Information: The first column shows data points from Nierendorf, Karl, recipient. in red. The third column shows data points from Nierendorf, Karl, 1889-1947 in blue. Any data they share in common is displayed as purple boxes in the middle "Shared" column.
Karl Nierendorf (1889–1947) was a prominent German art dealer who specialized in expressionist and abstract paintings, first running galleries with his brother, Josef, out of Cologne and Berlin. The rise of Nazism and the march toward war, with its accompanying attacks on art and artists, prompted Nierendorf to visit and then resettle in the United States, establishing his own gallery in New York City (1937–1947). This new iteration of the Nierendorf Gallery quickly gained prestige by promoting European expressionism, but as U.S. attitudes toward Germany and Germans soured, Nierendorf increasingly reached out to avant-garde artists across the Americas, including European exiles, and even visited Mexico to court Wolfgang Paalen and Gordon Onslow Ford. Very little is currently known about Nierendorf’s dealings with pre-Hispanic art—this in spite of the fact that a well-disseminated image of him, held in the archives of the extant Galerie Nierendorf in Berlin, shows him holding and admiring a Colima dog vessel. Earl Stendahl hoped to collaborate with Nierendorf in the cultivation of East Coast clientele for pre-Hispanic art, but a shipment of fake objects procured by Guillermo Echániz, including alleged Zapotec urns, complicated these efforts. Stendahl and Nierendorf did continue to work together, mainly, though not exclusively, around the sale of modern paintings. Nierendorf died in 1947, and his collection was purchased by the Guggenheim, where it remains today.
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Karl Nierendorf (1889–1947) was a prominent German art dealer who specialized in expressionist and abstract paintings, first running galleries with his brother, Josef, out of Cologne and Berlin. The rise of Nazism and the march toward war, with its accompanying attacks on art and artists, prompted Nierendorf to visit and then resettle in the United States, establishing his own gallery in New York City (1937–1947). This new iteration of the Nierendorf Gallery quickly gained prestige by promoting European expressionism, but as U.S. attitudes toward Germany and Germans soured, Nierendorf increasingly reached out to avant-garde artists across the Americas, including European exiles, and even visited Mexico to court Wolfgang Paalen and Gordon Onslow Ford. Very little is currently known about Nierendorf’s dealings with pre-Hispanic art—this in spite of the fact that a well-disseminated image of him, held in the archives of the extant Galerie Nierendorf in Berlin, shows him holding and admiring a Colima dog vessel. Earl Stendahl hoped to collaborate with Nierendorf in the cultivation of East Coast clientele for pre-Hispanic art, but a shipment of fake objects procured by Guillermo Echániz, including alleged Zapotec urns, complicated these efforts. Stendahl and Nierendorf did continue to work together, mainly, though not exclusively, around the sale of modern paintings. Nierendorf died in 1947, and his collection was purchased by the Guggenheim, where it remains today.
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Karl Nierendorf (1889–1947) was a prominent German art dealer who specialized in expressionist and abstract paintings, first running galleries with his brother, Josef, out of Cologne and Berlin. The rise of Nazism and the march toward war, with its accompanying attacks on art and artists, prompted Nierendorf to visit and then resettle in the United States, establishing his own gallery in New York City (1937–1947). This new iteration of the Nierendorf Gallery quickly gained prestige by promoting European expressionism, but as U.S. attitudes toward Germany and Germans soured, Nierendorf increasingly reached out to avant-garde artists across the Americas, including European exiles, and even visited Mexico to court Wolfgang Paalen and Gordon Onslow Ford. Very little is currently known about Nierendorf’s dealings with pre-Hispanic art—this in spite of the fact that a well-disseminated image of him, held in the archives of the extant Galerie Nierendorf in Berlin, shows him holding and admiring a Colima dog vessel. Earl Stendahl hoped to collaborate with Nierendorf in the cultivation of East Coast clientele for pre-Hispanic art, but a shipment of fake objects procured by Guillermo Echániz, including alleged Zapotec urns, complicated these efforts. Stendahl and Nierendorf did continue to work together, mainly, though not exclusively, around the sale of modern paintings. Nierendorf died in 1947, and his collection was purchased by the Guggenheim, where it remains today.
