A Finding Aid to the Betty Parsons Gallery records and personal papers,
bulk 1946-1983, in the Archives of American Art, by Kathleen Brown and Jennifer Meehan
Funding for the processing and digitization of this collection was provided by Terra Foundation for American Art
Table of Contents:
- Biographical Information
- Overview of the Collection
- How to Use the Collection
- Detailed Description and Container Inventory
Betty Parsons (1900-1982) was one of the leading art dealers in New York City specializing in modern art, particularly the work of the Abstract Expressionists. She opened Betty Parsons Gallery in 1946 at 15 E. 57th St., later moving to 24 W. 57th St.
The history of the Betty Parsons Gallery is inextricably bound to the life and experiences of its founder. Betty Parsons was born Betty Bierne Pierson on January 31, 1900 in New York City. She enjoyed a privileged childhood, which included vacation homes in Newport and Palm Beach. Her only formal education was a five year stint at the prestigious Chapin School from 1910-1915, where she met many of the women who would become life long friends and supporters. In the spring of 1920, she married Schuyler Livingston Parsons from one of New York's oldest families. The marriage ended after only three years and the couple traveled to Paris where they could obtain a divorce on the grounds of incompatibility. She retained her married surname and purchased a house on the rue Boulard in Paris, where she remained for ten years, pursuing studies in painting and sculpture.
Financial constraints forced Parsons to return to the United States in 1933. She first traveled west to California, but it was her return to New York in 1935 that marked the start of her career as an art dealer. Her first opportunity to connect with the New York art world came after a successful exhibition of her watercolors at the Midtown Galleries where the owner, Alan Gruskin, noted Parson's faithful and wealthy group of supporters and offered her work installing exhibitions and selling paintings on commission. Her work for the Midtown Galleries led to a second position in the Park Avenue gallery of Mary Sullivan, one of the founders of the Museum of Modern Art. Here, Parsons learned the business of running a gallery. By 1940 Parsons was ready to take on more independent responsibility and agreed to manage a gallery within the Wakefield Bookshop. In this job, she exercised full curatorial control by selecting artists and organizing exhibitions. She championed then unknown contemporary American artists and the gallery's roster soon included Saul Steinberg, Hedda Sterne, Alfonso Ossorio, Joseph Cornell, Walter Murch, and Theodore Stamos. Although the majority of the exhibitions were solo shows, there were a few group shows and themed exhibitions, such as Love in Art (1941) and Ballet in Art (1942). Under Parson's direction, the gallery hosted an important exhibition of Pre-Columbian sculpture, curated by Barnett Newman.
When the owners of the Wakefield Bookshop decided to close the gallery late in 1944, Mortimer Brandt, a dealer who specialized in Old Master paintings and drawings, offered her a position as head of the newly created contemporary section of his gallery. Many of the artists who had shown with Parsons at the Wakefield Gallery followed her to her new gallery, where they were joined by Ad Reinhardt, Boris Mango, and Hans Hofmann. While the exhibitions garnered attention from the press and the interest of contemporary artists, the contemporary section was not a financial success and Brandt opted to close his gallery in 1946.
Using $1000 of her own money and an additional borrowed $4000, Parsons sublet the space that previously housed Mortimer Brandt's contemporary section, on the fifth floor of 15 East 57th Street, and opened the Betty Parsons Gallery.
In many respects the early years of the Betty Parsons Gallery were the most vital, as it was during the period of 1947-1951 that the gallery became linked with the Abstract Expressionists and the history of post-WWII American Art. In an unpublished history of the gallery, noted art critic Lawrence Alloway stated that the significance of the gallery's early exhibitions ranks with Durand-Ruels Impressionists exhibitions or Kahnweiler's shows of the Cubists. Betty Parsons Gallery quickly became one of the most prestigious galleries in New York City associated with new American Art of all styles. Her close friend Barnett Newman organized the gallery's inaugural exhibition of Northwest Coast Indian Art and he soon began to exhibit his own work at the gallery. When Peggy Guggenheim's Art of This Century Gallery closed, Jackson Pollock, Clyfford Still, and Mark Rothko joined Parsons' growing stable of artists. Although Parsons continued to promote and exhibit many of the artists whom she had previously discovered, these four artists dominated this period. Newman, Pollock, Still, and Rothko worked closely together, holding themselves apart from the other artists somewhat. They were actively involved in the curatorial process and often hung their own shows. For these artists, the exhibition itself was an artistic act of creation.
Parsons provided a supportive environment and allowed her artists enormous freedom in planning and designing their exhibitions. She was not, however, an aggressive salesperson. During this early period the gallery ledgers document sales to an impressive array of museums including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago, as well as important collectors such as Edward Root and Duncan Phillips. Nevertheless, the art that the gallery promoted was not yet widely accepted. Sales were few, prices were low and the business would not turn a profit for several years. Meanwhile, there was mounting pressure from Pollock, Newman, Still, and Rothko to drop some of the other artists from Parsons' stable and focus all resources on them. They wanted to be promoted to a larger audience and have their work sold at higher prices, but Parsons enjoyed discovering new artists and did not want to be restricted in this endeavor. The year 1951 marks the last time that Pollock's drip paintings or the monumental works of Newman, Rothko or Still were shown at the Betty Parsons Gallery.
In the following years the Betty Parsons Gallery continued to attract a diverse group of talented artists. Ellsworth Kelly, Richard Tuttle, Robert Rauschenberg, and Jack Youngerman had their first New York exhibitions at the Betty Parsons Gallery. Parsons opened Section Eleven in 1958, a short-lived annex to the main gallery, so that she could promote younger, less well-known artists. It closed in 1960 due to the administrative difficulties in running two essentially separate galleries.
In 1962, Sidney Janis, another prominent art dealer, started proceedings to evict Parsons from the floor that they shared on 15 East 57th Street. The Betty Parsons Gallery moved to 24 West 57th Street in 1963, where it remained until it closed in 1983, following Parsons' death the preceding year. Throughout the gallery's history, Parsons continued to promote faithful artists such as Hedda Sterne and Saul Steinberg, who had been with her from the beginning and to seek out new talent, both for her main gallery and for other venues, such as the short-lived Parsons-Truman Gallery, which she opened in 1974 with former Parsons Gallery director Jock Truman to show works on paper by emerging artists.
In addition to being an art dealer, Betty Parsons was a respected artist and collector. With her connoisseur's eye and connections, Parsons amassed an impressive private collection of art. She bought her first piece while an art student in Paris in the 1920s, a small gouache by Zadkine, but did not begin acquiring works in earnest until she was established as an art dealer. Partial inventories of her personal collection show that the majority of her collection contained works by artists associated with the gallery. Mark Rothko, Hans Hofmann, Ad Reinhardt, Agnes Martin, and Kenzo Okada were among the artists represented. Many were gifts from the artists, such as an ink drawing by Jackson Pollock, inscribed "For Betty." Selections from her collection appeared in small museums across the United States, including a traveling exhibition organized by Fitch College, New York, in 1968. In her role as a promoter of contemporary American art, Parsons lent generously from her collection, particularly to the federal Art in the Embassies Program. Throughout her life she also donated works to a variety of museums, most notably, the Whitney Museum of American Art, Museum of Modern Art, New York, and the Louisiana Museum of Modern Art, Denmark.
Parsons frequently claimed that her desire to pursue a career as an artist stemmed from a visit to the Armory Show when she was thirteen. In her late teens, after pressuring her father for art lessons, she studied with the sculptor Gutzon Burglum of Mount Rushmore fame. In Paris, she continued her studies first with Antoine Bourdelle, whose sculptures she had admired at the Armory Show, and later with Ossip Zadkine. The first exhibition of her work, figurative watercolors and sculptures, took place in Paris in 1927. As she matured as an artist, her art became more abstract. Her late works were painted wood sculptures that she pieced together from wood that she found near her studio in Long Island. Parsons' work was exhibited in more than thirty solo exhibitions, including, Betty Parsons; Paintings, Gouaches and Sculpture, 1955-1968, at the Whitechapel Gallery in London. During her lifetime, she would not allow her works to be shown in her own gallery. Shortly after she died of a stroke in 1982, In Memoriam, Betty Parsons: Late Sculptures, opened at the Betty Parsons Gallery.
Overview of the Collection
Scope and Contents
The Betty Parsons Gallery records and personal papers measure 49.6 linear feet and date from 1928 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons' personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.
Artists files, the largest and most extensive series, consist of a wide variety of documents, including biographical materials, correspondence with or related to the artist, exhibition catalogs and announcements, sales and expense invoices, clippings, price lists, and photographs of the artist, exhibitions, and artwork. The files reflect Parsons' close personal relationships with certain artists, particularly Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman. Extensive documentation is also found for Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Historians and researchers will find these files to be an invaluable resource both in tracing Betty Parsons' role in promoting Abstract Expressionism and researching individual artists.
Exhibition files primarily document the gallery's infrequent group or themed exhibitions. Of particular note are the files on The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still. Price lists, artist biographies and exhibition schedules are housed in the general exhibition files. Loan exhibition files provide documentation of artwork borrowed by other galleries or institutions for exhibitions, as well as shows outside of the gallery that were organized by Betty Parsons. Also found are gallery exhibition guest books, and announcements and catalogs.
Gallery correspondence is primarily with galleries and dealers, museums, arts organizations, and collectors. Scattered letters from artists are also found, although the bulk of the artists' correspondence is filed in the Artists Files. Also found here are memoranda and letters between Betty Parsons and her staff that contain detailed information concerning Parsons' schedule and gallery activities. Similar correspondence is found amongst the correspondence files within the series Betty Parsons papers.
Appraisal and conservation files include correspondence, appraisal invoices, forms, and appraisal requests and other information from the Art Dealers Association of America, and conservation invoices and reports. The majority of the appraisal records contain information about the specific works of art, including artist, title, date, current owner and the estimated value at the time of the request. Conservation records document conservation treatments undertaken by outside conservators to gallery stock.
Sales, purchases, stock and inventory are well documented in the sales and inventory records. The records provide detailed information about individual sales, prices of individual pieces of artwork, consignments, and loans. Most sales records also include detailed information about the buyer and are a valuable resource for provenance research. Files documenting the general administration, routine business operations, and financial transactions (not individual sales) of the gallery are housed in the general business and financial records. These records include ledgers, receipts, tax records, and banking records. There is some limited information about works of art scattered amongst the receipts and in the "in/out slips" files. Legal records house general legal documents and those concerning specific lawsuits. Of particular note is the file detailing the lawsuit between Betty Parsons and Sidney Janis over the fifth floor of 24 West 57th Street.
