Archives Directory for the History of Collecting in America
Archives related to: Witkin Gallery
| title | Witkin Gallery Records, 1954-1984. | repository | Center for Creative Photography |
| description | Correspondence with photographers including Berenice Abbott, Ansel Adams, Margaret Bourke-White, Brassaï, Imogen Cunningham, Robert Doisneau, Robert Heinecken, Lotte Jacobi, André Kertész, Jacques Henri Lartigue, Naomi Savage, Ralph Steiner, and Jerry Uelsmann; publications, posters, and other records of the gallery; together with biographical materials, portraits, and artifacts, relating to Lee Witkin (1935-1984). Bio/History: Photography gallery established in New York City, 1969. |
| extent | CCP Volkerding Study Center |
| formats | Business Papers Personal Papers Correspondence Printed Materials Photographs |
| access | Gift of Witkin estate, 1985. |
| record source | http://universityofarizona.worldcat.org.ezproxy1.library.arizona.edu/oclc/28419814 |
| acquisition information | Gift of Witkin estate, 1985. |
| updated | 03/16/2023 10:30:07 |
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| title | Subject file : WITKIN GALLERY: miscellaneous uncataloged material. | repository | The Museum of Modern Art |
| description | The folder may include announcements, clippings, press releases, brochures, reviews, invitations, and other ephemeral material. |
| extent | 1 folder |
| formats | Ephemera |
| access | Contact the repository for use restrictions. |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991010300149707141 |
| updated | 11/29/2022 15:49:51 |
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| title | Edmund Teske papers, 1933-1996. | repository | The Getty Research Institute |
| description | The papers provide both an overview of, and unique insight into Teske's creative processes, influences and relationships. Correspondents represented in Series I include Frank Lloyd Wright, Paul Strand, Edgar Tafel and Aline Barnsdall. Of particular note are fourteen letters from Minor White, in which he provides an in-depth assessment of Teske's aesthetic development. Teske's correspondence also chronicles his interactions with museums and galleries such as the Museum of Modern Art, the Art Institute of Chicago, the George Eastman House and the Witkin Gallery. Series I also includes personal documents, sketches and ephemera. Professional files in Series II relate to Teske's exhibitions from 1960 to 1995; his "photo-grabs" in the 1970s and 1980s; and his teaching and speaking engagements from 1960 to 1991. Materials include exhibition ephemera, correspondence, loan agreements, newspaper clippings, course catalogs, enrollment lists and workshop ephemera. Series III contains writings by Teske, recordings and transcripts of interviews, and writings and artworks by others. Among the published and unpublished writings and artworks by other artists are materials by Edward Weston, Bob Alexander, mail art from Wallace Berman, and invitations to George Herms's Tap City Circus events. Biographical Note: Edmund Teske was an American photographer, poet and teacher who came to prominence with the success of his work photographing the Taliesin Fellowship of Frank Lloyd Wright in the 1930s and 1940s. Born in Chicago in 1911, Teske studied art, acting and set design, and was primarily a self-taught photographer. He taught briefly at the New Bauhaus School of Design and was also employed for a time with Paul Strand's and Leo Hurwitz's anti-fascist company, Frontier Films. Teske moved to Los Angeles in 1943, where he initially worked as a still photographer for Paramount Pictures, and later began teaching at Chouinard Art Institute of Los Angeles (now the California Institute for the Arts) and other institutions. His work was exhibited widely at institutions including the Museum of Modern Art in New York, the Art Institute of Chicago, the Pasadena Art Museum, the San Francisco Museum of Modern Art, and the Ceeje Gallery in Los Angeles. In the 1970s and 1980s he was renown for his "Photo-Grabs," or informal auctions of his work in his studio presented to associates, friends, and former students. Among his many friends and associates in the art world were Aline Barnsdall, Minor White, Aaron Siskind and George Herms. |
| extent | 21.6 linear feet (36 boxes). |
| formats | Ephemera Correspondence Writings Audio/Visual Materials |
