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Eugenie Gershoy papers

Title: Eugenie Gershoy papers

The Eugenie Gershoy papers date from 1914 to 1983, measure 7.2 linear feet, and reflect Gershoy's career as a sculptor and teacher. The collection contains biographical material, correspondence, business records, notes, writings, artwork of Gershoy and others, printed material including exhibition catalogs, and photographs with subjects including Gershoy, her friends and colleagues, her studio, and her artwork.Correspondence forms the bulk of the collection and includes correspondence between Gershoy and her siblings and their families regarding her activities, as well as with colleagues, many of whom were associated with the Woodstock Artist Association, and many of whom were museum colleagues.

ArchivalResource:

https://n2t.net/ark:/65665/mw9140504d0-90c4-45af-91c8-9c39b74aa139 View

Downtown Gallery records

Title: Downtown Gallery records

The Downtown Gallery records constitute 109.56 linear feet on 167 reels of microfilm. The records are dated 1824 to 1974 with bulk dates from 1926 to 1969. There is an unprocessed addition to this collection dating circa 1970 of a single financial/legal document.The Downtown Gallery was established in 1926 as Our Gallery and operated under the name Downtown Gallery from 1927 until 1973. Nineteenth-century material consists of items acquired by Edith Gregor Halpert for research purposes or to document works of art in the gallery's inventory. The few records postdating the closing of the gallery relate to the estate of Edith Gregor Halpert.The extensive records of the Downtown Gallery present a comprehensive portrait of a significant commercial gallery that operated as a successful business for more than forty years, representing major contemporary American artists and engendering appreciation for early American folk art. Edith Halpert, the gallery's founder and director, was an influential force in the American art world for a large part of the twentieth century.Personal papers are intermingled with the business records of the Downtown Gallery. Many of the artists represented by the gallery were Halpert's personal friends, and over the years she developed social relationships and friendships with many clients. These relationships are reflected by the contents of the records, especially the correspondence, some of which is purely personal. In addition, there are a small number of letters from relatives, photographs of Halpert's family, home and friends, and limited information about her country house and personal finances.The Downtown Gallery records consist largely of correspondence with collectors, including Edgar and Bernice Chrysler Garbisch, Preston Harrison, Mr. and Mrs. Maxim Karolik, William H. Lane, Abby Aldrich Rockefeller, Beram K. Saklatwalla, Robert Tannahill, and Electra Havemeyer Webb; with dealers, including robert Carlen, Landau Gallery, Leicester Galleries, Mirski Gallery, and Isabel Carleton Wilde; and with large numbers of curators and museum directors, including many affiliated with university museums. In addition, there is correspondence concerning routine gallery business and administrative affairs.Artist files and an extensive series of notebooks (American Folk Art Gallery notebooks, artist notebooks, and publicity notebooks) compiled by gallery staff contain a wide variety of material and are a rich source of information about individual artists and the Downtown Gallery's exhibition history.Business records include exhibition records, stock records, sales records, transit records, financial records, lists of artwork and clients, legal documents, minutes, insurance records, research files, and architectural plans.Writings by Edith Gregor Halpert consist of articles on American folk art, speeches, and short stories; also included are her school notebooks and "Daily Thoughtlets" compiled at age seventeen. All writings by other authors are on art subjects, and most are texts or introductions for exhibition catalogs.Among the miscellaneous records are biographical material on Edith Gregor Halpert and Samuel Halpert, works of art by Edith Gregor Halpert and other artists, artifacts, and audiovisual materials. The artifacts include wooden weather vane molds and supporting documentation as well as awards presented to Halpert. Audiovisual materials are 16-mm motion picture films of the Westinghouse Broadcasting Corporation television series, <emph render="italic">America: The Artist's Eye</emph>, produced between 1961 and 1963 in association with Jensen Productions. An additional 16-mm motion picture film includes "tails out" footage of Charles Sheeler at home and at work, circa 1950. A copy of the program about Sheeler, along with the "tails out" material, is also on videocassette. In addition, there is a sound recording of a talk on collecting given by Halpert's client, folk art collector Maxim Karolik, in 1962.Printed matter consists of items produced by the Downtown Gallery, including exhibition catalogs, checklists, invitations, announcements, and press releases. There are also news clippings about Halpert, the Downtown Gallery, and the Edith Gregor Halpert Collection; other art-related clippings are arranged topically. Miscellaneous printed matter not produced by the Downtown Gallery includes newsletters, press releases, publications of art organizations, and reproductions of artwork. A selection of twenty-five volumes from the personal library of Edith Gregor Halpert has been retained.The photographs series includes images of people: Edith Gregor Halpert, family, friends, also many images of her dog, Adam, and views of her country home in Newtown, Connecticut. Other photographs of people include portraits of artists, most of whom were affiliated with the Downtown Gallery. There are also photographs of works of art (with a large number of black-and-white negatives, 35-mm color slides, and glass plate negatives) and of exhibitions, of the exterior and interior of the Downtown Gallery, and of an award presented to Halpert.<ref actuate="onLoad" show="embed" target="ref16" title="Appendix">See Appendix B for a chronological list of Downtown Gallery exhibitions.</ref>

