Archives Directory for the History of Collecting in America

Archives related to: Ernst, Max, 1891-1976

titleMax and Dorothea Ernst letters concerning Max Ernst's American citizenship status, [ca. 1957].
repositoryArchives of American Art
collection titleCorrespondence mainly between Ernst's wife Dorothea (Tanning) and attorney John Frank regarding Max Ernst's efforts to retain American citizenship, which was jeapordized by the McCarren Act and Ernst's extended periods of residence abroad. Many of the letters provide details of Ernst's career and give a chronology of his travels. Included is one letter from Max Ernst to John Frank.

Bio / His Notes:
Painter, sculptor.
extent40 items (on partial microfilm reel). reel 3829
formatsMicrofilm Correspondence
accessPatrons must use microfilm copy.
record sourcehttp://www.siris.si.edu/
acquisition informationDonated 1982 by Jimmy Ernst, son of Max Ernst. Letters are photocopies. Originals in the possession of donor Jimmy Ernst, East Hampton, New York.
updated09/12/2019 15:29:51
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titleGyorgy Kepes papers, 1825-1989 (bulk 1909-1989)
repositoryArchives of American Art
collection titleBiographical material, correspondence, financial records, notes, writings, interview transcripts, exhibition files, a file for book "Art on a Public Scale", a file for the Times Square Project, art work, printed material, photographs, and audio-visual material reflect Kepes' career as a painter, muralist, designer, filmmaker, educator at the New Bauhaus (Chicago School of Design) and at M.I.T., and as founder of the Center for Advanced Visual Studies.

REEL 1211: Ninety-eight letters to Kepes, 1946-1974, are from colleagues including Josef Albers, Marcel Breuer, Alexander Calder, Charles Eames, Buckminster Fuller, Naum Gabo, Walter Gropius, Robert Motherwell, Pier Luigi Nervi, and Hans Richter. One letter each was received from Ansel Adams, Alexander Archipenko, Al Capp, Alduous Huxley, Le Corbusier, Margaret Mead, Laszlo Moholy-Nagy, Piet Mondrian, Isamu Noguchi, Robert Oppenheimer, Herbert Read, and David Smith.

REELS 5303-5321: Biographical material, 1940-1980, includes biographical sketches, diplomas, membership certificates, and award medals and certificates. General correspondence, 1936-1986, is between Kepes and colleagues including Josef Albers, Rudolf Arnheim, Marcel Breuer, Alexander Calder, Henry Dreyfuss, Walter Gropius, S. W. Hayter, Jean Helion, Laszlo Moholy-Nagy, George Rickey, and various colleagues at the Massachusetts Institute of Technology. Correspondence files, 1946-1976, contain letters and printed material concerning six arts organizations, including the American Academy of Arts and Sciences and the National Institute of Arts and Letters.

Financial records, 1963-1974, consist of a record of personal checks and miscellaneous receipts. Notes, 1940-1974, include lists of art work, mailing lists, minutes of meetings, lecture notes, notes concerning exhibitions and publications, and miscellaneous notes. Writings consist of typescripts of lectures, grant proposals, and essays by Kepes and others. Interview transcripts are of the Urban Forum Seminar with John Cage, James T. Farrell, and Andreas Feininger, by Kepes, 1954, and of an interview of Kepes for the American Association for the Advancement of Science, 1968.

Exhibition files, 1963-1968, contain correspondence, writings, printed material, and photographs concerning the "Light as a Creative Medium" exhibition and the Triennale di Milano. A book file, 1970-1974, contains correspondence, notes, and writings connected with "Art on a Public Scale". The Times Square Project file, 1972-1974, contains correspondence, notes, writings, printed material, and photographs. Art work, 1924-1985, includes 2 sketchbooks, 450 annotated sketches by Kepes and others, caricatures for "The Emperor's New Clothes", and posters. Printed material, 1825-1989, includes clippings, exhibition announcements and catalogs for Kepes, his wife Juliet, and others, press releases, lecture announcements, prospectuses, calendars of events, programs, brochures, booklets, books, reproductions of art work, blueprints, and miscellaneous printed material.
Photographs, 1909-1988, are of Kepes, his family, students, studio, exhibition installations, art work, and the work of others. Photographs of colleagues include Harry Bertoia, Alexander Calder, Serge Chermayeff, Max Ernst, Buckminster Fuller, Marshall McLuhan, Margaret Mead, Laszlo Moholy-Nagy, Otto Piene, Herbert Read, Jonas Salk, and Saul Steinberg. One lantern slide shows Picasso creating a design with a light. There are photographs of the works of old masters, cityscapes, architectural details, and mechanical devices, used as teaching tools, and photographic prints of x-rays and photomicrographs showing experiments with light and other natural phenomena. A reel of microfilm from the British Museum contains the notes of J. M. W. Turner.

Audio-visual material, 1953-1972, consists of reel-to-reel audio tapes of interviews, lectures, and symposia, and motion picture film of interviews, art-related programs, and student projects, many of which were transferred to VHS. There are also 4 undated stencils of numerical and elliptical forms. A few oversize documents have not been microfilmed.

Language Note: A typescript is in Braille.
A letter and a clipping are in Dutch.
Nineteen letters, six typescripts, three clippings, and six exhibition catalogs are in French.
Several letters and printed items are in German.
Several letters, a manuscript, and printed items are in Hungarian.
Several letters and printed material are: In Italian.
Ten letters are in Russian.
Several letters, and printed items are in Spanish.

Bio / His Notes:
Painter, muralist, designer, filmmaker, educator; Cambridge, Mass. Born 1906. Died Dec. 29, 2001. Born in Selyp, Hungary, Kepes studied at the Royal Academy of Fine Arts, Budapest, working with Moholy-Nagy in Berlin and London before joining him at the New Bauhaus (later the Chicago Institute of Design) in 1937. From1946-1980 he was professor of visual design at MIT, as well as director of the Center for Advanced Visual Studies from 1967-1974.
extent25.0 linear ft. (microfilmed on 20 reels) reels 1211 and 5303-5321
formatsMicrofilm
accessMicrofilmed portion must be consulted on microfilm. Use of unmicrofilmed portion requires an appointment. Authorization to publish, quote or reproduce must be obtained from: Julie Kepes Stone, 46 Parker Street, Watertown, Mass. 02172, or Imre Kepes, 11 Arnold Road, West Pelham, Mass. 01002-9757.
record sourcehttp://www.siris.si.edu/
acquisition information Material on reel 1211 was lent for microfilming 1974 by Gyorgy Kepes. He donated material on reels 5303-5321 1974-1993. Location of Original: Reel 1211: Originals returned to Gyorgy Kepes after microfilming.
updated11/12/2014 11:30:01
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titlePierre Matisse Gallery records, 1925-1989.
repositoryArchives of American Art
collection titleREEL NPM1: Catalogs of Pierre Matisse Gallery exhibitions, 1931-1945; photographs of exhibitions interspersed among the catalogs; and a scrapbook containing clippings and reviews of shows at the gallery.
Artists represented among the catalogs, photographs, or scrapbook include Balthus, Eugene Berman, Charles Biederman, Arbit Blatas, Pierre Bonnard, Francisco Bores, Constantin Brancusi, Georges Braque, André Breton, Alexander Calder, Paul Cézanne, Marc Chagall, Salvador Dalí, Giorgio De Chirico,Edgar Degas, André Derain, Charles Despiau, John Dos Passos, Marcel Duchamp, Raoul Dufy, André de Segonzac Dunoyer, Max Ernst, John Ferren, Alberto Giacometti, Albert Gleizes, Vincent van Gogh, Juan Gris, Marcel Gromaire, Jean Hélion, Mane Katz, Moise Kisling, Roger de La Fresnaye, Wifredo Lam, Marie Laurencin, Fernand Léger, Jacques Lipchitz, Jean Lurçat, George Platt Lynes, Loren MacIver, Aristide Maillol, André Masson, Henri Matisse, Roberto Sebastián Matta Echaurren, Herbert Matter, Sigmund Menkes, Joan Miró, Amedeo Modigliani, Piet Mondrian, Paul Nelson, Amédée Ozenfant, Jules Pascin, Pablo Picasso, Luis Quintanilla, Abraham Rattner, Auguste Renoir, Georges Rouault, Kay Sage, Kurt Seligmann, Georges Seurat, David Alfaro Siqueiros, Chaim Soutine, Rufino Tamayo, Yves Tanguy, Pavel Tchelitchew, Maurice Utrillo, and Ossip Zadkine.

