Archives Directory for the History of Collecting in America
Archives related to: Arensberg, Walter, 1878-1954
| title | Walter and Louise Arensberg papers, 1912-1982, bulk 1917-1982 | repository | Archives of American Art |
| description | Correspondence, 1917-1982, with Marcel Duchamp, 1917-1968 (some is in French), Beatrice Wood, 1952-1982 (some illustrated), Charles Sheeler, 1953-1955, and others. A few of the letters include photographs, poetry and printed material. Also included in the papers are a list of art in the Arensberg collection, 1951, compiled for a tax return; poetry and essays by the psychiatrist E. E. Southard; and notes and scripts for skits and pantomimes by Guillaume Apollinaire. |
| extent | 558 items (on 2 microfilm reels). |
| formats | Correspondence Inventories |
| access | Patrons must use microfilm copy. |
| record link | n/a |
| record source | https://www.aaa.si.edu/collections/walter-and-louise-arensberg-papers-5962 |
| acquisition information | Lent for microfilming 1985 by the Francis Bacon Library and Foundation, Claremont, Calif. Most, or perhaps all, of the microfilmed material was subsequently physically transferred from the Francis Bacon Foundation to the Philadelphia Museum of Art in 1996 and formally given to the Museum in 2001 by the Henry E. Huntington Library and Art Gallery, which had received it as part of a larger gift from the Francis Bacon Foundation in 1995. |
| updated | 06/08/2023 16:42:23 |
| .................................................................... | |
| title | Arensberg archives, 1905-1957. | repository | Philadelphia Museum of Art |
| description | Art collectors Walter and Louise Arensberg amassed a seminal collection of Modern and pre-Columbian art between 1913 and 1950, when they presented it to the Philadelphia Museum of Art. The Arensberg Archives contain correspondence, ephemera, clippings, writings, personal and art collection records, and photographs documenting the couple's art collecting activities as well as their friendship with many important artists, writers and scholars, including Marcel Duchamp, Charles Sheeler, Walter Pach, Beatrice Wood, and Elmer Ernest Southard. The collection also includes some material related to Walter Arensberg's study of Francis Bacon and the founding of his research institute, the Francis Bacon Foundation. |
| extent | 33 cubic feet |
| formats | Microfilm Correspondence Photographs Clippings |
| access | The collection is open for research. The "Fragile restricted papers" may only be consulted with permission of the Archivist. Preservation photocopies for reference use have been substituted in the main files. |
| record link | http://www.philamuseum.org/resources/archives/findingaids/ead.asp?c=WLA |
| record source | http://www.philamuseum.org/archives/ |
| finding aid | Online Finding Aid |
| acquisition information | The collection was acquired in three major parts: Francis Bacon Foundation (1950) simultaneously with the Arensberg Art Collection (1953-1954), Francis Bacon Foundation (1972) and Francis Bacon Foundation (1995). |
| updated | 11/12/2014 11:29:49 |
| .................................................................... | |
| title | Oral history interview with Beatrice Wood, 1976 Aug. 26. | repository | Archives of American Art |
| description | An interview of Beatrice Wood conducted, 1976 Aug. 26, by Paul Karlstrom for the Archives of American Art. Wood speaks of her early friendship with Marcel Duchamp, H. P. Roche, the Arensbergs, and others in New York; of her publication of the "Blind Man" in 1917; her subsequent move to Hollywood; and her career as a ceramicist in Southern California. Bio / His Notes: Ceramist; Southern Ojai, Calif.; b. 1893; d. 1998. |
| extent | Sound recordings: 1 sound tape reels ; 5 in. Transcript: 53 p. |
| formats | Sound Recording Transcript Online Transcript |
| access | Contact repository for restrictions and policies. |
| record link | https://www.aaa.si.edu/download_pdf_transcript/ajax?record_id=edanmdm-AAADCD_oh_213209 |
| record source | https://www.aaa.si.edu/collections/interviews/oral-history-interview-beatrice-wood-12423 |
| acquisition information | This interview is part of the Archives' 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 others. |
| updated | 06/08/2023 16:42:19 |
| .................................................................... | |
| title | Oral history interview with Gerald Nordland, 2004 May 25-26. | repository | Archives of American Art |
