Archives Directory for the History of Collecting in America
Archives related to: Guggenheim, Peggy, 1898-1979
| title | Aline and Eero Saarinen papers, 1906-1977 | repository | Archives of American Art |
| description | Personal papers of Aline and Eero Saarinen, and Aline Saarinen papers relating to her unpublished biography of architect Stanford White, her published book The Proud Possessors, and her work as an NBC Television correspondent. Papers relating to Stanford White and to Proud Possessors contain primary source material gathered by Saarinen during her research on White and collectors Edward Wales Root and John Quinn. REELS 2074-76, and 2064 (photos): Biographical material; Eero Saarinen's sketches, notes and letters; correspondence between Aline and Eero; Aline Saarinen's correspondence, including letters from John McAndrews, Clifford Odets, Robert Osborne, Frank Lloyd Wright, Joseph Louchheim, and her children; awards; files on her involvement with the Fine Arts Commission, Yale University, and the Design Advisory Committee of the Federal Aviation Agency; speeches, articles on art and architecture; television scripts; clippings and printed material; notes; and photographs and slides of the Saarinens (2 copyprints are also microfilmed on reel 1817 fr. 1054-1058), Charles Alan, and other family members, friends, works of art, and architecture. REELS 2069-2072 and 2084 (photos): Research material, 1903-1960, relating to Saarinen's book The Proud Possessors (1958). Included are notes, manuscripts, correspondence, photographs, and printed material on art collectors Dr. Albert C. Barnes, Dr. Claribel and Etta Cone, Katherine Sophie Dreier, Charles Lang Freer, Isabella Stewart Gardner, Thomas Gilcrease, Peggy Guggenheim, Mr. and Mrs. Henry O. Havemeyer, Joseph Hirshhorn, R. Sturgis Ingersoll, John G. Johnson, J. Pierpont Morgan, Mrs. Potter Palmer, John Quinn, the Rockefeller family, Edward Wales Root, Gertrude, Leo, Michael and Sarah Stein, and Electra Havemeyer Webb. Among the correspondents is Bernard Berenson. The material on Edward Root contains letters to Saarinen from Grace Cogswell Root; correspondence between Root and his father Elihu, 1903-1936; one or more letters to Root, 1909-1936, from Charles Culver, Robert De Forest, Frederick James Gregg, Ernest Lawson, George Luks, Duncan Phillips, and Grace Root; copies of 2 letters to Edward Christiana, 1949; a catalog for a Root memorial exhibition, 1957; Saarinen's notes; and a photograph of Root, one of his home, and photographs of works of art in his collection. Copyrpints also available. Material on John Quinn includes correspondence between Saarinen and Jeanne Robert Foster; letters to Foster from Quinn and his sister, Julia Anderson; a copy of a letter to Foster from William B. Yeats and a drawing of Quinn possibly by Yeats; material relating to Roger Casement; and photographs of Quinn and Foster, and Quinn with Constantin Brancusi, Picasso and Mme. Picasso, Henri Pierre Roche, and Erik Satie. REELS 2072-2073 and 2064 (photos): Research material for Saarinen's unpublished biography of Stanford White. Included are: notes, drafts; correspondence with her publisher, scholars, friends and relatives of White, architects, and others; printed material, 1896-1968; McKim, Mead and White memoranda and correspondence, 1887-1906, much of it with Whitelaw Reid; a letter from Charles Lang Freer, 1900; contracts; architectural descriptions and copies of blueprints; a record book; and miscellaneous letters and documents. Letters from White's father, Richard Grant White, to his daughter-in-law Bessie, Bessie White's reminiscenses of Stanford, and her scrapbook on the Washington Centennial and White's Washington Arch are also included. Photographs include over 300, 1878-ca. 1970, of White, his wife; his father and mother; Evelyn Nesbit; his clients, Anne, Louise and Robert Cheney; and 280 photographs of buildings and residences designed by White or McKim, Mead and White, many photographed by Wayne Andrews. UNMICROFILMED: Primarily papers kept by Aline Saarinen while a NBC television correspondent reporting on mainly art related topics. Included are correspondence, printed material, notes, scripts, clippings, kinescope motion picture film, including "Eyes Opening", transferred to VHS, and photographs. Also included are printed material on Eero Saarinen, and photographs of his work. ADDITION: Notebooks containing Aline Saarinen's notes on architecture, art collectors and Stanford White; printed material; Saarinen's journal, 1928-1932; a guest book; photographs; scripts for Venus in Venice (1964), The American Image and other writings. Three phonograph recordings (33 1/3) of a discussion on opera between Eero Saarinen, Professor H. Ingham Ashworth and Professor Leslie Martin on the Australian Braodcasting Commission, January 29, 1957 are not available for research use. |
| extent | 13.5 linear ft. (partially microfilmed on 10 reels) |
| formats | Correspondence Notes Sketches Photographs Clippings |
| access | Collection is being processed and digitized, and is closed to researchers. Access is to microfilmed material only. NBC TV material: Authorization to quote from scripts or film prepared for television must be cleared for rights with: NBC Studios, 30 Rockefeller Plaza, New York, N.Y. |
| record link | https://sirismm.si.edu/EADpdfs/AAA.saaralin.pdf |