UNMICROFILMED: Catalogs of Pierre Matisse Gallery exhibitions of the work of: Francisco Artigas, Balthus, Reg Butler, Manolis Calliyannis, Rafael Canogar, Marc Chagall, Jean Dubuffet, Sorel Etrog, Serge Faucher, Federico Fellini, Sam Francis, Alberto Giacometti, Simon Hantaï, Stefan Knapp, Wilfredo Lam, Loren MacIver, Raymond Mason, Manolo Millares, Joan Miró, Jean-Paul Riopelle, Manuel Rivera, François Rouan, Georges Rouault, Theodore Roszak, Antonio Saura, Yves Tanguy, Claude Viallat, Wou-Ki Zao, and the Dogon and Tellem peoples of Africa.
extentReel NPM1: 300 items (on partial microfilm reel) Unmicrofilmed: 1.25 linear ft. reel NPM1
formatsExhibition Catalogs Clippings Scrapbooks Photographs
accessMicrofilmed portion must be used on microfilm. Use of unmicrofilmed portion requires an appointment and is limited to AAA's Washington, D.C. storage facility.
record sourcehttp://www.siris.si.edu/
acquisition informationRecords on reel NPM1 were lent for microfilming 1967 by the Pierre Matisse Gallery. The unmicrofilmed catalogs were donated in 1996. The Gallery donated its records to the Pierpont Morgan Library in New York in 1997.
updated11/12/2014 11:30:01
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titleThe New Arts records, 1952-1977.
repositoryArchives of American Art
collection titleFiles on artists and people associated with the gallery, including: Forrest Bess, James Boynton, Lawrence Calcagno, Joseph Cornell, André Emmerich, Max Ernst, Walter Kuhlman, Peter Plagens, Hassel Smith, Richard Steinberg, Jean Varda, and others. The files usually contain correspondence, exhibition catalogs and announcements, clippings, and photographs. Also included are exhibition files, material on the Contemporary Arts Association in Houston, and miscellaneous catalogs and announcements.
extent 1.4 linear ft. (on 3 microfilm reels). reels 2242-2244
formatsCorrespondence Exhibition Catalogs Clippings Photographs
accessPatrons must use microfilm copy.
record sourcehttp://www.siris.si.edu/
acquisition informationThe donor, Kathryn Swenson, was the owner and director of the gallery.
updated11/12/2014 11:30:01
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titleHans Theo Richter papers, [ca. 1914-1981].
repositoryArchives of American Art
collection titleCorrespondence, ca. 1914-1981, including comments about Richter's films from Alexander Calder, Max Ernst, Man Ray, and others; exhibition catalogs, ca. 1946-1974; index to his films compiled by H.G. Weinberg, 1946 and revision; catalogs for films Dreams Money Can Buy, and 8 X 8; articles by and about Richter and his films; exhibition catalogs of other artists; writings; and newspaper clippings.

Bio / His Notes:
Filmmaker; New York, N.Y. First one-man show in 1916, the same year he joined the Dadaists. His interest in the movement of forms led him first to scroll painting and then to film. He produced his first movie in 1921 and then went on to create Dreams That Money Can Buy, with Duchamp, Ernst, Calder and Man Ray, and 8 X 8, among others.
extentca. 400 items (on 1 microfilm reel) reel 3467
formatsMicrofilm
accessPatrons must use microfilm copy.
record sourcehttp://www.siris.si.edu/
acquisition informationLent for microfilming 1984 by Ursula Lawder, Richter's step-daughter. Location of Original: Originals returned to the lender after microfilming.
updated11/12/2014 11:30:01
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titleWilliam Nelson Copley papers, 1948-1967.
repositoryArchives of American Art
collection titlePapers and gallery records including scrapbooks, photographs, writings, announcements and catalogs.

REEL 2709: Announcements and catalogs for exhibitions at The Copley Galleries, Beverly Hills, California, 1948-1949; 97 photographs, mostly of installations of exhibitions at the gallery, and a few of paintings by Man Ray, 1948; and an undated essay by Copley, "Portrait of the Artist as a Young Art Dealer," 51 pages in which he describes the brief one year history of the gallery, which exhibited the work of the Surrealists, including Joseph Cornell, Marcel Duchamp, Max Ernst, Rene Magritte, Roberto Sebastian Antonio Matta Echuarren, Man Ray, and Yves Tanguy.

REEL 861: Scrapbook, 1953-1967, in 3 volumes. Includes Copley's newspaper column; magazine clippings relating to his work and exhibits; and exhibition catalogs.
extent110 items (on 2 microfilm reels); reels 861 and 2709
formatsBusiness Papers Scrapbooks Photographs Writings Catalogs
accessPatrons must use microfilm copy. "Portrait of an Artist as a Young Art Dealer: Authorization to publish, quote or reproduce must be obtained from: Director, Centre Beauborg, 35 Boulevard de Sebastopol, Paris 75001.
record sourcehttp://www.siris.si.edu/
acquisition informationMaterial on reel 2709 donated 1976, by William Copley; material on reel 861 lent for microfilming 1975 by Copley. Location of Original: Reel 861: Originals returned to William N. Copley after microfilming.
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titleJohn Wilde papers, 1935-1991.
repositoryArchives of American Art
collection titleCorrespondence; writings; speeches; scrapbooks; journals; sketchbooks and sketches; notebooks; photographs; financial records; exhibition catalogs; and clippings.

REELS 1154-1157: Autobiographical material; correspondence with Arnold Dadian, Georges May, Sylvia Fein, Karl Priebe (over 1000 postcards, many with sketches), Gertrude Abercrombie, Elwyn Chamberlain, George Herring, Harry Willis, Dudley Huppler, Marshall Glasier, F. H. Bresler Co., Edwin Hewitt Gallery, Robert Isaacson Gallery, Durlacher Bros., Frank Oehlschlaeger, Banfer Gallery, and others; a photograph of Marshall Glasier and 1 of an unidentified painting; 14 sketches and drawings by Harry Willis and Marshall Glasier; price lists for works of art; bills and receipts; exhibition announcements; press releases; and miscellany.

REELS 2539-2540: Correspondence with Gertrude Abercrombie, Marshall Glasier, Jane Haslem, Lee Nordness, Everett Oehlschlaeger, Jim Ray, Karl Priebe, Robert A. Veldman, and others; essays on art, including Wilde's master's thesis, "A Survey of the Development of Surrealism in Painting and its Chief Innovations with Especial Emphasis on the Life and Work of Max Ernst"; unpublished writings, 1942-1978; journals, 1940-1967; sketchbooks, 1943-1950; notebooks containing an inventory of Wilde's paintings; photographs of Wilde, Karl Priebe, James Watrous, Sylvia Fein, Gertrude Abercrombie, family members, paintings and exhibition installations, 1940-1978; scrapbooks; exhibition catalogs; clippings; and miscellaneous printed matter.

