonne, University of Paris where she completed her PhD. Returning to Oberlin, Tacha became assistant curator at the Allen Memorial Art Museum in the mid-1960s and later taught sculpture at Oberlin College until 1998.

Tacha began exhibiting her works throughout Ohio including at the annual Cleveland May Show at the Cleveland Museum of Art and around the United States. She held solo shows at Zabriskie Gallery and the Max Hutchinson Gallery. In the 1970s, Tacha focused on large environmental public sculpture, using brick, LED lighting plants, steel, stone, and water.

Athena Tacha married art historian Richard Spear in 1965. Together, they traveled extensively through the United States, Asia, South America, and Europe. They live in Washington, D.C.

Related Materials:

Also found in the Archives of American Art is an interview of Athena Tacha conducted 2009 December 4-6, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project.

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 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, 2021 and 2022 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.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

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 -- Ohio  Search this

Educators -- Ohio  Search this

Topic:

Women artists  Search this

Women sculptors  Search this

Genre/Form:

Interviews

Sound recordings

Motion picture film

Citation:

Athena Tacha papers, 1959-2019. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program

Identifier:

AAA.tachathe

See more items in:

Athena Tacha papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90ac65eeb-dc08-4492-8b46-dd92edc72594

EDAN-URL:

ead_collection:sova-aaa-tachathe

Collection Creator:

Kainen, Jacob  Search this

Kainen, Ruth Cole (1922-2009)  Search this

Container:

Box 12, Folder 16

Type:

Archival materials

Date:

1974-1981

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Jacob Kainen papers, 1905-2008, bulk 1940-2001. Archives of American Art, Smithsonian Institution.

See more items in:

Jacob Kainen papers

Jacob Kainen papers / Series 2: Correspondence/Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90e205805-827a-496c-8e1e-acd1f5291e5b

EDAN-URL:

ead_component:sova-aaa-kainjaco-ref441

Container:

Box 3 of 7

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Accession 00-128, National Portrait Gallery (Smithsonian Institution), Office of the Registrar, Exhibition Records

See more items in:

Exhibition Records

Exhibition Records / Box 3

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-fa00-128-refidd1e2975

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 61, Folder 37

Type:

Archival materials

Date:

1963, 1969-1971

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 6: Artists Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94f054bb0-b0f6-4674-8e09-0c91fbe4a0bc

EDAN-URL:

ead_component:sova-aaa-andremmg-ref3055

Creator:

Savage, Naomi, 1927-2005  Search this

Names:

Galerie Anderson-Mayer  Search this

La Boetie, Inc.  Search this

Philadelphia Museum of Art  Search this

Prakapas Gallery  Search this

Ronny Van de Velde (Gallery : Antwerp, Belgium)  Search this

Serpentine Gallery  Search this

Vered Gallery  Search this

Zabriskie Gallery  Search this

Duchamp, Alexina, 1906-1995  Search this

Duchamp, Marcel, 1887-1968 -- Photographs  Search this

Greenbaum, Theodora S.  Search this

Hunter, Sam, 1923-  Search this

Kimmel, Roberta  Search this

Man Ray, Juliet, d. 1991  Search this

Noguchi, Isamu, 1904-1988  Search this

Ray, Man, 1890-1976  Search this

Savage, Naomi, 1927-2005  Search this

Serger, Helen  Search this

Extent:

1.6 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1913-2005

Summary:

The Naomi Savage papers on Man Ray measure 1.6 linear feet and date from 1913-2005. The collection provides an overview of Man Ray's career as a photographer and painter through correspondence, exhibition files, writings, notes, artwork, printed material, and photographs.

Scope and Content Note:

The Naomi Savage papers on Man Ray measure 1.6 linear feet and date from 1913-2005. The collection provides an overview of Man Ray's career as a photographer and painter through correspondence, exhibition files, writings, notes, artwork, printed material, and photographs.

Correspondence primarily consists of incoming letters from art historians, students, publishers, museums, and galleries interested in obtaining biographical information, scheduling exhibitions, or seeking permission to reproduce artwork. Correspondents include Theodora Greenbaum, Sam Hunter, and Roberta Kimmel. Also found is a letter to Man Ray from Isamu Noguchi.