The remainder of the collection consists of Betty Parsons' personal papers which document Parsons' career prior to opening her own gallery, her work as an artist, and her personal art collection.
Some information about Parsons' work prior to opening her own gallery is found in the early curatorial files she retained from her curatorial and administrative work at the Wakefield Gallery and the Mortimer Brandt Gallery. Clippings, correspondence, announcements, exhibition lists and exhibition files are found. For both positions, she kept only the exhibition files for a small group of exhibitions organized around a specific theme, the most notable being the exhibition of Pre-Columbian Sculpture at the Wakefield Gallery.
Biographical materials include copies of her biography, family genealogies, photographs of Parsons, interviews with Colette Roberts and WYNC radio, memberships, photographs, and ephemera, including a collection of programs and invitations from events that she attended. Throughout her life Parsons gave generously of her time to various cultural and charitable institutions and was awarded for her contributions. There are also a number of files that document her speaking engagements, her participation as a juror in numerous juried exhibitions, charitable work, and awards that she received.
Parsons' personal correspondence files reflect how deeply Parsons' life was intertwined with the gallery. There are letters from museum directors, dealers, artists seeking representation, and personal letters from artists with whom she had close personal relationships, most notably Larry Bigelow, Alexander Calder, William Condon, and Ad Reinhardt. There are also letters from the English artist Adge Baker, with whom Parsons was romantically involved. Correspondence also includes several files of postcards and Christmas cards.
Pocket diaries and engagement calendars, spanning from 1933-1981 (although the 1950s are notably missing) record social engagements, meetings, vacations, and telephone numbers. Also found are three notebooks, and three sketchbooks, two of which are annotated. Writings by others include writings about Betty Parsons or the Betty Parsons' Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics.
Printed material consists of exhibition announcements and catalogs, art magazines, and newspaper and magazine clippings about Betty Parsons, her family and acquaintances, artists, and other art related topics, coupled with a miscellaneous selection of clippings on topics that presumably captured Parsons' attention.
Personal art work records document Betty Parsons' career as an artist through inventories, group and solo exhibitions files, price lists, appraisals, sales and consignment invoices. Photographs are primarily reproductions of her works of art, although there are scattered photographs of exhibition installations.
Betty Parsons private art collection files document Parsons extensive personal collection of art that included works by Jackson Pollock, Agnes Martin, Romare Bearden, Barnett Newman, and Mark Rothko, in addition to Amlash sculpture from ancient Persia and primitive sculpture from New Hebrides. These files include inventories, lists, exhibition records, sales and purchase invoices, and photographs. There are also files for donations and loans from Parsons' personal collection to museums and fund raising auctions for several non-profit institutions.
Finally, the personal financial records provide information about the Parsons' family finances and her personal financial success as an art dealer. In addition to her own investments, Parsons inherited shares in family investments through the estates of her parents, J. Fred Pierson, Jr. and Suzanne Miles Pierson, and younger sister, Emily Rayner. Real estate files include correspondence, utility bills, receipts, area maps, and land plots for houses in Sheepscot, Maine and St. Maartens, Netherlands Antilles. Tax returns, ledger worksheets, receipts, banking statements, deposit slips, and cancelled checks are among the other financial records.
Arrangement and Series Description
The collection is arranged into seven series:
- Series 1: Artists Files, 1935-1983(Boxes 1-18, 51, OV 53; 17.8 linear feet)
- Series 2: Exhibition Files, 1941-1983(Boxes 18-21, 51, OV 54; 3.6 linear feet)
- Series 3: Correspondence Files, 1941-1983 (boxes 21-24, 52; 3.7 linear feet)
- Series 4: Appraisal Files, 1935-1983(box 24; 0.6 linear feet)
- Series 5: Sales and Inventory Records, 1941-1983(boxes 25-28, 51; 2.9 linear feet)
- Series 6: General Business and Financial Records, circa 1956-1983 (boxes 28-38, 51; 9.6 linear feet)
- Series 7: Betty Parsons Papers, 1928-1991 (boxes 38-51; 11.5 linear feet)
Many of the series are further divided into subseries.
Subjects and Names
This collection is indexed in the online catalog of the Archives of American Art under the following index terms:
- Alloway, Lawrence, 1926-1990
- Baker, Adge, b. ca. 1890
- Bess, Forrest, 1911-1977
- Betty Parsons Gallery.
- Bigelow, Larry
- Calder, Alexander, 1898-1976
- Congdon, William, 1912-
- Feely, Paul, 1910-1966
- George, Thomas, 1918-
- Janis, Sidney
- Lazzari, Pietro, 1898-1979
- Liberman, Alexander, 1912-1999
- Lipton, Seymour, 1903-
- Margo, Boris, 1902-1995
- Mortimer Brandt Gallery (New York, N.Y.)
- Newman, Barnett, 1905-1970
- Parsons, Betty
- Pollock, Jackson, 1912-1956
- Pousette-Dart, Richard, 1916-1992
- Reichek, Jesse, 1916-
- Reinhardt, Ad, 1913-1967
- Roberts, Colette, 1910-
- Rothko, Mark, 1903-1970
- Stamos, Theodoros, 1922-1997
- Still, Clyfford, 1904-
- Wakefield Gallery
- Youngerman, Jack, 1926-
- Abstract expressionism--New York (State)--New York
- Art dealers
- Art galleries, Commercial--New York (State)--New York
- Painters--New York (State)--New York
- Sculptors--New York (State)--New York
The gallery donated some records in 1974, many of which had been loaned earlier for microfilming. The bulk of the collection was donated in 1984 and 1986 by William Rayner and Chrisopher Schwabacher, executors of the Estate of Betty Parsons. Additional material was donated by William Rayner in 1998.
Separated and Related Materials
Some of the material originally loaned for microfilming in 1968 and 1969 was not included in later donations and can be viewed on microfilm reels N68/62-N68/74 and N69/105-N69/106. Loaned materials are not described in the container listing in this finding aid.
Also found in the Archives of American Art are oral history interviews with Betty Parsons, June 4-9, 1969, by Paul Cummings, and June 11, 1981 by Gerald Silk.
How the Collection was Processed
Portions of the collection were loaned for microfilming on reels N68/62-N68/74 and N69/105-N69/105, much of which was included in later gifts. Many, but not all, of the records donated in three later gifts were microfilmed on reels 4087-4129, which are no longer in circulation. All donations were merged and the collection was fully processed, arranged, and described in accordance with archival standards by Jennifer Meehan and Kathleen Brown between 2007-2008, fully digitized in 2009, and made available on the Archives website in 2010 as part of the Terra Foundation for American Art Digitization Project.
How to Use the Collection
Restrictions on Use
Use of original papers requires an appointment.
Ownership & Literary Rights
The Betty Parsons Gallery records and personal papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Betty Parsons Gallery records and Betty Parsons papers in the Archives of American Art were digitized in
Materials that generally have not been scanned include duplicates, blank pages, slides, transparencies, unannotated photographs of works of art, routine financial transactions that do not document sales of artwork, and income tax records. Only the covers and title pages for many publications, such as catalogs, pamphlets, etc., have been scanned. Materials not scanned are noted at the folder headings and available by appointment.
How to Cite this Collection
Betty Parsons Gallery records and personal papers, circa 1920-1991, bulk 1946-1983. Archives of American Art, Smithsonian Institution.
Detailed Description and Container Inventory
Artists Files, 1935-1983
(Boxes 1-18, 51, and OV 53; 17.8 linear feet)
At least one-third of the collection consists of Artists Files stemming from the the gallery's business relationships (and Betty Parsons' personal relationships) with numerous artists. The correspondence focuses primarily on representation, promotion, exhibitions, and sales. Files contain correspondence with artists, museums, curators, collectors, and dealers, as well as with insurance agencies, and shipping and storage companies. Also found in the files are price lists, sales and expense records, shipping records, exhibition announcements and catalogs, biographical material, clippings, photographs of artwork and artists, writings by and about artists, and related material.
The files provide extensive documentation of the gallery's activities on behalf of individual artists, as well as Betty Parsons' role in the rise of Abstract Expressionism in American art and her close personal relationships with certain artists. Of particular note are the files on Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman, who were among the artists shown in the early years of the gallery. The Pollock file contains letters to and from the artist and his wife, Lee Krasner, as well as correspondence between Peggy Guggenheim and Parsons concerning Pollock's work and career.
Extensive documentation can also be found on the artists Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Other artists of note include Hans Hofmann, Ray Johnson, Lyman Kipp, Robert Murray, Agnes Martin, Alfonso Ossorio, Eduardo Paolozzi, Anne Ryan, Ad Reinhardt, Hans Richter, and Theodoros Stamos.
Correspondence with artists can also be found amongst the gallery correspondence files, as well as in Betty Parsons' personal correspondence. Artists Files are arranged alphabetically by artist and further subdivided if needed by format. Files described as "General" typically include records in a wide variety of formats, such as correspondence, sales and expenses records, and shipping records.
