Archives Directory for the History of Collecting in America
Archives related to: "291" (Gallery)
| title | Edward Steichen Archive, [ca. 1900]-1986, [ca. 1900]-1960 (bulk) | repository | The Museum of Modern Art |
| description | The collection consists principally of printed matter, especially news clippings and articles about Steichen's varied and long career. Some of the numerous subjects dealt with are the Photo-Secession and "291" galleries in which modern artists such as Henri Matisse, Paul Cézanne, Pablo Picasso, Constantin Brancusi, John Marin, and Alfred Maurer were introduced to the United States (represented by correspondence between Steichen and Alfred Stieglitz); (cont.) Steichen's involvement in World Wars I and II including a day-by-day log he maintained about his experiences in the Navy and published under the title THE BLUE GHOST, his personal military papers, and information about a film he worked on called THE FIGHTING LADY. Also, the design of pianos and silk fabrics (samples of silk are in the collection), introduction of a new type of fashion design in 1911; his involvement with horticulture and research on Delphinium; popular "Family of Man" photograph exhibition held at the Museum of Modern Art; articles by and about Steichen; paintings he made; and a film he made called THE LITTLE TREE. The collection also includes photographs of paintings, sculptures, and other photographs artists made of Steichen; photographs of some of his paintings; family and personal papers relating to his early life; honorary degrees and awards; and his mother's scrapbook consisting of news clippings about Steichen's exhibitions and photographic work and his experiences with modern art in France. In addition, information about the court case Brancusi vs. the United States which permitted works of art to be brought into the United States free of customs duty. Also, audio tapes and some transcripts of interviews with him; information about his autobiography, A LIFE IN PHOTOGRAPHY; letters Steichen wrote to his brother-in-law, Carl Sandburg; catalogs of his exhibitions and those he promoted; a chronology of Steichen's life assembled by Grace Mayer; and lists of Steichen photographs housed in collections other than the Museum of Modern Art. Reproduction Correspondence between Steichen and Alfred Stieglitz is photocopies. Steichen’s vintage photographs and correspondence are maintained in the Dept. of Photography, Museum of Modern Art. Biographical/historical note Prominent American photographer, Director of the Museum of Modern Art's Dept. of Photography, 1947-1962. Steichen was instrumental in arranging the first showings in America of several innovative European modern artists. He was also a painter and collector of art. Location MoMA Museum Archives Call Number Edward Steich Archive |
| extent | ca. 66 cubic ft. |
| formats | Clippings Correspondence Personal Papers Photographs Sound Recording |
| access | Contact repository for restrictions. |
| record source | http://arcade.nyarc.org/record=b844881~S1 |
| acquisition information | |*N|3MoMA: Papers, correspondence, news clippings, photographs, silk fabric samples, scrapbook, diary, audio tapes|cGift|5NNMoMA |
| updated | 03/16/2023 10:29:56 |
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| title | Marius de Zayas Research Collection for How, When and Why Modern Art Came to New York, ca. 1910-1936. | repository | The Getty Research Institute |
| description | Forms part of the Jean Brown Papers (Special Collections accession no. 890164, series VI) This collection, assembled by Francis M. Naumann, includes correspondence and other material relating to Marius de Zayas and his role in bringing modern art to the United States from Europe. This material was used by Naumann in preparation for How, When, and Why Modern Art Came to New Yorki by Marius de Zayas, edited by Naumann, and published in 1996 by The MIT Press. Included in the first series is correspondence between de Zayas and various associates and friends. There is a lengthy exchange of correspondence between de Zayas and Alfred Stieglitz, as well as correspondence with others involved in the avant-garde art world, including Walter Arensberg, Alfred H. Barr, Jr., Benjamin De Casseres, Paul Haviland, Max Jacob, Walt Kuhn, Francis Picabia, Pablo Picasso, Charles Sheeler, Tristan Tzsara, Forbes Watson and Adolf Wolf. Also included is correspondence and other material relating to de Zayas's business dealings with other art dealers, financial backers, and collectors, including Walter Arensberg, Paul Guillaume, Lucien Lefebvre-Foinet, Agnes Ernst and Eugene Meyer, John Quinn, Paul Rosenberg, Ambroise Vollard, and Charles Vignier. The second series consists of correspondence and related material arranged by subject matter, and includes material relating to de Zayas's work as both artist and writer, as well as to the Modern and Photo-Secession galleries, and other subjects. The final series consists of photocopies of pages from de Zayas's scrapbook of