Exhibition files document some of Man Ray's solo and group exhibitions held at museums and galleries in the United States and abroad, including Galerie Anderson Mayer, the Philadelphia Museum of Art, Prakapas Gallery, Helen Serger, La Boetie, Inc., Ronny Van De Velde Gallery, Serpentine Gallery, Vered Gallery, and Zabriskie Gallery.

Writings and notes include typescripts of unpublished pieces on Man Ray and Surrealist photography and on Juliet Man Ray, miscellaneous writings, and Naomi Savage's list of Man Ray published work. Artwork consists of an artist's proof of a print by Paul Levitt.

Printed material houses news and periodical clippings on Man Ray and Juliet Man Ray, newsletters, reproductions of artwork, and miscellaneous printed material. Clippings provide documentation on Man Ray's early commercial photography for advertisements and fashion magazines as well as his experimental photographic work.

Photographs include portrait photographs of Man Ray and Juliet Man Ray. There are photographs of Man Ray and Juliet with family, friends, and colleagues, including photographs of Marcel Duchamp and Teeny Duchamp.

Arrangement:

The collection is arranged as 6 series:

Missing Title

Series 1: Naomi Savage Correspondence, 1939-1995 (Box 1; 0.1 linear feet)

Series 2: Man Ray Exhibition Files, 1941-1997 (Box 1, OV 4; 0.8 linear feet)

Series 3: Writings and Notes, 1974-1998 (Box 1, OV 4; 0.1 linear feet)

Series 4: Artwork, circa 1963 (Box 1; 1 folder)

Series 5: Printed Material, circa 1913-1998 (Boxes 1, 3; 0.2 linear feet)

Series 6: Photographs, 1913-1991 (Boxes 1-3; 0.4 linear feet)

Biographical Note:

Photographer Naomi Siegler Savage (1927-2007) lived and worked in Princeton, New Jersey. While a teenager, Savage attended a photography class taught by Berenice Abbott and pursued this interest at Bennington College in Vermont. In California, Savage apprenticed with her uncle Man Ray, who was a close friend as well as mentor to his niece.

Influenced by Man Ray's experimental techniques with film, Naomi Savage pioneered the use of the photographic metal plate which produced a three dimensional form with a metallic surface. One of her best-known photographic engravings is a magnesium mural for the Johnson Library and Museum in Austin, Texas, depicting the national elective offices held by President Johnson and the various Presidents under which he served. In later years, Savage continued to experiment with the photographic process by using digital cameras, color photocopiers, and computer imaging.

In 1952, Savage had her first exhibition at the Museum of Modern Art in New York. In addition to the Museum of Modern Art, Savage's work is also in the collections of the Art Institute of Chicago, the Fogg Museum at Harvard University, the International Center of Photography in New York, and the Museum of Fine Arts in Boston, Massachusetts.

Naomi Savage was married to the painter, sculptor, and architect, David Savage. Naomi Savage died in Princeton, New Jersey in 2007.

Man Ray (1890-1976) lived and worked in New York and Paris, France and was best known for his painting and photography.

Man Ray was born Emmanuel Radnitsky in Philadelphia, Pennsylvania in 1890. His family later moved to Brooklyn, New York. During this period, the family changed their name to Ray and Emmanuel shortened his first name to Man, gradually using Man Ray as his combined single name. Man Ray attended Boys High School from 1904-1908 where he developed an interest in painting. After high school, he worked as a commercial artist and technical illustrator in New York City while attending classes at the Art Students League, Ferrer School, and National Academy of Design.

Influenced by European artists, whose Modernist works were being shown at the 1913 Armory Show and Alfred Stieglitz's "292" Gallery, and other such venues, Man Ray began to incorporate elements of Cubism in his paintings and drawings. In 1915, Man Ray met Marcel Duchamp (1887-1968) and they formed a lifelong friendship and professional partnership. That same year, the Dada group, founded by a Tristan Tzara and other artists in Zurich, Switzerland also took root in New York; Man Ray, Marcel Duchamp and Francis Picabia were credited for starting the New York Dada movement.