REELS 2539a, 4710a, and 5661: Letters to Wilde from Walter Hamady, proprietor of the Perishable Press, Mt. Horeb, Wis., 1971-1998, (a few letters enclose printed material about Hamady and the Perishable Press).
REEL 4710: Journal with sporadic entries from Jan. 3, 1978 to Dec. 12, 1990, concerning work in progress, commissioned portraits, opposition to government funding of the arts, selling and exhibiting his paintings and drawings, and teaching.

UNMICROFILMED (2 ft.): Correspondence (1.25 ft.) with galleries, museums, curators, collectors, and friends, including David Findlay Jr., Inc., the Dorothy Bradley Galleries, Jane Haslem, Dudley Huppler, the Elvehjem Museum of Art, the Fanny Garver Gallery, the Madison Art Center, Georges May, the Schmidt Bingham Gallery, the University of Wisconsin--Madison, the Wisconsin Academy of Sciences, Arts and Letters, and Theodore F. Wolff; appraisals; checklists of work; writings, including the edited manuscript and published volume by Wilde, What His Mother's Son Hath Wrought (W H M S H W) (1988) containing artwork and thoughts; speeches and lectures delivered by Wilde; a tape-recorded interview of Gertrude Abercrombie conducted by Studs Terkel for WFMT radio, Chicago, April 1959; newspaper and magazine clippings, exhibition catalogs, announcements and other printed material; and files relating to Marshall Glasier, a fellow artist and friend of Wilde's, containing letters, printed material, and photographs.

ADDITION (2 ft.): A vitae; correspondence regarding gifts and contributions to museums, charitable societies, and other organizations; correspondence with galleries, former students, artists, publishers, editors, and art critics, including Don LaViere Turner, William McClain, Paul Cummings, David Godine, Theodore Wolff and others; a statement from Schmidt Bringham concerning the theft of Wilde's paintings "Exotic II (Artichoke)" and "Artist Visited by an Angel," October 1990; writings including transcriptions of ten "Talking Drawings" in the Madison Art Center by Wilde and related correspondence; typescripts of Wilde's gallery talk in conjunction with the exhibit, "John Steuart Curry, Aaron Bohrod & John Wilde: Leaders in Wisconsin Art, 1936-1981," May 18, 1982; typescript of lecture by Wilde at the Elvehjem Museum of Art, December 2, 1984; notes, poems, and correspondence concerning Wilde's book with Reeve Lindbergh, "John Apples: Thirteen Paintings by John Wilde, Twelve Poems by Reeve Lindbergh,: (Perishable Press, 1995); inventories of works of art; sales and consignment records, and other financial statements; printed material including exhibition catalogs, announcements, programs, and clippings; photographs of works of art; files relating to Marshall Glasier; and miscellany.

Bio / His Notes:
Graphic artist, painter, art instructor. b. 1919 d. 2006 Wilde specialized in silver point. He taught at the University of Wisconsin--Madison, 1948-198 .
extent7.4 linear ft. (partially microfilmed on 10 reels) reels 1154-1157, 2539-2540 and 4710 reels 2539a, 4710a, and 5661
formatsMicrofilm Correspondence Writings Scrapbooks Journals
accessMicrofilmed portion must be consulted on microfilm. Use of unmicrofilmed portion requires an appointment. Letters from Walter Hamady, reels 2539a, 4710a and 5661 are: ACCESS RESTRICTED; written permission required
record sourcehttp://www.siris.si.edu/
acquisition informationMaterial on reels 1154-1157 and 2539, 2539a and 2540 donated 1975-1981 by Wilde, except for journals, sketchbooks, writings, notebooks and photos on reel 2540, which he lent for microfilming. In 1992 Wilde lent the material on reel 4710 and donated an additional 2 ft. of material (unmicrofilmed). Additional letters from Walter Hamaday on reel 5661 were lent December 1999. Location of Original: Reel 2540 (Journals, sketchbooks, writings, notebooks, photos), reel 4710 (entire) and 5661 (entire): Originals returned to John Wilde after microfilming.
updated11/12/2014 11:30:01
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titleByron Gallery records, 1959-1996 (bulk 1960-1975)
repositoryArchives of American Art
collection titleThe records of Byron Gallery span the years 1959-1996 and thoroughly document the gallery's activities and involvement with Surrealist masters and other contemporary artists.

The papers include 8 feet of artists' and subject files containing business correspondence, sales information, catalogs, and exhibit reviews for each artist who showed at the gallery, as well as group shows, such as the Box Show (1965) and the Paris Review show. In addition, there are 57 exhibition scrapbooks in binders representing a complete documentary record of a Byron Gallery show, containing reproductions of works displayed, catalogs, correspondence, price lists, installation photographs, and newspaper clippings and reviews; among the major exhibitions were 400 Years of Italian Art: Florentine Relief Fund Art Show (1967) and Greek Gold Exhibition (1967-1968). There are also invoices (1967-1968) and sales cards, which record the sale price and buyer of every work of art that changed hands. Printed matter includes a run of catalogs from the Galleria Dell'Arieti, a contemporary gallery in Milan, Italy, 1961-1969.

Among the over 300 artists represented are Alcopley (Alfred L. Copley), Stephen Antonakos, Jean Arp, Herbert Bayer, Victor Brauner, Alexander Calder, Leonora Carrington, Pietro Consagra, William Copley, Xavier Corbero, Max Ernst, Pedro Friedeberg, Mathias Goeritz, Sarah Grilo, Albert Kotin, Matta (Roberto Sabastiano Matta), Rory McEwen, Clement Meadmore, Teddy Millington-Drake, Constantino Nivola, Hans Richter, Sylvia Sleigh, David Smith, Paul Talman, Yves Tanguy, and Jack Youngerman.
extent19.3 linear ft.
formatsFinancial Records Exhibition Catalogs Scrapbooks Correspondence Photographs
accessUnmicrofilmed; use requires an appointment and is limited to the Washington, D.C. storage facility.
record sourcehttp://www.siris.si.edu/
finding aidBox inventory available.
acquisition informationDonated 1999 by Charles Byron.
updated11/12/2014 11:30:01
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titleOral history interview with Larry Jordan, 1995 Dec. 19 - 1996 July 30.
repositoryArchives of American Art
collection titleAn interview of Larry Jordan conducted at the artist's home in Petaluma, Calif., 1995 Dec. 19 - 1996 July 30, by Paul Karlstrom for the Archives of American Art.

Jordan discusses his family background in Denver; his attraction to contemporary avant-garde; his brief time at Harvard, and his mental breakdown and return to Denver; his move to San Francisco in 1954 because of the artistic and literary atmosphere there; meeting Kenneth Rexroth, Robert Duncan and other poets and his initial introduction to the creative community in San Francisco; his friendships with Jordan Belsen, Michael McClure, Wally Hedrick and Jay DeFeo; the San Francisco Renaissance, the beat era, and what it means to be "beat;" the distinction in intensity between bohemianism and the resurrection of the self during the beat era, the social impact of the anti-establishment movement; and the difference between artists and political activists.