Karl Nierendorf (1889–1947) was a prominent German art dealer who specialized in expressionist and abstract paintings, first running galleries with his brother, Josef, out of Cologne and Berlin. The rise of Nazism and the march toward war, with its accompanying attacks on art and artists, prompted Nierendorf to visit and then resettle in the United States, establishing his own gallery in New York City (1937–1947). This new iteration of the Nierendorf Gallery quickly gained prestige by promoting European expressionism, but as U.S. attitudes toward Germany and Germans soured, Nierendorf increasingly reached out to avant-garde artists across the Americas, including European exiles, and even visited Mexico to court Wolfgang Paalen and Gordon Onslow Ford. Very little is currently known about Nierendorf’s dealings with pre-Hispanic art—this in spite of the fact that a well-disseminated image of him, held in the archives of the extant Galerie Nierendorf in Berlin, shows him holding and admiring a Colima dog vessel. Earl Stendahl hoped to collaborate with Nierendorf in the cultivation of East Coast clientele for pre-Hispanic art, but a shipment of fake objects procured by Guillermo Echániz, including alleged Zapotec urns, complicated these efforts. Stendahl and Nierendorf did continue to work together, mainly, though not exclusively, around the sale of modern paintings. Nierendorf died in 1947, and his collection was purchased by the Guggenheim, where it remains today.
The papers consist of ca. 280 items (on ca. 470 leaves) that document Kandinsky's teachings at the Bauhaus, his writings, his involvement with the Russian Academy of Artistic Sciences [RAKhN] in Moscow, and his professional contacts with art dealers, artists, collectors and publishers.
Primarily research files and notes, subject files, interview tapes and transcripts, correspondence, writings, and other materials compiled by Harmon for a never-published biography of art dealer J.B. Neumann, titled The Art Lover. Found are photocopies of J.B. Neuman's correspondence with Karl Nierendorf, Clifford Odets, Elsa Schmid, and Alfred Stieglitz; photocopies and other materials from the J.B. Neumann Collection at the University of Texas at Austin, Harry Ransom Humanities Center, including photocopies of the magazine published by Neumann titled Art Lover Library, 1930-1957 (volume 1, 1930 is original bound volume), copyprints and photocopies of photographs of Neumann, his family, and of other subjects; interview transcripts and audio tapes with numerous artists conducted in the mid-1980s; research notes and files; and subject files on numerous artists (all photocopies).
Ernst Ludwig Kirchner letters and papers, 1905-1946.
Kirchner, Ernst Ludwig, 1880-1938. Ernst Ludwig Kirchner letters and papers, 1905-1946.
Title:
Ernst Ludwig Kirchner letters and papers, 1905-1946.
Collection includes twelve letters and postcards from Kirchner, 1916-1932, discussing professional and personal matters, two sketchbooks (and facsimiles), manuscript writings, a copy book with an exhibition outline, photographs of Kirchner's work, press clippings and an inventory of his library.
Kirchner, Ernst Ludwig, 1880-1938. Ernst Ludwig Kirchner letters and papers, 1905-1946.
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Nierendorf, Karl, 1889-1947
creatorOf
International Art records
International Art records
Title:
International Art records
The records of International Art, a California gallery, measure 0.01 linear feet and date from 1943 to 1946. The collection includes correspondence between Karl Nierendorf of the Nierendorf Gallery in New York City and Estella Kellen (nee Katzenellenbogen), the director of Nierendorf's subsidiary gallery, International Art, in Hollywood. In addition there are notes on "daily happenings" at the gallery and a few exhibition announcements and two note cards.
International Art (Gallery: Hollywood, Calif.). International Art records, 1943-1946.
0
Nierendorf, Karl, 1889-1947
referencedIn
Howard DearstynePapers 1911-1986 (bulk 1953-1971)
Howard Dearstyne Papers, 1911-1986, (bulk 1953-1971)
Title:
Howard DearstynePapers 1911-1986 (bulk 1953-1971)
Architect, architectural historian, educator, and photographer. Correspondence, writings, lectures, exhibit brochures, art catalogs, artwork, and other papers relating primarily to Dearstyne's research on the history of the Bauhaus art school, the school's influence on the development of modern art and 20th century architecture, and two Bauhaus masters, Walter Gropius and Ludwig Mies van der Rohe.
ArchivalResource:
6,300 items; 18 containers; 7.2 linear feet
Schardt's Nachlass documents part of the Nazis' Kulturkampf against Expressionist art in the 1930s. Included are ca. 30 photographs of galleries he had hung in the Kronprinzen-Palais and the Moritzburg Museum, and ca. 100 photographs of works by Expressionist artists such as Willi Baumeister, Paul Klee, and Wilhelm Lembruck. Some of these photographs, like that of Klee's Wintergarten, may be unique images of a now lost or destroyed work.