press clippings. See series descriptions bel. Biographical and Historical Notes: Francis M. Naumann, an art historian and curator, collected this material in preparation for How, When and Why Modern Art Came to New York, by Marius de Zayas (Cambridge: MIT Press, 1996), which he edited. Naumann specializes in Dada and Surrealism in Europe and the United States, and runs a gallery, Francis M. Naumann Fine Art, in New York City. Author(s): Naumann, Francis M. FitzGerald, Michael C. Zayas, Marius de; (1880-1961) Additional Authors or Names: Andersen, Eric. Ay-o, 1931- Banville, Bernard (Zona) Beuys, Joseph. Brecht, George. Brown, Jean, 1911- Calendar, Don. Christo, 1935- Copp, Fletcher. Cutts, Simon, 1944- Cox, Ken. Duchamp, Marcel, 1887-1968. Etlinger, Amelia. Filliou, Robert. Finlay, Ian Hamilton. Friedman, Ken, 1949- Furnival, John, 1933-. Gerlovina, Rimma. Gerlovin, Valeriy. Gestner, Karl. Giersbach, William. Groh, Klaus. Held, John, 1947- Hendricks, Geoffrey. Jones, Joe, 1934- Kirkeby, Per. Knížák, Milan. Lennon, John, 1940-1980. Liss, Carla. Maciunas, George, 1931-1978. Miller, Larry. Nannucci, Maurizio, 1939- Olbrich, Jürgen O. Ono, Y ko. Paik, Nam June, 1932-2006. Patterson, Benjamin. Random, Steve. Man Ray, 1890-1976. Reynolds, Jock. Roth, Dieter, 1930-1998. Saito, Takako, 1929- Schmit, Tomas. Shiomi, Mieko. Truck, Fred. Vautier, Ben, 1935- Vostell, Wolf, 1932- Wall, Beriah Watts, Robert, 1923-1988. Beau Geste Press. Coach House Press. Coracle Press. Galerie im Centre. Edition Hundertmark. Interdada Group San Francisco. |
| extent | 0.5 linear feet. 1 document box. |
| formats | Clippings Correspondence Scrapbooks |
| access | Open for use by qualified researchers. |
| record link | http://hdl.handle.net/10020/cifa890164 |
| record source | https://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21116116330001551 |
| updated | 07/28/2023 16:33:47 |
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| title | Alfred Stieglitz / Georgia O'Keeffe Archive | repository | Yale University Library |
| description | The Alfred Stieglitz/Georgia O’Keeffe Archive contains correspondence files, manuscripts, documentary ephemera, photographs, art and realia related to the lives and careers of Alfred Stieglitz and Georgia O’Keeffe, his second wife, and to other members of Stieglitz’s family. The first subgroup, Alfred Stieglitz Papers, consists of material documenting Stieglitz’s life’s work: correspondence with artists, photographers, and writers; manuscripts by Stieglitz and others describing the art movements of the early twentieth century; scrapbooks; an autograph collection; prints of photographs by Stieglitz and other noted photographers; awards given to Stieglitz for his work; several works of art such as four poster portraits by Charles Demuth; and notebooks assembled posthumously to record the contents of Stieglitz’s extensive art collection before it was dispersed following his death. The second subgroup, Georgia O’Keeffe Papers, consists primarily of correspondence from O’Keeffe’s friends and family along with a number of fan letters, subject files, and business correspondence addressing rights and reproductions of O’Keeffe’s works. This subgroup also includes files of documentary ephemera and a number of awards and medals given to O’Keeffe. The third subgroup, Stieglitz Family Papers, consists of correspondence, documentary ephemera, and drawings from Stieglitz family members, principally Alfred’s parents, Edward and Hedwig. Notes: Chiefly in English, many letters in German. Available in other formats: Available on microfilm from Beinecke Rare Book and Manuscript Library, Yale University. Location: BEINECKE (Non-Circulating) Call Number: YCAL MSS 85 |
| extent | 168 Linear Feet |
| formats | Artworks Correspondence Ephemera Scrapbooks Photographs |
| access | Restricted Fragile Papers in Boxes 247-256 may only be consulted with permission of the appropriate curator. Preservation photocopies for reference use have been substituted in the main files. |
| record link | http://hdl.handle.net/10079/fa/beinecke.sok |
| record source | http://search.library.yale.edu/catalog/4043529 |
| finding aid | Finding aid available online and in repository. |
| acquisition information | Alfred Stieglitz Papers: Gift of Georgia O’Keeffe, 1949-53, with subsequent gifts and purchases from various parties, 1953-1980. Georgia O’Keeffe Papers: Bequest of the Georgia O’Keeffe Foundation, 1992, along with several earlier gifts from O’Keeffe. Stieglitz Family Papers: Gift of Flora Stieglitz Straus and Sue Davidson Lowe. Associated material: Stieglitz Family Papers (YCAL MSS 89) Beinecke Rare Book and Manuscript Library. |
| updated | 12/07/2018 10:39:39 |
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| title | Arthur B. Carles letter to Alfred Stieglitz, [ca. 1911]. | repository | Archives of American Art |
| description | Carles writes Stieglitz regarding an exhibition at the 291 Gallery, and about murals painted for Mrs. Meyer. Bio/History: Painter, art instructor; Philadelphia, Pa. |