Jordan discusses his influences and important moments in his experimental film career; the surrealist methods for social changes as seen in film; the west coast filmmakers focus on the interior and mystical; the rivalry in the film world; his association with Bruce Conner and their founding a film society together in 1956 and establishing an experimental theater; meeting Joseph Cornell and his invitation to assist him with films, their time spent together, Cornell as a filmmaker, preparing Cornell boxes, and the influence of Cornell on is own art. He discusses his own art; his role as an artist in society; the religious aspect in his art; his place in the avant-garde film world; the major influences in his art; and the concept of death and the celebration of the mind as a major theme in his film and artwork.
He recalls Wallace Berman, Stan Brackage, Bruce Conner, Jay DeFeo, Maya Deren, Robert Duncan, Max Ernst, Allen Ginsberg, Wally Hedrick, George Herms, Jess, Patricia Jordan, Michael McClure, Bruce Nauman, and Kenneth Rexroth.

Bio / His Notes:
Filmmaker, collagist; Petaluma, Calif.
extentSound recording: 6 sound cassettes : analog. Transcript: 100 p.
formatsInterviews Sound Recording Transcript Online Transcript
accessTransciprt on repository's website
record sourcehttp://www.siris.si.edu/
acquisition informationThis 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. Funding for the transcription of this interview provided by the Pasadena Art Alliance.
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titleBrooks Jackson interview, 1976 Mar. 22.
repositoryArchives of American Art
collection titleInterview of Brooks Jackson conducted by Paul Cummings for the Archives of American Art.
extent1 sound tape reel ; 5 in. (38 p. transcript)
formatsSound Recording Transcript
accessUse requires an appointment.
record sourcehttp://www.siris.si.edu/
acquisition informationPart of the Archives of American Art Oral History Program, started in 1958.
updated11/12/2014 11:30:01
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titleOral history interview with Katharine Kuh, 1982 Mar. 18-1983 Mar. 24.
repositoryArchives of American Art
collection titleAn interview of Katharine Kuh conducted by Avis Berman for the Archives of American Art's Mark Rothko and His Times oral history project.

TAPE 1: Kuh speaks of her invalid childhood in Chicago, the development of her interest in art, classes in art history at Vassar College, and her career as curator of modern art at the Art Institute of Chicago. She recalls in particular the "Sanity in Art" movement against modern art in Chicago. Kuh describes her relationship with Mark Rothko and Rothko's relationships with Mark Tobey, Clyfford Still, Kate Rothko, Theodoros Stamos, Milton Avery, Stanley Kunitz, and Hans Hofmann.

TAPE 2: Kuh discusses her parents, the family silk business, travelling in Europe as a child, life in Chicago, the effects of polio and other illnesses on her interests, and her student years at Vassar College. She remembers visiting Bernard Berenson in Italy with her family and again with Daniel Catton Rich, with whom she worked very closely at the Art Institute of Chicago. She speaks of the Katharine Kuh Gallery, which she started in the mid-1930s and its place in the vanguard of the Chicago art scene.

TAPE 3: Kuh remembers the effects of the stock market crash on her personal situation, her marriage to businessman George Kuh, distaste for life in the suburbs, and her divorce. She discusses the Katharine Kuh Gallery and the actions taken against her business by members of the reactionary "Sanity in Art" movement (including a very funny anecdote concerning Carlos Merida). She speaks of the classes in modern art that she taught at her gallery and of some of the artists she exhibited there, including the photographers Ansel Adams, Alfred Stieglitz, and Edward Weston.

TAPE 4: Kuh remembers the McCarthy era and the political conservatism in Chicago, including her testimony on behalf of Bill Zimmerman, Acting Commissioner of Indian Affairs. She criticizes blockbuster exhibitions and the changes in the role of a museum curator. She reminisces about building the collection at the Art Institute of Chicago and the art education program she ran there, and recalls Stuart Davis, Laszlo Moholy-Nagy, Gyorgy Kepes, and Ivan Albright.

TAPE 5: Kuh remembers Laszlo Moholy-Nagy, Ludwig Mies van der Rohe, and Marcel Duchamp, as well as the collectors Walter Paepcke and Walter and Louise Arensberg (whose collection she surveyed in their home for an exhibition at the Art Institute of Chicago).

TAPE 6: Kuh focuses on her memories of Mark Rothko, recalling when they met, their friendship, his manner of working, his feelings about his work, and his worries towards the end of his life. She talks about Clyfford Still, Barnett Newman, and Mark Tobey. Some parts of this tape repeat what she said earlier.

TAPES 7 and 8: Kuh continues discussing Rothko, particularly his Houston chapel murals and the retrospective exhibition at MOMA in 1961. She remembers visiting Rothko's studio and describes his working methods. She relates Rothko's views on other artists, including Milton Avery, Clyfford Still, Turner, Robert Motherwell, and Adolf Gottlieb; parts repeat things said before. Kuh also discusses Rothko's wife and daughter.

TAPE 9: Kuh recounts building the collection at the Art Institute of Chicago and speaks of the museum staff, trustees, and donors. She remembers Alfred Barr at MOMA.

TAPE 10: Kuh continues speaking about the Art Institute of Chicago, describing the circumstances of her resignation and subsequent move to New York. She talks of knowing Peggy Guggenheim, Max Ernst, and Fernand Leger.

TAPE 11: Kuh describes her work as a consultant to college museums and her writings. She discusses the field of art criticism and her career as art editor at Saturday Review. She recalls Clyfford Still's retrospective exhibition at the Metropolitan Museum of Art and his death.
TAPE 12: Kuh describes her work as a collector for the First National Bank of Chicago.

TAPE 13: Kuh recounts more about her work at Saturday Review and her resignation. She goes into great detail about her travels in Alaska and British Columbia surveying Northwest Indian art for a government report. She speaks again about the McCarthy era.

TAPE 14: Kuh speaks again about the Katharine Kuh Gallery and the artists she exhibited there, including Josef Albers (and his Black Mountain College), Alexander Archipenko, Stuart Davis, Paul Klee, Alexander Calder, and Man Ray.

TAPE 15: Kuh continues her discussion of artists she exhibited at the Katharine Kuh Gallery, including Mark Tobey, Paul Klee, and Isamu Noguchi.

TAPE 16: Kuh continues talking about artists she exhibited at the Katharine Kuh Gallery, including David Smith, Ansel Adams, Edward Weston, Eliot Porter, Rufino Tamayo, and Jack Tworkov.
extentSound recording: 16 cassettes : analog. Transcript: 313 p. (on partial microfilm reel) reel 4937
formatsInterview Transcript Sound Recording
accessTranscript: Patrons must use microfilm copy. Authorization to publish more than 500 words requires written permission. Contact AAA Reference staff for information.
record sourcehttp://www.siris.si.edu/
acquisition informationThis interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation. Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
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titleMax Ernst postcards and ephemera, 1921-1983.
repositoryThe Getty Research Institute
collection titleCollection includes 2 postcards from Ernst to Paul Eluard; exhibition announcements from Au Sans Pareil (1921), Galerie Vignon (1930), Galerie Denise René (1945), Knoedler (1948) and many others; and clippings.
extentca. 35 items.
formatsPostcards Ephemera
accessOpen for use by qualified researchers.
record linkhttp://hdl.handle.net/10020/cat367398
record sourcehttp://library.getty.edu/vwebv/searchBasic
acquisition informationSource Collection: Jean Brown Collection
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titleLetter : Sedona, to Alfred Barr, 1947 Nov. 19.
repositoryThe Getty Research Institute
collection titleLargely personal in nature, the letter concerns Ernst’s desire to become a U. S. citizen. Fearing deportation, Ernst believes that he will be deemed ineligible due to his associations with the Dada movement and implores Barr to intervene on his behalf.