| description | An interview of Gerald Nordland conducted 2004 May 25-26 by Susan C. Larsen for the Archives of American Art, in Chicago, Ill. Nordland speaks about his birthplace and childhood home; parent’s occupations; interests as a child; beginning interest in art history; first visits to the Los Angeles County Museum; relationship with Lincoln Kirstein; move to Yale; his book on Gaston Lachaise; attending the University of Southern California; meeting Man Ray; German sculpture; being drafted; first meeting with Richard Diebenkorn and working with Diebenkorn on a book; getting out of the Army; first paintings purchased; writing for "Frontier" magazine; the invitation to work at the Chouinard Art Institute; Institute teachers such as Richard Ruben, Robert Irwin, Don Graham; the founding of the California Institute of Arts (CalArts); classes and professors at CalArts; move to San Francisco in 1966; shows curated by Nordland on Gaston Lachaise, Fred Sommer, Peter Voulkos, Richard Diebenkorn, Burri, Caro, "African Art in Motion," Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and California. Nordland also recalls Gifford Phillips, Mitchell Wilder, Josef Albers, Grace Moreley, Emerson Woelffer, Robert Motherwell, Arshile Gorky, Peter Voulkos, E. E. Cummings, Paul and Josephine Kantor, Adolph Gottlieb, Ynez Johnston, Richard Nickel, Clifford Still, A. E. Gallatin, Richard Diebenkorn and others. Nordland also comments on galleries including the Royer Gallery, Paul Kantor Gallery, Ferus Gallery, Landau Gallery, and others. Bio / His Notes: Art historian, critic, educator, curator, author; currently resides in Chicago, Ill.; b.1927. |
| extent | Sound recording, master: 4 sound discs (5 hrs.) : digital 2 5/8 in. Sound recording, duplicate: 3 cassettes Transcript: 117 p. |
| formats | Sound Recording Transcript Online Transcript |
| access | Contact repository for restrictions and policies. |
| record link | https://www.aaa.si.edu/download_pdf_transcript/ajax?record_id=edanmdm-AAADCD_oh_249051 |
| record source | https://www.aaa.si.edu/collections/interviews/oral-history-interview-gerald-nordland-11679 |
| acquisition information | This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. |
| updated | 06/09/2023 15:39:52 |
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| title | Letters of Walter Arensberg, 1927-1954 | repository | The Huntington Library |
| description | The collection consists of letters written to and from Walter Conrad Arensberg and his wife, Mary Louise Stevens Arensberg (who is frequently addressed as "Lou") Correspondents include: Witter Bynner, Hildegard Flanner, Georgia Boit Gierasch, Pitts Sanborn, and Robert Alden Sanborn Biog. note Walter Conrad Arensberg (1878-1954) was an American author and Francis Bacon scholar Location Manuscripts Call Number mssHM 39477-39557 |
| extent | 80 pieces |
| formats | Correspondence |
| access | Contact repository for restrictions and policies. |
| bibliography | Guide to American historical manuscripts in the Huntington Library (San Marino, Calif. : H. E. Huntington Library and Art Gallery, 1979) |
| record source | http://catalog.huntington.org/ |
| finding aid | Cards are filed in both the alphabetical and chronological sections of the Manuscripts catalog. |
| acquisition information | Gift of Francis Bacon Foundation, 1956. |
| updated | 11/12/2014 11:30:10 |
| .................................................................... | |
| title | Walter Conrad Arensberg Collection | repository | The Huntington Library |
| description | Part of the Francis Bacon/Arensberg Collection donated by the Francis Bacon Foundation formerly housed in the Francis Bacon Library at Claremont Colleges. The collection includes about 100 titles from Arensberg's personal library, covering a variety of subjects, including works on crytography, the Rosicrucians, mysticism, religion, philosophy, and Dante Alighieri Note Individual titles (Ref. and Rare) are cataloged separately and may be searched in the catalog. The Collection may also be accessed as a whole by searching under SUBJECT - Walter Conrad Arensberg Collection |
| extent | See Repository |
| formats | Printed Materials |
| access | Contact repository for restrictions and policies. |
| record source | http://catalog.huntington.org/ |
| updated | 11/12/2014 11:30:10 |
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| title | M. Knoedler & Co. records, approximately 1848-1971 | repository | The Getty Research Institute |