This series has been scanned in its entirety, except for duplicates, and slides and photographs of artwork.
|3||1||Clendenin, Eve, 1973-1974|
|3||2||Cohen, Bernard - General, 1964-1968|
Cohen, Bernard - Slides and Photographs, Works of Art, circa 1964-1968
|3||4||Cohen, Bernard - Clippings, 1965-1967|
Cohen, Bernard - Catalogs, 1961-1972
|3||8||Congdon, William - Biographical Material, circa 1948-1983|
|3||9||Congdon, William - Autobiographical Writings, 1961|
|3||10||Congdon, William - Statements on Art, 1952-1965|
|3||11||Congdon, William - Writings on Artist and Other Writings, circa 1948-1983|
|3||12||Congdon, William - Writings by Artist, 1957|
|3||13||Congdon, William - Miscellaneous Exhibition Material, 1960s|
Congdon, William - General, 1948-1983
|5||1||Donati, Enrico - Clippings, 1954-1959|
|5||2||Donati, Enrico - Announcements and Catalogs, 1958-1979|
Donati, Enrico - Announcements and Catalogs, Duplicates, 1958-1979
Dorr, William, undated
|5||5||Evans, John, 1968-1969|
|5||6||Falkenstein, Claire, 1952-1954|
Falkenstein, Claire - Photographs, Works of Art, circa 1952-1958
|5||8||Feeley, Paul - Biographical Material, circa 1960-1974|
Feeley, Paul - General, 1959-1980
|5||17||Feeley, Paul - Price Lists and Summary of Sales, 1960-1967|
|5||18||Feeley, Paul - Catalog Essay by E. C. Goossen, circa 1960-1980|
|5||19||Feeley, Paul - Snapshots, Artist and Friends, 1960s|
|5||20||Feeley, Paul - Photographs, Installations, circa 1960-1980|
Feeley, Paul - Transparencies, Works of Art, circa 1960-1980
Feeley, Paul - Photographs, Works of Art (1954-1965), circa 1960-1980
(9 folders; not scanned)
Feeley, Paul - Photographs, Works of Art, circa 1960-1980
(2 folders; not scanned)
Feeley, Paul - Slides, Works of Art, circa 1960-1980
Feeley, Paul - Printer's Plates, circa 1960-1980
|5||35||Feeley, Paul - Announcements, 1960-1982|
|5||36||Feeley, Paul - Catalogs, 1962-1970|
|5||37||Feeley, Paul - A Selection of Critical Reviews for "Art of the Real," 1967|
Feeley, Paul - Clippings, 1962-1975
Ferber, Herbert, 1947-1955
|5||43||Ferguson, Claire, 1979-1980|
|5||44||Fernandez, Augustin, 1967-1970|
Fernandez, Augustin - Photographs, Works of Art, 1967-1970
|5||46||Fimpel, Vernon, 1968-1969|
Fimpel, Vernon - Transparencies, Works of Art, circa 1968-1969
|5||48||Fine, Perle - General, 1948-1954|
|5||49||Fine, Perle - Announcements and Clippings, 1947-1951|
|5||50||Fine, Perle - Photographs, Artist, circa 1950|
Fine, Perle - Photographs, Works of Art, circa 1948-1954
(3 folders; not scanned)
|6||4||Fischel, Marguerite, 1948-1949|
|6||5||Frankenthaler, Helen, 1968-1969|
|6||6||Freedberg, Albert, 1951|
|6||7||Freemantle, Chloe, 1978-1979|
|6||8||Fritzius, Harry, 1979|
|6||9||Gear, William - Correspondence, 1944-1950|
|6||10||Gear, William - General, circa 1947-1949|
Gear, William - Photographs, 1949
(2 folders; partially scanned)
|6||14||Geitlinger, Ernst, 1949-1950|
Geitlinger, Ernst - Photographs, Works of Art, circa 1949-1950
|6||16||George, Thomas - Biographical Material and Writings, circa 1960-1980|
George, Thomas - Biographical Material and Writings, Duplicates, circa 1960-1980
George, Thomas - Correspondence, 1959-1981
George, Thomas - Announcements and Catalogs, 1964-1981
|6||26||George, Thomas - Sales and Expenses, 1959-1982|
|6||27||George, Thomas - Price Lists, 1963-1981|
|6||28||George, Thomas - Photographs, Installations, 1965-1971|
George, Thomas - Photographs, Works of Art, circa 1960-1980
(6 folders; not scanned)
George, Thomas - Color Transparencies, Works of Art, circa 1960-1980
George, Thomas - Clippings and Other Printed Material, 1959-1978
George, Thomas - Clippings and Other Printed Material, Duplicates, 1959-1978
|6||43||George, Thomas - Publicity, Norwegian Exhibition, 1971|
|6||44||Gillen, Michael - General, 1968-1971|
Gillen, Michael - Photographs, Works of Art, circa 1968-1971
(4 folders; not scanned)
|6||49||Godwin, Judith, 1959-1981|
Godwin, Judith - Photographs, Works of Art, circa 1959-1960
|6||51||Goodwin, John, 1976-1977|
|6||52||Gray, Cleve, 1966|
Guerrero, Jose - General, 1954-1963
|6||56||Guerrero, Jose - Clippings, Announcements, and Catalogs, 1954-1964|
|6||57||Guerrero, Jose - Photograph, Artist, circa 1954-1963|
|6||58||Guerrero, Jose - Photographs, Installations, circa 1954-1963|
Guerrero, Jose - Photographs, Works of Art, circa 1954-1963
Jackson, Jean Jones - General, 1966-1979
|8||4||Jackson, Jean Jones - Announcements and Clippings, 1967-1973|
Jackson, Jean Jones - Photographs, Works of Art, circa 1966-1979
(3 folders; not scanned)
|8||8||Jackson, Jean Jones - Photographs, Artist, 1967|
|8||9||Jacobsen, Jurgen, 1948-1949|
|8||10||Johnson, Buffie, 1950-1952|
Johnson, Buffie - Photographs, Works of Art, circa 1950-1952
|8||12||Johnson, Ray - General, 1972-1973|
|8||13||Johnson, Ray - Clippings, 1964-1973|
Johnson, Ray - Announcements and Catalogs, 1968-1975
Johnson, Ray - Photographs, Works of Art, 1970s
(2 folders; not scanned)
|8||18||Johnson, Ray - Sketch, 1970s|
|8||19||Johnson, Ray - Photograph, Installation, 1970s|
Johnson, William H., 1943-1944, 1973
|8||21||Kabak, Robert, 1964-1968|
Kabak, Robert - Photographs and Slides, Works of Art, 1965-1967
|8||23||Kelly, Ellsworth - Catalogue, 1964|
Kent, Adaline - General, 1948-1977
Kent, Adaline - Slides, Installations, circa 1948-1977
|8||29||Kent, Adaline - Announcements, Catalogs, and Book Cover, 1949-1957|
|8||30||Kent, Adaline - Clippings, 1948-1958|
Kent, Adaline - Photographs, Artist's Studio, 1950s
(See Box 51)
|8||32||Kent, Adaline - Photographs, Artist, 1956|
|8||33||Kent, Adaline - Photographs, Installations, 1950s|
Kent, Adaline - Photographs, Works of Art, circa 1948-1977
(2 folders; not scanned)
|8||36||Kipp, Lyman - Biographical Material, circa 1954-1983|
Kipp, Lyman - General, 1954-1983
|8||41||Kipp, Lyman - Price Lists, 1956-1960|
Kipp, Lyman - Announcements and Catalogs, 1954-1971
Kipp, Lyman - Clippings, 1956-1968
|8||47||Kipp, Lyman - Photographs, Artist, 1960s|
Kipp, Lyman - Photographs, "Old Works," circa 1954-1983
(4 folders; not scanned)
Kipp, Lyman - Photographs, "Works Sold," circa 1948-1983
Oversize, Bonge, Dusti - Photographs, Works of Art, circa 1956-1981
Oversize, Box, Eden - Photographs, Artist, circa 1953-1981
(Scanned with Box 2, F14)
Oversize, Kent, Adaline - Photographs, Artist's Studio, 1950s
(Scanned with Box 8, F31)
Oversize, Lindner, Richard - Photograph, Artist, circa 1954-1979
(Scanned with Box 10, F8)
Oversize, Lindner, Richard - Photographs, Works of Art, circa 1954-1979
Oversize, Pollock, Jackson - Clippings, 1949-1982
(Scanned with Box 13, F22)
Oversize, Chryssa - Correspondence, 1960-1964
(Scanned with Box 2, F41)
Oversize, Rosen, Jim, 1977-1978
(Scanned with Box 15, F44)
Oversize, Youngerman, Jack - Silkscreen for Poster, 1965
(Scanned with Box 18, F24)
Exhibition Files, 1941-1983
(Boxes 18-21,51, OV 54; 3.6 linear feet)
Exhibition files primarily document the gallery's infrequent group or themed exhibitions, and the general administration of exhibitions. Also found are files for exhibitions Parsons organized for other galleries and institutions, and for the short-lived Section Eleven Gallery, an adjunct to the Betty Parsons Gallery that focused on new artists. While some exhibition material related to solo exhibitions can be found here, most of the exhibition material related to one-man/person exhibitions are found in the artists files.
Exhibitions of particular note for which there are files in this series include The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still.
The Exhibition Files series is arranged into six subseries:
- 2.1: Group Exhibitions, 1944-1983
- 2.2: Loan Exhibitions, 1949-1979
- 2.3: Section Eleven Exhibitions, 1958-1961
- 2.4: General Exhibition Files, 1941-1983
- 2.5: Announcements and Catalogs, 1943-1983
- 2.6: Guest Books, 1969-1983
This series has been mostly scanned in its entirety, except for duplicates and photographs of works of art. Photographs of exhibition installations have been scanned.
2.1: Group Exhibitions, 1944-1983
Files consist of correspondence, notes, lists, schedules, loan receipts, shipping invoices, press releases, announcements, catalogs, clippings, and photographs, related to group exhibitions at the Betty Parsons Gallery, beginning with the first one, Northwest Coast Indian Painting in 1946 and ending with the planned memorial exhibition, "Betty Parsons and Her Artists/Works on Paper," which was ultimately cancelled.
Files are arranged chronologically according to the year of exhibition, represented by the first date listed for each file entry. The span dates at the end of each file entry represent the date range of material within the folder(s).
Northwest Coast Indian Painting (1946), 1946-1947
|18||38||Northwest Coast Indian Painting (1946), Printed Material, 1944-1946|
Northwest Coast Indian Painting (1946), Photographs, circa 1946
|18||40||The Ideographic Picture (1947), 1947-1949, 1967, 1980|
Ten Years (1955), 1955-1956
|18||43||Ten Years (1955), Photographs, Installations, circa 1955|
Ten Years (1955), Photographs, Works of Art, circa 1955
(2 folders; not scanned)
Paintings for Unlimited Space (1958-1959), 1958-1959
Amlash Sculpture from Iran (1963), 1963-1977
|18||51||Amlash Sculpture from Iran (1963), Printed Material, 1963-1964|
Amlash Sculpture from Iran (1963), Photographs, circa 1963
(2 folders; partially scanned)
2.2: Loan Exhibitions, 1949-1979
Files consist of a wide variety of materials, such as correspondence, notes, lists, schedules, loan receipts, shipping invoices, press releases, announcements, catalogs, clippings, and photographs, relating to exhibitions in other galleries or institutions organized by Betty Parsons and/or for which the gallery loaned artwork.
Files are arranged chronologically according to the year of exhibition, represented by the first date listed for each file heading. The span dates at the end of each file heading represent the date range of material within the folder(s).