| record source | https://www.aaa.si.edu/collections/aline-and-eero-saarinen-papers-5589 |
| acquisition information | Donated in 1973 by the Aline Saarinen estate via Charles Alan, art dealer and brother of Saarinen. The NBC TV material was donated 1974 by NBC Studios. Additional material donated 1991 by the Parrish Art Museum, who had received it from Aline Saarinen. |
| updated | 06/08/2023 16:42:08 |
| .................................................................... | |
| title | WNYC Views on Art radio program interviews, 1967-1973. | repository | Archives of American Art |
| description | 72 interviews of artists, art historians, administrators, curators, and others, conducted by Bowman for WNYC's "Views on Art" series. Interviewees include Mario Amaya, Benny Andrews, Dore Ashton, Tracy Atkinson, Will Barnet, Gene Baro, John Baur (re: Lipman sculpture collection), Bernard Bothmer, Adelyn Breeskin (re: Mary Cassatt prints), James Brooks, J. Carter Brown, Mikhail Bruk, Nicolas Calas, Duncan Cameron, Chryssa, Rene D'Harnoncourt (re: Picasso sculpture exhibition), Rosa Esman, David Evans, Dan Flavin, Alfred Frankenstein, Tom Freudenheim (re: American art behind the iron curtain), Edward Fry, Henry Geldzahler, Inna Goncharova (re: U.S.S.R. exhibition), Maurice Grosser, Peggy Guggenheim, George Hamilton, James Harithas (re: Prison Art), Thomas B. Hess (re: William De Kooning exhibition), John Hightower, Edward Hopper (4 min. on two paintings), Walter Hopps, Lita Hornick (re: Kulcher Press), Thomas Hoving, Robert Indiana, Wolf Kahn, Mrs. J.M. Kaplan, Alan Kaprow, Donald Karshan, Alex Katz, William King, Stan Kovan (co-interviewer of Fry), Max Kozloff, Edward Laning, Abram Lerner, Nicholas Marsicano, Garnett McCoy, John McKendry, Kynaston McShine (re: Gene Davis, Robert Irwin, and Richard Smith exhibition), Thomas Messer, Samuel Miller, Roy Moyer, John Bernard Myers, Konrad Oberhuber, Rafael Ortiz (re: El Museo del Barrio), Harry Parker, Beverley Pepper, Mrs. Marimar Quintana, S.Dillon Ripley, Robert Rosenblum, Sir John Rothenstein, William Rubin (re: Dada & Surrealism exhibition), Peter Selz, Roy Slade, Sylvia Sleigh, Leon Polk Smith, Hedda Sterne (re: exhibit at Betty Parsons Gallery), Betty Blayton Taylor, Dr. Joshua Taylor, Lisa Taylor, Ultra Violet, June C. Wayne (re: Tamarind Lithography Workshop), Monroe Wheeler, Carl Weinhardt, Ulfert Wilke, James Wines, William Woolfenden, and Mahonri Sharp Young (re: Morman paintings of C.C. Christiansen). Bio / His Notes: Art historian; curator; New York, N.Y. Bowman received her M.A. at NYU, and later was guest curator at the Grey Art Gallery. |
| extent | Sound recording, master: 74 sound tape reels ; 7 in. Sound recording, duplicate: 74 sound discs |
| formats | Sound Recording |
| access | Untranscribed (except for Baur); use requires an appointment. |
| record link | http://www.aaa.si.edu/collections/wnyc-views-art-radio-program-interviews-9579 |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated 1989 by the Grey Art Gallery, New York University, at the request of Bowman, who had earlier deposited them at the Gallery. |
| updated | 11/12/2014 11:29:51 |
| .................................................................... | |
| title | William and Ethel Baziotes papers, circa 1900-1992, bulk 1935-1980 | repository | Archives of American Art |
| description | Correspondence, financial material, writings and notes, sketchbook, photographs, slides, printed material, and an interview relating to William Baziotes' career as an abstract expressionist painter. The papers of Ethel Baziotes consist of correspondence and writings mostly dated after William's death regarding exhibitions of her husband's work. REEL N70-21: Published and unpublished articles on Baziotes, including a literary portrait by Donald Paneth, undated; notes and writings by Baziotes, undated; teaching files from Hunter College, 1957, 1960-1962; letters to Baziotes (1940-1969) from: Lawrence Alloway, Alfred Barr, Andre Breton, Clement Greenberg, Peggy Guggenheim, David Hare, Jean Helion, Matta, Maria and Robert Motherwell, Charles Peterson, an invitation from Jackson Pollock, WPA Easel Artists Division, 1940-1941; 3 letters (one illustrated) from William to Ethel, 1940-1941; photocopies of a questionnaire prepared for the Museum of Modern Art, regarding Baziotes' painting "Dwarf", ca. 1951; letters to Ethel Baziotes, 1961-1969; photographs of Baziotes, Ethel, family and friends, including photographs of Baziotes by Francis P. Lee, Hans Namuth, and Peter A. Juley & Son; exhibition announcements and catalogs; and a scrapbook of clippings, 1944-1969. REEL N70-24: Letters from Baziotes to his brother Christos, 1936-1951. Baziotes encourages Christos and another brother Harry in their art, and discusses employment on the WPA Easel Project, the New York art scene, teaching at the Brooklyn Institute of Arts and Sciences and at New York University, his relationships with Paul Bodin, Clement Greenberg, Samuel Kootz, Francis Lee, Joan Miro, and Robert Motherwell. REEL 347: Business correspondence, mainly with the Samuel M. Kootz Gallery, letters to Ethel Baziotes, 1962-1972, including letters of condolence; photographs of Ethel Baziotes, Rudi Blesh, Nathan Halper, Harriet Janis, Ethel Schwabacher, Maurice Sievan, Clyfford Still, and others; newspaper and magazine articles; and exhibition announcements and catalogs. REELS 4984-4985: Letters to William, ca. 