| description | The records of M. Knoedler & Co. document the business of the prominent American art dealer from the mid-19th century to 1971, when the Knoedler Gallery was acquired by Armand Hammer. The archive traces the development of the once provincial American art market into one of the world's leading art centers and the formation of the private art collections that would ultimately establish many of the nation's leading art museums, such as the Frick Collection and the National Gallery of Art. It brings to the foreground the business side of dealing as artworks shuttled back and forth among Knoedler, fellow dealers, and collectors, documenting developments in art connoisseurship, shifting tastes, the changing role of art in American society, and the essential role of private collectors in the formation of public American art collections. The records provide insight into broader economic, social and cultural histories and the nation's evolving sense of place in the world. The Knoedler Gallery became one of the main suppliers of old master and post-Impressionist paintings in the United States. Financial records of the firm provide crucial provenance information on the large number of artworks in American museums that were sold by the gallery. The archive includes stock books, sales books and commission books; correspondence with collectors, artists, art dealers and other associates; photographs of the artworks sold by the gallery; records from the firm's offices in London, Paris and other cities; exhibition files; framing and restoration records, and records of the firm's Print Department. Selected portions of the archive have been digitized and made available online. Connect to selected digitized portions of the archive. Arranged in 14 series: Series I. Stock books; Series II. Sales books; Series III. Commission books; Series IV. Inventory cards; Series V. Receiving and shipping records; Series VI. Correspondence; Series VII. Photographs; Series VIII. Exhibition files; Series IX. American Department records; Series X. Framing and restoration records; Series XI. Print Department records; Series XII. Other financial records; Series XIII. Library cards, scrapbooks, and research materials; Series XIV. Knoedler family papers Biographical/Historical Note: M. Knoedler & Co. was a successor to the New York branch of Goupil & Co., an extremely dynamic print-publishing house founded in Paris in 1827. Goupil's branches in London, Berlin, Brussels, and The Hague, as well as New York, expanded the firm's market in the sale of reproductive prints. The firm's office in New York was established in 1848. In 1857, Michael Knoedler, an employee of Goupil and a manager for the firm, bought out the interests in the firm's New York branch, conducted the business under his own name, and diversified its activities to include the sale of paintings. Roland Knoedler, Michael's son, took over the firm in 1878 and with Charles Carstairs opened galleries in Paris and London. In 1928, the management of the firm passed to Roland's nephew Charles Henschel, Carman Messmore, Charles Carstairs and Carstairs' son Carroll. In 1956 Henschel died, and E. Coe Kerr and Roland Balaÿ, Michael Knoedler's grandson, took over. In 1971 the firm was sold to businessman and collector Armand Hammer. The gallery closed in November 2011. |
| extent | 3042.6 linear feet (5550 boxes, 17 flat file folders). |
| formats | Auction Catalogs Business Records Correspondence Financial Records Ephemera |
| access | Open for use by qualified researchers, with the following exceptions. Boxes 77, 262-264, 1308-1512, 1969-1974, 3592-3723 are restricted due to fragility. Box 4468 is restricted until 2075. |
| record link | http://hdl.handle.net/10020/cifa2012m54 |
| record source | https://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21129976460001551 |
| contact information | Contact gallery's archivist |
| finding aid | At the Getty Research Institute and over their website. |
| acquisition information | Acquired in 2012. |
| updated | 07/28/2023 16:33:45 |
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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 |
| .................................................................... | |
| title | George Kubler Records of the Arensberg Collection Catalog [1954] | repository | Philadelphia Museum of Art |