Salon International de Galleries-Pilotes (2nd: 1966: Lausanne, Switzerland), 1965-1967
(Scanned with Box 19, F38)
2.3: Section Eleven Exhibitions, 1958-1961
Files consist of correspondence, notes, lists, schedules, loan receipts, shipping invoices, press releases, announcements, catalogs, clippings, and photographs, relating to various group exhibitions held in the Section Eleven Gallery, which operated for a short time, from 1958-1961, as an adjunct to the Betty Parsons Gallery and showcased the work of new artists.
|19||45||New Names (December 20, 1960 - January 7, 1961), 1959-1962|
New Names (December 20, 1960 - January 7, 1961), Photographs, circa 1960
Various Exhibitions, 1958-1961
Announcements and Catalogs, 1958-1961
2.4: General Exhibition Files, 1941-1983
Files consist of materials relating to the general planning, production, and administration of exibitions, as well as sales relating to exhibitions. Includes are artists biographies, exhibition schedules, price lists, and other lists. The bulk of the documentation relating to solo exhibitions of particular artists can be found amongst the artist files.
2.5: Announcements and Catalogs, 1943-1983
Found here are exhibition announcements and catalogs, and a few exhibition posters, for the Betty Parsons Gallery. Exhibition announcements and catalogs can also be found amongst the artists files.
Oversize, Exhibition Posters, Betty Parsons Gallery, 1951-1972
(Scanned with Box 20, F20)
2.6: Guest Books, 1969-1983
Guest books contain signatures and comments from visitors to exhibitions at the Betty Parsons Gallery. There is no guest book for 1977.
|20||22||Guest Book, 1969-1970|
|20||23||Guest Book, 1970-1971|
Guest Books, 1972
|20||26||Guest Book, 1973|
|20||27||Guest Book, 1973-1974|
|20||28||Guest Book, 1975|
|20||29||Guest Book, 1976|
|20||30||Guest Book, 1976 March-October|
|20||31||Guest Book, 1978|
|20||32||Guest Book, 1979|
|20||33||Guest Book, 1979-1980|
|20||34||Guest Book, 1980-1981|
|20||35||Guest Book, 1981-1982|
|21||1||Guest Book, 1982-1983|
Correspondence Files, 1941-1983
(Boxes 21-24, 52; 3.7 linear feet)
This series consists of the incoming and outgoing correspondence of the gallery - some of it created by Betty Parsons and some of it by her gallery assistants (Jock Truman and others). It is with various institution and museum officials, art dealers, artists, researchers, collectors. The correspondence series also includes telephone and address books and gallery logs of internal memoranda.
This series has been scanned in its entirety.
The correspondence is arranged into five subseries:
- 3.1: Institutions and Dealers, 1945-1982
- 3.2: Individuals and Collectors, 1941-1982
- 3.3: Publishers, Newspapers and Magazines, 1946-1978
- 3.4: Miscellaneous Correspondence, 1979-1983
- 3.5: Gallery Logs and Telephone and Address Books, circa 1978-1981
This series has been scanned in its entirety.
3.1: Institutions and Dealers, 1945-1982
Files consist of correspondence with museums, galleries, dealers, colleges and universities, arts organizations, and associations. Correspondence typically relates to the general operations of the gallery, including loans, sales, prices, appraisals, conservation, damages, shipping, insurance, exhibitions, and requests for information about artists. requests for photographs, and slides, shipping, , including promotion, exhibition, and sale of work by gallery artists.
Files are arranged alphabetically according to the name of the institution or the surname of the individual. When the name of a business or institution also represents the name of an individual, the file is arranged by the name of the business. For example, correspondence with the Sidney Janis Gallery is filed under "S".
|21||3||Addison Gallery of American Art, 1949-1959|
|21||4||Akron Art Institute, 1951-1974|
|21||5||Albright-Knox Art Gallery, 1946-1977|
|21||6||American Federation of Arts, 1948-1964|
|21||7||The American University, 1947-1954|
|21||8||Amon Carter Museum of Western Art, 1966-1967|
|21||9||Art Association of Newport, 1952, 1969-1975|
|21||10||Art Gallery of Ontario (formerly Art Gallery of Toronto), 1949-1967|
Art Institute of Chicago, 1947-1977
|21||13||Arthur Tooth and Sons (London, England), 1957-1962|
|21||14||Arts Club of Chicago, 1952-1974|
|21||15||The Arts Council of Great Britain, 1966-1977|
|21||16||Atlanta Art Association, 1954|
Axiom Gallery (London, England), 1965-1969
|21||22||B.C. Holland Gallery, 1966-1967|
|21||23||Baltimore Art Museum, 1954-1978|
|21||24||Bennington College, 1953, 1965-1966|
|21||25||Brandeis University, 1954-1964|
|21||26||The Brooklyn Museum, 1951-1963|
|21||27||Brooks Memorial Art Gallery (Memphis, TN), 1953-1973|
|21||30||California Palace of Legion of Honor, 1950-1954|
|21||31||Carnegie Institute, Museum of Art, 1947-1978|
|21||32||Cleveland Museum of Art, 1961-1977|
|21||33||Collezione Peggy Guggenheim, 1948-1966|
|21||34||Columbus Gallery of Fine Arts, 1950-1977|
|21||35||The Corcoran Gallery of Art, 1945-1972|
|21||36||Cornell University, 1946-1978|
|21||37||Cranbrook Academy of Art, 1950, 1970-1980|
|21||38||Cusack Gallery, 1974-1975|
|21||40||Dallas Museum of Fine Arts, 1948, 1970-1975|
|21||41||David Hendricks Gallery, 1970-1976|
|21||42||Dayton Art Institute, 1966-1971|
|21||43||De Cordova Museum, 1965-1975|
|21||44||Denver Art Museum, 1949-1969|
|21||45||Des Moines Art Center, 1950-1968|
|21||46||Detroit Institute of Arts, 1950-1975|
|21||47||Dilexi Gallery, 1962-1963|
|21||49||Esther Bear Gallery, 1962-1965|
|21||51||Fairweather Hardin Gallery, 1958-1968|
|21||52||Feigen Palmer Gallery, 1965|
|21||53||Finch College Museum of Art, 1968-1972|
|21||54||Flint Institute of Arts, 1963-1971|
|21||55||Fogg Art Museum, Harvard University, 1951-1973|
|21||56||Fujikawa Gallery (Osaka, Japan), 1950|
|21||59||Galerie Alfred Schmela, 1968-1972|
|21||60||Galerie Iris Clert, 1961-1964|
|21||61||Galerie Israel Ltd., 1961-1968|
|21||62||Galerie Rudolf Zwirner, 1968-1970|
Galleria dell'Ariete, 1956-1976
|21||68||Gertrude Kasle Gallery, 1965-1974|
|21||69||Grand Central Moderns, 1968|
|21||72||Indiana University, 1946-1951|
|21||73||Indianapolis Museum of Art, 1976-1978|
|21||74||The Institute of Contemporary Art (Boston, MA), 1951-1976|
|21||76||The J. B. Speed Museum, 1964-1972|
|21||77||The James David Gallery, 1965-1967|
|21||78||The Jewish Museum, 1965-1978|
|21||79||Jo Lo Giudice Gallery, 1969-1970|
|21||80||John Simon Guggenheim Memorial Foundation, 1953-1974|
|22||2||Kansas City Art Institute and School of Design, 1960-1965|
|22||3||Kasmin Limited (London, England), 1964-1967|
|22||4||Kent State University, 1966-1977|
|22||5||Kiko Galleries, 1969-1970|
|22||7||La Jolla Museum of Contemporary Art, 1969-1972|
|22||8||Laursen, Steingrim, 1971-1974|
|22||9||Los Angeles County Museum of Art, 1951-1967|
|22||10||Loch Haven Art Center, 1972|
|22||13||Massachusetts Institute of Technology, 1963-1975|
|22||14||The Memorial Art Gallery of the University of Rochester, 1962-1975|
|22||15||The Metropolitan Museum of Art, 1953-1978|
|22||16||Milwaukee Art Center, 1955-1974|
|22||17||Montclair Art Museum, 1972-1977|
|22||18||Munson Williams Proctor Institute, 1947-1970|
|22||19||Museum of Contemporary Art, Chicago, 1967-1976|
|22||20||Museum of Fine Arts, Boston, 1950-1976|
|22||21||Museum of Fine Arts, Houston, 1959, 1970-1972|
The Museum of Modern Art, New York, 1947-1978
|22||26||Myrtle Todes Art Gallery, 1956-1961|
|22||28||National Gallery of Canada, 1968-1969|
|22||29||National Gallery of Art, 1969-1976|
|22||30||The Newark Museum, 1960-1973|
|22||31||New York University, 1966-1975|
|22||32||Nicholas Wilder Gallery, 1964-1967|
|22||33||Norton Gallery and School of Art, 1947, 1966-1969|
|22||34||Numismatic Fine Arts, 1947-1964|
|22||36||L'Obelisco Galleria d'Arte (Rome, Italy), 1948-1949|
|22||37||Ohio University, 1953-1954|
|22||39||Pasadena Art Museum, 1965-1973|
|22||40||Pennsylvania Academy of the Fine Arts, 1950-1969|
|22||41||Pennsylvania State University, 1958-1963|
|22||42||The Philadelphia Art Alliance, 1949-1972|
|22||43||The Phillips Collection, 1951-1977|
|22||44||Portland Art Museum, 1950-1976|
|22||45||Quadrum 16, 1964|
|22||47||Rhode Island School of Design, 1947-1982|
|22||48||Richard Demarco Gallery, 1975|
|22||49||Robert Fraser Gallery, 1963-1967|
|22||50||Roswell Museum and Art Center, 1968-1976|
|22||51||Rowan Gallery, 1963-1978|
|22||52||Russell Sage College, The New Gallery, 1973|
|22||55||St. Louis Art Museum, 1951-1974|
|22||56||San Francisco Museum of Art, 1951-1970|
|22||57||Santa Barbara Museum of Art, 1948-1965|
|22||58||Skidmore, Owings, and Merrill, 1960-1963|
|22||59||Smith College Museum of Art, 1957-1959|
|22||60||Smithsonian Institution, National Collection of Fine Arts, 1958-1977|
|22||61||Sneed Gallery (Rockford, Illinois), 1970-1978|
|22||62||Solomon R. Guggenheim Museum, 1962-1978|
|22||63||Southern Illinois University, 1956-1957|
|22||64||Spanish International Pavilion Foundation, 1967-1970|
|22||65||Stamford Museum and Nature Center, 1959-1965|
|22||66||Syracuse Museum of Fine Arts, 1953-1955|
|22||67||Syracuse University, 1947-1964|
|22||69||Thomas Gibston Fine Art Ltd., 1970-1971|
Thompson, Lynne, 1947-1968
|22||72||The Toledo Museum of Art, 1948-1976|
|22||75||University of California, Berkeley, 1966-1974|
|22||76||University of California, Los Angeles, 1954-1965|
|22||77||University of Colorado, 1959-1968|
|22||78||University of Illinois, 1949-1966|
|22||79||University of Nebraska, 1948-1967|
|22||81||Virginia Museum of Fine Arts, 1948-1977|
|22||83||Wadsworth Atheneum, 1955-1969|
|22||84||Walker Art Center, 1948-1970|
3.2: Individuals and Collectors, 1941-1982
Files consist of correspondence with private collectors and other individuals, including artists, researchers, art critics, gallery assistants, politicians, and business acquaintances. Correspondence concerns most of the same topics as the correspondence with institutions and dealers, such as sales, purchases, invoicing, loans, requests for photographs and and information, requests for information about artists and specific works of art, damages and conservation work, authentication and appraisal of works, and national and international shipping. In addition, there is correspondence about the gallery's role in forming a collection of contemporary drawings (John S. Newberry Collection), and sculpture commissions (including an Alexander Liberman sculpture commissioned by Solomon Smith for the Church of the Holy Spirit in Chicago).
