Search Results

Creator:

Saarinen, Aline B. (Aline Bernstein), 1914-1972  Search this

Subject:

White, Stanford  Search this

Saarinen, Eero  Search this

Type:

Photographs

Motion pictures (visual works)

Sound recordings

Interviews

Citation:

Aline and Eero Saarinen papers, 1906-1977. Archives of American Art, Smithsonian Institution.

Topic:

Architecture -- United States  Search this

Architects -- Michigan -- Bloomfield Hills  Search this

Art -- Collectors and collecting -- United States  Search this

Women architectural critics  Search this

Women art critics  Search this

Women art historians  Search this

Theme:

Architecture & Design  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)5589

(DSI-AAA_SIRISBib)211237

AAA_collcode_saaralin

Theme:

Architecture & Design

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211237

Creator:

Kroll, Leon, 1884-1974  Search this

Subject:

Manship, Paul  Search this

Nichols, Hobart  Search this

Sterne, Maurice  Search this

Faulkner, Barry  Search this

Bruce, Edward  Search this

Henri, Robert  Search this

Langsam, Julie  Search this

Bishop, Isabel  Search this

Glackens, William J.  Search this

Speicher, Eugene Edward  Search this

Williams, Esther  Search this

Biddle, George  Search this

Beal, Gifford  Search this

Type:

Sketchbooks

Interviews

Drawings

Citation:

Leon Kroll papers, circa 1900-1988. Archives of American Art, Smithsonian Institution.

Theme:

Sketches & Sketchbooks  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9170

(DSI-AAA_SIRISBib)211365

AAA_collcode_krolleon

Theme:

Sketches & Sketchbooks

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211365

Creator:

Cox, Kenyon, 1856-1919  Search this

Subject:

Cox, Louise Howland King  Search this

Type:

Photographs

Illustrated letters

Citation:

Kenyon and Louise Cox papers, 1876-1977. Archives of American Art, Smithsonian Institution.

Topic:

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

Painting, American  Search this

Works of art  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9410

(DSI-AAA_SIRISBib)211608

AAA_collcode_coxkenyl

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211608

Creator:

Packard, Emmy Lou, 1914-1998  Search this

Subject:

Covarrubias, Miguel  Search this

Edmunds, John  Search this

Rivera, Diego  Search this

Reynolds, Malvina  Search this

Refregier, Anton  Search this

Lange, Dorothea  Search this

Kahlo, Frida  Search this

O'Higgins, Pablo  Search this

O'Gorman, Juan  Search this

American Civil Liberties Union  Search this

Public Works of Art Project  Search this

Type:

Scrapbooks

Sketches

Photographs

Interviews

Diaries

Citation:

Emmy Lou Packard Papers, 1900-1990. Archives of American Art, Smithsonian Institution.

Topic:

Printmakers -- California -- San Francisco  Search this

Mural painting and decoration, American  Search this

Mural painting and decoration, Mexican  Search this

Latino and Latin American artists  Search this

Women artists  Search this

Women muralists  Search this

Women printmakers  Search this

Women painters  Search this

Women sculptors  Search this

Theme:

Latino and Latin American  Search this

Women  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)5519

(DSI-AAA_SIRISBib)211816

AAA_collcode_packemmy

Theme:

Latino and Latin American

Women

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211816

Creator:

Conger, William  Search this

Names:

De Kooning, Elaine  Search this

Ito, Miyoko, 1918-1983  Search this

Klement, Vera, 1929-  Search this

Leaf, June, 1929-  Search this

Mallary, Robert, 1917-1997  Search this

Extent:

7.3 Linear feet

3.51 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Drawings

Sketchbooks

Video recordings

Date:

circa 1940s-2018

Summary:

The papers of painter and educator William Conger measure 7.3 linear feet and 3.51 gigabytes, and date from the 1940s to 2018. The collection documents Conger's career as a painter and details his business dealings and involvement with Chicago's art community through biographical material, personal and professional correspondence, writings including artmaking journals and notes, and personal business records documenting commissions and sales. Also found are exhibition and gallery records including video recordings, printed material on Conger's career and Chicago art history, photographic material picturing Conger and his artwork, and artwork including a sketchbook and preparatory sketches for paintings.

Scope and Contents:

The papers of painter and educator William Conger measure 7.3 linear feet and 3.51 gigabytes, and date from the 1940s to 2018. The collection documents Conger's career as a painter and details his business dealings and involvement with Chicago's art community through biographical material, personal and professional correspondence, writings including artmaking journals and notes, and personal business records documenting commissions and sales. Also found are exhibition and gallery records including video recordings, printed material on Conger's career and Chicago art history, photographic material picturing Conger and his artwork, and artwork including a sketchbook and preparatory sketches for paintings.

Biographical material includes biographies and résumés, student awards, and student records. Correspondence is professional and personal in nature and includes letters from Elaine de Kooning, Robert Mallary, June Leaf, Miyoko Ito, James Valerio, Ed Paschke, Richard Loving, Vera Klement, and others. The writings series includes artmaking journals with extensive notes and sketches, as well as numerous articles and reviews by Conger, artists statements and comments on paintings, contributions to art criticism listservs and message boards, lectures, and writings on Conger by others. Personal business records include artwork commissions and grants, artwork inventories and sales and consignment records, as well as information about an art supply company once part owned by Conger, Puresol, Inc..

Exhibition and gallery records include sales and consignment records organized by gallery, as well as exhibition files for select group and solo exhibitions at galleries and museums, as well as a sound recording regarding a 1967 group exhibition, and miscellaneous exhibition documents. Some of the exhibition files include digital video recordings, digital images, and documents. Printed materials include press and exhibition announcements as well as exhibition catalogs, printed material on the subject of Chicago art history, and a CD-ROM showcase of contemporary art featuring Congers' paintings. The photographic material series includes photographs of artwork, installations, and the artist in black and white and color prints, Polaroids, snapshots, slides, transparencies, negatives, and inkjet prints. The artwork series includes a sketchbook and signed mixed media works on paper, as well as loose drawings and preparatory sketches for paintings.

Arrangement:

The collection is arranged into eight series.

