Dorothy Dehner papers, 1920-1987, bulk 1951-1987

A Finding Aid to the Dorothy Dehner Papers, 1920-1987 (bulk 1951-1987), in the Archives of American Art, by Jennifer Meehan

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Funding for the processing of this collection was provided by the Terra Foundation for American Art.

Table of Contents:



Biographical Information

Dorothy Dehner was born in Cleveland, Ohio in 1901. Her father died when she was about ten and the family moved to Pasadena, California in 1915. After the death of her mother and sister, she was raised by her mother's sister, Aunt Florence. Dehner was exposed to art as a child, receiving instruction in drawing and painting. She studied drama for a year at UCLA in 1922-1923 before moving to New York with the intention of pursuing a theatrical career. In 1925, she traveled alone to Europe, where she visited Italy, Switzerland, and France and where she began to draw seriously.

Upon her return to New York, Dehner enrolled in the Art Students League intending to study sculpture, but, uninspired by the work of William Zorach's sculpture class, ended up studying drawing with Kimon Nicolaides instead. In 1926, she met fellow artist David Smith in the rooming house they shared. At her suggestion, he too enrolled in the Art Students League. In 1927, they were married.

At the League, Dehner and Smith studied with the modernist painter, Jan Matulka, and befriended Weber and Thomas Furlong, through whom they met the Russian painter and theoretician, John Graham. Graham introduced them to the avant-garde art world and ended up having a profound influence on them both and their work. Around this time, they also befriended other young artists, such as Adolph Gottlieb, Mark Rothko, and Edgar and Lucille Corcos Levy. In 1929, after a visit to the Furlong's summer home in upstate New York, Dehner and Smith bought a farm in Bolton Landing, which became their permanent home in 1940 and was later named Terminal Iron Works. They spent eight months in the Virgin Islands, in 1931-1932, where Dehner painted abstract still lifes of shells and marine life. In the fall of 1935, they traveled to Europe, where they met up with Graham in Paris, spent five months in Greece, and toured the Soviet Union, with other stops along the way.

During her years at Bolton Landing (from 1940 to 1950), Dehner progressed in her work, producing a series of paintings titled Life on the Farm and embarking upon a series of abstract geometric drawings in ink and watercolor. In 1943, she had a joint exhibition with Smith at the Albany Institute of History and Art. Three years later, she participated in the annual exhibition of Audubon Artists and was awarded a first prize for drawing; and in 1948, she had her first one-woman show at Skidmore College.

Dehner left Bolton Landing in 1950 (she was divorced from Smith two years later) and returned to school, earning her degree from Skidmore College in 1952. She moved back to New York City, and supported herself over the next several years by teaching at various schools, including the Barnard School for Girls. She had her first solo exhibition in the city at the Rose Fried Gallery, and studied engraving at Stanley William Hayter's Atelier 17. At this point, Dehner started making sculpture, first experimenting in wax and then casting her wax sculptures in bronze. In 1955, she began working at the Sculpture Center, and from this point on, focused mainly on sculpture with occasional forays in drawing and print-making. In addition to works in bronze, she went on to create sculptures in wood (during the 1970s) and steel (during the 1980s).

In 1955, Dehner married the New York publisher, Ferdinand Mann. That same year, she joined the Willard Gallery, run by Marian Willard. She had her first exhibition of drawings there in 1955 (which led to a solo exhibition at the Art Institute of Chicago) and her first sculpture show there in 1957; she continued to show at the Willard Gallery regularly until 1976. Over the next several decades, Dehner's work was frequently exhibited in solo and groups shows at museums and galleries across the country, and was acquired for both public and private collections.

In addition to her art work, Dehner was also a published poet and writer. She wrote the foreword to the 1971 re-issue of John Graham's System and Dialectics of Art, and an essay on David Smith's "Medals for Dishonor," which was published in Art Journal in 1977. And two of her poems, "Past Tense" and "Two Lines," appeared in the journal Tracks in 1977.

Dehner continued to work into her nineties. She passed away in 1994.