1940-1990, including congratulatory notes upon being awarded a prize at the Art Institute of Chicago, 1947; letters to Ethel from John Canaday, John (Giovanni) Castano, Gerome Kamrowski, Gordon Onslow-Ford, Gertrud Schumm, Ethel Schwabacher, Byron Vazakas, and museums and galleries regarding exhibiting William's works of art including the Solomon R. Guggenheim Museum's retrospective, 1964, and Newport Harbor Museum's retrospective exhibition, 1987; business letters and a record of sales from the Samuel M. Kootz Gallery, 1952-1957; an untranscribed interview of Harry Baziotes conducted by F. Ricci for "Art in Review," 1982 (1 cassette); writings by William, ca. 1950, Ethel, 1972, 1992, n.d., and others, including Schwabacher, 1971, 1972; a sketchbook, 1960-1961; a portrait of William by Peter A. Juley & Son, ca. 1953; photographs ca. 1900-1978, of family and friends, including Meir Bernstein (Meir Bernshtin) and his studio, Paul Bodin, Michel Licht, Maria Motherwell, Pablo and Maia Picasso, Orlando Zulueta, and others; photos of works of art by William including the Crystal Restaurant murals in Reading, Pa., 1941-1942; exhibition announcements and catalogs 1944-1992; clippings, 1944-1991; and auction catalogs, 1965, 1981-1992. UNMICROFILMED: An untranscribed interview of Harry Baziotes conducted by F. Ricci for "Art in Review," 1982 (1 cassette); miscellaneous printed material not related to Baziotes; and slides of the Baziotes residences. Bio / His Notes: Abstract expressionist painter; New York City. Born in Pittsburgh, Pa., Baziotes moved to New York City in 1933, where he studied painting at the National Academy of Design, 1933-1936. He participated on the Works Progress Administration's Federal Art Project as a teacher, 1936-1938, and painted for the Easel Painting Project, 1938-1940. In 1941 he married Ethel Copstein. He had his first one-man show at Peggy Guggenheim's Art of This Century Gallery in 1944. Baziotes taught at Subjects of the Artist, 1948; the Brooklyn Museum Art School; New York University; 1949-1952; the People's Art Center at the Museum of Modern Art, 1950-1952; and Hunter College, 1952-1962. Died June 1963, at age 52. |
| extent | 7.3 linear ft. (on 5 microfilm reels) reels N70-21, N70-24, 347, and 4984-4985 |
| formats | Sound Recording Interviews Correspondence Photographs Sketchbooks |
| access | Patrons must use microfilm copy. |
| record link | https://sirismm.si.edu/EADpdfs/AAA.baziwill.pdf |
| record source | https://www.aaa.si.edu/collections/william-and-ethel-baziotes-papers-8872 |
| finding aid | Finding aid available at AAA offices. |
| acquisition information | Donated by Ethel Baziotes, widow of William Baziotes, 1969-1993. |
| updated | 06/08/2023 16:42:23 |
| .................................................................... | |
| title | Hermine Benhaim Freed papers relating to Howard Putzel, 1945-1966 | repository | Archives of American Art |
| description | Benhaim's paper on Howard Putzel, "Howard Putzel and the Beginnings of Abstract Expressionism," written for a Modern Art Seminar at New York University. Also included are letters to Benhaim, 1966, about Putzel from Joseph Allen, Peggy Guggenheim, Kenneth MacPherson and Gordon Onslow-Ford; and a typescript and a clipping of reviews of the exhibition "A Problem for Critics," 1945, organized by Putzel. Bio / His Notes: Art historian; New York, N.Y. |
| extent | 7 items (on partial microfilm reel) reel 3482 |
| formats | Correspondence Transcript Clippings |
| access | Patrons must use microfilm copy. |
| record source | https://www.aaa.si.edu/collections/hermine-benhaim-freed-papers-relating-to-howard-putzel-5775 |
| acquisition information | Donated 1972 by Hermine Benhaim. |
| updated | 06/20/2023 16:18:23 |
| .................................................................... | |
| title | Virginia Admiral papers, 1945-1978 | repository | Archives of American Art |
| description | Correspondence, including a note from Mark Rothko, undated, asking Admiral (at Peggy Guggenheim's suggestion) for biographical information on Guggenheim for an upcoming exhibition of her collection in Venice; a partial manuscript, sample pages, and two finished copies of "Open Hearing," 1969, a publication related to a protest against the Museum of Modern Art by the Art Workers Coalition; exhibition catalogs and announcements, including LA COLLEZIONE PEGGY GUGGENHEIM, 1948; pamphlets, including "Revision and Prescription" by James Collins, "The Visual Book" by Roger Cutforth, both 1971; Art Workers Coalition literature; receipts; clippings; and printed miscellany. Also included is a book of poetry by Admiral's ex-husband Robert De Niro. |
| extent | 124 items. |
| formats | Correspondence Exhibition Catalogs Writings |
| access | Unmicrofilmed; use requires an appointment and is limited to Washington, D.C. storage facility |
| record link | https://sirismm.si.edu/EADpdfs/AAA.admivirg.pdf |
| record source | https://www.aaa.si.edu/collections/virginia-admiral-papers-5616 |
| acquisition information | Donated 1979-1980 by Virginia Admiral. |
| updated | 06/20/2023 16:21:40 |
| .................................................................... | |
| title | Mary Reynolds Collection, 1892-1972 (bulk 1941-1964) | repository | The Ryerson & Burnham Archives |