The bulk of the correspondence with artists represented by the gallery can be found amongst the artists files. Artists' correspondence found here typically relates to artists seeking representation by the gallery and written recommendations (for grants, fellowships, and jobs) provided by Betty Parsons.
Correspondence with gallery assistants includes letters from people seeking a position or making arrangements to travel from abroad to take a position, as well as letters from Jock Truman, Marie Hartley, and others to Parsons while she was away, concerning gallery matters.
Files are arranged alphabetically.
|23||12||Boniver, Margherita, 1964-1965|
|23||13||Boyle, Kay, 1946-1958|
|23||18||Carpenter, Betty C., 1964-1966|
|23||19||Carrettin, Adriano, 1961-1962|
|23||20||Carstairs, Jo, 1957-1968|
|23||21||Chase Manhattan Bank, 1963-1967|
|23||25||Daniels, Alfred H., 1966-1976|
|23||26||Day, Lawrence S., 1969-1974|
|23||27||De Lamar, Alice, 1964-1974|
|23||29||Ede, James, 1959-1964|
|23||31||Frassetto, Monica Flaherty, 1961-1975|
|23||32||Fremantle, Chloe, 1978|
|23||33||Fenno, Pauline, 1966-1973|
|23||38||Harari, Mary McFadden, 1963-1968|
|23||41||Johnson, Philip, 1954-1971|
|23||45||Longwell, Daniel and Mary, 1957-1960|
|23||46||Ludington, Wright, 1962-1967|
|23||50||Malbin, Lydia Winston, 1966|
|23||51||Mallory, Margaret, 1967-1978|
|23||52||Marcus, Stanley (Neiman-Marcus), 1971-1975|
|23||53||Mayer, Robert B., 1964-1971|
|23||54||Meilach, Dona Z., 1965-1970|
Newberry, John S., 1960-1965
|23||58||Newhouse, James K., 1964-1967|
|23||62||Parker, Chris, 1971-1974|
|23||63||Picarello, Frank Jr., 1964-1965, 1971|
|23||64||Pinya, Josep, 1974|
|23||65||Prentice, David, 1964-1965|
|23||69||Rudkin, Mark, 1960-1977|
|24||1||Shepley, Lili (Mrs. Philip), 1960-1976|
Smith, Solomon Burke, 1964-1971
|24||4||Sturman, George, 1966-1967|
|24||6||Paul Taylor Dance Company, 1976-1978|
U-V, 1967, 1974
3.3: Publishers, Newspapers and Magazines, 1946-1978
Files consist of correspondence with various publishers, newspapers, and magazines, concerning publications and articles on art and artists, Betty Parsons and the gallery, the gallery's stable of artists, and her responses. Also covered are advertising, reproductions of art work and purchase of prints for illustrations, and various printing and publishing projects.
Files are arranged alphabetically by name of publisher or publication. In instances where the name of a publisher contains the name of an individual, the file is arranged alphabetically according to the surname of the individual (for instance, correspondence with Harry N. Abrams, Inc. is filed under "A"). Though unusual, this means of alphabetizing may have originated with the creator and therefore no attempt has been made to modify it.
|24||11||Art International, 1962-1973|
|24||14||Fratelli Fabri Editori, 1968-1969|
3.4: Miscellaneous Correspondence, 1979-1983
This is the correspondence, most from the 1980s, of gallery assistants Deborah Hildreth and Wendy Peterson. Organized chronologically, this correspondence concerns such matters as tax audits and other gallery business, artists seeking representation, and requests for information. Also found is miscellaneous correspondence (scattered greeting cards mostly) addressed to Jack Tilton.
3.5: Gallery Logs and Telephone and Address Books, 1978-1981,
Found here are gallery logs from 1977-1981 and two telephone and address books that are undated. Staff of the Betty Parsons Gallery maintained the gallery logs, which were used primarily to record telephone messages, although the logs also include lists of calls to make, things to do, mail sent, works sold, etc.
Files are arranged chronologically by year.
Gallery Log, 1977-1978
(See box 52)
|24||26||Gallery Log [ National Diary for 1978], 1978|
|24||27||Gallery Log [ 1979 Standard Diary], 1979|
|24||28||Gallery Log [ 1980 Standard Diary], 1980|
Gallery Log, 1981
(See box 52)
|24||30||Telephone and Address Book, circa 1950-1970|
|24||31||Telephone and Address Book, circa 1980|
Oversize, Gallery Log, 1977-1978
(Scanned with Box 24, F25)
Oversize, Gallery Log, 1981
(Scanned with Box 24, F29)
Appraisal Files, 1954-1983
(Box 24; 0.4 linear feet)
Correspondence and forms concern valuations and appraisals, with requests from gallery clients and the Art Dealers Association of America. One folder solely contains appraisal requests and other information from the Art Dealers Association of America from 1982-1983.
This series has been scanned in its entirety.
|24||50||Art Dealers Association of America (Appraisals and Correspondence), 1982-1983|
|24||51||Conservation Invoices, 1981-1983|
Sales and Inventory Records, 1946-1981
(Boxes 25-28, 51; 2.9 linear feet)
Found in this series are the records containing detailed information about gallery stock - sales, purchases, inventory, prices, artists' commissions, individual artist accounts, loan and consignment activities, and commission sales shared with other dealers. Multiple formats include invoices, forms, daybooks, ledger books, ledger sheets and inventories. Additional records documenting routine business transactions are located in the general business and financial records and "Artist Sales and Expenses" invoices can be found within the artist files. Documents in this series are a rich resource of information on individual works of art, including provenance and exhibition history. Condition reports are scattered amongst the files.
This series has been scanned in its entirety.
Sales and Inventory Records are arranged into four subseries:
- 5.1: Sales and Purchase Records
- 5.2: Artist Accounts
- 5.3: Consignment and Loan Records
- 5.4: Gallery Inventories
5.1: Sales and Purchases, 1946-1981
This suberies provides detailed information about the gallery's sales and, to a lesser extent, purchases of works of art through invoices, ledgers, record books, and summaries. Due to the variety of formats there is a significant duplication of information. There are only three folders of invoices for purchases dating from 1950-1974. Additional information regarding sales can be found in the general ledgers that are located in disbursements and receipts. Of particular interest are summaries of sales of art works by Ad Reinhardt, Jackson Pollock, and Mark Rothko (circa 1952) and summaries of sales to museums from 1946 - 1952.
The majority of the files are sales invoices. Most invoices include detailed information about the work of art, the name and address of the buyer, price, and date of sales. Sales invoice files are arranged by four access points: artist, buyer, year, and invoice number. Sales invoices arranged by buyer make up the bulk of the invoices and may represent the most complete record of gallery sales. Filing idiosyncrasies exist within this category, primarily when the buyer is an institution or organization. In some instances the invoices and sales related correspondence were filed under the institution/organization name, while in others it was filed by the last name of the primary correspondent.
Purchase invoices identify the institution or individual from whom a work was purchased and establishes provenance for works that were not acquired directly from the artist. Purchase invoices can also be found scattered amongst the sales invoice files.
Files are arranged by format.
Oversize, Sales Summaries, 1963
(Scanned with Box 27, F44)
5.2: Artist Accounts, 1946-1980
This subseries contain the records of financial transactions between the gallery and artists, primarily the amount of commission that the gallery received from the artist/sale, and expenses charged back to the artists for exhibitions, advertising, and framing. Artist accounts include ledger sheets, lists, sales and expense invoices, and an expenses daybook.
Ledger sheets and invoices are arranged alphabetically by name of artist, while lists are arranged chronologically.
5.3: Consignment and Loan Records, circa 1948-1983
Found here are documents concerning loans to or from the gallery for sales and exhibitions. Although the Betty Parsons Gallery occasionally sent works on consignment to other galleries, the majority of consignments were to museum art rental and sales galleries, most notably the Museum of Modern Art's Art Lending Service. The gallery also loaned works to various museums and institutions for exhibitions and participated in the Art in Embassies program. The files contain correspondence, invoices, receipts, daybooks, and loan forms. Most documents contain standard data on the work of art, including title, artist, medium, creation date, and dimensions. Invoices for consignments to the gallery also contain the name and address of the original owner.
Files within this subseries are arranged alphabetically by individual or institution except for the daybooks, which are arranged chronologically.
5.4: Gallery Inventories, 1973-1980
This series consists of inventories in the form of notebooks and individual sheets that partially document the gallery's stock of art at distinct periods. There are a number of inventories of the work of individual artists. The Gallery and Warehouse Inventory of 1979 appears to be the only comprehensive record. It consists of loose sheets and A-Z tabbed dividers from a small binder. Information is arranged alphabetically by artist. This inventory also includes works from Betty Parson's private collection, which are identified by a "BP" in the left-hand margin.
|28||62||Gallery Inventory, 1978|
|28||63||Gallery and Warehouse Inventory, 1979|
|28||64||Miscellaneous Inventories by Artist, 1973-1980|
General Business and Financial Records, 1946-1983
(Boxes 28-38; 9.6 linear feet)
Records that provide an overview of the gallery's general business operations and financial transactions include general ledgers, paid bills, receipts, tax returns, storage records, shipping receipts, bank statements, check stubs and cancelled checks. Financial records concerning gallery stock are located in the sales and inventory files.