By 1921, Man Ray moved to Paris and became part of the circle that formed the Dada group. He photographed many of the Dada poets and writers, including Louis Aragon, André Breton, and Paul Eluard. Man Ray's work for André Breton established his reputation as a portrait photographer of artists, writers, and other prominent individuals, including George Antheil, Salvador Dalí, James Joyce, Sinclair Lewis, Gertrude Stein, and Virginia Woolf. In that same period, Man Ray pioneered the photographic process of rayographs (named after him) and he also participated in the first Surrealist exhibition at the Galerie Pierre.

Man Ray moved to Los Angeles, California in 1940. There he met New York City-born Juliet Browner (1910-1991), a trained dancer and professional artists' model. They married in 1946 in a double wedding ceremony with their friends Max Ernst and Dorothea Tanning. In 1951, Man Ray and Juliet Man Ray returned to live in the Montparnasse section of Paris.

In addition to an autobiography, Self-Portrait, published in 1963, Man Ray wrote a number of monographs and articles on photography that included Electricité, a portfolio of ten gravure prints of rayographs commissioned by the Paris electric company, Compagnie Parisenne de Distribution d'Electricité, 1931.

Man Ray received an honorary Master of Fine Arts degree from Freemont University, Los Angeles, 1948 and the gold medal for photography at the Venice Photo Biennale, 1962. In 1967, Man Ray received an award from the Philadelphia Arts Festival honoring its native son for his accomplishments.

Man Ray died in Paris in 1976. Juliet Man Ray survived her husband and continued to live in Paris until her death in 1991.

Provenance:

The Naomi Savage papers were donated in 2007 by Lourie Savage Bates, Naomi Savage's daughter. Naomi Savage was Man Ray's niece.

Restrictions:

The collection is open for research. Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

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:

Painters -- France -- Paris  Search this

Photography  Search this

Surrealism  Search this

Photographers -- France -- Paris  Search this

Painters -- New York (State) -- New York  Search this

Photographers -- New York (State) -- New York  Search this

Genre/Form:

Photographs

Citation:

Naomi Savage papers on Man Ray, 1913-2005. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.savanaom

See more items in:

Naomi Savage Papers on Man Ray

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9179c4f2b-7058-4af9-a236-bf99e296dccf

EDAN-URL:

ead_collection:sova-aaa-savanaom

Collection Creator:

Savage, Naomi, 1927-2005  Search this

Container:

Box 1, Folder 18

Type:

Archival materials

Date:

1981-1987

Collection Restrictions:

The collection is open for research. Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Naomi Savage papers on Man Ray, 1913-2005. Archives of American Art, Smithsonian Institution.

See more items in:

Naomi Savage Papers on Man Ray

Naomi Savage Papers on Man Ray / Series 2: Man Ray Exhibition Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ed09ea56-2789-44b5-8a03-5be64d1c0fa1

EDAN-URL:

ead_component:sova-aaa-savanaom-ref31

Collection Creator:

Savage, Naomi, 1927-2005  Search this

Container:

Box 1, Folder 19

Type:

Archival materials

Date:

1995

Collection Restrictions:

The collection is open for research. Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Naomi Savage papers on Man Ray, 1913-2005. Archives of American Art, Smithsonian Institution.

See more items in:

Naomi Savage Papers on Man Ray

Naomi Savage Papers on Man Ray / Series 2: Man Ray Exhibition Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ab8102c2-b3e3-4037-9b1c-fb76f0ea62a9

EDAN-URL:

ead_component:sova-aaa-savanaom-ref32

Collection Creator:

Savage, Naomi, 1927-2005  Search this

Container:

Box 1, Folder 20

Type:

Archival materials

Date:

1996

Collection Restrictions:

The collection is open for research. Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Naomi Savage papers on Man Ray, 1913-2005. Archives of American Art, Smithsonian Institution.

See more items in:

Naomi Savage Papers on Man Ray

Naomi Savage Papers on Man Ray / Series 2: Man Ray Exhibition Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90a1b54fc-ac98-4e08-aa2b-77daffdb0ec0

EDAN-URL:

ead_component:sova-aaa-savanaom-ref33

Collection Creator:

Savage, Naomi, 1927-2005  Search this

Container:

Box 1, Folder 21

Type:

Archival materials

Date:

1996

Collection Restrictions:

The collection is open for research. Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Naomi Savage papers on Man Ray, 1913-2005. Archives of American Art, Smithsonian Institution.