| extent | 1 item (on partial microfilm reel) |
| formats | Microfilm |
| access | Contact repository for restrictions and policies. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Originals in: Pennsylvania Academy of the Fine Arts. Microfilmed in 1989 as part of AAA's Philadelphia Arts Documentation Project. William I. Homer donated the letter to the Pennsylvania Academy of the Fine Arts. |
| updated | 11/12/2014 11:29:53 |
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| title | Alfred Stieglitz notes, 1915 Nov. 15. | repository | The Getty Research Institute |
| description | Referring to the copy of ’291’ within Getty’s holdings, Stieglitz writes: "This set of ’291’ has been specially selected. Please handle it with great care. The Rhoades is hand-colored (110.2) colored by de Zaras. The Picabia is colored by himself, (No. 4). The Marin colored by himself, (No. 4). The ’Steerage’ printed under supervision of Alfred Stieglitz (No. 7-8)." Note: Forms part of: Brown, Jean, 1911-1994. Jean Brown papers, 1815-1995 (bulk 1916-1985). (Special Collections, accn. no. 890164). |
| extent | 1 item. |
| formats | Notes |
| access | Open for use by qualified researchers. |
| record link | n/a |
| record source | https://primo.getty.edu/permalink/f/mlc5om/GETTY_ALMA21126976450001551 |
| updated | 07/28/2023 16:33:44 |
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| title | How, When and Why Modern Art Came to New York, 1996 | repository | Whitney Museum of American Art |
| description | This collection, assembled by Francis M. Naumann, includes correspondence and other material relating to Marius de Zayas and his role in bringing modern art to the United States from Europe. This material was used by Naumann in preparation for How, When, and Why Modern Art Came to New York by Marius de Zayas, edited by Naumann, and published in 1996 by The MIT Press. Included in the first series is correspondence between de Zayas and various associates and friends. There is a lengthy exchange of correspondence between de Zayas and Alfred Stieglitz, as well as correspondence with others involved in the avant-garde art world, including Walter Arensberg, Alfred H. Barr, Jr., Benjamin De Casseres, Paul Haviland, Max Jacob, Walt Kuhn, Francis Picabia, Pablo Picasso, Charles Sheeler, Tristan Tzsara, Forbes Watson and Adolf Wolf. Also included is correspondence and other material relating to de Zayas’s business dealings with other art dealers, financial backers, and collectors, including Walter Arensberg, Paul Guillaume, Lucien Lefebvre-Foinet, Agnes Ernst and Eugene Meyer, John Quinn, Paul Rosenberg, Ambroise Vollard, and Charles Vignier. The second series consists of correspondence and related material arranged by subject matter, and includes material relating to de Zayas’s work as both artist and writer, as well as to the Modern and Photo-Secession galleries, and other subjects. The final series consists of photocopies of pages from de Zayas’s scrapbook of press clippings. Biographical and Historical Note Francis M. Naumann, an art historian and curator, collected this material in preparation for How, When and Why Modern Art Came to New York, by Marius de Zayas (Cambridge: MIT Press, 1996), which he edited. Naumann specializes in Dada and Surrealism in Europe and the United States, and runs a gallery, Francis M. Naumann Fine Art, in New York City. Marius de Zayas (1880-1961), an artist and gallery operator, was born in Veracruz, Mexico, the son of Rafael de Zayas, a noted historian, orator and lawyer. He gained a reputation as a caricaturist, exhibiting his work in Alfred Stieglitz’s "291" gallery in 1909; two years later he wrote to Stieglitz from Paris advising him on trends in modern art. With Paul Haviland, he wrote A Study of the Modern Evolution of Plastic Expression, published in 1913, an early study of modern art. By 1914, he had met Apollinaire and Gertrude Stein in Paris, and had organized exhibitions at 291 of African Negro art, as well as of work by Francis Picabia, Pablo Picasso and Georges Braque. With Picabia and others in 1915, he brought out the publication 291, an avant-garde magazine, and opened the Modern Gallery, which operated first as a branch of 291, and then on its own. After the Modern Gallery closed in 1921, de Zayas organized shows for the Whitney Studio Club and the Wildenstein Gallery, and worked for a time for the Parisian art dealer Paul Rosenberg. Marius de Zayas died in 1961 in Greenwich, Connecticut. Location: Archives |
| extent | 0.5 linear feet |
| formats | Correspondence Photocopies Scrapbooks Clippings |
| access | Contact repository for restrictions and policies. To use the Library, patrons are required to please state their request in the body of an email, in advance, and send the message to library@whitney.org. |
| record source | http://library.whitney.org |
| finding aid | Finding aid available at repository. |
| updated | 11/12/2014 11:30:13 |
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