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Overview of the Collection

Scope and Contents

The papers of Dorothy Dehner measure approximately 4.4 linear feet and date from 1920 to 1987, with the bulk of the material dating from 1951 to 1987. The collection documents the life and work of the sculptor. Papers include extensive correspondence, business and financial papers, writings, interviews, printed material, photographs, student papers, one item of art work, and scattered personal papers and material relating to David Smith.

Comprising a series of biographical material are interviews (mostly untranscribed), personal papers such as notes on Dehner's biography and career, list of things taken from Bolton Landing, recipes, and a wedding announcement for her stepdaughter, Abby Mann Thernstrom, and material relating to David Smith such as a copy of his last will and testament, a letter of introduction (dating from their trip to Europe in the mid-1930s), and a chronology of Smith's life.

Correspondence consists of numerous letters and enclosures concerning both professional and personal matters. Correspondents include artists, museums, galleries, art dealers, researchers, curators, friends, and relatives. Correspondence documents Dehner's various personal and professional relationships, the active role she played in promoting and exhibiting her art work, as well as the key role she played in fostering art historical research (on David Smith, herself, and other artists of her era), and her many other creative activities, including her various writing efforts.

Found amongst Dehner's business and financial papers are records relating to various galleries and/or exhibitions, including the Willard Gallery and exhibitions at the Philadelphia Art Alliance and Parsons-Dreyfuss Gallery, and to various projects, such as the Committee for the American Participation in the Triennale and the Great Southwest Industrial Park, as well as scattered records relating to personal business matters and finances, such as lists, tax records, authentication of art works, and sales agreements.

Dehner's writings include poems (including one dated from high school and drafts of ones published in Tracks), various pieces on John Graham (including versions of a memoir, which were published as a foreword to the re-issue of System and Dialectics of Art and as an article in Leonardo) and on David Smith (including articles on their first meeting and on Smith's 1940 work, "Medals for Dishonor"), lectures and speeches, and various pieces on art and other topics. Writings shed light on other aspects of Dehner's creativity and concern. Also included are writings of others, some of which shed light on Dehner's life and work.

Also found amongst Dehner's papers are printed material, including exhibition catalogs, announcements, and clippings (on herself and Smith, and to a limited extent, on other artists); an undated etching by Dehner which seems to have originally belong to Garnett McCoy, former Curator of the Archives; and photographs of Dehner, her second husband, Ferdinand Mann, John Graham, and various works of art, as well as an abstract photograph by David Smith, dating from circa 1934.

Arrangement and Series Description

The Dorothy Dehner papers are arranged into 7 series:

The collection has not been re-filmed to reflect the above arrangement. In an effort to provide continued access to the existing microfilm, microfilm reel information was gathered from previous box and folder labels and is provided, where possible, in parentheses after folder titles in the container listing below. Unfilmed material has likewise been noted. Researchers should note that reel numbers have not been verified.

Subjects and Names

This collection is indexed in the online catalog of the Archives of American Art under the following index terms. People, families and organizations are listed under "Subjects" when they are the topic of collection contents and under "Names" when they are creators or contributors.

Subjects:

  • Smith, David, 1906-1965
  • Graham, John, 1881-1961
  • Philadelphia Art Alliance

Subjects-Topical:

  • Sculpture, Modern -- New York (State) -- New York
  • Women sculptors -- New York (State) -- New York
  • Sculptors -- New York (State) -- New York -- Interviews
  • Art -- Economic aspects
  • Art -- Study and teaching

Types of Materials:

  • Interviews
  • Photographs
  • Sound recordings
  • Works of art

Names:

  • Willard Gallery

Provenance

The Dorothy Dehner papers were loaned and/or donated by the creator in several installments from 1967 to 1987 and were microfilmed in part on reels D298-D298A, 796, 829, 1269, 1372, 1472, and 3482. Some material lent for microfilming was never subsequently donated; loaned material is available on microfilm only and is not considered part of the actual collection housed in the Archives. The art work in the collection most likely belonged to Garnett McCoy originally, and was included in the collection during processing in 2005.