Series 1: Biographical Material, circa 1948-1999 (0.2 linear feet: Box 1)

Series 2: Correspondence, circa 1940s-2018 (2.5 linear feet: Boxes 1-3)

Series 3: Writings, circa 1970s-2014 (0.9 linear feet: Boxes 3-4)

Series 4: Personal Business Records, circa 1960s-2016 (0.8 linear feet: Boxes 4-5)

Series 5: Exhibition and Gallery Records, circa 1967-2017 (0.5 linear feet: Box 5; 2.54 gigabytes: ER01-ER03)

Series 6: Printed Material, circa 1950s-2017 (0.9 linear feet: Boxes 5-6; 0.97 gigabytes: ER04)

Series 7: Photographic Material, circa 1947-2012 (0.9 linear feet: Boxes 6-8)

Series 8: Artwork, circa 1940s-2010 (0.7 linear feet: Boxes 7-8)

Biographical / Historical:

William Conger, born 1937 in Dixon, Illinois, is an abstract painter and art educator living in Chicago.

From a young age Conger's interest in art making and a fascination with the masters was encouraged by his mother, an amateur painter who brought him on regular visits to exhibitions at the Art Institute of Chicago from their home in Evanston, Illinois. Conger received his Bachelor of Fine Arts from the University of New Mexico where he studied with renowned abstract painters Elaine de Kooning and Raymond Johnson, and later received his Master of Fine Arts from the University of Chicago. Conger taught painting throughout the 1970s at DePaul University, then became Professor of Art Theory and Practice at Northwestern University from 1985 until he retired as Professor Emeritus in 2006. At Northwestern he taught alongside friend and colleague Ed Paschke. Conger has published writings on art on topics such as psychoanalysis and the masters, the Chicago art scene, and abstract art of the region.

Conger's mature style is an abstract style of painting largely informed by color and form, reminiscent of Wassily Kandinsky, often titled with musical and metaphorical references. He began exhibiting as early as his undergraduate years in the New Mexico Biennial and was included by professor Elaine de Kooning in a 1960 group exhibition at the Great Jones Gallery in New York City. In addition to showing at commercial art galleries Conger has completed a number of public artworks primarily in the Chicago area, including murals and painted sculptures. His work can be found in the collections of the Art Institute of Chicago, The Museum of Contemporary Art, Chicago, and the Wichita Art Museum, as well as numerous university museums and corporate collections internationally.

Related Materials:

Also found in the Archives of American Art is an oral history interview with William Conger in 2015, May 18-20.

William Conger papers relating to his years as a faculty member at Northwestern University are located at Northwestern University Archives.

Provenance:

The William Conger papers were donated in 2007, 2015 and 2019 by William Conger.

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.

Rights:

Journals and Restricted Correspondence: Authorization to quote or reproduce for purposes of publication requires written permission from William Conger. 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.

Occupation:

Painters -- Illinois -- Chicago  Search this

Educators -- Illinois -- Chicago  Search this

Topic:

Art, Abstract  Search this

Genre/Form:

Drawings

Sketchbooks

Video recordings

Citation:

William Conger Papers, circa 1940s-2018. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.congwill

See more items in:

William Conger papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw914c17b64-8f78-43a8-8400-9acaa0676a89

EDAN-URL:

ead_collection:sova-aaa-congwill

Interviewee:

Smith, Alexis, 1949-  Search this

Interviewer:

Drohojowska-Philp, Hunter  Search this

Names:

Holly Solomon Gallery  Search this

Honor Fraser Gallery  Search this

Margo Leavin Gallery  Search this

Mizuno Gallery  Search this

Nicholas Wilder Gallery  Search this

University of California, Irvine -- Students  Search this

University of California, Los Angeles -- Faculty  Search this

Bell, Larry, 1939-  Search this

Burden, Barbara  Search this

Burden, Chris, 1946-  Search this

Celmins, Vija, 1938-  Search this

Chicago, Judy, 1939-  Search this

Coplans, John  Search this

Gehry, Frank O., 1929-  Search this

Grieger, Scott  Search this

Howard, Coy  Search this

Irwin, Robert, 1928-  Search this

Krull, Craig  Search this

Moses, Avilda  Search this

Ruppersberg, Allen, 1944-  Search this

Sedivy, Richard  Search this

Solomon, Jerry  Search this

Extent:

5 Items (Sound recording: 5 sound files (3 hr., 11 min.), digital, wav)

84 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2014 January 24 and April 14

Scope and Contents:

An interview with Alexis Smith conducted 2014 January 24 and April 14, by Hunter Drohojowska-Philp, for the Archives of American Art at Smith's studio, in Venice, California.

Ms. Smith discusses growing up in Southern California and her early years living with her parents on the grounds of Metropolitan State Hospital, a mental institution in Norwalk, California; her mother's death when Ms. Smith was 11; the family's time in Whittier and Palm Springs and being raised as an only child by her father; her early interest in French studies and travel to France as a student; her interest in studying art beginning with a John Coplans class at UC Irvine; her time at at UC Irvine in the early days of the university and her growing attraction to the life of an artist; the origin of her name Alexis Smith; and the encouragement of her fellow artists to continue pursuing her cut-up collages from literature, photos, magazines, and Hollywood ephemera. Ms. Smith also describes her time with her artist women's group in the 70s; her husband Scott Grieger; working for Frank Gehry; her showing with the Nicholas Wilder Gallery; her relationship with Chris Burden and her time with him during his period of performance pieces in the 70s; the Riko Mizuno Gallery; her work with terrazzo and its use for installations at the LA Convention Center, Ohio State University, and other installations; the appropriation of text and the assistance of Jerry Solomon utilizing custom frames in her artwork; the impact of women from history, media and literature on her art; her relationship with Coy Howard; the Holly Solomon Gallery; her Jane series; her On the Road series; her installation Snake Path at UC San Diego; her piece for SITE Santa Fe Red Carpet; teaching at UCLA; her installation of the piece Scarlet Letter at Las Vegas Central Library and its subsequent removal; her associations with Margo Leavin Gallery and Honor Fraser gallery; and the loss of her long-time studio space and the challenges of storing her artwork. Ms. Smith also recalls Judy Chicago, Robert Irwin, Vija Celmins, Larry Bell, Barbara Burden, Richard Sedivy, Avilda Moses, Craig Krull, and Allen Ruppersberg among others.

Biographical / Historical:

Alexis Smith (1949-2024) was a collage, multimedia, and installation artist in Los Angeles, California.

Hunter Drohojowska-Philp is an art critic and writer from Beverly Hills, California.