ArchivalResource:

https://n2t.net/ark:/65665/mw9efc71fb2-6041-4534-8e7f-0382c468101c View

Alliance of Figurative Artists lectures and panel discussions

Title: Alliance of Figurative Artists lectures and panel discussions

The lectures and panel discussions of the Alliance of Figurative Artists measures 2.0 linear feet and 1.24 GB and date from 1969 to 1970. The collection consists of twenty-four tape recordings and two recordings in digital format of panel discussions, and lectures held in conjunction with meetings of the Alliance of Figurative Artists in New York. Artists represented include: Lennart Anderson, Milet Andrejevic, Noah Baen, William Bailey, Rosemarie Beck, William Beckman, Leland Bell, Robert Birmelin, John Bradford, Joel Brody, Harold Bruder, Rudy Burckhardt, John Button, Gretna Campbell, Richard Chiriani, Bruno Chivitico, Thomas Cornell, Lucien Day, Lois Dodd, Ben Einhorn, Walter Erlebacher, Lawrence Faden, Louis Finkelstein, Joseph Fiore, Jane Freilicher, Stanley Friedman, Joel Galker, Paul Georges, Gregory Gillespie, Lloyd Glasson, Joel Goldblatt, Nancy Grilikhes, Nathan Hale, Aaron Kersen, John Koch, Majorie Kramer, Al Kresh, Gabriel Laderman, Alfred Leslie, Frank McCall, Edward Melcarth, Raoul Middleman, Richard A. Miller (Richard McDermott), Philip Pearlstein, Joseph Pollet, Paul Resika, Ben Rifkin, Anthony Siani, Bonnie Sklarski, William Sullivan, Sam Thurston, Sidney Tillim, Louis Tytell, and Neil Welliver.

ArchivalResource: 2 Linear feet; 1.24 Gigabytes

https://n2t.net/ark:/65665/mw985eae5b5-bd53-4635-bcb4-2a1e3656ec19 View

Pollet, Joseph C., 1897-1979. Joseph Pollet : artist file : study photographs and reproductions of works of art with accompanying documentation 1930?-1990 [graphic] [compiled by staff of The Museum of Modern Art, New York].

Title: Joseph Pollet : artist file : study photographs and reproductions of works of art with accompanying documentation 1930?-1990 [graphic] [compiled by staff of The Museum of Modern Art, New York]. 1930?-1990

File of color and black and white photographs of work of art, assembled by the staff of The Museum of Modern Art in New York from the museum's establishment until 1990. Items may include full views, details, installations, etc.