Separated and Related Materials

Originals of loaned material, including photographs of Dorothy Dehner and David Smith, sketchbooks, correspondence between Dehner and Smith, an inventory, and some printed material, were returned to Dehner after microfilming. Loaned material is available on reels D298 (portions), D298A, 1269 (portions) and 1472, but, not being part of the collection housed in the Archives, is not described in this finding aid.

Other resources in the Archives relating to Dorothy Dehner include oral history interviews with Dehner, October 1965 and December 1966, and a photograph of Dehner by Dena, 1966.

How the Collection was Processed

The Dorothy Dehner papers were typically microfilmed in the order they were loaned and/or donated; material comprising the last donation made in 1987 was never microfilmed. Portions of the collection received a preliminary level of processing. The microfilmed and unmicrofilmed portions were integrated, and the entire collection processed, arranged, and described in accordance with archival standards by Jennifer Meehan in 2005-2006 as part of the Terra Foundation for American Art Digitization Grant.


How to Use the Collection

Restrictions on Use

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

Ownership & Literary Rights

The Dorothy Dehner 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.

Available Formats

Microfilmed portions of the collection are available on 35 mm microfilm reels D298-D298A, 796, 829, 1269, 1372, 1472, and 3482 at Archives of American Art offices, and for interlibrary loan. Researchers should note that the arrangement of material described in this finding aid does not reflect the order of the material on microfilm. To aid researchers, an attempt has been made to note the corresponding reel number for each folder in the container listing below.

How to Cite this Collection

Dorothy Dehner papers, 1920-1987 (bulk 1951-1987). Archives of American Art, Smithsonian Institution.

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Detailed Description and Container Inventory

Series 1: Biographical Material, 1935-1982 (bulk 1950s-1982)
(Box 1; 0.5 linear feet)

Series consists of scattered material shedding light on different aspects of Dehner's life and work. Included are some student papers dating from her time at Skidmore College in 1951-1952, including an essay on eighteen artists and the Metropolitan Art Museum written for extra credit and notes from a class she took on Oriental Cultures; various notes and lists created by Dehner consisting of information pertaining to her biography and career; the transcript and/or tapes of various interviews, including ones with K--- Osis, Herman Cherry, Judith McCandless, and ---- Rapp; a list of things that Dehner took with her when she left Bolton's Landing in 1951-1952; copies of selected clippings and typescript copies featuring press comments on Dehner's work in the mid- to late-1960s; proofs and copies of her biographical sketch in the publication, Who's Who; a photocopy of the honorary degree she received from Skidmore College; and miscellaneous personal papers, including recipes, notes, and a wedding announcement for her stepdaughter, Abby Mann Thernstrom. Also found here is some material relating to David Smith, including a chronology submitted for Dehner's review and bearing her editing marks, a copy of Smith's last will and testament, a letter of introduction for Smith from Audrey McMahon of the College Art Association (dating from their trip to Europe in the mid-1930s), and a name tag for Smith of unknown origin.

Series is arranged alphabetically by document type.