| description | The collection includes correspondence from Mary Reynolds to her brother Frank Brookes Hubachek and others; ephemera such as clippings, object inventories, block prints of bookplates, and various forms of ID; a published account of her escape from Europe written by her friend Janet Flanner; Frank Hubachek's correspondence detailing his attempts to send money to his sister in occupied Paris; corrspondence between Hubachek and Marcel Duchamp regarding these financial dealings and concern for Reynolds safety; research materials for Hugh Edward's publication, Surrealism & its affinities; portrait photographs of Reynolds, some taken by Man Ray, and other misc. images. Bio/History: Mary Reynolds (1891-1950) was one of the most important figures of the Surrealist movement. A young war widow, she moved from the U.S. to Paris in 1919. In 1923 she met Marcel Duchamp and maintained a friendship with him until her death. During the 1920s, she studied with the Parisian bookbinder Pierre Legrain and applied her skills to books given to her by such friends as Max Ernst, Man Ray, Paul Eluard, André Breton, Jean Cocteau, and Salvador Dali. Reynolds was active in the French Resistance during Word War II, but eventually fled occupied Paris for the U.S. After the war, she returned to Paris where she lived until her death. |
| extent | 4 boxes (2 linear ft.) |
| formats | Correspondence Clippings Ephemera Inventories Financial Papers |
| access | Contact repository for restrictions and policies. |
| record source | http://209.10.226.127:8000/aic/xqy/aic.xqy?mode=titleBrowse |
| finding aid | Finding aid available online and at the Reference Desk. |
| acquisition information | The majority of correspondence in this collection was donated by Mary Reynolds's brother, Frank Hubachek, in the 1950s. Photographs, personal papers and additional correspondence were donated by Mrs. Marjorie Watkins in 1993. Additionally, one photograph was purchased by the Ryerson and Burnham Libraries in 2004. |
| updated | 08/25/2017 16:41:46 |
| .................................................................... | |
| title | Oral history interview with Bernard J. Reis, 1976 June 3-1976 June 10 | repository | Archives of American Art |
| description | An interview of Bernard Reis conducted by Paul Cummings for the Archives of American Art. Reis speaks of his family background and education; the development of his art collection; and his friendship with various artists, including Jacques Lipchitz, George Grosz and Mark Rothko. He also recalls Peggy Guggenheim. |
| extent | 2 sound tape reels ; 5 in. (64 p. transcript) |
| formats | Sound Recording Transcript |
| access | Contact repository for restrictions and policies. |
| record link | n/a |
| record source | https://www.aaa.si.edu/collections/interviews/oral-history-interview-bernard-j-reis-11772 |
| acquisition information | Part of the Archives of American Art Oral History Program, started in 1958. |
| updated | 06/08/2023 16:42:19 |
| .................................................................... | |
| title | Bernard J. Reis papers, circa 1913-1983 | repository | Archives of American Art |
| description | Letters, photographs, writings, scrapbook, interview, and printed matter. Material on Mark Rothko, Peggy Guggenheim, and Marc Chagall; letters to Reis and his wife, Rebecca, from Edward Albee, Massimo Campigli, Jacques Lipchitz, and Sir Herbert Read; general correspondence with one or two letters from William Congdon, Philip Guston, Franz Kline, Robert Motherwell, Abraham Rattner, Ad Reinhardt, Larry Rivers, Jose Luis Sert, and Adlai E. Stevenson; transcripts of a 1954 speech by Franz Kline and a 1961 interview of him by Katherine Kuh; catalogs and clippings relating to Reis's daughter, Barbara Reis Poe; photographs; catalogs, clippings and printed material; Christmas cards; material regarding tours of the Reis house and Rebecca Reis's cookbook; a caricature of Bernard Reis by Abe Birnbaum; and miscellany. Photographs include Bernard and Rebecca Reis, their collection, and artists, dealers, and collectors including William Congdon, Piero Dorazio, Helen Frankenthaler, Peggy Guggenheim, Philip Guston, Albert Lasker, Jacques Lipchitz, Frank and Suzanne Lloyd, Robert Motherwell, Beverly Pepper, Kurt Seligmann, Theodoros Stamos, Konstantin Stanislavski, Jean Varda, and Adja Yunkers. |
| extent | 2.4 linear ft. |
| formats | Correspondence Photographs Writings Scrapbooks Printed Materials |
| access | Unmicrofilmed; use requires an appointment and is limited to Washington, D.C. storage facility. |
| record link | https://sirismm.si.edu/EADpdfs/AAA.reisbern.pdf |
| record source | https://www.aaa.si.edu/collections/bernard-j-reis-papers-8398 |
| acquisition information | The papers were given in 1979 and 1980 by Reis's widow, Rebecca G. Reis. |
| updated | 06/08/2023 16:42:11 |
| .................................................................... | |
| title | Bernard and Rebecca Reis papers, ca. 1924-1985. | repository | The Getty Research Institute |
| description | The 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. |
| extent | 3.4 linear ft. (8 boxes) |
| formats | Correspondence Printed Materials Ephemera Photographs Financial Records |
| access | Open for use by qualified researchers. |
| record link | http://archives2.getty.edu:8082/xtf/view?docId=ead/900184/900184.xml;query=;brand=default |
| record source | https://primo.getty.edu/primo-explore/fulldisplay?vid=GRI&docid=GETTY_ALMA21119554670001551&context=L |