See more items in:

Naomi Savage Papers on Man Ray

Naomi Savage Papers on Man Ray / Series 2: Man Ray Exhibition Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw938c373db-3df2-4bfe-b9e8-5f7051b4d205

EDAN-URL:

ead_component:sova-aaa-savanaom-ref34

Artist:

Alexander Archipenko, American, b. Kiev, Ukraine, 1887–1964  Search this

Medium:

Canvas, wood, and paint

Dimensions:

24 1/2 × 17 × 3 1/2 in. (62.2 × 43.2 × 8.9 cm)

Type:

Sculpture/relief

Date:

(1915)

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966

Accession Number:

66.79

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py293efb175-f1f3-4e76-9ccb-efe4b6862eaa

EDAN-URL:

edanmdm:hmsg_66.79

Collection Creator:

Penney, Charles Rand, 1923-2010  Search this

Container:

Box 2, Folder 26

Type:

Archival materials

Date:

1969

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.

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:

Charles Rand Penney Papers, 1923-1994, bulk 1945-1994. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.

See more items in:

Charles Rand Penney papers

Charles Rand Penney papers / Series 1: Art Collection Files / Ault, George C.

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9934a4393-5628-42d7-90e0-34c828d8a49b

EDAN-URL:

ead_component:sova-aaa-pennchar-ref90

Collection Creator:

Penney, Charles Rand, 1923-2010  Search this

Container:

Box 20, Folder 20

Type:

Archival materials

Date:

1967-1986

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.

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:

Charles Rand Penney Papers, 1923-1994, bulk 1945-1994. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.

See more items in:

Charles Rand Penney papers

Charles Rand Penney papers / Series 1: Art Collection Files / Rickey, George

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b239b3ee-ac9d-48b4-b11d-741b4d7a2386

EDAN-URL:

ead_component:sova-aaa-pennchar-ref984

Collection Creator:

Tacha, Athena, 1936-  Search this

Container:

Box 6, Folder 26-27

Type:

Archival materials

Date:

1975-1982

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

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:

Athena Tacha papers, 1959-2019. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program

See more items in:

Athena Tacha papers

Athena Tacha papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ed928e7a-2491-4ab4-93fa-0cd9b0c296ad

EDAN-URL:

ead_component:sova-aaa-tachathe-ref100

Collection Creator:

Leo Castelli Gallery  Search this

Container:

Box 161, Folder 56

Type:

Archival materials

Date:

1976-1979

Collection Restrictions:

Use of original records requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.

See more items in:

Leo Castelli Gallery records

Leo Castelli Gallery records / Series 7: Castelli Graphics / 7.1: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95f46a9b5-17a5-48c3-ad29-12ed84e1ac70

EDAN-URL:

ead_component:sova-aaa-leocast-ref13895

Collection Creator:

Bengelsdorf, Rosalind, 1916-1979  Search this

Container:

Box 2, Folder 20

Type:

Archival materials

Date:

1972-1973

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or 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:

Rosalind Bengelsdorf Browne papers, 1910s-1980. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program

See more items in:

Rosalind Bengelsdorf Browne papers

Rosalind Bengelsdorf Browne papers / Series 4: Professional Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93cd6fa5e-5455-47d2-b7dc-12d0ed6d2f93

EDAN-URL:

ead_component:sova-aaa-bengrosa-ref62

Collection Creator:

Catlin, Stanton L. , 1915-1997  Search this

Container:

Box 36, Folder 30

Type:

Archival materials

Date:

1962

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.

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:

Stanton L. Catlin papers, 1911-1998, bulk 1930-1994. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund

See more items in:

Stanton L. Catlin papers

Stanton L. Catlin papers / Series 7: Research and Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99da99b5a-3f62-48e4-947b-c0d7e4e43357

EDAN-URL:

ead_component:sova-aaa-catlstan-ref1265