Box Folder
1 Biographical and Career Information
1 1 (Reel 796), undated
1 2 (unfilmed), undated
1 3 David Smith Chronology (unfilmed), undated
1 4 Copies of Footnotes to Article on Dorothy Dehner (unfilmed), circa 1980
1 5 Photocopy of Honorary Degree and Related Material (unfilmed), 1982
1 Interviews
1 6-7 Transcript of Interviews with K--- Osis (Reel D298), 1963
(2 folders)
1 Tapes (unfilmed)
1 8-9 Dorothy Dehner Interviewed by Herman Cherry, 1973
(2 folders; 3 tapes including duplicates)
1 10-12 Dorothy Dehner Interviewed by Judith McCandless, 1973
(3 folders; 6 tapes including duplicates)
1 13 Dorothy Dehner Interviewed by ---- Rapp, 1981
(3 tapes)
1 14 Dorothy Dehner Interviewed for "David Smith Documentary," undated
(3 tapes including duplicates)
1 15 Incomplete List of People Who Interviewed Dorothy Dehner (unfilmed), undated
1 16 Copy of Last Will and Testament of David Smith (Reel 1269), 1965
1 17 Letter of Introduction for David Smith (Reel D298), 1935
1 18 List of Things Taken from Bolton Landing (Reel 1269), 1950s
1 19 Name Tag for David Smith (Reel D298), 1939
1 Notes
1 20 (Reel 796), undated
1 21 (unfilmed), undated
1 22 Press Comment on the Work of the Artist (Reel 796), 1965-1967
1 23 Recipes (Reel 796), undated
1 Photocopy Reproductions of Art Work
1 24 (Reel 796), undated
1 25 (unfilmed), undated
1 Sketch in Who's Who
1 26 (Reel 1269), undated
1 27 (unfilmed), undated
1 Student Papers
1 28 Essay, "Survey of Eighteen Artists and [the Metropolitan Art Museum]" (Reel 1269), 1951-1952
1 29-30 Notebooks, Notes from Class on Oriental Culture (unfilmed), 1951-1952
(2 folders)
1 31 Wedding Announcement for Abby Mann (unfilmed), 1959

Series 2: Correspondence, 1927-1987
(Boxes 1-4; 2.6 linear feet)

Series consists of Dehner's personal and professional correspondence, comprised of mostly incoming letters but also some early drafts or copies of outgoing letters in addition to some enclosures such as loan agreements, shipping receipts, manuscripts, and printed material. Correspondents include museums, galleries, art dealers, curators, scholars, students, artists, writers, friends, and relatives. Correspondence largely documents her various personal and professional relationships, her efforts to promote and exhibit her artwork and to facilitate art historical research (on David Smith, herself, and other artists), and her various creative activities.

Personal correspondents include David Smith, his sister, Catherine, and his mother, Golda; Smith's second wife, Jean Smith Pond, and his two daughters, Rebecca and Candida; Dehner's second husband, Ferdinand Mann and stepdaugher, Abby (Mann) Thernstrom; friends and fellow artists, Edgar and Lucille Corcos Levy, Herman Cherry, and Louise Nevelson; and her heart surgeon, Elliott Hurwitt, among others. Dehner often established friendships with individuals who started out corresponding on a professional basis (such as curators, dealers, and students), so personal correspondence can often be found interspersed with professional correspondence.

Professional correspondence typically relates to the loan, exhibition, and sale of Dehner's work and the Smith work that Dehner owned - notably, to the traveling show of her work that Dehner organized in the early-1950s, to various group and solo shows (including ones at the Barbara Feidler Gallery, Philadelphia Art Alliance, Rutgers University, and Storm King Art Center, among others), and to her dealings with Mildred Constantine and Marian Willard (of the Willard Gallery), among others. Correspondence with curators, scholars, and students relates to research inquiries primarily about Smith, but also about Dehner herself and other artists of her era (such as John Graham, Irene Rice Pereira, and Louise Nevelson). Professional correspondence also concerns the editing and publication of the foreword she wrote for the re-issue of John Graham's System and Dialectics of Art, and the publication of her poems in the journal Tracks; certain matters pertaining to David Smith's estate, such as the disposition of certain items belonging to Dehner and the controversial alteration of the painted surfaces of certain Smith sculptures (which was carried out by one of the executors); donations of art works to various institutions, including Dehner's effort to raise funds from Jan Matulka's former students to purchase and donate one of his paintings to the Guggenheim Museum; and the donation of her papers to the Archives, and subsequent permissions to access and publish from them.

Correspondence is typically arranged in alphabetical order according to name of correspondent. Letters from an individual correspondent are then arranged in folders according to the reel on which they were microfilmed or in a folder of "unfilmed" material, as the case may be. Some files contain the letters of various individuals and are arranged according to subject (e.g. "Various, Condolence Letters"). Letters from a correspondent with an unknown surname are arranged in a file according to first name, and unidentified letters and fragments are arranged in files at the end of the series. Related material can be found amongst business and financial papers.