General:

Originally recorded as 5 sound files. Duration is 3 hr., 11 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Collagists -- California -- Los Angeles  Search this

Assemblage artists  Search this

Installation artists  Search this

Topic:

Art -- Study and teaching  Search this

Installations (Art)  Search this

Multimedia (Art)  Search this

Women artists  Search this

Conceptual art  Search this

Women educators  Search this

Genre/Form:

Interviews

Sound recordings

Identifier:

AAA.smith14

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cf7d681a-7826-4d6b-9c1f-4565e032b593

EDAN-URL:

ead_collection:sova-aaa-smith14

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2017-11-14T00:50:46.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_SqKNVYkow4c

Interviewee:

Smith, Alexis, 1949-2024  Search this

Interviewer:

Drohojowska-Philp, Hunter  Search this

Subject:

Bell, Larry  Search this

Burden, Barbara  Search this

Burden, Chris  Search this

Celmins, Vija  Search this

Chicago, Judy  Search this

Coplans, John  Search this

Gehry, Frank O.  Search this

Grieger, Scott  Search this

Howard, Coy  Search this

Irwin, Robert  Search this

Krull, Craig  Search this

Moses, Avilda  Search this

Ruppersberg, Allen  Search this

Sedivy, Richard  Search this

Solomon, Jerry  Search this

Holly Solomon Gallery  Search this

Honor Fraser Gallery  Search this

Margo Leavin Gallery  Search this

Mizuno Gallery  Search this

Nicholas Wilder Gallery  Search this

University of California, Irvine  Search this

University of California, Los Angeles  Search this

Type:

Interviews

Sound recordings

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Alexis Smith, 2014 January 24 and April 14. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Study and teaching  Search this

Installations (Art)  Search this

Multimedia (Art)  Search this

Women artists  Search this

Conceptual art  Search this

Women educators  Search this

Record number:

(DSI-AAA_CollID)16169

(DSI-AAA_SIRISBib)366489

AAA_collcode_smith14

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_366489

Author:

Yashiro, Yukio 1890-1975  Search this

Berenson, Bernard 1865-1959  Search this

Translator:

Yamanashi, Emiko  Search this

Koshikawa, Michiaki  Search this

Physical description:

389, xix pages, [4] pages of plates illustrations (1 color), facsimiles, portraits 22 cm

Type:

Correspondence

Place:

Japan

United States

Date:

2019

Topic:

Art critics  Search this

Call number:

N7483.Y37 A3 2019

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1108416

Created by:

Beauford Delaney, American, 1901 - 1979  Search this

Medium:

oil on linen

Dimensions:

H x W: 16 1/8 × 13 × 3/4 in. (41 × 33 × 1.9 cm)

H x W x D (with frame): 22 1/2 × 19 1/8 × 1 1/2 in. (57.2 × 48.6 × 3.8 cm)

Type:

oil paintings

Place made:

Paris, France, Europe

Date:

1964

Topic:

African American  Search this

Abstract Expressionism  Search this

Art  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture

Object number:

2014.233.1

Restrictions & Rights:

© Estate of Beauford Delaney

Permission required for use. Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Visual Arts

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5120faede-4b36-42b5-988a-90d8258360c9

EDAN-URL:

edanmdm:nmaahc_2014.233.1

Artist:

Gilbert Stuart, 3 Dec 1755 - 9 Jul 1828  Search this

Sitter:

George Washington, 22 Feb 1732 - 14 Dec 1799  Search this

Medium:

Oil on canvas

Dimensions:

121.9cm x 94cm (48" x 37"), Accurate

Type:

Painting

Date:

1796

Topic:

George Washington: Male  Search this

George Washington: Military and Intelligence\Army\Officer\Revolutionary War  Search this

George Washington: Politics and Government\Statesman\Colonial statesman  Search this

George Washington: Natural Resource Occupations\Agriculturist\Farmer  Search this

George Washington: Military and Intelligence\Army\Officer\General  Search this

George Washington: Politics and Government\President of US  Search this

George Washington: Science and Technology\Surveyor  Search this

George Washington: Congressional Gold Medal  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; owned jointly with Museum of Fine Arts, Boston

Object number:

NPG.80.115

Restrictions & Rights:

Usage conditions apply

See more items in:

National Portrait Gallery Collection

Exhibition:

America's Presidents (Reinstallation September 2017)

On View:

NPG, South Gallery 240

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4ba9f41f4-e0ac-4f6f-8d16-dcdbafe4e84e

EDAN-URL:

edanmdm:npg_NPG.80.115

Creator:

Wilson, William, 1934-2013  Search this

Type:

Diaries

Sketchbooks

Citation:

William Wilson papers, 1942-2013. Archives of American Art, Smithsonian Institution.

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)16208

(DSI-AAA_SIRISBib)368205

AAA_collcode_wilswilla

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_368205

Creator:

Wilson, William, 1934-2013  Search this

Extent:

3.7 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Sketchbooks

Date:

1942-2013

Summary:

The papers of art critic William Wilson measure 3.7 linear feet and date from 1942 to 2013. The papers document Wilson's career through correspondence; manuscripts, lectures, and other writings; research files, resumes, exhibition material, and other records relating to professional activities; clippings, exhibition announcements and catalogs for researched artists, and other printed material; artwork consisting of sketches and sketchbooks; and photographs of Wilson, his family and friends, and some of his artwork.

Scope and Contents:

The papers of art critic William Wilson measure 3.7 linear feet and date from 1942 to 2013. The papers document Wilson's career through correspondence; manuscripts, lectures, and other writings; research files, resumes, exhibition material, and other records relating to professional activities; clippings, exhibition announcements and catalogs for researched artists, and other printed material; artwork consisting of sketches and sketchbooks; and photographs of Wilson, his family and friends, and some of his artwork.

Correspondence includes personal family letters and correspondence with friends, and professional correspondence related to articles Wilson wrote including from art institutions for which he wrote catalog essays and other content.

Writings consist of articles, manuscripts, some poetry, lectures, and a number of notebooks containing diary entries and notes on topics for articles Wilson was preparing to write. Also among the material are two binders of writings by Wilson.

Professional activity files consists of address books, a resume, a commission to write a museum guide to the Santa Barbara Museum of Art, and research files on artists Wilson was commissioned to write about.