The papers of African American painter William H. Johnson date from 1922 to 1971, with the bulk of the material dating from 1926 to 1956, and measure 1.5 linear feet. The collection documents Johnson's career as an artist in New York and in Europe and his marriage to textile artist Holcha Krake through scattered biographical material, including eight letters regarding the sale and exhibition of his work. Also found are exhibition catalogs, news clippings, other printed material, and photographs of Johnson, Krake, and their artwork. One scrapbook contains news clippings, letters, and additional photographs. Another scrapbook contains travel postcards. Also found are a few scattered records and research notes compiled by the Harmon Foundation regarding William H. Johnson. Scattered biographical material includes biographical sketches, a marriage certificate, award certificates from the National Academy of Design, lists of artwork, and the guestbook from Johnson's 1941 exhibition at the Alma Reed Gallery. Also found are eight letters regarding the sale and exhibition of his work, including a letter from Langston Hughes and two letters from Alonzo Aden of the Barnett Aden Gallery. Printed material consists of exhibition catalogs, U.S. and foreign news clippings, and other materials, primarily published by the Harmon Foundation regarding African American art. Photographs are of Johnson, Johnson with Krake in their studio, Johnson with friends in Provincetown, Massachusetts, and of Johnson's artwork. The collection includes two scrapbooks, one containing news clippings, exhibition materials, letters from Charles Hawthorne, Edith Halpert, Karl Nierendorf, and others, and photographs of Johnson and his artwork. Additional items from the scrapbook may have became detached at an earlier date and included among the material in other series. The second scrapbook contains Johnson's postcard collection from his travels in Europe. Also found are scattered records and research material of the Harmon Foundation regarding William H. Johnson consisting of exhibition panels displaying original photographs of Johnson and his artwork, as well as translations and notes concerning the foreign news clippings found in the William H. Johnson papers.
Johnson, William H., 1901-1970. William H. Johnson papers, 1922-1971, bulk 1926-1956.
0
Nierendorf, Karl, 1889-1947
referencedIn
Stendahl Art Galleries records, circa 1913-2017, bulk 1930-2000
Stendahl Art Galleries records, circa 1913-2017, bulk 1930-2000
Title:
Stendahl Art Galleries records, circa 1913-2017, bulk 1930-2000
The Stendahl Art Galleries records document the business dealings of the Stendahl Art Galleries. The Gallery began by exhibiting works by modern artists, but transitioned to dealing mostly Pre-Hispanic and other non-Western art in 1935. Stendahl Art Galleries sold Pre-Hispanic works to a variety of collectors, dealers, and institutions, and is considered one of the most significant galleries in the history of the Pre-Hispanic art market. The records consist of subject files, photographic files, exhibition files, documents related to publications, financial records, administrative files, correspondence, Stendahl family papers, and a series of material from within the records re-arranged into research files for the book Exhibitionist: Earl Stendahl Art Dealer as Impresario by April Dammann.
ArchivalResource:
126 boxes (38 linear feet), 4 flatfile folders**, 2 film reels
Karl Nierendorf (1889–1947) was a prominent German art dealer who specialized in expressionist and abstract paintings, first running galleries with his brother, Josef, out of Cologne and Berlin. The rise of Nazism and the march toward war, with its accompanying attacks on art and artists, prompted Nierendorf to visit and then resettle in the United States, establishing his own gallery in New York City (1937–1947). This new iteration of the Nierendorf Gallery quickly gained prestige by promoting European expressionism, but as U.S. attitudes toward Germany and Germans soured, Nierendorf increasingly reached out to avant-garde artists across the Americas, including European exiles, and even visited Mexico to court Wolfgang Paalen and Gordon Onslow Ford. Very little is currently known about Nierendorf’s dealings with pre-Hispanic art—this in spite of the fact that a well-disseminated image of him, held in the archives of the extant Galerie Nierendorf in Berlin, shows him holding and admiring a Colima dog vessel. Earl Stendahl hoped to collaborate with Nierendorf in the cultivation of East Coast clientele for pre-Hispanic art, but a shipment of fake objects procured by Guillermo Echániz, including alleged Zapotec urns, complicated these efforts. Stendahl and Nierendorf did continue to work together, mainly, though not exclusively, around the sale of modern paintings. Nierendorf died in 1947, and his collection was purchased by the Guggenheim, where it remains today.
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