Box Folder
1 A
1 32 (Reel D298), 1946-1966
1 33 (Reel 796), 1963-1973
1 34 (Reel 829), 1974
1 35 (Reel 1269), undated
1 36 (unfilmed), 1979-1984
1 37 A. M. Sachs Gallery (unfilmed), 1980-1985
1 38 Abbeville Press (unfilmed), 1983-1984
1 39 American Federation of Arts (Reel D298), 1960-1964
1 American Society of Contemporary Artists
1 40 (Reel 796), 1969
1 41 (unfilmed), 1984
1 Andre Emmerich Gallery
1 42 (Reel 796), 1969, 1973
1 43 (unfilmed), 1985
1 Archives of American Art
1 44 (Reel D298), 1965
1 45 (Reel 796), 1966-1974
1 46 (Reel 829), 1974
1 47 (Reel 1269), 1970-1977
1 48 (Reel 1372), 1974
1 49 (unfilmed), 1977-1987
1 Anita Aronoff
1 50 (Reel 796), undated
1 51 (Reel 1269), undated
1 Art for Offices
1 52 (Reel 796), 1971
1 53 (Reel 1269), 1972
1 54 Art Students League (Reel 1269), 1975, 1977
1 Artists for CORE (later SEDF)
1 55 (Reel D298), 1964-1966
1 56 (Reel 796), 1968
1 57 (Reel 1269), 1967
1 58 (unfilmed), 1967
1 59 Artists for Environment (See also Joel Levy) (Reel 796), 1972
1 Associated American Artists
1 60 (Reel 796), 1971
1 61 (Reel 1269), 1976-1977
1 62 (unfilmed), 1980-1987
1 Audubon Artists
1 63 (Reel D298), 1946
1 64 (Reel 796), 1972
1 65 (unfilmed), 1984
1 B
1 66 (Reel D298), 1946
1 67 (Reel 796), 1967-1972
1 68 (Reel 1269), 1976-1977
1 69 (unfilmed), 1979-1985
1 70 B. S. Livingston and Co. (unfilmed), 1979
1 71 Barbara Feidler Gallery (unfilmed), 1978-1979
1 72 Ellen Baum (unfilmed), 1978-1979
1 73 John I. H. Baur (Whitney Museum) (Reel D298), 1961
1 74 Karen Bearor (unfilmed), 1984-1987
1 75 Benson Gallery (unfilmed), 1976
1 76 Berenice Steinbaum Gallery (unfilmed), 1985-1986
1 George Biddle
1 77 (Reel D298), 1960
1 78 (Reel 829), 1968
1 79 (Reel 1372), 1963, 1974
1 80 (unfilmed), 1981-1985
1 81 Elizabeth Blake (Reel D298), 1961
1 82 Bloomington-Normal Art Association (Reel D298), 1959
1 Dan Budnik
1 83 (Reel 1269), undated
1 84 (Reel 1372), 1967
1 85 (unfilmed), 1986
1 C
1 86 (Reel D298), 1961-1966
1 87 (Reel 796), 1966-1970
1 88 (Reel 829), 1974-1977
1 89 (Reel 1372), 1975
1 90 (unfilmed), 1981-1985
1 91 Canyon Road Art Gallery (Reel 829), 1971
1 Herman Cherry
1 92 (Reel D298), 1948-1949, 1954-1965
1 93 (Reel 796), 1967-1972
1 94 (Reel 1269), 1976
1 95 (Reel 1372), 1970-1977, undated
1 96 (unfilmed), 1986
1 Peter Chinni
1 97 (Reel D298), 1963, undated
1 98 (Reel 1372), undated
1 Ralph Colin
1 99 (Reel D298), 1959-1962
1 100 (Reel 796), 1971
1 101 Deanna Collingwood (unfilmed), 1985
1 Jane Cone (See also Fogg Art Museum)
1 102 (Reel 796), undated
1 103 (Reel 829), undated
1 104 (Reel 1372), undated