| description | In preparing a catalog of the pre-Columbian sculpture in the Louise and Walter Arensberg art collection, the Philadelphia Museum of Art called upon the expertise of Yale art historian George Kubler to classify and annotate each object. This collection consists of the annotated photographs of each of the 197 objects illustrated in the catalog, which was published in 1954. Based on certain markings, these were the photographs used by the printer. A second "Miscellaneous" series of photographs, some with annotations, primarily document other objects in the Arensberg collection that did not appear in the catalog. Some are unidentified |
| extent | 1 linear foot |
| formats | Photographs |
| access | The collection is open for research |
| record link | http://www.philamuseum.org/pma_archives/ead.php?c=KUB&p=ai |
| record source | http://www.philamuseum.org/archives/findingaids.html |
| finding aid | Available online |
| acquisition information | This body of material originally was included in the Arensberg Archives, which was formally given to the Museum in 2001. During the processing of those records in 2002, the Kubler catalog material was separated |
| updated | 11/12/2014 11:30:15 |
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| title | Alexina and Marcel Duchamp Papers, ca. 1886-1990, n.d. | repository | Philadelphia Museum of Art |
| description | The Alexina and Marcel Duchamp Papers are comprised of some personal papers of Marcel Duchamp as well as published material documenting the artist and his work that were compiled and organized by his widow, Alexina Duchamp. The collection is comprised of approximately 800 personal photographs; a small portion of Duchamp's correspondence; his lecture notes and transcripts; vital records; transcripts of several interviews with Duchamp; and published material concerning the artist. |
| extent | 30 cubic feet |
| formats | Photographs Correspondence Legal Papers Writings Interviews |
| access | The collection is open for research. The "Fragile restricted papers" may only be consulted with permission of the Archivist. Preservation photocopies and copy prints for reference use have been substituted in the main files. David Sylvester's typescript for the article "Bicycle Parts" can only be consulted with permission of the author's estate. |
| record link | http://www.philamuseum.org/pma_archives/ead.php?c=MDP&p=ai |
| record source | http://www.philamuseum.org/archives/findingaids.html |
| finding aid | Available online |
| acquisition information | Gift of Jacqueline, Paul and Peter Matisse in memory of their mother Alexina Duchamp, 1998 |
| updated | 11/12/2014 11:30:15 |
| .................................................................... | |
| title | Fiske Kimball Records, 1908-1955, n.d. (bulk 1925-1954) | repository | Philadelphia Museum of Art |
| description | From 1925 to 1955, Fiske Kimball (1888-1955) served as director of the Philadelphia Museum of Art, steering the institution from what he described as "a minor provincial position to become one of the leading museums of America." The Fiske Kimball Records document Kimball's efforts in achieving this transformation in collaboration with the Museum's officers, staff, and the Fairmount Park Commission, and with the assistance of private benefactors and City funding. Comprised primarily of correspondence, these records also include ephemera, clippings, notes, legal documents, reports, minutes, press releases, publications, floor plans, installation drawings, and photographs, mostly of objects, rooms and architectural elements offered for purchase. Kimball's correspondents include preeminent leaders of art museums, universities, auction houses and professional affiliations, as well as government representatives, private collectors, scholars, and artists. Kimball's often successful courting of potential donors of objects and contributors of funds is well represented, as well as his efforts to secure labor funded by the Works Progress Administration. In addition to the refinement and expansion of the Museum's holdings, the development of various departments and offices is also documented, and to a lesser extent other related facilities. |
| extent | 94.5 linear feet |
| formats | Correspondence Clippings Ephemera Legal Papers Photographs |
| access | The collection is open for research. Certain fragile material may only be consulted with permission of the Archivist. |
| record link | http://www.philamuseum.org/pma_archives/ead.php?c=FKR&p=hn |