Printed material consists of clippings, exhibition announcements and catalogs for other artists, publications for Barn Stages Theater, and three binders primarily housing clippings.

Artwork consists of some sketches, prints, and a number of sketchbooks.

Photographic material consists of photographs of Wilson, Wilson with family and friends, and some of Wilson's artwork. Among the materials are a photo album and two binders of primarily personal photographs.

Arrangement:

The collection is arranged into six series.

Series 1: Correspondence, 1953-2010 (0.4 linear feet; Box 1)

Series 2: Writings, 1970-1998 (1.5 linear feet; Boxes 1-2)

Series 3: Professional Activity Files, 1952-2007 (0.4 linear feet; Boxes 2-3)

Series 4: Printed Material, 1953-2013 (0.2 linear feet; Box 3)

Series 5: Artwork, 2001-2005 (0.5 linear feet; Box 3)

Series 6: Photographic Material, 1942-2006 (0.7 linear feet; Boxes 4-5, OV 6)

Biographical / Historical:

William Wilson (1934-2013) was an actor and art critic for the Los Angeles Times in Los Angeles, California. For a time Wilson acted in plays directed by Los Angeles City College theater professor Norman Mennes. After earning a degree in design at UCLA in 1963 he continued with graduate studies in art history while working as an advertising designer and illustrator. After contributing pieces to Art Forum magazine, Wilson was invited by Henry Seldis to contribute to the Los Angeles Times. Wilson continued working for the newspaper for the duration of his career and retired as the Los Angeles Times art critic in 1998.

Related Materials:

Also found in the Archives of American Art is the Jonathan Katz Interview with William Wilson, 2012.

Provenance:

Donated 2014 and 2022 by Diane Leslie, William Wilson's friend and executor.

Restrictions:

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

Rights:

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

Occupation:

Actors -- California -- Los Angeles  Search this

Art critics -- California -- Los Angeles  Search this

Genre/Form:

Diaries

Sketchbooks

Citation:

William Wilson Papers, 1942-2013. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.wilswilla

See more items in:

William Wilson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw954424d21-ee84-432c-bebb-b401cc0e846e

EDAN-URL:

ead_collection:sova-aaa-wilswilla

Collection Creator:

Colpitt, Frances  Search this

Extent:

0.3 Linear feet (Box 9)

Type:

Archival materials

Date:

1980-1983

Scope and Contents:

Series includes sound recordings of fourteen interviews Colpitt conducted with various artists and recordings of four lectures by Colpitt. Artists interviewed include William Tucker, Brice Marden, Sol Lewitt, Robert Mangold, Robert Murray, Anne Truitt, and Peter Lodato. Also found is an interview of art critic Clement Greenberg.

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 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:

Frances Colpitt papers, 1932-2022. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.colpfran, Series 6

See more items in:

Frances Colpitt papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e0bcc35c-c64e-4d3a-b217-2c1c3abca2b0

EDAN-URL:

ead_component:sova-aaa-colpfran-ref112

Author:

Klein, Robert 1918-1967  Search this

Author:

Zerner, Henri  Search this

Physical description:

xviii, 195 pages illustrations 23 cm

Type:

Sources

[document]

History

Quelle

Place:

Italy

Italie

Italien

Date:

1966

16th century

15th and 16th centuries

Topic:

Art, Italian  Search this

Art, Italian--History--Sources  Search this

Art, Renaissance  Search this

Art de la Renaissance--Histoire--Sources  Search this

Art de la Renaissance  Search this

Art italien  Search this

Art italien--Histoire--Sources  Search this

1500-1600  Search this

Art--History  Search this

Kunst  Search this

Quelle  Search this

Renaissance  Search this

Call number:

N6915 .K64

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_9364

Artist:

Arshile Gorky, American, b. Dilkaya, Turkey, 1904–1948  Search this

Medium:

Oil on canvas

Dimensions:

38 1/8 × 25 1/8 in. (96.8 × 64 cm)

Type:

Painting

Date:

(c. 1943)

Credit Line:

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

Accession Number:

66.2153

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

Abstract Expressionism (First Generation)

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py283d053d7-efd0-429c-bca4-a8fabd5e2812

EDAN-URL:

edanmdm:hmsg_66.2153

Creator:

American Abstract Artists  Search this

Subject:

Reinhardt, Adolph Friedrich  Search this

American Abstract Artists  Search this

Type:

Printed Materials

Date:

1940

Citation:

American Abstract Artists. "The art critics! How do they serve the public? What do they say? How much do they know? Let's look at the record!", 1940. American Abstract Artists records, 1936-1983. Archives of American Art, Smithsonian Institution.

Topic:

Art critics  Search this

Record number:

(DSI-AAA)18946

See more items in:

American Abstract Artists records, 1936-1983

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_18946

Creator:

Falkenstein, Claire, 1908-1997  Search this

Names:

Coos Art Museum  Search this

Fresno Art Museum  Search this

Galerie Anderson-Mayer  Search this

Galerie Stadler  Search this

Jack Rutberg Fine Arts (Los Angeles, Calif.)  Search this

John Bolles Gallery (San Francisco, Calif.)  Search this

Los Angeles Museum of Art  Search this

Malvina Miller  Search this

Martha Jackson Gallery  Search this

Merging One Gallery  Search this

Mills College -- Faculty  Search this

Pond Farm Workshop  Search this

San Francisco Museum of Art  Search this

University of California, San Francisco. School of Fine Arts -- Faculty  Search this

Green, Ray, 1908-1997  Search this

Guggenheim, Peggy, 1898-1979  Search this

Kuh, Katharine  Search this

O'Donnell, May, 1906-2004  Search this

Sawyer, Kenneth B.  Search this

Still, Clyfford, 1904-  Search this

Still, Patricia  Search this

Tapie, Michel  Search this

Temko, Allan  Search this

Tobey, Mark  Search this

Wildenhain, Frans, 1905-1980  Search this

Extent:

42.8 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Diaries

Scrapbooks

Interviews

Date:

circa 1914-1997

bulk 1940-1990

Summary:

The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.