Biographical or Historical Notes:
German-French Surrealist painter.
extent1 item (2 p.).
formatsCorrespondence
accessOpen for use by qualified researchers.
record linkhttp://hdl.handle.net/10020/cat133175
record sourcehttp://library.getty.edu/vwebv/searchBasic
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titleMax Ernst letter : to Marcel Zerbile, ca. 1935.
repositoryThe Getty Research Institute
collection titleRequesting that Zerbile send proofs for a cover of "L'age d'or."

Bio/History:
German painter.
extent1 item
formatsCorrespondence
accessOpen for use by qualified researchers.
record linkhttp://hdl.handle.net/10020/cat76533
record sourcehttp://library.getty.edu/vwebv/searchBasic
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titleLetters received by Frederick Kiesler, 1937-1961.
repositoryThe Getty Research Institute
collection titleThe collection is principally comprised of letters from surrealists in Paris in the years immediately following the Second World War, and includes extended reportage and commentary relating to Breton’s circle and to their publications and exhibitions. Kiesler visited and exhibited in Paris in 1947 and 1948 and collaborated at this time with Breton on his "Ode a Charler Fourier."

Series I. In French and German from Paris. The Czech painters discuss the planning and publication of the surrealist magazine NEON (first issued in Jan 1948) and report extensively on the intellectual atmosphere of Paris and the activities of the surrealist group, especially those associated with NEON, who include Toyen (Marie Cerminova), Jacques Herold, Jindrich Styrsky and Andre Breton. Heisler comments, often at length, on avant-garde publications, movements, events and personalities, including: the New York journal Instead; Henri Parisof and his "Quatre Vents"; Zervos and the Cahiers d’Art; Jean-Paul Sartre and the vogue for existentialism; and Breton’s friends and enemies, including Alberto Giacometti and Charles Duit. There are shorter references to an exhibition of Antoni Tapies, Marcel Duchamp, Jean Arp, Karel Teige, and Roberto Matta.

Series II. Letters from Marcel Jean, 1974-1949, 1958 (15 items). Thirteen letters (in French and English) from Paris and Budapest, dated 1947 Nov-1949 June, reporting at length on surrealist activities in Paris; describing the intellectual atmosphere in Czechsolovakia and Hungary during a visit in 1948; and describing arrangements for an exhibition of his work at the Artist’s Gallery in New York. Those who figure most prominently are Matta, Breton, Tanguy, and the poet Malcolm de Chazal. And there is some discussion of Heisler and his NEON magazine. Perhaps most significant is an account of the "Matta affair," with reflections on the suicide in 1949 of Arshile Gorky and on Breton’s attempts to moralize the event for his circle. With two brief letters of 1958, about visits to New York.

Series III. Letters from Jean Arp (signed Hans), and Sophie Taeuber-Arp, 1938-1962 (12 items). Series includes a letter from Sophie Taeuber-Arp, 1938 Jan 23, describing her magazine Plastique, its purpose and its contributors, and with verse of Jean Arp and herself; eight letters from Jean Arp to Kiesler and his wife, from Paris and Basel, 1948 Jan-Oct, with detailed plans and arrangements for publications and exhibitions of Arp’s and Kiesler’s works and writings in New York, Paris and Switzerland, and with news; and three long personal letters from Marguerite Hagenbach Arp, 1957-1962, from Paris and Basel, primarily about Jean (Hans) Arp. These letters concern his health, his exhibitions, his poetry and the excitement and problems involved with his growing fame.

Series IV. Miscellaneous letters received, 1932-1961 (56 items). Primarily single letters or short files of personal, social and incidental business notes from artists, curators and writers in New York and Paris. Arranged alphabetically. Letters of some note include four from Katherine S. Dreier (1937-1949) reporting Duchamp’s and Kandinsky’s comments on Kiesler’s article on "the Large Glass," three from Fredi B.[?] in Paris (1943-1949) with references to "NEON," "Instead," and Kiesler’s circle; a 1939 letter from R. Buckminster Fuller, with a long critique of the "Laboratory School of Design" and the philosophy of the Bauhaus; a letter of Amedee Ozenfant, 1939, with reflections on his education, the conditions of painting in America and the New Bauhaus of Moholy-Nagy; a friendly postcard (1932 Dec 21), and a letter from Piet Mondrian (1937) on selections of his work for a N.Y. show; and 13 letters from Hans Richter (1941-1949) among which he describes his difficulties establishing himself in New York in 1941.

The series also includes seven letters, 1947 Oct.-1948 March from Christian and Yvonne Zervos relating to surrealist exhibitions at Galerie Maeght and to the affairs of Cahiers d’Art. With an apparently unrelated list of works loaned by Julien Levy in 1932 to the Harvard Society of Contemporary Art. Series also includes letters from Alexandre Alexandre, Pierre Boulez, Serge Chermayeff, Jasper Johns, William Maywald, Sibyl Noholy-Magy, Henri Parisot, Philip Pavia, Gabrielle Buffet-Picabia, Xanti Schawinsky, Anthony Smith and Dorthea Tanning (with a note from Max Ernst).

Additional Formats:
Microfilm of collection available in the repository. Microfilm also available for use at Archives of American Art offices and through interlibrary loan from the AAA.

Other Archival Location: Frederick Kielser papers, 1923-1993; Located at; Archives of American Art, Smithsonian Institution.

Biographical or Historical Notes:
Austrian-born American painter, architect, critic and teacher of architecture.
extent89 items. use copy. 1 microfilm reel : positive, b/w ; 35 mm. printing master. 1 microfilm reel : negative, b/w ; 35 mm. archival master. 1 microfilm reel : positive, b/w ; 35 mm.
formatsCorrespondence Microfilm
accessContact repository for restrictions and policies.
record linkhttp://hdl.handle.net/10020/cat104863
record sourcehttp://library.getty.edu/vwebv/searchBasic
acquisition information
updated11/12/2014 11:30:01
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titleBernard and Rebecca Reis papers, ca. 1924-1985.
repositoryThe Getty Research Institute
collection titleThe Bernard and Rebecca Reis Papers contain correspondence, business and financial records, printed ephemera, and photographs. The two primary foci, 20th century artists and the art collection formed by Bernard and Rebecca Reis, are brought out through a substantial body of letters from major and minor figures of the American art world, written and visual documentation of the Reis collection of art and books, and ephemeral material relating to artists and patrons.

Biographical or Historical Notes:
Bernard Reis (1895-1978) was an accountant and art collector who served as a financial advisor and patron to many artists; his wife, Rebecca Reis (b. 1900), was an art collector and hostess.
extent3.4 linear ft. (8 boxes)
formatsCorrespondence Printed Materials Ephemera Photographs Financial Records
accessOpen for use by qualified researchers.
record linkhttp://archives2.getty.edu:8082/xtf/view?docId=ead/900184/900184.xml;query=;brand=default
record sourcehttp://hdl.handle.net/10020/cat242908
finding aidIn repository and on repository's Web site
acquisition informationAcquired 1990.
updated11/12/2014 11:30:01
....................................................................


titleGloria de Herrera papers, 1936-1996 (bulk 1947-1985).
repositoryThe Getty Research Institute
collection titleThe papers consist of ca. 750 items documenting De Herrera’s milieu and activities.

Series I. Correspondence: ca. 180 letters and related items, of De Herrera or of James Byrnes acting on her behalf. Correspondents include Heinz Berggruen, James and Barbara Byrnes, Dominique Darbois, Lydia Delectorskaya, Marcel Duchamp, Max Ernst and Dorothea Tanning, Françoise Gilot, Adolfo Kaminsky, Edouard Loeb, Henri and Amélie Matisse, Pierre Matisse, Franz Meyer, Wolfgang Paalen and Man Ray. The series also contains letters by William Nelson Copley, as well as some from Russian correspondents whom De Herrera met in the Soviet Union in 1957.