| record source | http://www.philamuseum.org/archives/findingaids.html |
| finding aid | Available online |
| acquisition information | Bequeathed by Fiske Kimball, 1955. |
| updated | 11/12/2014 11:30:15 |
| .................................................................... | |
| title | Fiske Kimball Papers, 1874-1957, n.d. | repository | Philadelphia Museum of Art |
| description | The Fiske Kimball Papers document the myriad interests and tireless professional pursuits of architect, scholar and museum director Fiske Kimball (1888-1955). The papers include professional and personal correspondence; architectural drawings; manuscript, typescript, and printed versions of articles, books, and reviews; photographs, including some personal snapshots and portraits of Kimball and his family; and research and reference material, particularly notes and clippings. |
| extent | 101 linear feet |
| formats | Correspondence Writings Architectural Drawings Photographs |
| access | The collection is open for research |
| record link | http://www.philamuseum.org/pma_archives/ead.php?c=FKP&p=cs |
| record source | http://www.philamuseum.org/archives/findingaids.html |
| finding aid | Available o nline |
| acquisition information | Bequeathed by Fiske Kimball, 1955; later accruals in 1977 and 1984. |
| updated | 11/12/2014 11:30:15 |
| .................................................................... | |
| title | Marcel Duchamp Research Collection, 1933-2003, n.d. | repository | Philadelphia Museum of Art |
| description | The Marcel Duchamp Research Collection is comprised of ephemera, photographs, clippings, writings and correspondence related to the artist Marcel Duchamp, his life, work, and legacy which was collected and compiled by the Department of Modern and Contemporary Art, Philadelphia Museum of Art. |
| extent | 9 cubic feet |
| formats | Ephemera Photographs Clippings Writings Correspondence |
| access | The collection is open for research. The "Unpublished Writings" subseries and the "Restricted Fragile Papers" series may only be consulted with permission of the Archivist. In the case of fragile documents, preservation photocopies and copy prints have been substituted in the main files for reference use. |
| record link | http://www.philamuseum.org/pma_archives/ead.php?c=MDR&p=ifr |
| record source | http://www.philamuseum.org/archives/findingaids.html |
| finding aid | Available online |
| acquisition information | Much of the material, such as published and unpublished articles, were generated or acquired as part of the ongoing activities of the Department of Modern and Contemporary. Other material, such as the Frederick Kiesler series and the John Schiff subseries, were acquired by the Museum through purchase or gift. A few original Duchamp letters were sent to the Museum by donors aware of the Museum's interest in building a comprehensive Duchamp archives. Accrual in 2003. |
| updated | 11/12/2014 11:30:15 |
| .................................................................... | |
| title | Marcel Duchamp Exhibition Records, 1967-1993, n.d. | repository | Philadelphia Museum of Art |
| description | The Marcel Duchamp Exhibition Records contain material created and collected by the Department of Modern and Contemporary Art (formerly the Twentieth Century Art Department), Philadelphia Museum of Art during the course of organizing and/or participating in exhibitions about the artist Marcel Duchamp. |
| extent | 18 cubic feet |
| formats | Correspondence Exhibition Files Clippings Photographs Ephemera |
| access | The collection is open for research. Insurance information, condition reports, and loan records, along with associated correspondence, are restricted; excerpts may be made available at the discretion of the Archivist. Because of their condition, documents in the "Restricted Fragile Papers" may only be consulted with permission of the Archivist; preservation photocopies and copy prints for reference use have been substituted in the main files. |
| record link | http://www.philamuseum.org/pma_archives/ead.php?c=MDE&p=ai |
| record source | http://www.philamuseum.org/archives/findingaids.html |
| finding aid | Available online |
| acquisition information | Transferred from the Department of Modern and Contemporary Art to the Philadelphia Museum of Art, Archives, July 2001. Accrual in 2003. |
| updated | 11/12/2014 11:30:15 |
| .................................................................... | |