Scope and Content Note:

The papers of sculptor, painter, jewelry designer, and teacher Claire Falkenstein measure 42.8 linear feet and date from 1917 to her death in 1997. There is extensive correspondence with fellow artists, collectors, critics, friends, museums, and galleries. The collection also contains biographical materials, much of it collected and organized by Falkenstein, personal and business records, writings, diaries, exhibition files, commission files, teaching files, photographs, original artwork, scrapbooks, and printed materials. There is a short motion picture film of an interview with Falkenstein featuring the windows she designed for St. Basil's Church in Los Angeles.

Biographical material includes appointment calendars, awards and honorary degrees, interview transcripts, passports, resumes, wills, and scrapbooks. Scrapbooks were compiled by Falkenstein and focus primarily on her exhibitions at the Galerie Stadler and Gallery Meyer in 1959 and 1960. Also of interest are the "biography files" created and arranged by Falkenstein. These files contain material that she personally felt was the most important in documenting her activities each year. They include correspondence, exhibition catalogs, printed material, and invitations.

Measuring nine linear feet, correspondence is extensive and comprehensively documents Falkenstein's work, social life, relationships, and other business and personal activities. Correspondence dates from 1941 to 1997 and includes business letters and correspondence with friends and family. Her communications with friends, family, clients, gallery owners, collectors, museums, publishers, foundations, and grant agencies reveal many of her ideas and techniques. Individual correspondents include Ray Green, Peggy Guggenheim, Katharine Kuh, May O'Donnell, Ken Sawyer, Clyfford and Pat Still, Michel Tapie, Allan Temko, Mark Tobey, and Frans Wildenhain. Gallery and museum correspondence is with the San Francisco Museum of Art, Coos Art Museum, Los Angeles Museum of Art, Galerie Stadler (Paris), Gallery Mayer (Paris), Malvina Miller (New York), Martha Jackson Gallery (New York), Jack Rutberg Fine Arts (Los Angeles), Galerie Anderson-Mayer (Paris), and Bolles Gallery. Correspondence is also found in the Commission Files and Exhibition Files.

Personal and business records contain a wide variety of material documenting Falkenstein's business, financial, legal, professional, and personal transactions. Files are found for sales and prices, art inventories, smaller jewelry commissions, her work as a juror, her business with galleries, legal affairs and contracts, expenses, records of arts organizations to which she belonged, conferences, grants and fellowships, studio and house renovations, her Paris studio and Paris expenses, travel, donations, loans and consignments, conservation, art shipping, insurance, and taxes. Oversized visitor's logs contain comments from visitors to Falkenstein's studio in Venice, California.

Falkenstein maintained comprehensive documentation of her exhibitions from her first exhibition in the 1930s to the last one at the Merging One Gallery in 1996. Files include both a chronological record and individual record for nearly all of her exhibitions. Found with the files are correspondence, photographs, loan and shipping records, catalogs, announcements, clippings, articles, and other records. Most of the photographs related to exhibitions are found in the Photographs Series. The files for exhibitions at the Fresno Art Museum, Martha Jackson Gallery and Jack Rutberg Fine Art Gallery are particularly rich.

Commission files document nearly all of Falkenstein's public and private large-scale projects and often contain a visual record of the work, as well as correspondence, design notes, contracts, and expense reports. There is documentation of the St. Basils Church windows in Los Angeles; the Peggy Guggenheim gate in Venice, Italy; and the fountain at the California Savings and Loan, in Los Angeles; and many others. There is also a chronological record of her commissions. The bulk of the photographs of commissions are found in the Photograph series. Also, most of Falkenstein's jewelry design commissions are found in the Personal and Business Records series.

Falkenstein's work as a prolific writer, particularly in the 1940s and 1950s, is well-documented here through her numerous published articles in Arts and Architecture magazine, and the New York Herald-Tribune. Her work for Arts and Architecture was primarily written for the "Art Comments from San Francisco" section. She was living in Paris when she contributed an art news column to the New York Herald-Tribune. Also found here are five diaries and one journal dating from circa 1929-1978. The entries are inconsistent and concern mostly travel. The diaries from 1929 and 1934 are more personal. Falkenstein also maintained extensive notes and notebooks about artwork ideas, observations about art, research, and even drafts of letters. There are also many notes about various topics, including art and class notes. Additional writings are eclectic and cover a wide range of topics, including music, poetry, the script for Falkestein's film entitled Touching the Quick, and drafts of her unpublished book on murals. A handful of writings by others are found, most with annotations by Falkenstein.

Teaching files include Falkenstein's numerous lectures given while teaching at Mills College, Pond Farm Workshops, and California School of Fine Arts, and various symposiums and conferences. Also found are lesson plans, contracts, scattered correspondence, and notes. The files on her tenure at the Pond Farm Workshops are particularly interesting, with notes about her fellow teacher Frans Wildenhain and correspondence with workshop owners, Jane and Gordon Herr.

There are extensive photographs of Falkenstein, her family and friends, colleagues, commissions, exhibitions, and works of art. Included are many images of Falkenstein, of Falkenstien with her art, of Falkentstien working, and of Falkenstein's studio. There are numerous photographs of Falkenstein with friends, family, and colleagues in social or work settings. Also found are photographs of exhibition openings, installation views, and works of art exhibited. Additional photographs document Falkenstein's commissions, including images of her at work. Additional images of commissions may also be found in the Commission Series, but the bulk are filed here. There are numerous photographs of Falkenstein's works of art, including drawings, sculpture, jewelry, murals, lamps, and ceramics.

Falkenstein's papers include a large amount of sketches, sketchbooks, and drawings. Many of the sketches and drawings relate to her ideas about commissions and large sculpture, jewelry designs, and general sketches. Sketches are also found in the Commission Files. Also included are drawings by Mark Tobey and Michel Tapie, and others.

Finally, printed materials include general exhibition catalogs, newspapers clippings, and clippings of articles by and about Falkenstein. Also included are books that have been inscribed and signed by the author.