| access | Open for use by qualified researchers, except for any unreformatted audio visual materials. |
| record link | http://hdl.handle.net/10020/cifa2005M10 |
| record source | https://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21133609730001551 |
| updated | 07/28/2023 16:33:44 |
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| title | BMA Institutional file. Wikin Gallery | repository | The Brooklyn Museum Libraries and Archives |
| description | The file may include any of the following materials: announcements, clippings, photographs, press releases, brochures, reviews, invitations, small exhibition catalogs and checklists under 50 pages, other ephemeral material./ Files compiled by BMA library staff from circa 1917 to the present. Preferred citation: Brooklyn Museum of Art Library Collections. BMA institutional files. |
| extent | 1 folder |
| formats | Ephemera |
| access | Contact the Brooklyn Museum Libraries and Archives for access restrictions. |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991007179859707141 |
| updated | 11/29/2022 15:49:51 |
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| title | Harry M. Callahan papers, 1943-1975. | repository | Archives of American Art |
| description | The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.5 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career. 3.6 linear feet of correspondence comprise the bulk of the collection. Arrangement and Series Description: The collection is arranged into ten series according to material type: Series 1: Biographical Material, 1907-1981, undated (box 1; 4 folders) Series 2: Correspondence, 1909-1991, undated (boxes 1-4; 3.6 linear feet) Series 3: Personal Business Records, 1944-1976 (box 4; 15 folders) Series 4: Notes, 1959-1968 (box 4; 10 folders) Series 5: Teaching Files, 1964-1971 (box 5; 4 folders) Series 6: Writings, circa 1910-1976 (box 5; 21 folders) Series 7: Interview Transcripts, 1951, undated (box 5; 2 folders) Series 8: Printed Material, 1903-1991 (boxes 5-7; 1.2 linear feet) Series 9: Photographs, 1916-1976 (box 7; 12 folders) Series 10: Oversized Material, 1947-1948, 1967, undated BIOGRAPHICAL INFORMATION Born in Portland, Oregon on April 12, 1883, Cunningham's family moved to Seattle in 1889. Inspired by Gertrude Kasebier's work, she purchased her first camera in 1901. After studying chemistry and botany at the University of Washington, she worked for the Edward S. Curtis Studio, Seattle, from 1907 to 1909. Receiving a scholarship, Cunningham studied for a year at the Technische Hochschule, Dresden. Upon her return to Seattle in 1910, she opened a studio and had the first major exhibition of her work at the Brooklyn Institute of Arts and Sciences in 1912. In 1915, Cunningham married printmaker Roi Partridge and gave birth to her first son, Gryffyd. Two years later, her family moved to California, where she gave birth to twin sons, Padraic and Rondal. In 1920, the family moved to Oakland, where her husband taught at Mills College. During the 1920s, she exhibited her art work and began photographing plant forms. Along with Ansel Adams, John Paul Edwards, Sonya Noskowiak, Henry Swift, Willard Van Dyke, and Edward Weston, Cunningham formed the f/64 Group, a society of purist photographers in 1932. During the same year she began working for Vanity Fair and other magazines and began a career as a portrait photographer, including Martha Graham, Cary Grant, Morris Graves, Alfred Stieglitz, and Spencer Tracy as her subjects. She divorced her husband in 1934. In 1947, Cunningham established a studio in her San Francisco home, and continued to exhibit extensively until her death on June 24, 1976. |
| extent | The collection is open for research. Patrons must use microfilm copy. |
| formats | Business Papers Personal Papers Correspondence Writings Photographs |
| access | The collection is open for research. Patrons must use microfilm copy. |
| record link | http://www.aaa.si.edu/collections/imogen-cunningham-papers-9453/more |
| record source | http://www.aaa.si.edu/collections/imogen-cunningham-papers-9453 |
| acquisition information | The collection was donated to the Archives of American Art by Imogen Cunningham in 1974 and 1976, and by her son, Gryffyd Partridge, in 1991. |
| updated | 11/12/2014 11:30:17 |
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