| finding aid | Online Finding Aid |
| acquisition information | Acquired 1990. |
| updated | 07/28/2023 16:33:44 |
| .................................................................... | |
| title | Barbara Rose Papers, 1940-1993 (bulk 1960-1985). | repository | The Getty Research Institute |
| description | The Barbara Rose Papers represent a selection from her archive and document her research in post-war and contemporary American art. The bulk of the papers date from 1960 through 1985. Manuscript and research files on American artists, primarily of the post war era, and especially rich for the New York art world contain Rose's research notes, some correspondence (primarily from others), photographs and slides, and drafts of manuscripts for articles, catalogues and books, some unpublished. The most extensive files concern research (1978-1979) for an exhibition and catalogue on the artist Patrick Henry Bruce for the Museum of Modern Art, New York, 1979, and files about collaborations between science and art, including the Experiments in Art and Technology (Organization) project to build the Pepsi-Cola Pavilion at the 1970 Exposition in Osaka, and the related art and technology program at the Los Angeles County Museum of Art, 1967-1971. Much of Rose's research consists of interviews with artists, and a few dealers, curators and printmakers. These date from ca. 1960 through ca. 1990. More than 100 interviews are here in transcriptions, some partial and heavily edited, and on cassette tapes and 1/4 inch audio tape reels. The Claes Oldenburg interviews are the most extensive with ca. 50 transcript pages and 21 cassette tapes. Six videotapes document exhibits, symposia and lectures. Correspondence with artists, curators and historians is scattered throughout the research files. In addition there are several concentrated files (ca. .5 linear ft.) of correspondence from Avigdor Arikha and his wife Anne, 1962-1977, and Mark Di Suvero, 1972-1973, 1975. Two letters from Robert Motherwell, 1966, discuss the post-war New York art scene. There are 4 letters from Frank Stella, with 2 short manuscripts about painting, and photographs of Islamic decoration taken during a trip to Iran. Complementing these files are ca. 200 black & white photographs of artists dating from ca. 1940 through 1992. Oldenburg's "Ray Gun" poster, signed and dated 1971, is an artifact from The Store Additional Formats: Use copies are available for all audio cassette tapes (C1-C147) and all reel-to-reel tapes (R1-R13). See research file for inventory. |
| extent | 11 linear ft., 40 boxes |
| formats | Manuscript Research Files Correspondence Transcript Photographs |
| access | Open for use by qualified researchers. |
| record link | http://hdl.handle.net/10020/cifa930100 |
| record source | https://primo.getty.edu/permalink/f/mlc5om/GETTY_ALMA21123886290001551 |
| finding aid | Online and unpublished finding aid available in the repository |
| acquisition information | This collection comprises selected papers acquired from Barbara Rose in 1993. |
| updated | 07/28/2023 16:33:44 |
| .................................................................... | |
| title | Edwin David Porter papers, 1929-1969. | repository | Archives of American Art |
| description | Family correspondence; personal and professional correspondence relating to Porter's career as a gallery owner, with Caresse Crosby, Eldzier Cortor, Worden Day, Edith Halpert, Adolph Gottlieb, Karl Knaths, Peggy Guggenheim, Mark Rothko, Willem de Kooning, and many others; diaries; notes; financial papers; clippings; publicity catalogs; and miscellany. Bio / His Notes: Painter, sculptor, gallery owner; Wainscott, N.Y. Porter opened the G Place Gallery with Caresse Crosby in 1943. |
| extent | 2.0 linear ft. (on 5 microfilm reels) reels N70-27- N70-31 |
| formats | Correspondence Personal Papers Business Papers Diaries |
| access | Patrons must use microfilm copy. |
| record link | n/a |
| record source | https://www.aaa.si.edu/collections/edwin-david-porter-papers-8945 |
| finding aid | Microfilm inventory available in AAA offices. |
| acquisition information | Lent for microfilming 1970 by Edwin David Porter. Originals returned to Edwin David Porter after microfilming. |
| updated | 06/08/2023 16:42:13 |
| .................................................................... | |
| title | Peggy Guggenheim letters to Naum Gabo, 1939-1940. | repository | The Getty Research Institute |
| description | Two letters to Naum Gabo, one forwarding a portion of a letter from Emma Goldman (Feb. 22, 1939), containing her address and office hours, to which Guggenheim has added a brief note mentioning that she hopes to acquire one of Gabo's works for her museum. In the second letter (1940), Guggenheim discusses her method for purchasing works vis-à-vis negotiations for the acquisition of Gabo's work. Biographical or Historical Notes: Art collector. |
| extent | 2 items. |
| formats | Correspondence |
| access | Open for use by qualified researchers. |
| record link | http://hdl.handle.net/10020/cat76250 |
| record source | http://library.getty.edu/vwebv/searchBasic |
| updated | 11/12/2014 11:29:56 |
| .................................................................... | |
| title | Filippo Tommaso Marinetti correspondence and papers, 1886-1974. | repository | The Getty Research Institute |