Arrangement:

The collection is arranged into 9 series:

Missing Title

Series 1: Biographical Materials, 1934-1997 (Box 1-4, 41; 4.3 linear feet)

Series 2: Correspondence, 1931-1997 (Box 5-13; 9 linear feet)

Series 3: Personal and Business Records, 1936-1997 (Box 14-17, 41, 46-49; 4.2 linear feet)

Series 4: Exhibitions, 1930-1996 (Box 18-21, 42, OV 50; 3.3 linear feet)

Series 5. Commissions, 1930-1992 (Box 21-22, OV 50-54 ; 2.0 linear feet)

Series 6: Writings, circa 1929-1993 (Box 22-26, 42, 55; 4.6 linear feet)

Series 7: Teaching Files, 1929-1995 (Box 26; .8 linear feet)

Series 8: Photographs, circa 1917-1997 (Box 27-35, 43, 55-56; 9.5 linear feet)

Series 9: Artwork, circa 1937-1995 (Box 36-37, 44, 57; 2.0 linear feet)

Series 10: Printed Materials, circa 1914-1990 (Box 37-40, 45, 58; 3.9 linear feet)

Biographical Note:

Claire Falkenstein (1908-1997) spent the majority of her life working as an artist, sculptor, jewelry designer, teacher, and writer in California.

Claire Falkenstein was born in 1908 and grew up in Coos Bay, Oregon. In 1920, Falkenstein and her family moved to Berkeley, California, where she attended high school and then college at the University of California at Berkeley, studying philosophy, anthropology, and art. She graduated in 1930. Falkenstein had her first solo show at the East-West Gallery in San Francisco in 1930, the only member of her class to have an exhibition before graduation.

During the early 1930s, Falkenstein studied at Mills College with modernist sculptor Alexander Archipenko. There she also met Bauhaus artists Laszlo Moholy-Nagy and Gyorgy Kepes. Falkenstein married her high school sweetheart, Richard McCarthy in 1936.

In 1944, Falkenstein had her first New York exhibition at the Bonestall Gallery. At that time, Falkenstein's primary mediums were stone and wood. However, she became increasingly experimental with new materials that included sheet aluminum, Cor-Ten steel, glass, plastics, and welded wire rods while maintaining a connection to organic and natural forms. Her work in jewelry design was an outlet for exploring these new materials, forms, and techniques on a small scale. As her work grew physically larger, so did her recognition and it was her work in sculpture that won her a faculty appointment at the California School of Fine Arts from 1947-1949. It was here that she met Patricia and Clyfford Still, Hassel Smith, and Richard Diebenkorn.

In 1948, Falkenstein was invited to exhibit at the Salon des Realites Nouvelle in Paris, her first European show. She eventually moved to Europe in 1950 and had studios in Paris, Venice, and Rome. While in Europe, Falkenstein executed a number of large scale commissions, including the stair screen for Galerie Stadler (1955), grotto gates for Princess Pignatelli's villa in Rome (1957), and the bronze, steel, and the glass gate at the Peggy Guggenheim Museum in Venice (1961). While in Paris, she became acquainted with noted art critic Michel Tapie, with whom she maintained a life-long friendship.

During the 1940s and 1950s Falkenstein was a regular contributor to Arts and Architecture magazine, most often writing the "Art Comments from San Francisco" section. While in Paris, she also wrote a column on art news for the New York Herald Tribune.

Falkenstein returned to the United States in 1962, eventually renovating a studio space in Venice, California. It was here that she conceived her largest commissions. In 1965, Falkenstein received a commission from the California Savings and Loan to create a sculpture for a large fountain at the front of the bank in downtown Los Angeles. The copper tube fountain, entitled "Structure and Flow #2," was the first of many large scale public art commissions that Falkenstein completed during her years in California. Her most important commission in the United States, completed in 1969, was for the doors, rectory gates and grills and stained-glass windows for St. Basil's Church on Wilshire Boulevard in Los Angeles. The eight doors and fifteen rectory screens, including 80 foot high windows in the nave, were an expansion of the "never ending screen" concept that Falkenstein executed with the Pignatelli commission in Rome. She continued to use this motif in her work throughout her career.

Claire Falkenstein worked as an arts instructor, visiting artist, and guest lecturer at many colleges, workshops, and schools in California. Her first position was at Mills College from 1946-1947. Shortly thereafter, she was appointed to the faculty at the California School of Fine Arts and later taught in the Extension Divisions of the University of California, Berkeley. She taught classes at California State Polytechnic University, California State University at Davis, and the Anna Head School. Falkenstein also taught art at the Pond Farm Workshops in California, and lectured at numerous colleges and museums. She served on many juried art shows in Southern California.

Falkenstein was acquainted with many artists, writers, instructors, collectors, gallery owners, and critics. Close friends included Esther and Bob Robles, Clyfford and Patricia Still, Michel Tapie, Allan Temko, Mark Tobey, Frans Wildenhain, and other notable figures in the art world.

Falkenstein continued to complete large scale private and public commissioned sculptures during the 1960s through the 1980s, including work for the University of Southern California, Hyland Biological Laboratory, California State University at Dominquez Hills and the California State Department of Motor Vehicles. Throughout her career, Falkenstein's work was featured in numerous exhibitions across the country. Her sculpture and other artwork can be found in the permanent collections of the Museum of Modern Art, Solomon R. Guggenheim Museum, Smithsonian American Art Museum, Coos Art Museum, Harvard University Art Museum, University of Southern California Fisher Museum of Art, Los Angeles County Museum of Art, and the Tate Gallery.

Falkenstein died in 1997 at the age of 89.

Related Material:

The Archives of American Art also holds two oral history interviews with Claire Falkenstein. The interview on April 13, 1965 was conducted by Betty Hoag and the one on March 2 and 21, 1995 was conducted by Paul Karlstrom.

Provenance:

The Claire Falkenstein papers were donated in 1997 by Steffan Wacholtz and Nancy Kendall, trustees for the Claire Falkenstein Trust.

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:

Sculptors -- California  Search this

Painters -- California  Search this

Jewelers -- California  Search this

Educators -- California  Search this

Authors -- California  Search this

Topic:

Art patronage  Search this

Artists' studios  Search this

Women artists  Search this

Women painters  Search this

Women designers  Search this

Women educators  Search this

Women authors  Search this

Genre/Form:

Sketchbooks

Diaries

Scrapbooks

Interviews

Citation:

Claire Falkenstein papers, circa 1914-1997, bulk 1940-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.falkclai

See more items in:

Claire Falkenstein papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9911c74ff-413b-4b54-9280-89c8b0480495

EDAN-URL:

ead_collection:sova-aaa-falkclai

Creator:

Birnbaum, Martin, 1878-1970  Search this

Names:

Fogg Art Museum  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Philadelphia Museum of Art  Search this