| title | Anne d'Harnoncourt Records, 1973-2008, n.d. | repository | Philadelphia Museum of Art |
| description | The Anne d'Harnoncourt Records correspond to the quarter of a century that Anne d'Harnoncourt (1943-2008) served as the George D. Widener Director of the Philadelphia Museum of Art (PMA), assuming the additional responsibilities of Chief Executive Officer in 1997. During her tenure, d'Harnoncourt led the Museum through milestones that transformed its collections, exhibitions, curatorial and educational missions, and physical environment. The records she compiled during that time provide the framework for those transformations and underscore the attention to detail, encyclopedic intellect and interests, community commitment and contagious enthusiasm for the arts that characterized d'Harnoncourt's styles of leadership and life. D'Harnoncourt maintained most of her files in large groups of alphabetically arranged names and subjects. Her exhibition records, however, were kept separate, implying an affinity for a subject she learned well during her earlier curatorial years. Other topics for which she held on to her records for extended time periods were the artist Marcel Duchamp, the Museum's Board of Trustees, and a few major projects concerning PMA and other institutions. Documentation consists primarily of correspondence, notes, press clippings, ephemera, reference materials, reports and draft writings. Photographs, phone logs, appointment calendars, floor plans and other drawings are also included. |
| extent | 206 linear feet |
| formats | Correspondence Clippings Writings Reports Legal Papers |
| access | The collection is open for research as follows. Records created before 1997 are open, with exceptions noted at the subseries or folder level. Folders containing some items requiring further restriction are noted as "permanently restricted in part" or "restricted in part." Access to the latter is at the discretion of the archivist. All press clippings, photographs, and transcripts of remarks and lectures are open for research. Records created after 1996 will be subject to a 15-year closure calculated on the last year of designated date spans. Accordingly, 1997-1999 records will become available Jan. 1, 2015; 2000-2003 on Jan. 1, 2019; and 2004-2008 on Jan. 1, 2024. |
| record link | http://www.philamuseum.org/pma_archives/ead.php?c=ADH&p=ifr |
| record source | http://www.philamuseum.org/archives/findingaids.html |
| finding aid | Available online |
| updated | 11/12/2014 11:30:15 |
| .................................................................... | |
| title | Evan H. Turner Records, 1964-1978 | repository | Philadelphia Museum of Art |
| description | Evan H. Turner (born 1927), an art historian and scholar, was the Director of the Philadelphia Museum of Art (PMA) from 1964 to 1978, leading the Museum through a period of significant growth and transformation. He created new art departments for American and 20th Century Art, and the innovative Department of Urban Outreach (DUO) to promote art across the City of Philadelphia. These progressive activities were matched by a groundbreaking exhibition in 1973, the Marcel Duchamp retrospective, which drew upon significant scholarship and assembled virtually the entire oeuvre of one of the most important artists represented in the Museum. In 1975, Turner led the Museum in a major construction project to install a new climate control system in the building, and in 1976, he helped plan the United States’ Bicentennial and the PMA’s Centennial celebrations. Turner was an active member of a number of professional organizations, as well as a professor at the University of Pennsylvania. The Evan H. Turner records document Turner’s tenure as Director of the Philadelphia Museum of Art (PMA) from 1934 to 1978 (bulk: 1964-1978). A mix of correspondence, inter-office memoranda, reports, minutes and other records provide ample evidence of Turner’s leading position in the Museum’s growth and transformation during that time, as well as exhibition and event planning, and the daily operations of the Museum. The collection also documents Turner’s work with professional organizations, his efforts to help the City plan the 1976 Bicentennial celebrations, and his professorship at the University of Pennsylvania. |
| extent | 146 linear feet |
| formats | Correspondence Memoranda Reports |
| access | This collection is open for research use. |
| record link | http://hdl.library.upenn.edu/1017/d/pacscl/PMA_PMA004 |