| description | The largest portion of Marinetti correspondence and papers consists of letters and submissions directed to Marinetti (Series I and II), first as editor of "Poesia" and later as the leader of the futurist movement and publisher of the book series "Edizioni futuriste di Poesia." These letters, together with those from Marinetti (Series III) to an often unnamed correspondent ("Mon ami"), demonstrate how Marinetti stimulated debate about his movement in part by sending queries to a broad range of international literary figures regarding free verse or the futurist manifestos. He also critiques the writing submitted to him according to futurist criteria, and warmly praises pieces that meet his idiosyncratic standards. His correspondents, in turn, praise or critique Marinetti’s writing. Of particular interest are conflicted responses to the first futurist manifesto in 1909. Letters from fellow futurists, such as Carlo Carra, Umberto Boccioni, Francesco Cangiullo, and Fortunato Depero, reveal wranglings internal to the movement, as well as the zeal with which they pursued their shared aims. After the First World War, letters are concerned with politics, and during the fascist years, many regard requests for government funding for individual futurist artists. Finally, following Marinetti’s death, letters directed to Benedetta or Scrivo pertain to preservation of the futurist legacy, despite the stain of fascism, through retrospective exhibitions, anthologies, and conferences. Writings by Marinetti (Series IV) include a few manuscripts from futurism’s first phase, such as a handwritten theatrical synthesis "Donna + Amici = Frente" and three handwritten parole, but most of the writings date from after 1930. These include many prefaces to the books of fellow futurists, lectures and essays on aeropainting, and clippings from "Autori e Scrittori." Circulars from Agenzia Letteraria Artistica (Series VII) contain manifestos and declarations in a newsletter format. Biographies (Series V), drawn from newspaper articles, reference books or manuscripts, present official and personal accounts of Marinetti’s life; photographs (Series VI) offer a complementary visual summary. Letters to Alberto Cappa (Series VIII), Benedetta’s brother, consist largely of letters from Benedetta about her mother or brother’s health, with some details about her travels with Marinetti. |
| extent | 8.5 linear ft. |
| formats | Correspondence Writings Photographs |
| access | Open for use by qualified researchers. |
| record link | http://hdl.handle.net/10020/cifa850702 |
| record source | https://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21126836940001551 |
| acquisition information | Marinetti correspondence and papers is assembled from various small collections acquired between 1984 and 1989, originally drawn from the Marinetti family archive and the papers of Luigi Scrivo, Marinetti’s personal secretary beginning around 1930. |
| updated | 07/28/2023 16:33:47 |
| .................................................................... | |
| title | Guggenheim Image Archive | repository | Solomon R Guggenheim Museum, Photography Department |
| description | The Guggenheim's selection of images is rich in depth and visually impressive. It includes superior photographs of our premiere art collection; installation images of our award-winning exhibitions; and images of our iconic architecture around the world, including original historical photographs of Frank Lloyd Wright and the construction of the Guggenheim Museum, New York. Works of Art -Solomon R. Guggenheim Museum Collection -Peggy Guggenheim Collection -Hilla Rebay Collection -Justin K. Thannhauser Collection -The Panza Collection Architecture -Solomon R. Guggenheim Museum, New York -Peggy Guggenheim Palazzo and Garden, Venice -Guggenheim Museum Bilbao -Deutsche Guggenheim -Guggenheim Hermitage Museum Historical Photography -Exhibitions and installations -Historical personalities -William Short Archives (original construction photography of Frank Lloyd Wright’s Solomon R. Guggenheim Museum) |
| formats | Photographs |
| access | Contact repository for restrictions and policies. |
| record source | http://www.guggenheim.org/image_archive/index.html#general |
| updated | 11/12/2014 11:29:56 |
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| title | Collection on Peggy Guggenheim, 1938-1992 (bulk 1981-1988) | repository | Solomon R. Guggenheim Museum Archives |
| description | The Collection on Peggy Guggenheim (PG) contains papers and records collected by the Solomon R. Guggenheim Museum (SRGM) to chronicle PG's life, her art collection, and her relationship with the Museum. It contains bibliographic materials on PG, duplicates of correspondence between PG and artists, photographic reproductions of exhibition brochures from Gallerie Jeune and Art of This Century, correspondence with SRGM staff, and press clippings detailing PG, the Guggenheim family, and the Peggy Guggenheim Collection. Highlights of the collection include transcripts of Thomas M. Messer's interview with PG as well as brochures of events and exhibitions at the Palazzo from 1982-1990. Historical Abstract: In 1975, the Peggy Guggenheim Foundation (PGF) transferred ownership of its entire art collection, worth $40 million, to the Solomon R. Guggenheim Foundation (SRGF). With this transfer, the SRGF's collection of artwork expanded to include important