Scott & Fowles (Firm)  Search this

Beardsley, Aubrey, 1872-1898  Search this

Beaux, Cecilia, 1855-1942  Search this

Bruce, Edward, 1879-1943  Search this

Bufano, Beniamino, 1898-1970  Search this

Chanler, Robert Winthrop, 1872-1930  Search this

Choate, Mabel, 1870-1958  Search this

Clark, Stephen C. (Stephen Carlton), b. 1882  Search this

Cœdès, George  Search this

Davis, Edmund  Search this

Davis, Reginald  Search this

Despiau, Charles, 1874-1946  Search this

Diederich, William Hunt, 1884-1953  Search this

Dillingham, Louise  Search this

Douglas, Norman, 1868-1952  Search this

Dulac, Edmund, 1882-1953  Search this

Fernández, Luis, 1900-1973  Search this

Haseltine, Herbert, 1877-1962  Search this

Hoffman, Malvina, 1887-1966  Search this

Hoowij, Jan, 1907-  Search this

Jacobs, Leonebel  Search this

John, Augustus, 1878-1961  Search this

Jones, Lois Mailou, 1905-1998  Search this

Kester, Lenard, 1917-  Search this

Manship, Paul, 1885-1966  Search this

McIlhenny, Henry P.  Search this

Melchers, Gari, 1860-1932  Search this

Nadelman, Elie, 1882-1946  Search this

Parmelee, James  Search this

Parrish, Maxfield, 1870-1966  Search this

Potterton, Alfred B.  Search this

Richter, Gisela Marie Augusta, 1882-1972  Search this

Ricketts, Charles S., 1866-1931  Search this

Rock, Joseph Francis Charles, 1884-1962  Search this

Rothenstein, William, Sir, 1872-1945  Search this

Sargent, John Singer, 1856-1925  Search this

Scott, Stevenson  Search this

Scudder, Janet, b. 1873  Search this

Sinclair, Upton, 1878-1968  Search this

Sprinchorn, Carl, 1887-1971  Search this

Stein, Leo, 1872-1947  Search this

Sterne, Maurice, 1878-1957  Search this

Sterner, Albert, 1863-1946  Search this

Werntz, Carl N. (Carl Newland), 1874-1944  Search this

Wilson, Stanley  Search this

Winthrop, Grenville Lindall, 1864-1943  Search this

Extent:

3.2 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Etchings

Photographs

Date:

1862-1967

bulk 1920-1967

Summary:

The papers of New York art dealer, critic, and author Martin Birnbaum measure 3.2 linear feet and date from 1862-1967, with the bulk of the material dating from 1920-1967. The papers document Birnbaum's association with the firm of Scott & Fowles, the lives and activities of his friends and colleagues, and his literary work, through biographical material, correspondence, writings and notes, business records, printed material, a scrapbook, scattered artwork, and photographs of Birnbaum, friends and colleagues, and artwork.

Scope and Contents:

The papers of New York art dealer, critic, and author Martin Birnbaum measure 3.2 linear feet and date from 1862-1967, with the bulk of the material dating from 1920-1967. The papers document Birnbaum's association with the firm of Scott & Fowles, the lives and activities of his friends and colleagues, and his literary work, through biographical material, correspondence, writings and notes, business records, printed material, a scrapbook, scattered artwork, and photographs of Birnbaum, friends and colleagues, and artwork.

Correspondence, primarily letters received by Birnbaum in New York, and throughout Europe from 1917-1960s, reflects Birnbaum's association with Scott & Fowles, particularly Stevenson Scott, and includes many details about the lives and activities of his correspondents, among them: artists Edward Bruce, Cecilia Beaux, Beniamino Bufano, Stephen C. Clark, Louise Dillingham, William Hunt Diedrich, Luis Fernandez, Herbert Haseltine, Jan Hoowij, Malvina Hoffman, Leonebel Jacobs, Lenard Kester, Lois Mailou Jones, Paul Manship, Gari Melchers, Maxfield Parrish, Charles S. Ricketts, William Rothenstein, John Singer Sargent, Janet Scudder, Carl Sprinchorn, Maurice Sterne, Albert Sterner, Carl N. Wertz, and Stanley Wilson. Also found is correspondence with art collectors and patrons including Mabel Choate, Edmund Davis, Reginald Davis, Henry P. McIlhenny, James Parmalee, Edith Wetmore, and Grenville Windall Linthrop, and museums including the Fogg Museum, the Metropolitan Museum of Art and then curator Gisela Marie Augusta Richter, and the Philadelphia Museum of Art. Correspondence with scholars, writers, and publishers including George Coedes, Edmund Dulac, Joseph Francis Charles Rock, Upton Sinclair and others, documents aspects of Birnbaum's literary and scholarly work.

Writings include drafts of The Last Romantic, including Upton Sinclair's revision, and some of Birnbaum's early published and unpublished writings, as well as notes on Aubrey Beardsley.

Business records include financial records such as bills, receipts, canceled checks and statements for sales of artwork, and scattered legal records.

A small amount of printed material primarily consists of programs for musical events which evidence Birnbaum's early success as a violinist, as well as scattered news clippings, 2 exhibition catalogs, and announcements for the publications of Angkor and the Mandarin Road and The Last Romantic. Additional printed material about Birnbaum can be found in the dismantled scrapbook, 1960-1961.

Artwork includes 2 etchings and a sketch by Birnbaum, bookplates by various artists, circa 10 sketches by other and unidentified artists, and 3 cards with original artwork.

Photographs include snapshots and portraits of Birnbaum and artists and friends, among them: Robert Chanler, Charles Despiau, Norman Douglas, Luis Fernandez, Herbert Haseltine, Augustus John, Paul Manship, Gari Melchers, Elie Nadelman, Albert Sterner, Stevenson Scott, and Grenville Lindall Winthrop. Also found is a photo of Birnbaum with Edward Bruce, Alfred Potterton, Leon Stein, and Maurice Sterne, circa 1915-1916, and photographs proposed for use in The Last Romantic, travel snapshots, and photos of artwork.

