Archives Directory for the History of Collecting in America
Archives related to: Copley, Noma
| title | Copley Foundation and Collection records, 1954-1980. | repository | The Getty Research Institute |
| description | Records document the William and Noma Copley Foundation's grant program for composers and artists, 1954-1966. Richard Hamilton's correspondence, 1960-1966, largely concerns the Foundation's monograph series, which he edited. Other papers, including correspondence with artists, files regarding exhibitions and insurance, and photographs, document the Copleys' personal art collection, known for its large number of Surrealist works. Files dated after 1966 primarily contain Noma Copley's correspondence with artists. Biographical or Historical Notes: Copley Foundation The William and Noma Copley Foundation was incorporated in Chicago as a non-profit foundation in 1954. Its aim was to aid and encourage creative individuals in the fields of painting, sculpture and music composition. Grants were awarded by a board of directors from nominations made by the advisers. The Foundation's advisers were Jean Arp, Alfred Barr, Jr., Roberto Matta Echaurren, Max Ernst, Julien Levy, William Lieberman, Man Ray, Sir Roland Penrose and Sir Herbert Read. The officers and directors were William Copley, Noma Copley, Marcel Duchamp, Barnet Hodes (also called Barney), Eleanor Hodes and Darius Milhaud. Music and art award responsibilities were divided between husband and wife. Noma Copley collaborated with Milhaud, whose music recommendations were nearly all accepted. William Copley generally made the final decisions on the visual art grants, based on the recommendations of his artist friends. In 1966 William Copley became dissatisfied with his Foundation association, preferring to be known as a painter rather than a philanthropist. The Foundation published a series of monographs from 1960-1966 to highlight those artists who received awards. The British Pop artist Richard Hamilton was chosen as editor, not only for his well-known talents in layout and design, but also, as one of Duchamp's protegées, for the respect given him by the international art community. A total of 10 monographs were published on Hans Bellmer, Richard Lindner, Bernard Pfriem, René Magritte, Thomas Albert Sills, Eduardo Paolozzi, James Metcalf, Serge Charchoune, Jacques Hérold and Diter Rot [i.e., Dieter Roth]. The later books, especially Dieter Rot's, explored the medium of the artist book, which Hamilton found very exciting. He suggested that the Foundation continue in this direction and consider publishing books by non-awardees (such as Emmett Williams). However, William Copley believed the series was straying from the Foundation's initial intentions, which could jeopardize the Foundation's non-profit tax status. Copley Collection The Copleys assembled an important private collection of Surrealist art. Hans Bellmer, Marcel Duchamp, Max Ernst, René Magritte and Man Ray were represented in depth. Important works in the collection were acquired abroad and imported into France. Approximately half of the collection was purchased in France. The collection included Magritte's “Ceci n'est pas une pipe” and “Chambre d'Ecoute,” Ernst's “Le Surréalisme et la Peinture,” Man Ray's “A l'Heure de l'Observatoire: les Amoureux” and Richard Hamilton's “$he”. From 1964 to 1966, Marcia Tucker worked as collection curator, overseeing exhibition loans and the care and maintenance of the collection. Most of the Copley collection was sold at auction (Sotheby's Nov. 5, 1979). Some of the works were placed on long-term loan or donated to museums. |
| extent | 4.5 lin. ft. (10 boxes) |
| formats | Business Papers Personal Papers Correspondence Photographs Financial Records |
| access | Open for use by qualified researchers. |
| record link | http://hdl.handle.net/10020/cifa880403 |
| record source | https://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21116258200001551 |
| finding aid | Unpublished finding aid available in the repository: folder level control. Additionally, the finding aid is available electronically on the repository's Web site. |
| acquisition information | The Research Library acquired the bulk of the archive in 1988. Additional material was acquired in 1995, 1996, and 1998. |
| updated | 02/14/2025 10:07:37 |
| .................................................................... | |
| title | Marcia Tucker papers, 1918-2006, bulk 1957-2004. | repository | The Getty Research Institute |