Series II. Documents: ca. 170 items, comprising De Herrera’s writings, records of her Matisse work and her work on Darbois’s Enfants du monde series, newspaper clippings, arrest records, passport fragments detailing her travels, medical reports and records from the end of her life. Of interest are drafts of ten short essays by William Nelson Copley regarding life in France in 1951, including a visit to Picasso’s studio in Vallauris.

Series III. Artworks: 22 artworks, 68 photographs of artworks and 7 exhibition announcements. Includes drawings by Victor Brauner, Alexander Calder, Alberto Giacometti, Roberto Matta and Bernard Pfriem, a watercolor by Françoise Gilot, and a very small oil painting by William Nelson Copley. Of particular interest are the Échantillons Matisse, a set of 72 fragments of unfaded gouached paper left over from her Matisse work, along with 10 full-sized gouached sheets. Photographs of artworks and exhibition announcements document works by Brauner, Calder, Copley, Joseph Cornell, Max Ernst, Gilot, Ynez Johnston, Henri Matisse, Matta, Claude Monet, Piet Mondrian, Man Ray, Yves Tanguy and Dorothea Tanning.

Series IV. Photographs: 244 photographs, 37 photocopies and 1 related item documenting De Herrera’s friendships, activities and interests, predominantly in Los Angeles and France. Most notably represented are Man Ray and his wife Juliet, William Nelson Copley, Max Ernst and Dorothea Tanning; also included are Victor Brauner, Alexander Calder, Marcel Duchamp, Paul Eluard, Alberto Giacometti, Françoise Gilot, Wolfgang Paalen, Valentine and Roland Penrose, Pablo Picasso, Henri-Pierre Roché, Yves Tanguy, and Marcel Zerbib. Of special interest is De Herrera’s scrapbook, documenting her life from ca. 1950 to 1953, with views of Max Ernst’s homes in Sedona and St. Martin d’Ardèche, and snapshots from the visit to Picasso in Vallauris. Also of interest are photographs taken by De Herrera at a 1947 Just Jazz concert in Pasadena, featuring Louis Armstrong, Duke Ellington, Ella Fitzgerald and other jazz musicians. Further included are a picture of De Herrera working on a Matisse collage, and images from De Herrera’s 1957 trip to the Soviet Union. Photographs documenting the Algerian revolution were likely taken by Dominique Darbois.

Series V. Oversize materials: 7 items, including an oil painting by Copley entitled Gloria, a photographic reproduction of a Matisse drawing, and printed documents including a transcript of George Dondero’s 1949 Senate address, Modern art shackled to Communism.

Series VI. Audiovisual materials: 3 items, a taped 1983 interview of De Herrera conducted by James B. Byrnes and a videotaped 1996 interview of Byrnes conducted by Dickran Tashjian. 1 computer disc contains the transcript of Byrnes interview with De Herrera.
extentca. 3 linear ft. (11 boxes) + ADDS (2 boxes)
formatsCorrespondence Photographs Sound Recording Clippings Ephemera
accessOpen for use by qualified researchers.
record linkhttp://archives2.getty.edu:8082/xtf/view?docId=ead/980024/980024.xml;query=;brand=default
record sourcehttp://hdl.handle.net/10020/cat501310
finding aidAvailable online and unpublished finding aid available in the repository: folder level control.
acquisition informationJames and Barbara Byrnes.
updated11/12/2014 11:30:01
....................................................................


titleMax Ernst Artist file.
repositoryThe Brooklyn Museum Libraries and Archives
collection titleThe file may include any of the following materials: announcements, clippings, photographs, press releases, brochures, reviews, invitations, small exhibition catalogs, resumés, other ephemeral material.

Cite as:
Brooklyn Museum Library Collections. Schweitzer Gallery files.

Location: Brooklyn Artist Files
Call Number: AF Schweitzer E

Cite as
Brooklyn Museum of Art Library Collections. Schweitzer Gallery files.
extent3 folders.
formatsEphemera
accessContact repository for restrictions and policies.
record sourcehttp://arcade.nyarc.org/record=b772618~S2
acquisition informationGift; M.R. Schweitzer; 1990.
updated11/12/2014 11:30:01
....................................................................


titleRobert Valançay correspondence, 1920-1985 (bulk 1930-1949).
repositoryThe Getty Research Institute
collection titleA collection of ca. 1600 letters received by Surrealist writer and translator Robert Valançay. Among the notable correspondents are Surrealist and Dada artists and poets: Jean Arp, Hans Bellmer, Andre Breton, Paul Eluard, Max Ernst, Raoul Hausmann, Richard Huelsenbeck, Georges Hugnet, Pierre de Massot, Ozenfant, Meret Oppenheim, Henri Parisot, Yves Poupard-Lieussou, Man Ray, Hans Richter, Yves Tanguy, and Jacques Villon. The letters’ subjects range over themes such as: routine details of publication, artistic life in occupied Paris, the internal rivalries within the Surrealist movement, and the history of Surrealism. Letters from the poets Charles Théophile Féret, Charles Boulen, Fernand Fleuret and Napoléon Roinard are concerned with the promotion of Norman literature. More than 60 letters from Valançay’s teacher Maurice Boucher provide information about Valançay’s development as a translator. 12 letters from Valançay to various correspondents are part of the archive. Also included are: printed ephemera, ca. 50 photographs by members of the Surrealist group and various writings by Valançay. The writings document his work as a translator, including examples, and his work on Apollinaire.

Biographical or Historical Notes:
Surrealist writer and translator Robert Valançay was born 1903, died 1984.
extent3 linear ft. (5 boxes)
formatsCorrespondence Manuscript Transcript Photographs
accessOpen for use by qualified researchers.
record linkhttp://archives2.getty.edu:8082/xtf/view?docId=ead/950057/950057.xml;query=;brand=default
record sourcehttp://hdl.handle.net/10020/cat352498
finding aidUnpublished finding aid available in the repository; folder-level control.
updated11/12/2014 11:30:01
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titleArtist file: Ernst, Max, 1891-1976; miscellaneous uncataloged material.
repositoryThe Museum of Modern Art
collection titleThe folder may include announcements, clippings, press releases, brochures, reviews, invitations, small exhibition catalogs, and other ephemeral material.

Location
MoMA Queens Artist Files

Call Number
Ernst, Max
extentBoxes
formatsEphemera
accessContact repository for restrictions and policies.
record sourcehttp://arcade.nyarc.org/record=b740898~S8
updated11/12/2014 11:30:01
....................................................................


titleJan and Edith Tschichold papers, 1899-1979 (bulk 1920-1938).
repositoryThe Getty Research Institute
collection titleCorrespondence between Jan Tschichold and his wife, Edith, and a number of artists, many of them figures associated with the Bauhaus, together with materials reflecting Jan Tschichold’s career as a typographer and graphic designer. The collection includes letters, postcards, decorated envelopes, published books, sample graphic and printed works, flyers, menus, and invitations. Also included are newspaper and magazine clippings documenting the artists and their work.

A significant amount of material relates to El Lissitzky, including letters and postcards from El Lissitzky and his wife, Sophie Lissitzky-Küppers; photographs and prints; typographic designs for books and advertisements; printed books and articles by El Lissitzky as well as articles by Tschichold and others about El Lissitzky; and material relating to exhibitions of El Lissitzky’s work. Large portions of the collection are also devoted to Laszlo Moholy-Nagy and Kurt Schwitters, including correspondence, works by these artists, publications by and about them, clippings, and other printed ephemera.