Arrangement:

Collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1890-1950s (0.3 linear feet; Box 1, OVs 4-5)

Series 2: Correspondence, 1862-1967 (1.7 linear feet; Boxes 1-2)

Series 3: Writings and Notes, circa 1890-circa 1960 (0.45 linear feet; Box 2)

Series 4: Business Records, 1918-1967 (0.15 linear feet; Box 2)

Series 5: Printed Material, 1895-circa 1960 (0.15 linear feet; Box 3)

Series 6: Scrapbook, 1960-1961 (1 folder; Box 3)

Series 7: Artwork, circa 1890-circa 1960 (0.15 linear feet; Box 3)

Series 8: Photographs, circa 1900-circa 1960s (0.3 linear feet; Box 3)

Biographical / Historical:

New York art dealer, critic, and author Martin Birmbaum (1878-1970) was the manager of the American branch of the Berlin Photographic Company in New York City from 1910–1916, and a longtime partner in the art firm Scott & Fowles. He spent the later part of his career building the Grenville Lindall Winthrop Collection, now at the Fogg Museum.

Birnbaum immigrated to the United States from Hungary as a child. He was an accomplished violinist who studied at City College of New York, and graduated with a law degree from Columbia University in 1901, but developed a life-long interest in art during visits to Europe. As manager of the Berlin Photographic Company he had great success in staging art exhibitions at the company's New York galleries, which led him to a junior partnership in the Fifth Avenue firm of art dealers, Scott & Fowles. Birnbaum traveled widely and built relationships with many of the prominent artists and art collectors of his day and, in addition to the Grenville Lindall Winthrop collection, was influential in developing other important art collections including those of Edward Davis, Reginald Davis, and Henry P. McIlhenny.

Birnbaum wrote widely about his experiences and encounters in the world of wealthy socialites, literary salons, artists, art patrons, and collectors in publications such as Aubrey Vincent Beardsley (Berlin Photographic Co., 1911), Oscar Wilde: Fragments and Memories (J.F. Drake, Incorporated, 1914) , Vanishing Eden:Wanderings in the Tropics (New York: William E. Rudge's Sons, 1942), Angkor and the Mandarin Road (Vantage Press, 1952), and The Last Romantic (Twayne Publishers, 1961). He died in 1970 at the age of 92.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming (reels N698, N698A-N698B) including correspondence, bookplates, sketches, newspaper clippings, and a list of books containing ornamental drawings and illustrations. Loaned materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Material on reels N698, N698A-N698B were lent for microfilming by Martin Birnbaum in 1967. The rest of the collection was donated in an anonymous gift in 1970 and by Martin Birnbaum's great-nephew, Jerome Ziegler, in 1975.

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.

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.

Occupation:

Art critics -- New York (State) -- New York  Search this

Art dealers -- New York (State) -- New York  Search this

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

Topic:

Art -- Collectors and collecting  Search this

Genre/Form:

Sketches

Etchings

Photographs

Citation:

Martin Birnbaum papers, 1962-1967, bulk 1920-1967. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.birnmart

See more items in:

Martin Birnbaum papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ca6df438-53dd-472f-9ab1-0be16d9545eb

EDAN-URL:

ead_collection:sova-aaa-birnmart

Artist:

Andy Warhol, 6 Aug 1928 - 22 Feb 1987  Search this

Sitter:

Lee Bontecou, born 1931  Search this

Jasper Johns, born 15 May 1930  Search this

Donald Judd, 1928 - 1994  Search this

Roy Lichtenstein, 27 Oct 1923 - 29 Sept 1997  Search this

Robert Morris, 9 February 1931 - 28 November 2018  Search this

Larry Poons, born 1 October 1937  Search this

Robert Rauschenberg, 22 Oct 1925 - 12 May 2008  Search this

James Rosenquist, 29 Nov 1933 - 31 Mar 2017  Search this

Frank Stella, born 12 May 1936  Search this

Andy Warhol, 6 Aug 1928 - 22 Feb 1987  Search this

Medium:

Screenprint on colored Perspex boxes with black ink

Dimensions:

Image: 51.8 × 51.8 × 2.1 cm (20 3/8 × 20 3/8 × 13/16")

Frame: 69.3 × 69.3 cm (27 5/16 × 27 5/16") (white box frame)

Type:

Print

Place:

United States\New York\Kings\New York

Date:

1967

Topic:

Decorative Arts\Box  Search this

Robert Rauschenberg: Male  Search this

Robert Rauschenberg: Performing Arts\Performer\Musician\Composer  Search this

Robert Rauschenberg: Visual Arts\Artist\Painter  Search this

Robert Rauschenberg: Visual Arts\Artist\Photographer  Search this

Robert Rauschenberg: Visual Arts\Designer  Search this

Robert Rauschenberg: Performing Arts\Performer  Search this

Robert Rauschenberg: Performing Arts\Choreographer  Search this

Jasper Johns: Male  Search this

Jasper Johns: Visual Arts\Artist\Painter  Search this

Jasper Johns: Visual Arts\Artist\Conceptual artist  Search this

Jasper Johns: Presidential Medal of Freedom  Search this

Andy Warhol: Visual Arts\Artist  Search this

Andy Warhol: Male  Search this

Andy Warhol: Visual Arts\Artist\Printmaker  Search this

Andy Warhol: Journalism and Media\Magazine publisher  Search this

Andy Warhol: Visual Arts\Artist\Painter  Search this

Andy Warhol: Visual Arts\Artist\Illustrator  Search this

Andy Warhol: Performing Arts\Filmmaker  Search this

James Rosenquist: Male  Search this

James Rosenquist: Visual Arts\Artist\Painter  Search this

Roy Lichtenstein: Visual Arts\Artist  Search this

Roy Lichtenstein: Male  Search this

Roy Lichtenstein: Visual Arts\Art instructor  Search this

Frank Stella: Male  Search this

Frank Stella: Visual Arts\Artist\Painter  Search this

Frank Stella: Visual Arts\Art instructor  Search this

Frank Stella: Visual Arts\Artist\Abstract Expressionist  Search this

Robert Morris: Visual Arts\Artist  Search this

Robert Morris: Male  Search this

Donald Judd: Visual Arts\Artist  Search this

Donald Judd: Male  Search this

Donald Judd: Visual Arts\Art critic  Search this

Lee Bontecou: Female  Search this

Lee Bontecou: Visual Arts\Artist\Sculptor  Search this

Larry Poons: Visual Arts\Artist  Search this

Larry Poons: Male  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2018.33

Restrictions & Rights:

Usage conditions apply

Copyright:

© The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm472cb1257-6b6b-45a3-a8d2-8b7aecdcae97

EDAN-URL:

edanmdm:npg_NPG.2018.33