ArchivalResource: 1 or more folders: ill. (some col.) ; 38 cm.

http://www.worldcat.org/oclc/662624327 View

Milch Gallery records

Title: Milch Gallery records

The records of Milch Gallery document the business transactions of the corporation and the professional and personal relationships of the Milch brothers with the artists they represented, as well as with the larger community of artists and art dealers between 1911 and 1995. Unfortunately, early correspondence is sparse. In a letter responding to a 1951 request for historical information, Milch replied: "Several years ago [1947] we had to give up our gallery at 108 West 57th Street, and move to smaller quarters here. Since we had no room for old records, we had to destroy most of them."Alphabetical files are comprised mainly of incoming correspondence from 1911 to 1962. Correspondence concerns arrangements for exhibitions, sales and consignments, advice to collectors and executors of estates, and routine business matters. A number of the artists represented in these files were friends of the Milch brothers and some of their letters mention their personal lives as well as their formal business with the Gallery. Collectors who routinely dealt with Milch Galleries included John Gellatly, Mary Blair, Hersey Egginton, Carlton Palmer, and Edward Coykendell; a three volume manuscript catalogue of Coykendell's collection is included. Among the estates handled by Milch were Willard Metcalf, John Twachtman, Abbott H. Thayer, Maurice Fromkes, and Thomas Moran.Also found are sales records and other financial records such as general ledgers, sales and purchase records, and tax information.Printed matter consists of gallery exhibition catalogs, checklists, invitations, announcements, publications, and scrapbooks. Many catalogs and checklists are annotated with prices and other information. A complete run of Milch Galleries <emph render="italic">Art Notes</emph>, issued intermittently from 1918-1928/29 is preserved with the gallery records. as is a scrapbook relating to early exhibitions held at the Edward Milch Galleries and E. &amp; A. Milch, Inc., and artists represented by them.Photographs included with the records are less voluminous than might be expected, and pictures of works of art predominate. There are also a very small number of exterior and interior photographs of Milch Gallery, photographs of people including artists, Edward and Albert Milch, and photographs of groups such as Ten American Artists and the Associated Dealers in American Paintings.The 1995 and 2014 additions measure 3 linear feet and date from 1922-1995. Milch Gallery activities are documented through correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.<ref actuate="onLoad" show="embed" target="ref15" title="Appendix">See Appendix for a list of Milch Gallery exhibitions and checklists</ref>

ArchivalResource:

https://n2t.net/ark:/65665/mw900ee3d8a-cabd-4224-9627-d7d8d8c4ae3d View

Joseph Pollet papers

Title: Joseph Pollet papers

Correspondence; exhibition announcements, clippings, and other printed material; and photographs of Pollet and his works of art.

ArchivalResource:

https://n2t.net/ark:/65665/mw909755708-b70f-4e76-8a55-7c3b5404c819 View

Karl E. Fortess interviews with artists

Title: Karl E. Fortess interviews with artists

The taped interviews with artists by Karl Fortress measure 5.6 linear feet and date from circa 1963 to 1985. The interviews consist of 205 cassettes containing 268 interviews, averaging 35 minutes, of painters, sculptors, and printmakers. Fortess conducted seventy-nine of the interviews as a pilot for and as part of a grant from Office of Education, U.S. Dept. of Health, Education, and Welfare at Boston University's School of Applied Arts. Included in the collection is the final report for the grant, June 1968, summarizing the objective was "to develop a library of taped interviews with contemporary American painters, sculptors, and graphic artists, such interviews to be concerned with questions of technical, professional and personal interest" and the evaluation process and outcomes of the value of the interviews as a teaching resource for faculty and students. The interviews followed guidelines to include background, training, work patterns, interests, teachers, influences, teaching experiences, attitudes toward teaching, and opinions on art trends. Fortess continued interviewing artists upon completion of the grant, including many with with artists associated with the Woodstock, N.Y. art community.

OralHistoryResource: 268 interviews recorded on 205 audio cassettes.

https://n2t.net/ark:/65665/mw996b317da-502d-42d0-a01e-ee00fc5235a4 View