representations of Surrealist and abstract art. The SRGF was founded in 1937 by Solomon R. Guggenheim (SRG) to share his growing art collection with the public and for the "promotion and encouragement and education in art and the enlightenment of the public." The Museum of Non-Objective Painting (MNOP), which became the Solomon R. Guggenheim Museum in 1952, was opened in 1939. During this same time period, Peggy Guggenheim (PG), SRG's niece, directed the Guggenheim Jeune in London (1938 to 1939), followed by Art of This Century in New York (1942-1947). It is here that PG began to amass a personal collection of Surrealist and abstract art, later to be known as the Peggy Guggenheim Collection (PGC).In 1961 after PG's move to Venice and her purchase of the Palazzo Venier dei Leoni on Venice's Grand Canal to display her collection, Thomas M. Messer, third director of the SRGM, began a long term relationship with PG. On July 17, 1975, the PGF approved the transfer of the PGC to the SRGF on the condition that it remain in the palazzo. As of December 6, 2006, the PGC, residing in the Venier del Leoni, Venice and under the management of the SRGF, is open year round to visitors. Preferred Citation: Collection on Peggy Guggenheim. A0022. Solomon R. Guggenheim Museum Archives, New York, NY. Location: Compact files; ArchivesOne Call Number: A0022 |
| extent | 4.5 cubic ft. (5 boxes) |
| formats | Business Papers Correspondence Photographs Exhibition Catalogs Clippings |
| access | The collection is unrestricted |
| record source | http://www.guggenheim.org/new-york/collections/library-and-archives/archive-collections/A0022/ |
| finding aid | Online and in repository. Finding aid prepared by Francine Snyder in March 2007. |
| updated | 11/12/2014 11:29:56 |
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| title | Library and Archive | repository | Peggy Guggenheim Collection |
| description | Contact repository for further information. |
| formats | |
| access | Contact repository for restrictions and policies. |
| record source | http://www.guggenheim-venice.it |
| updated | 11/12/2014 11:29:56 |
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| title | Peggy Guggenheim Collection records, 1976-1992 (bulk 1980-1987) | repository | Solomon R. Guggenheim Museum Archives |
| description | The Peggy Guggenheim Collection (PGC) records span the years 1976-1992 (bulk 1980-1986) and contain information pertaining to PGC administration, public affairs, development, special events, advisory board, and exhibitions. The records include: correspondence; memoranda; press releases; press clippings; finance and budget documents; advisory board meeting agenda and minutes; donor cultivation; donation and grant records; special events coordination; and photographs and slides of the PGC interior and exterior, special events, and artwork. Historical Abstract: The Peggy Guggenheim Collection (PGC) is a museum of twentieth-century art, located in Venice and housed in the former home of Peggy Guggenheim (PG). It is owned and operated by the Solomon R. Guggenheim Foundation. Showcased in the PGC is PG's personal collection of art, representing artistic movements such as Cubism, Futurism, Abstract Expressionism and Surrealism. The PGC includes work by notable artists such as Picasso, Dali, Calder, Duchamp, Rothko, Pollock, and Giacometti. Preferred Citation: Peggy Guggenheim Collection records. A0038. Solomon R. Guggenheim Museum Archives, New York, NY. Location: ArchivesOne Call Number: A0038 |
| extent | 2.0 cubic ft. (2 record center cartons) |
| formats | Administrative Records Ephemera Correspondence Financial Records Photographs |
| access | Restricted documents are closed to outside researchers. Contact the Manger of Library and Archives for further information. |
| record source | http://www.guggenheim.org/new-york/collections/library-and-archives/archive-collections/A0038/ |
| finding aid | Online and in repository. Finding aid prepared by Lesley A. Espenship in June 2007. |
| updated | 11/12/2014 11:30:04 |
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| title | Peggy Guggenheim Foundation papers, 1936-1979 | repository | Solomon R. Guggenheim Museum Archives |
| description | The Peggy Guggenheim Foundation papers span the years 1939-1979 and document Peggy Guggenheim's involvement with the arts. They include both public and private documentation of PG's galleries and exhibition spaces, her involvement with living artists, and her active collecting of works of art. The collection consists of scrapbooks complied by PG, account's reports for the Art of This Century Gallery, and bills of sale. The bulk of the collection consists of press clippings that have been mounted into scrapbooks. These clippings, interspersed with invitations and photographs, include an international selection of newspaper articles in English or Italian. In addition to the press clippings, two scrapbooks contain exhibition catalogs and invitations to exhibitions at Guggenheim Jeune and Art of This Century. Highlights of the collection include announcements for exhibitions including Mark Rothko (catalog currently in Venice); Jackson Pollack; 31 Women; Clyfford Still (catalog currently in Venice); Hans Richter (catalog currently in Venice); Theo van Doesburg; Yves Tanguy; and Jean Coctaeu. Biographical Abstract: Peggy Guggenheim (PG), born Marguerite Guggenheim in 1898 in New York