| description | The collection documents Marcia Tucker's uniquely intertwined personal and professional activity from her work as a cataloger for private collections, to curator at the Whitney Museum of American Art in 1968, through her retirement from the Founding Directorship of the New Museum in 2000. Museum files from the Whitney, comprising acquisitions, studio visits, interoffice memos, and minutes of meetings, reflect the institutional practices and aesthetic standards that Tucker ebulliently questioned. Her firing from the Whitney is portrayed in correspondence and clippings, as is her subsequent creation of an experimental institution, the New Museum. The evolution of Tucker's prescient, influential ideas about contemporary art, art exhibition, and museum management is evident in exhibition files, writings, lectures, and in her collection of writings by others. Correspondence reveals her close connection with artists throughout the US. There are relatively large files of letters from the artists Nicholas Africano, Terry Allen, John Baldessari, Bruce Nauman, Pat Steir, Jack Tworkov and Ree Morton. There is also a good amount of correspondence with Henry Luce III, whose support was critical to the New Museum's success. From the period prior to Tucker's term at the Whitney are letters from employers Margo Barr and William and Noma Copley, and a file of letters from Tucker's first husband, Michael Tucker. There are slides of art and exhibitions, audio recordings of installations and interviews, press kits and brochures, and twenty-two art works, mostly works on paper which were personal gifts to Marcia Tucker. Bio/History: American curator, critic, and museum director. Marcia Tucker was a curator at the Whitney Museum of American Art from 1968-1976. She founded the New Museum of Contemporary Art in 1976 and directed it through 2000 |
| extent | 92.85 linear ft. (201 boxes, 3 flat files) |
| formats | Correspondence Exhibition Files Writings Photographs Printed Materials |
| access | Open for use by qualified researchers except for Box 72, which is restricted until 16 October 2106. Series XIX. ADD3 restricted pending further evaluation by the estate. Audio and video recordings are unavailable until reformatting is complete. ADD1 and ADD2 have been integrated into the collection; ADD3 comprises Series XIX. and is restricted pending further evaluation by the estate. |
| record link | http://archives2.getty.edu:8082/xtf/view?docId=ead/2004.M.13/2004.M.13.xml;query=;brand=default |
| record source | http://hdl.handle.net/10020/cat635309 |
| finding aid | Unpublished box list available in the repository |
| acquisition information | Acquired from Marcia Tucker, 2004. |
| updated | 02/14/2025 10:07:37 |
| .................................................................... | |
| title | Trianon Press Duchamp papers, 1955-1974. | repository | University of California, Santa Cruz |
| description | Correspondence and documents relating to the 1959 publication, by the Trianon Press, of Robert Lebel's Sur Marcel Duchamp. Includes correspondence and documents of persons and institutions involved in the production and distribution of the volume in its several editions. Organization: Series organized into 128 subseries : 1-2. Duchamp corresp. 3. Lebel corresp. (includes Man Ray, Robert Rockmore, Grove Press). 4. William N. & Noma Copley corresp. 5-6. Arvey, Hodes, & Mantynband corresp. (includes Copley). 7. Arturo Schwarz corresp. 8. George H. Hamilton corresp. 9. Grove Press, Barney Rosset corresp. 10. Richard Hamilton corresp. 11. Production corresp. 12-17. Production estimates & samples (paper, photographs, pochoir process, composition, printing, binding, type, transport). 18-39. Production notes, typescripts, proofs, page layouts. 40. Prospectus order forms. 41. Order corresp. 42. Sales receipts. 43. F.H. Neumann (distributer) corresp. 44. Italian trade ed. 45. U.S. reissue. 46. Reprinting permissions. 47-60. Exhibitions. A1. Contract (Copley/Trianon). A2. Production estimates. A3-A4. Proofs. A5. Photograph production information. A6-A19. Page layouts, paste-ups, proofs. A20-A28. Prospectuses, jackets. A29. Mailing lists, sales sheets. A30. Stencils. A31-56. Production materials (proofs, trial sheets, layouts, stencils, maquettes, photographs, glass plates). A57. Publicity, clippings. A58-68. Monottype package, engraving blocks, engravings. SEE Trianon Press archive, 1947-1980 (bulk). Location Stored Offsite MS99 NRLF Storage MS99 |
| extent | 128 folders. |
| formats | Business Papers Correspondence Notes Photographs |
| access | Consult Special Collections staff concerning access. |
| record link | http://cruzcat.ucsc.edu/record=b1138187~S5 |
| acquisition information | In: Trianon Press. Trianon Press archive. |
| updated | 09/02/2025 15:31:56 |
| .................................................................... | |