This series is arranged into six subseries:
- 6.1: Cash Disbursements and Receipts, circa 1965-1983
- 6.2: Shipping and Storage Records, 1956-1983
- 6.3: In/Out Slips, 1982-1983
- 6:4: Legal Records, 1946-1978
- 6.5: Tax Records, 1956-1977
- 6.6: Banking Records, 1966-1982
Not all of the records in this series have been scanned, specifically cash disbursements and receipts, tax records, and banking records.
Cash Disbursements and Receipts, circa 1966-1983
This subseries houses receipts and ledgers that record the gallery's routine financial transactions for goods and services. Scattered receipts, principally those for framing services, include information about works of art. The ledgers record annual accounts of cash disbursements and receipts, including sales. However, sales and purchases of works of art are documented more fully in Sales and Inventory Records, and those records are easier to interpret.
Ledger books are arranged chronologically. Receipts are minimally processed and arranged in loose chronological order; within folders receipts are grouped together by vendor.
Cash Disbursements and Receipts Ledger, 1965
(See Box 51)
Cash Disbursements and Receipts Ledger, 1966
(See Box 51)
Cash Disbursements and Receipts Ledger, 1967
(See Box 51)
Cash Disbursements and Receipts Ledger, 1968
(See Box 51)
|28||69||Cash Disbursements and Receipts Ledger, 1969|
|29||1||Cash Disbursements and Receipts Ledger, 1970|
|29||2||Cash Disbursements and Receipts Ledger, 1971|
|29||3||General Ledger, 1972 January-August|
|29||4||General Ledger, 1972-1973|
|29||5||Financial Statements and Documentation, circa 1973-1974|
|29||6||Sales Invoices (non-art), 1977-1983|
|29||7||Resale Certificates, 1965-1966|
|29||8||Gallery Space Rental Receipts, 1974-1977|
|29||9||Petty Cash Receipts, 1968|
|29||10||Receipts, circa 1963-1969|
Receipts, circa 1971
Receipts, circa 1972
Receipts, circa 1973-1976
Receipts, circa 1973-1976
Receipts, circa 1977-1980
Receipts, circa 1977-1980
Receipts, circa 1981-1983
Oversize, Cash Disbursements and Receipts Ledger, 1965
(See Box 28, F65)
Oversize, Cash Disbursements and Receipts Ledger, 1966
(See Box 28, F66)
Oversize, Cash Disbursements and Receipts Ledger, 1967
(See Box 28, F67)
Oversize, Cash Disbursements and Receipts Ledger, 1968
(See Box 28, F68)
Shipping and Storage Records, circa 1956-1983
These files contain correspondence, receipts, and record books from shipping and storage companies. Additional shipping and storage receipts can be found within the cash disbursements and receipts subseries.
|31||27||Beverly Storage Company, Inc., Correspondence and Receipts, 1968|
|31||28||Hague Art Delivery, Correspondence and Receipts, 1968-1977|
|31||29||Morgan Manhattan Storage, Correspondence, 1951-1969|
|31||30||W.R. Keating, Correspondence and Receipts, 1956-1982|
|31||31||Storage Receipts, Cirker's Hayes Warehouse, 1973-1965|
|31||32||Shipping Receipits from Loans, 1977-1979|
|31||33||Shipping Receipts, New York State, circa 1973-1979|
|31||34||Shipping Receipts, Outside New York, circa 1969-1979|
Miscellaneous Shipping Receipts, circa 1960-1983
|32||8||UPS Pickup Record Book, 1979 March-October|
|32||9||UPS Pickup Record Book, 1979-1980|
|32||10||UPS Pickup Record Book, 1980-1981|
|32||11||UPS Pickup Record Book, 1981 February-September|
|32||12||UPS Pickup Record Book, 1981-1982|
|32||13||UPS Pickup Record Receipts, 1982-1983|
In/Out Slips, 1982-1983
These files record the movement of works of art to and from the gallery for the purposes of consignment, exhibition, and removal to off-site storage and restoration. Slips indicate name and address of recipient or sender and titles, artists, dates, and dimensions of the art work. Reasons for transfer, values and notes about condition are included on some slips.
|32||14||In/Out Slips, 1981-1982|
|32||15||In Slips 1982-1983|
|32||16||In Slips 1983 January-April|
|32||17||Out Slips, 1982|
|32||19||Out Slips 1983 April-June|
|32||20||Out Slips, 1983 May-June|
|32||21||Out Slips, 1983 June-July|
6.4: Legal Records, 1946-1978
Scattered legal documents in this subseries include a standard gallery - artist contract, a copy of the 1974 lease for the gallery space at 24 West 57th Street and the minutes concerning the incorporation of the Parsons-Truman Gallery in 1974, an offshoot of the Parsons Gallery for showing works on paper. Additionally there are records from miscellaneous court cases. Of particular interest is the file on the lawsuit Parsons initiated against Sidney Janis over the space that they shared on the 5th floor of 15 East 57th Street, New York.
Tax Records, 1956-1977
This subseries houses federal, state, and city tax returns and supporting documentation.
|32||29||Federal, State and State Employer's Quarterly Returns, 1964-1971|
|32||30||Federal, State and State Employer's Quarterly Returns, 1973-1975|
|32||31||Employee Tax Returns and Receipts, 1965-1972|
|32||32||New York State Unemployment and Disability Insurance, 1964-1977|
|32||33||New York City and State Sale Tax Returns, 1964-1970|
|32||34||Occupancy Tax Returns, 1963-1975|
|32||35||Pallroll and Sales Taxes, 1972|
|32||36||Payroll and Sales Taxes, circa 1973-1974|
|32||37||Pallroll and Sales Taxes, circa 1974-1976|
|32||38||Miscellaneous Tax Documents, 1956-1964|
|32||39||Tax Worksheets, 1965|
|32||40||Tax Worksheets, 1966-1967|
|32||41||Tax Worksheets, 1968|
|32||42||Tax Documents, 1968-1970|
|32||43||Tax Documents, 1970|
|32||44||Tax Documents, 1971-1974|
Banking Records, 1966-1982
This subseries houses bank statements, cancelled checks, and check stubs from the gallery's business account at Manufacturers Hanover Trust Company.
Files are arranged by format and then chronologically. Within folders, cancelled checks are arranged in order of check number.
|33||Bank Statements and Cancelled Checks|
Manufacturers Hanover Trust, nos. 3871-4560, 1966-1967
Manufacturers Hanover Trust, nos. 4561-5262, 1968
Manufacturers Hanover Trust, nos. 4196, 5259-5989, 1969
|33||17||Manufacturers Hanover Trust, nos. 4355, 5920-6558, 1970|
Manufacturers Hanover Trust, nos. 4355, 5920-6558, 1970
Manufacturers Hanover Trust, nos. 6559-7145, 1971
Manufacturers Hanover Trust, nos. 7142-7499; 101-529, 1972
Manufacturers Hanover Trust, nos. 530-1124, 1973
Manufacturers Hanover Trust, nos. 1125-1636, 1974
Manufacturers Hanover Trust, nos. 1637-3043, 1975
Manufacturers Hanover Trust, nos. 3044-3565, 1976
Manufacturers Hanover Trust, nos. 3566-4181, 1977
Manufacturers Hanover Trust, nos. 4182-4709, 1978
Manufacturers Hanover Trust, nos. 4710-5223, 5498, 1979
Check Binders and Stubs
|36||9||Manufacturers Hanover Trust, nos. 4490-4990, 1967-1968|
|36||10||Manufacturers Hanover Trust, nos. 4990-5490, 1968-1969|
|36||11||Manufacturers Hanover Trust, nos. 5490-5981, 1969-1970|
|36||12||Manufacturers Hanover Trust, nos. 6000-6500, 1970|
|37||1||Manufacturers Hanover Trust, nos. 6500-7000, 1970-1971|
|37||2||Manufacturers Hanover Trust, nos. 7000-7500, 1971-1972|
|37||3||Manufacturers Hanover Trust, nos. 101-600 ("special"), 1972-1973|
|37||4||Manufacturers Hanover Trust, nos. 101-601, 1972-1973|
|37||5||Manufacturers Hanover Trust, nos. 1446-1601, 1974|
|37||6||Manufacturers Hanover Trust, nos. 1601-2101, 1974-1975|
Manufacturers Hanover Trust, nos. 1958-3357, 1975-1976
(2 folders; loose check stubs)
|37||9||Manufacturers Hanover Trust, nos. 3358-3495, 1975-1976|
|38||1||Manufacturers Hanover Trust, nos. 3500-4000, 1976-1977|
|38||2||Manufacturers Hanover Trust, nos. 4000-4500, 1977-1978|
|38||3||Manufacturers Hanover Trust, nos. 4500-5000, 1978-1979|
|38||4||Manufacturers Hanover Trust, nos. 5500-6000, 1980-1981|
|38||5||Manufacturers Hanover Trust, nos. 6000-6500, 1981-1982|
|38||6||Manufacturers Hanover Trust Check Register, 1974-1981|
Betty Parsons Personal Papers, circa 1927-1991
(Boxes 38-51; 11.5 linear feet)
This series documents the more personal and professional activities of Betty Parsons through early curatorial files from her work at Wakefield Gallery and Mortimer Brandt Gallery, biographical files, family papers, correspondence, pocket diaries, writings, photographs, printed materials, and financial records. Parsons' extensive personal papers also include files that provide an overview of her own career as an artist as well as her extensive private art collection.
The Betty Parsons Papers series is arranged into 10 subseries:
- 7.1: Early Curatorial Files, circa 1940-1958
- 7.2: Biographical Material, circa 1928-1983
- 7.3: Correspondence, circa 1932-1983
- 7.4: Pocket Diaries and Notebooks, 1933-1981
- 7.5: Annotated Sketchbooks, 1951-1969
- 7.6: Writings by Others, circa 1950-1980
- 7.7: Printed Material, circa 1927-1991
- 7.8: Betty Parsons Art Work Files, circa 1955-1983
- 7.9: Betty Parsons Private Collection Files, circa 1963-1983
- 7.10: Personal Financial Records, 1947-1980
7.1: Early Curatorial Files, circa 1940-1958
This subseries consists of files that Parsons retained from her work at the Wakefield Gallery and the Mortimer Brandt Gallery. Files include correspondence, clippings, group exhibition files, announcements, catalogs, photographs, and exhibition and price lists.