| record source | http://dla.library.upenn.edu/dla/pacscl/index.html |
| finding aid | Available as a PACSCL finding aid on the Penn Libraries Web site. |
| updated | 11/12/2014 11:30:15 |
| .................................................................... | |
| title | M. Knoedler & Co. records, approximately 1848-1971 | repository | The Getty Research Institute |
| description | The records of M. Knoedler & Co. document the business of the prominent American art dealer from the mid-19th century to 1971, when the Knoedler Gallery was acquired by Armand Hammer. The archive traces the development of the once provincial American art market into one of the world's leading art centers and the formation of the private art collections that would ultimately establish many of the nation's leading art museums, such as the Frick Collection and the National Gallery of Art. It brings to the foreground the business side of dealing as artworks shuttled back and forth among Knoedler, fellow dealers, and collectors, documenting developments in art connoisseurship, shifting tastes, the changing role of art in American society, and the essential role of private collectors in the formation of public American art collections. The records provide insight into broader economic, social and cultural histories and the nation's evolving sense of place in the world. The Knoedler Gallery became one of the main suppliers of old master and post-Impressionist paintings in the United States. Financial records of the firm provide crucial provenance information on the large number of artworks in American museums that were sold by the gallery. The archive includes stock books, sales books and commission books; correspondence with collectors, artists, art dealers and other associates; photographs of the artworks sold by the gallery; records from the firm's offices in London, Paris and other cities; exhibition files; framing and restoration records, and records of the firm's Print Department. Selected portions of the archive have been digitized and made available online. Connect to selected digitized portions of the archive. Arranged in 14 series: Series I. Stock books; Series II. Sales books; Series III. Commission books; Series IV. Inventory cards; Series V. Receiving and shipping records; Series VI. Correspondence; Series VII. Photographs; Series VIII. Exhibition files; Series IX. American Department records; Series X. Framing and restoration records; Series XI. Print Department records; Series XII. Other financial records; Series XIII. Library cards, scrapbooks, and research materials; Series XIV. Knoedler family papers Biographical/Historical Note: M. Knoedler & Co. was a successor to the New York branch of Goupil & Co., an extremely dynamic print-publishing house founded in Paris in 1827. Goupil's branches in London, Berlin, Brussels, and The Hague, as well as New York, expanded the firm's market in the sale of reproductive prints. The firm's office in New York was established in 1848. In 1857, Michael Knoedler, an employee of Goupil and a manager for the firm, bought out the interests in the firm's New York branch, conducted the business under his own name, and diversified its activities to include the sale of paintings. Roland Knoedler, Michael's son, took over the firm in 1878 and with Charles Carstairs opened galleries in Paris and London. In 1928, the management of the firm passed to Roland's nephew Charles Henschel, Carman Messmore, Charles Carstairs and Carstairs' son Carroll. In 1956 Henschel died, and E. Coe Kerr and Roland Balaÿ, Michael Knoedler's grandson, took over. In 1971 the firm was sold to businessman and collector Armand Hammer. The gallery closed in November 2011. |
| extent | 3042.6 linear feet (5550 boxes, 17 flat file folders). |
| formats | Auction Catalogs Business Records Correspondence Financial Records Ephemera |
| access | Open for use by qualified researchers, with the following exceptions. Boxes 77, 262-264, 1308-1512, 1969-1974, 3592-3723 are restricted due to fragility. Box 4468 is restricted until 2075. |
| record link | http://hdl.handle.net/10020/cifa2012m54 |
| record source | https://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21129976460001551 |
| contact information | Contact gallery's archivist |
| finding aid | At the Getty Research Institute and over their website. |
| acquisition information | Acquired in 2012. |
| updated | 07/28/2023 16:33:47 |
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