Other individuals for whom the collection has related material include: Herbert Bayer; Walter and Maria Cyliax (née Krauss) and Gebr. Fretz, A.G.; Willibald Hahn and the Sächsische Lehrerverein; John Heartfield; Franz Hottenroth; Imre Reiner; W adys aw Strzemi ski; Friedrich Vordemberge-Gildewart; and Piet Zwart.

Biographical or Historical Notes:
German typographer and graphic designer.
extentca. 4 linear ft. (9 boxes)
formatsCorrespondence Postcards Ephemera Clippings Printed Materials
accessOpen for use by qualified researchers.
record linkhttp://archives2.getty.edu:8082/xtf/view?docId=ead/930030/930030.xml;query=;brand=default
record sourcehttp://hdl.handle.net/10020/cat297522
finding aidUnpublished finding aid available in the repository and on the repository's Web site; folder-level control.
updated11/12/2014 11:30:01
....................................................................


titleHans J. Kleinschmidt Research Files, 1902-1975.
repositoryThe Getty Research Institute
collection titleThis collection consists of unpublished letters and published and unpublished essays and phonetic poems by Raoul Hausmann and Richard Huelsenbeck. The typescripts contain corrections which frequently differ from the final published works. Together, the manuscripts and correspondence present the historical framework of the Dada movement. Also included are photocopies and photostats of letters received by Herwarth Walden, founder and editor of the magazine Der Sturm. Kleinschmidt collected these letters from the Sturm Archive in order to write a history of the magazine and its founder. The letters from artists and writers of the period give insight into the art developments of the early 20th century. Artists and writers included are Guillaume Apollinaire, Sonia Delaunay, Otto Freundlich, Albert Gleizes, Wassily Kandinsky, Paul Klee, Fernand Leger, Adolf Loos, August Macke, Thomas Mann, Franz Marc, Walter Mehring and Max Pechstein.

Photographs of members of the Dada movement, such as Jean Arp, Hugo Ball, Max Ernst, Richard Huelsenbeck, Hans Richter and Herwarth Walden are also part of the collection.

Biographical or Historical Notes:
Kleinschmidt was a German-born psychiatrist with a deep interest in German expressionism. He was concerned with trends in art and literature from the turn of the century to the end of the Weimar Republic. He edited a book on Richard Huelsenbeck’s writings, Memoirs of a Dada drummer, which appeared in 1969.
extentca. 0.5 linear ft. (1 box)
formatsCorrespondence Printed Materials
accessOpen for use by qualified researchers.
record linkhttp://archives2.getty.edu:8082/xtf/view?docId=ead/950005/950005.xml;query=;brand=default
record sourcehttp://hdl.handle.net/10020/cat351072
finding aidUnpublished finding aid available in the repository; folder-level control.
acquisition informationThe collection was acquired February 1995.
updated11/12/2014 11:30:01
....................................................................


titleMan Ray letters and album, 1922-1976.
repositoryThe Getty Research Institute
collection titleA significant ensemble of letters and writings by or addressed to Man Ray, collected and safeguarded by his sister Elsie Ray Siegler and her daughter Naomi Savage. The letters from Man Ray are addressed to Siegler and Savage and provide a rich chronicle of his personal and professional life from 1922-1976. Letters to Man Ray are from celebrated Dada and Surrealist artists and authors, and document the dynamic artistic and literary scenes of the immediate pre- and post-World War II period in the United States. An album of predominately handwritten manuscripts supplements the letters by offering Man Ray's thoughts on a range of artistic issues. Series I consists of ca. 400 letters and postcards to Siegler and Savage. The letters to his sister date from shortly after he arrived in Paris in 1921 (letters begin in 1922) to her death in 1957. Siegler acted as his New York agent, and thus, handled many of his business affairs and set prices for some of his works. By the 1950s, she was his exclusive U.S. representative. Letters cover these and other matters including: tracking, storing and shipping of his works in New York; exhibitions throughout his career; paucity of sales in the early Paris and Hollywood years; requests for camera equipment and clothing; the war and property he abandoned in France; travels; creation, sale and inventory of chess sets; his preference for painting over photography (see especially letter dated 4/15/36); the "Sade" painting; and his parent's finances and other family matters. The letters to his niece begin in 1945 and terminate in 1976, the year Man Ray died. Savage took up her mother's mantle after her death. Therefore, these letters record a similar vigilance in caring for his works stored in New York and encompass topics such as: his encouragement of and advice on her photographic work; problems with gallery representation in Europe during his later Paris period; book publications, especially Self Portrait; success and recognition obtained in the 1960s; and his failing health from the mid-1960s onward. This series also includes a small quantity of letters received by Siegler and Savage from galleries and museums concerning loans and shipping, and correspondence with Adrienne Fidelin, Man Ray's lover in France prior to his departure for the U.S. in 1940. Series II contains ca. 375 letters and postcards of a personal and professional nature from artists, authors, museum personnel, collectors, publishers and gallery owners, spanning Man Ray's years in Hollywood from 1940-50. The letters from artists and authors document friendships, collaborations, works in progress, artists emigrating from France, and exhibitions. Notable correspondents are: Salvador Dali, Marcel Duchamp, Max Ernst and Dorothea Tanning, Henry Miller, Gilbert Neiman, Hans Richter, James Thrall Soby and Yves Tanguy. The Hollywood album is a collection of handwritten and typescript musings on art and aesthetics assembled by Man Ray from 1940-1948. Highlights consist of writings titled "Cinema," "Painting and photography," "Art and science," "Objects," "Sade," "Nature and the man," "Calm diatribe," "Revolving doors," "A note on the Shakespearean equations," and "Photography in reverse." Other materials include an ink drawing of a camera, two pencil drawings and a portrait photograph of Man Ray affixed to the album cover signed by him and Savage (1948).

extent1.5 linear ft.
formatsCorrespondence Manuscript Ephemera
accessOpen for use by qualified researchers
record linkhttp://archives2.getty.edu:8082/xtf/view?docId=ead/930027/930027.xml;query=;brand=default
record sourcehttp://hdl.handle.net/10020/cat367488
finding aidUnpublished finding aid available in the repository and on the repository's webiste
updated11/12/2014 11:30:01
....................................................................


titleLucy R. Lippard papers, 1940s-2006, bulk, 1968-1990.
repositoryArchives of American Art
collection titleThe papers consist of correspondence, printed material, writings, notes, research materials, sound recordings, and photographs. They document Lippard's career as a critic, writer, lecturer, teacher, and curator of exhibitions in the field of contemporary art, as well as her work as a social and political activist. Scattered throughout are a small amount of papers concerning her personal life.

Found within the collection are alphabetical files that are subject/correspondence files for artists/other individuals, galleries/institutions/groups, and subjects. Correspondents include Christo, Mary Beth Edelson, Ray Johnson, Sol LeWitt, Richard Long, and Claes Oldenberg. Also found are files that remain unorganized, except for a rough chronological or alphabetical order. Included in both writings and exhibitions are manuscripts, notes, related correspondence, and research material. Teaching records consist of notes, reference and research materials, and administrative correspondence.