Early Curatorial Files are arranged into two sub subseries:
7.1.1: Wakefield Gallery, circa 1939-1944
Found here are files from Betty Parsons' job as director of the Wakefield Gallery, including clippings, correspondence, announcements, exhibition files, exhibition lists, schedules, invoices, receipts and a scrapbook of clippings and exhibition announcements created from a bound dummy copy of A Treasury of Art Masterpieces. There are no solo exhibition files, only files for the themed exhibitions, Love in Art (1941), Ballet in Art (1942), and Pre-Columbian Stone Sculpture (1944). The Pre-Columbian Stone Sculpture exhibition files are of particular note as they contain vintage photographs by Aaron Siskind of the sculptures that were produced for reproduction in the exhibition catalogue.
|38||7||Clippings, circa 1941-1944|
|38||8||Correspondence, circa 1941-1944|
|38||9||Exhibition Annoucements, circa 1940-1944|
|38||10||Love in Art (1941), circa 1940-1941|
Ballet in Art (1942), circa 1942
Pre-Columbian Stone Sculpture (1944), circa 1944
Pre-Columbian Stone Sculpture (1944) - Photographs, Works of Art, circa 1944
(vintage prints by Aaron Siskind; not scanned)
|38||16||Exhibition Schedules and Lists, circa 1941-1944|
|38||17||Invoices and Receipts, 1940-1944|
|38||19||Transcript of Radio Program The Artist Reviews Art, 1943|
7.1.2: Mortimer Brandt Gallery, circa 1944-1958
Found here are select files stemming from Betty Parsons work as the head of the contemporary art section of Mortimer Brandt Gallery. The files consist of clippings, correspondence, announcements, catalogs, exhibition files, and exhibition lists. As with the files from Wakefield Gallery above, these files do not constitute a complete record of Parsons' work with the Mortimer-Brandt Gallery. Exhibition files exist solely for the two exhibitions; Abstract and Surrealist Art in America (1944) and Portraits of Today by Painters of Tomorrow (1945). There is also correspondence between Parsons and Mortimer Brandt, some of which concerns lease arrangements for Parsons subletting half of the fifth floor of 15 East 57th Street to open her own gallery. There is also correspondence between Parsons and Sidney Janis, who sublet the rest of the floor for his gallery beginning in 1953.
|38||20||Clippings, circa 1945-1946|
|38||21||Correspondence, circa 1944-1958|
|38||22||Exhibitions Annoucements and Catalogs, circa 1944-1946|
Abstract and Surrealist Art in America (1944), circa 1944
|39||1||Portraits of Today by Painters of Today (1945), circa 1945|
Portraits of Today by Painters of Today (1945)- Photographs, Works of Art, circa 1945
(2 folders; not scanned; see also Box 51)
|39||4||Lists of Exhibitions and Lenders, circa 1944-1947|
Portraits of Today by Painters of Today (1945) - Photographs, Works of Art, circa 1945
(See also Box 39, F2; not scanned)
7.2: Biographical Material, circa 1932-1983
Found here are scattered personal papers, such as Parsons' artist biography, family trees for the Pierson and Miles families, association membership cards, interview transcripts, travel itineraries, photographs, and mailing list of invitees for Parsons' Memorial. The folder containing miscellaneous personal papers includes ephemera, handwritten notes, an American Red Cross employment application, a small watercolor landscape by Lynn Yarnell, and several unsigned sketches.
Photographs in this subseries include snapshots and professional portraits, the bulk of which span the mid-1960s to early 1980s. Most of the photographs feature Parsons, but there are photographs of others that are not identified as well as beach views, perhaps taken near her Southold, Long Island Studio. Additionally there is a folder of photographs of works of art, primarily paintings, depicting Betty Parsons.
The bulk of the files in this series chronicle Betty Parsons' activities related to the art world. As a renowned art dealer and respected artist, Parsons' was a frequently requested speaker, juror for juried art exhibitions, and awards honoree. Her participation at these events is recorded through correspondence, invitations, programs, and award certificates. Noteworthy files include "The Creative in Art" seminar at Sarah Lawrence College, which includes syllabus and extensive notes for ten lectures. There is also a group of folders that document her social and volunteer activities.
This subseries has been scanned in its entirety, except for photographs of artwork.
7.3: Correspondence, circa 1932-1983
Series consists of Parsons' incoming and outgoing correspondence originally maintained within her personal papers, although it appears to be a mixture of personal and professional correspondence. It includes not only letters from friends and family, but also from museum directors, art dealers, researchers, gallery artists, and artists seeking representation from the Betty Parsons Gallery.
Correspondence is arranged into two sub-subseries:
General correspondence primarily consists of personal letters from friends, while chronological correspondence includes primarily business-related letters. No attempt was made to reconcile the two systems since this arrangement may have originated with the creator. This subseries has been scanned in its entirety.
7.3.1: General Correspondence, circa 1932-1982
Files mostly consist of correspondence with friends and artists with whom Parsons had a personal relationship, although letters touching upon gallery business are scattered throughout. As close friends, many of the artists shared details about their personal and family life, travels, work, and careers. Gallery artist correspondents include Larry Bigelow, Alexander Calder, and William Condon. Of particular note are letters from Ad Reinhardt discussing his work in relation to the gallery and exhorting Parsons to fight for her (and his) rightful place in history. Another significant and prolific correspondent is the English artist Adge Baker, with whom Parsons had a romantic relationship. The two lived together for several years in the house that Parson purchased shortly after she arrived in Paris in 1923. Although they separated in 1932, they remained life long friends.
Notable friends and other correspondents include heiress and world-class speed boat racer Joe Carstairs, the Marchioness of Dufferin and Ava (Lindy Guinness), art critic Rosalind Constable, and art and literary critic Dale McConathy, who briefly worked for Parsons as a gallery assistant. Personal correspondence also includes Christmas cards, postcards, telegrams, and third party correspondence to gallery employees and Lee Hall, Parsons' biographer and gallery artist. Letter files are arranged alphabetically, postcards are arranged by decade, but Christmas cards are not in any order since it was difficult to determine dates or the full names of the correspondents.
A, circa 1951-1977
|39||47||Alloway, Lawrence, circa 1959-1975|
Baker, Adge, circa 1932-1982
Baker, Adge, circa 1932-1982
|40||18||Barker, Walter, 1963-1979|
|40||19||Bigelow, Larry, 1954-1960|
|40||20||Bonge, Dusti, circa 1954-1982|
|40||21||Bulla, Jean, circa 1932-1935|
|40||23||Carstairs, Joe, 1942-1963|
|40||24||Clarke, Billie, circa 1970-1980|
|40||25||Cloos, Consuelo, circa 1952-1982|
|40||26||Congdon, William, 1977-1981|
|40||27||Constable, Rosalind, 1943-1982|
|40||28||Crosby, Caresse, 1925, 1965-1967|
|40||30||DeMeyer, Evelyn, 1977-1980|
|40||31||Dufferin and Ava, The Marchioness of (Lindy Guinness), circa 1964-1981|
|40||32||Durant, Nancy, circa 1950-1972|
E, circa 1950-1982
F, circa 1940-1982
|40||35||Frasetto, Monica Flaherty, circa 1951-1974|
|40||36||Fritzius, Harry, circa 1953-1978|
|40||38||Gooding, Maria, 1977-1982|
|40||39||Groves, Chris, 1966-1968|
H, circa 1940-1981
|40||41||Hall, Lee, circa 1981-1982|
|40||42||Hennessy, Timothy, 1961-1974|
I and J, 1942-1982
K, circa 1940-1982
L, circa 1942-1981
M and N, circa 1950-1976
|40||47||McConathy, Dale, circa 1963-1969|
|40||48||Newcomb, Mary (Mrs. Alexander Higginson), circa 1932-1961|
O and P, circa 1950-1982
|40||50||Pierson, James Rhodes, 1956-1959|
R and S, 1943-1981
|40||52||Reinhardt, Ad, circa 1949-1965|
|40||53||Seid, Dui, circa 1974-1975|
T, circa 1961-1975
V, W, and Z, circa 1956-1982
|41||2||Unidentified, circa 1932-1981|
|41||3||Third Party, circa 1937-1983|
Christmas Cards, circa 1960-1977
|41||9||Postcards, circa 1930-1959|
|41||10||Postcards, circa 1960-1969|
|41||11||Postcards, circa 1970-1979|
7.3.2: Chronological Correspondence, circa 1938-1983
These files reflect how deeply Parsons' life was intertwined with the gallery as correspondence with dealers, museum directors, researchers, collectors, arts organizations, gallery staff, and artists predominate in this subseries, although letters from friends are scattered throughout. Letters address a variety of topics including requests for Parsons to be a jurist for juried exhibitions, exhibitions and sales of her own art work, references for artists, requests for interviews, questions from researchers, and communications from gallery staff. Letters from Jock Truman, include his original cover letter (1961) and updates concerning gallery business (1964, 1966-1968, and 1972).
Letters from Parsons include a letter of introduction for her former husband Schuyler Parsons to Peggy Guggenheim (1965) and a suggestion to collector Paul Mellon (1976)that Barnett Newman's Stations of the Cross belongs in the National Gallery of Art, Washington, D.C.. Parsons response to a researcher (1979) provides her insights concerning the early history of the gallery and her connection with the Abstract Expressionists. Other significant correspondents include Ossip Zadkine (1956), Jacqueline Monnier (1978 and 1982), and Judith Rothschild (1980). Finally, letters that post-date Parsons death in July, 1982 include condolence letters to gallery staff and correspondence between Jack Tilton, her former assistant at the gallery and William Rayner, her nephew and the executer of her estate, to establish prices for her art work.
Files are arranged chronologically by year, followed by a file of undated letters
7.4: Pocket Diaries and Notebooks, circa 1933-1982
Files primarily consist of small Smythson leather pocket diaries in which Parsons noted lunch and dinner engagements, openings, and other appointments, thereby providing a sense of her daily activities. As with Parsons' life, personal and gallery life are intertwined in the pages. Frequently the endpapers were used to note names, address and phone numbers. Although these diaries span from 1933-1980, they are not complete; there are only a few from the 1940s and none from the 1950s. Address books and desk calendars are also found.