City, was extensively involved with avant-garde, surrealist, and abstract art throughout her lifetime. She opened her first gallery, Guggenheim Jeune at 30 Cork Street, in London in 1938. Despite its successful reputation, the Guggenheim Jeune continued to lose money, and PG closed the gallery in 1939. Following this, after having taken up residence in New York City, PG began searching for a new space in which to display her collection. In late 1942, PG opened the gallery Art of This Century which held exhibitions until it closed in 1947. In 1948, shortly after she moved to Venice, PG purchased an unfinished 18th-century palazzo named Venier del Leoni on the Grand Canal. PG proceeded to install in it her vast collection, opening the space to the public several days a week. In 1959, PG founded the Peggy Guggenheim Foundation which became the legal owner of the collection. The PG Foundation was dissolved in 1977 when the ownership of the collection was transferred to the Solomon R. Guggenheim Foundation. PG died in 1979 outside of Venice. Preferred Citation: Peggy Guggenheim Foundation papers. M0002. Solomon R. Guggenheim Archives, New York, NY. Location: CF Call Number: M0002 |
| extent | 7.25 cubic ft. (11 boxes) |
| formats | Exhibition Files Scrapbooks Financial Records Clippings Photographs |
| access | The collection is unrestricted. |
| record source | http://www.guggenheim.org/new-york/collections/library-and-archives/archive-collections/M0002/ |
| finding aid | Online and in repository. Finding aid prepared by Francine Snyder in 2006. |
| updated | 11/12/2014 11:30:04 |
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| title | The Fototeca Berenson (Villa I Tatti Photo Archives) | repository | Biblioteca Berenson, Villa I Tatti |
| description | The collection contains about 300,000 photographs, many of them collected by Berenson himself from the 1880s until the time of his death in 1959. Many have notes on the back in his handwriting. Many show works of art before restoration, and others show images since destroyed. An important section, "Homeless paintings", contains photographs of works whose current location is unknown. The photographs are almost exclusively black and white in a variety of photographic media, such as albumen, gelatine, or carbon. About 3000 large-format photographs are stored separately. In addition, there is a considerable amount of documentary material in the form of clippings, notes and printed reproductions. The photographs are arranged according to Berenson's original scheme, by school: Florence, Siena, Central Italy, Northern Italy, Lombardy, Venice, Southern Italy. Within each school they are arranged by artist, then by topography, followed by homeless. Paintings and drawings are arranged separately. The main focus of the collection is on Italian painting and drawing from the mid-thirteenth to the mid-sixteenth centuries. This part of the collection continues to be developed through the acquisition of new materials and through photographic campaigns. Later periods are also represented but in smaller scale, without systematic updating. There is also material on medieval painting, arranged topographically; manuscript illumination, arranged according to present location; archeology; Byzantine art and architecture, arranged both by artist and by location; and non-Italian art, arranged by country. Finally a section of 8000 photographs is devoted to the art of the Far East, India and Islam. In addition to the original Berenson nucleus, collections of prints, glass plates, negatives and transparencies have entered the Fototeca. These include the collections of Emilio Marcucci (nineteenth-century projects for the completion of various Florentine monuments), George Kaftal (representations of saints in Italian painting of the fourteenth and fifteenth centuries), Henry Clifford (painting thirtheenth to seventeenth centuries), Giorgio Castelfranco (Italian art thirteenth to twentieth centuries), Giannino Marchig (restoration), Frederick Hartt (Michelangelo, Giulio Romano), Giuseppe Marchini (Italian art and stained glass), and Craig H. Smyth (Renaissance painting and drawing). There is a small collection of micropublications and microfiche (162,386 frames): L=index photographique de l'art en France (95,648); Sotheby's Pictorial Archive - Old Master Paintings (45,472); Christie's Pictorial Archive Italian School (9,898); Christie's Pictorial Archive - New York 1977-95 Old Master Paintings & Drawings (11,368). The microfilm of the Bartsch Corpus comprises about 42,000 frames. Notes Most photographers not identified. |
| extent | 300,000 + photographs |
| formats | Photographs Reproductions Microfilm Artist Files |
| access | Contact Ilaria Della Monica the archivist at the Berenson Library for restrictions and appointments. |
| record link | http://via.lib.harvard.edu/via/deliver/advancedsearch?_collection=via |
| record source | http://itatti.harvard.edu/ |
| finding aid | Currently, there is no catalog of the photographs at Villa I Tatti. In some cases, Artist Files, can be found school (i.e. Venetian, Lombard, Northern Italy, Central Italy, etc. . .) and some are cataloged in Harvard's online catalog, HOLLIS. |
| acquisition information | Originally formed by Bernard Berenson the Library continues to add to the file. |
| updated | 11/12/2014 11:30:10 |
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