Among the printed material is a wide variety of items by Lucy R. Lippard and other authors, much of which overlaps similar material in the alphabetical files (Series 1). Subjects include Ad Reinhardt, Eva Hesse, Philip Evergood, and Tony Smith. Sound recordings consist mainly of interviews with artists conducted by Lippard, including Donald Judd, Sol LeWitt, and Tony Smith, interviews with Lippard, and panel discussions on art and political topics. Photographs mostly are of works of art, with some of exhibition installations, people, and miscellaneous subjects.

Bio / His Notes:
Writer, art critic, New York, N.Y.; b. 1937.
extent47.4 linear ft.
formatsCorrespondence Printed Materials Writings Notes Research Files
accessThe collection is open for research. Use requires an appointment.
record linkhttp://www.aaa.si.edu/collections/lucy-r-lippard-papers-7895/more
record sourcehttp://www.siris.si.edu/
finding aidElectronic finding aid available at http://www.aaa.si.edu/collections/findingaids/lipplucy.htm
acquisition informationDonated 1972-2006 by Lippard.
updated11/12/2014 11:30:01
....................................................................


titleArts Club records, 1892-1995.
repositoryNewberry Library
collection titlePlanning files, publicity, business records, informational records, and a small amount of original artwork from the Arts Club of Chicago. Since 1916, the Club has been serving its mission by mounting exhibitions and hosting music performances, dance performances, lectures, receptions, film screenings, and plays, and its records reflect these activities. Minutes from the various Club committees show the early stages of planning each seasons' events, and files within each of the artistic series detail the day-to-day logistics of creating each event. The Membership files reveal the wide variety of Chicago-area (sometimes nationwide) artists, art patrons, and enthusiasts who were active in the Club. Other series, such as Historical, Cards and Catalogue Books, and Scrapbooks, provide information to the long public history of the Club's activities through newsclippings, photographs, and printed matter.

Narrative descriptions of the subject matter, types of material, and arrangement of each series are available through the Organization section of the finding aid.

History of The Arts Club
The Arts Club of Chicago was incorporated in 1916. Its objectives, according to the mission drafted at its inaugural meeting, are "to encourage higher standards of art, maintain galleries for that purpose; and to promote the mutual acquaintance of art lovers and art workers." Since its inception the Arts Club has been a pioneering force in modern and avant-garde art exhibitions, performances, lectures, and events in Chicago. For example, the Arts Club was the first venue in Chicago to exhibit Picasso drawings, in 1923. Other modern art exhibitions have followed, featuring artists who were to become major names and influences in the 20th century: Georges Bracque, Alexander Calder, Marcel Duchamp, Max Ernst, Walt Kuhn, Fernand Leger, Jacques Villon, Berthe Morisot, Constantin Brancusi, Isamu Noguchi, Louise Nevelson, etc. In addition, the Arts Club hosted musical performances or lectures by modern composers such as Sergei Prokofiev, Igor Stravinsky, Darius Mihaud, and John Cage. The Arts Club has been at the forefront of dance as well, in holding both performances and lecture/demonstrations by Martha Graham, Alicia Markova, Anton Dolin, and Merce Cunningham. Its Lecture Series has hosted writers, poets, historians, and artists since the beginning, and has included Thornton Wilder, W.H. Auden, Le Courbusier, Gertrude Stein, David Mamet, and David Sedaris.

The Club has always had a two-tiered membership system; professional artists pay lower dues than patrons, ensuring that artists remain a vital component of Arts Club membership. Since its inception, The Arts Club has had seven locations around Chicago. Currently it is in the Streeterville neighborhood of Chicago at 222 W. Superior Street, and retains the steel interior staircase designed by architect Mies van der Rohe for its previous space at 109 E. Ontario Street. Its exhibits are open to the public, and the Club still maintains a rigorous exhibit and event schedule.
extent92.5 cubic ft
formatsExhibition Catalogs Correspondence Administrative Records Scrapbooks Artwork
accessThe Arts Club Records are open for research in the Special Collections Reading Room; 5 folders at a time maximum, and items in each folder will be counted before and after delivery to the patron (Priority I).
record sourcehttp://www.newberry.org/collections/FindingAids/artsclub/ArtsClub.html
finding aidIn repository and on repository's Web site
acquisition informationGift, Arts Club of Chicago, 1972, with subsequent donations.
updated11/12/2014 11:30:01
....................................................................


titleArtist file. Ernst, Max, 1891-1976.
repositoryThe Brooklyn Museum Libraries and Archives
collection titleThe file may include any of the following materials: announcements, clippings, photographs, press releases, brochures, reviews, invitations, small exhibition catalogs, resumés, other ephemeral material.

Cite as:
Brooklyn Museum Library Collections. Schweitzer Gallery files.

Location: Brooklyn Artist Files
Call Number: AF Marlor E
extent1 folder
formatsEphemera
accessContact repository for restrictions and policies.
record sourcehttp://arcade.nyarc.org/record=b776084~S2
acquisition informationGift; Dr. Clark S. Marlor; 1992-ongoing.
updated11/12/2014 11:30:03
....................................................................


titleArtist file. Ernst, Max, 1891-1976.
repositoryThe Brooklyn Museum Libraries and Archives
collection titleThe file may include any of the following materials: announcements, clippings, photographs, press releases, brochures, reviews, invitations, small exhibition catalogs, resumés, other ephemeral material.

Cite as:
Brooklyn Museum Library Collections. Schweitzer Gallery files.

Location: Brooklyn Artist Files
Call Number: AF BMA E
extent1 Folder
formatsEphemera
accessContact repository for restrictions and policies.
record sourcehttp://arcade.nyarc.org/record=b781736~S2
acquisition informationFiles compiled by BMA library staff from 1917 to the present.
updated11/12/2014 11:30:03
....................................................................


titleMax Ernst : artist file : study photographs and reproductions of works of art with accompanying documentation 1920-2000 [graphic].
repositoryThe Frick Collection and Frick Art Reference Library
collection titleAssembled artist file includes b&w photographs, reproductions from books and auction catalogs, and in some cases, negatives. Items may include full views, details, before and after restoration views, etc. Documentation may include artist name, title of work, medium, dimensions, provenance, exhibition history, related works, previous attributions, and bibliography.

Note
The Library continues to add to the file.

Location
Frick Photoarchive Stacks

Call Number
600 Ernst
extent1 box and 2 folders [as of 1999] : ill. (some col.) ; 34 cm.
formatsEphemera
accessThese records are open for research under the conditions of The Frick Collection/Frick Art Reference Library access policy. Frick: Photocopies of items and accompanying documentation are available upon request, subject to fees and other current guidelines for reproduction. Photographic prints from the Library's negatives may be ordered subject to copyright requirements.
record sourcehttp://arcade.nyarc.org/record=b213833~S7
finding aidItem level control. Local database may provide access to selected items in the file.
acquisition informationCompiled by staff of the Frick Art Reference Library.
updated11/12/2014 11:30:03
....................................................................


titleArtist file: Ernst, Max, 1891-1976
repositoryNational Portrait Gallery Library
collection titleFolder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
extent1+ folders (check with repository)
formatsEphemera
accessFolder(s) do not circulate. Folder(s) available for use only at the holding library
record sourcehttp://www.sil.si.edu/DigitalCollections/Art-Design/artandartistfiles/
updated11/12/2014 11:30:05
....................................................................


titleArtist file: Ernst, Max, 1891-1976
repositoryHirshhorn Museum and Sculpture Garden Library
collection titleFolder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
extent1+ folders (check with repository)
formatsEphemera
accessFolder(s) do not circulate. Folder(s) available for use only at the holding library
record sourcehttp://www.sil.si.edu/DigitalCollections/Art-Design/artandartistfiles/
updated11/12/2014 11:30:05
....................................................................