Three notebooks from the 1960s appear to relate to gallery business as they contain references, to artists, works of art, and museums. The 1980-1982 notebook contains handwritten drafts of correspondence; most of the notebook pages are left blank.
|41||36||Address Books, circa 1933-1978|
|41||37||Pocket Diaries, 1933-1936|
|41||38||Pocket Diary, 1937|
|41||39||Pocket Diaries, 1937-1938|
|42||1||Pocket Diaries, 1939-1941|
|42||2||Pocket Diaries, 1942-1943|
|42||3||Pocket Diaries, 1948-1949|
|42||4||Pocket Diaries, 1960-1961|
|42||5||Pocket Diaries, 1962|
|42||6||Pocket Diaries, 1963-1964|
|42||7||Pocket Diaries, 1965-1966|
|42||8||Pocket Diaries, 1967-1969|
|42||9||Pocket Diaries, 1970-1971|
|42||10||Pocket Diaries, 1972-1973|
|42||11||Pocket Diaries, 1974-1975|
|42||12||Pocket Diaries, 1976-1977|
|42||13||Pocket Diaries, 1978-1980|
|42||14||Pocket Diaries, 1981|
|42||15||Engagement Calendar, 1970|
|42||16||Engagement Calendar, 1979|
|42||17||Engagement Calendar, 1980|
|42||19||Notebook, possibly 1965|
7.5: Annotated Sketchbooks, 1951-1969
This subseries includes three sketchbooks, two of which are annotated. According to biographical accounts, Betty Parsons was an avid sketcher, having acquired the habit dating from her studies with the English artist Arthur Lindsay in the 1930s. Despite this fact, this collection contains only three sketchbooks. The 1951 sketchbook consists primarily of ink figure drawings, but also includes notes for her WNYC Radio Arts Festival Interview, a transcript of which can be found with the biographical materials. The 1967 sketchbook includes diary entries amongst the abstract and figurative drawings. Finally, the 1969 sketchbook is labeled "Turkey" and includes felt tip marker landscape and abstract drawings.
7.6: Writings by Others, circa 1950-1980
Found here are articles, poems, essays, and unpublished manuscripts mostly about Parsons and the Betty Parsons Gallery, including a typescript for an unpublished monograph, "An American Gallery," written by art critic Lawrence Alloway. Related correspondence can be found in the Alloway folders in the Betty Parsons Papers Correspondence files. Also included is a proposal for a documentary film about Betty Parsons titled "Keeper of the Treasure"; it does not appear that this project was realized. Other writings are related to art, dance, and poetry, including a notebook of poems by Parsons Gallery artist, Dorothy Sturm.
Files are arranged by alphabetically by author, followed by one file of miscellaneous essays and poems.
|43||1||Sturm, Dorothy, notebook of poems, 1957|
|43||2||unknown author, proposal for "Keeper of the Treasure,," circa 1981|
|43||3||Miscellaneous typescripts, circa 1950-1965|
7.7: Printed Materials, circa 1920-1991
Printed Material includes catalogs and announcements for exhibitions at Betty Parsons Gallery and other galleries, offsets of articles, magazines, clippings from newspapers and magazines.
Announcements and catalogs files include printed material from the Wakefield Gallery, Mortimer Brandt Gallery, Betty Parsons Gallery, as well as other galleries. Much of this material is duplicated in other series including Artists Files and Other Gallery Records.
The bulk of magazine and newspaper clippings feature Betty Parsons in her role as artist, art dealer, or collector. The file of the 1967 House and Garden feature on her Long Island Studio includes photographs, some of which appear to have been used in the article. This subseries also includes clippings on artists, particularly those whom Parsons represented, general art and architecture files, and a file of miscellaneous clippings and cartoons.
Much of this subseries has not been scanned. Digitized materials include announcements and catalogs (only the cover and title page have been scanned for some printed catalogs), clippings about Parsons, and clippings about her friends and family.
|43||4||Announcements and Catalogs, 1927-1952|
|43||5||Announcements and Catalogs, 1952-1966|
|43||6||Announcements and Catalogs, 1967-1982|
Magazine Clippings about Betty Parsons, circa 1951-1982
|43||9||Magazine Clippings and photographs of Betty Parsons' Studio, circa 1967|
Magazine Clippings about Art and Architecture, circa 1951-1982
(2 folders, not scanned)
Magazine Clippings about Artists, circa 1947-1948
(2 folders; not scanned)
Newspaper Clippings about Betty Parsons, circa 1930-1983
|43||15||Newspaper Clippings about Friends and Family, circa 1920-1960|
Newspaper Clippings about Art and Architecture, circa 1948-1978
(2 folders, not scanned)
Newspaper Clippings about Artists, circa 1927-1976
(2 folders, not scanned)
Newspaper and Magazine Clippings, Miscellaneous, circa 1945-1971
Newspaper and Magazine Clippings, Duplicates, circa 1957-1982
(3 folders, not scanned)
(4 folders, not scanned)
Miscellaneous, circa 1950-1991
7.8: Records About Betty Parsons' Art Work, circa 1927-1983
These files chronicle Betty Parsons' artistic career through announcements, catalogs, correspondence, inventories, price lists, sales invoices, loan forms and photographs. The majority of photographs are reproductions of works of art, although installation shots are scattered throughout.
The bulk of this subseries has been scanned, except for photographs, transparencies, and slides of artwork.
7.9: Betty Parsons Private Collection, circa 1963-1983
This subseries documents Betty Parsons' personal art collection through inventories, correspondence, clippings, photographs, loan agreements, sales and purchase invoices, and photographs of artwork.
Institutions and museums often requested loans from Parsons' personal collection for exhibitions. Exhibition files consist of announcements, catalogs, correspondence, and clippings. Additionally Parsons' gave works of art from her collection to institutions and museums and these gifts are recorded in the "Gifts of work" files. Some of the documents in this subseries document appraisals of the collection following Parsons' death in 1982
The bulk of this subseries has been scanned except for photographs of works of art.
|44||71||Correspondence, circa 1968-1981|
Personal Financial Records, 1947-1980
Records in this extensive subseries provide insights into Parsons' personal financial affair documenting her investments, banking accounts, family estates (including her own will and testament) and real estate holdings. Since her work as an art dealer was her primary source of income, financial information relevant to the Betty Parsons Gallery can be found within her personal tax records.
The personal financial records have arranged into five subseries:
- 7.10.1: Family Financial Papers, 1948-1979
- 7.10.2: Real Estate Files,
- 7.10.3: Investments and Securities,
- 7.10.4: Tax Records,
- 7.10.5: Banking Records,
This subseries has not been scanned.
7.10.1: Family Financial Papers, 1948-1979
|45||25||Betty Parsons' Last Will and Testament, 1975-1979|
|45||26||Estate of J. Fred Pierson, 1955-1961|
|45||27||Estate of James R. Pierson, 1975-1979|
|45||28||Miscellaneous Pierson Family Estate Papers, 1948-1959|
Estate of Emily P. Rayner, 1963-1977
7.10.2: Real Estate Records, circa 1951-1982
|45||31||Miscellaneous Real Estate Documents, 1958-1975|
|45||32||Artists Acres, Englewood, Fla., circa 1951-1966|
House in Sheepscott, Maine, circa 1973-1981
House in St. Maartens, Netherlands Antilles, circa 1968-1982
St. Maartens, Netherlands Antilles, House Plans, circa 1962-1966
St. Maartens, Netherlands Antilles, Landowners Association, circa 1961-1981
7.10.3: Investments and Securities, circa 1948-1981
Automobile Insurance Policies, circa 1963-1978
|46||7||Miscellaneous Employees Insurance Policies, circa 1960-1974|
|46||8||Fine Arts Dealers Insurance Policies, 1972-1978|
|46||9||Personal Fine Arts Insurance Policies, 1971-1976|
|46||10||Health and Medicare Insurance Policies, 1962-1966|
|46||11||Homeowners Insurance Policies, 1961-1978|
|46||12||Miscellaneous Insurance Policies, 1963-1974|
Miles Timber Company, 1948-1977
Miles Timber Company Audit Reports, 1951-1962
|46||17||Ramapo Land Company, 1958-1982|
|46||18||Ramapo Land Company Financial Statements, 1966-1969|
|46||19||Chemical Bank Investment Statements, 1969-1970|
|46||20||Chemical Bank Investment Statements, 1971-1972|
|46||21||Chemical Bank Investment Statements, 1972-1973|
|46||22||Chemical Bank Investment Statements, 1977-1978|
|46||23||Chemical Bank Investment Statements, 1978-1979|
|46||24||Chemical Bank Investment Statements, 1979|
|46||25||Irving Trust Company, 1959-1967|
Investment Accounts, 1959-1979
Securities Statements, 1969-1975
7.10.4: Tax Records, circa 1940-1979
|46||42||Tax Documents (1940-1943), 1941-1944|
|46||43||Tax Documents (1954-1957), 1955-1958|
|46||44||Tax Documents (1958-1959), 1959-1960|
|46||45||Tax Documents (1960-1964), 1960-1965|
|46||46||Tax Documents (1965-1966), 1965-1967|
|46||47||Tax Documents (1967), 1967-1968|
|46||48||Tax Documents (1968), 1968-1970|
|47||1||Tax Documents (1969), 1968-1973|
|47||2||Tax Documents (1970), 1968-1971|
|47||3||Tax Documents (1971), 1971-1973|
|47||4||Tax Documents (1972), 1972-1973|
|47||5||Tax Documents (1973), 1973-1974|
|47||6||Tax Documents (1974), 1974-1975|
|47||7||Tax Documents (1975-1977), 1975-1978|
|47||8||Tax Documents (1979), 1979-1980|
|47||9||Property Taxes, Town of Southold, 1959-1974|
|47||10||Property Taxes, Town of Esopus, 1968-1973|
|47||11||Real Estate Taxes, Sarasota County, 1963-1973|
|47||12||Social Security, 1965-1974|
|47||13||Financial Contributions, circa 1960-1978|
Miscellaneous Receipts, circa 1958-1979
Miscellaneous Receipts, circa 1958-1979
7.10.5: Banking Records, 1953-1982
|48||5||Bank Correspondence, 1961-1982|
Citibank (formerly First National City Bank), 1966-1979
Citibank (formerly First National City Bank), 1966-1979
Manufacturers Hanover Trust Company, 1953-1980
North Fork Bank and Trust, 1963-1979
North Fork Bank and Trust, 1963-1979
Windward Islands Bank, circa 1973-1982