1 Mildred Constantine (See also Museum of Modern Art)
1 105 (Reel D298), 1947-1948, undated
1 106 (Reel 796), 1971
1 107 (Reel 829), 1967, 1973, undated
1 108 (Reel 1269), 1976, undated
1 109 (Reel 1372), 1975, undated
1 110 (unfilmed), 1976, undated
1 Margaret and Doug Crockwell
1 111 (Reel D298), 1965, undated
1 112 (Reel 796), 1967
1 113 (Reel 1372), undated
1 114 (unfilmed), 1969, undated
1 Cummer Gallery of Art
1 115 (Reel D298), 1963-1966
1 116 (Reel 796), 1965-1966
1 D
1 117 (Reel D298), 1952-1966
1 118 (Reel 796), 1968, undated
1 119 (Reel 1269), 1974-1977
1 120 (Reel 1372), 1960, 1970, 1974
1 121 (unfilmed), 1969-1983
1 Martha and LeRoy Davidson (UCLA)
1 122 (Reel D298), 1962-1963
1 123 (unfilmed), 1961
Box Folder
2 1 Maryetta [Davidson] (unfilmed), 1961, 1972-1974, undated
2 2 Holly Day (unfilmed), 1978-1982
2 Department of State (Art in Embassies Program)
2 3 (Reel D298), 1966
2 4 (Reel 796), 1967-1973
2 5 (unfilmed), 1978
2 6 Design Corner (Reel D298), 1973-1974
2 Discovery Art Galleries
2 7 (Reel 796), 1972
2 8 (Reel 1269), undated
2 E
2 9 (Reel D298), 1946, 1960
2 10 (Reel 1269), 1976
2 11 (Reel 1372), 1977
2 12 (unfilmed), 1980
2 13 Editions Alecto Ltd. (Reel D298), 1963-1964
2 14 Edmonton Art Gallery (See also Karen Wilkin) (unfilmed), 1979-1981
2 Elvehjem Art Center, University of Wisconsin
2 15 (Reel 1269), 1976-1977
2 16 (unfilmed), 1977-1978
2 F
2 17 (Reel D298), 1946-1966
2 18 (Reel 796), 1966-1973
2 19 (Reel 1269), 1969, 1977, undated
2 20 (Reel 1372), 1974, 1977
2 21 (unfilmed), 1973, 1981
2 22 Fairweather-Hardin Gallery (Reel D298), 1960-1961
2 Harriet Febland
2 23 (Reel 1372), 1971, 1975
2 24 (unfilmed), 1971
2 25 N. Michael Fishman (unfilmed), 1984, 1986
2 Cleo and James Fitch
2 26 (Reel D298), 1960-1961, undated
2 27 (Reel 1269), undated
2 28 Fogg Art Museum, Harvard University (See also Jane Cone) (Reel D298), 1966
2 Fort Wayne Museum of Art
2 29 (Reel 796), 1973-1974
2 30 (Reel 829), 1974
2 31 (Reel 1269), 1974-1975, undated
2 G
2 32 (Reel D298), 1950-1966
2 33 (Reel 796), 1969-1972
2 34 (Reel 1269), 1976-1977
2 35 (Reel 1372), 1970
2 36 (unfilmed), 1966, 1976-1986
2 37 Gallery at Hastings-on-Hudson (unfilmed), 1980
2 38 Gallery Gemini (unfilmed), 1984-1987
2 39 General Electric (unfilmed), 1983-1985
2 Herbert George (Tracks)
2 40 (Reel 829), 1974
2 41 (Reel 1269), 1976
2 42 Thomas George (Reel D298), 1963, undated
2 Elinor Graham
2 43 (Reel D298), 1966
2 44 (Reel 1269), 1975, 1977
2 45 (unfilmed), 1967-1974
2 Cleve Gray
2 46 (Reel D298), 1966
2 47 (Reel 829), 1968-1970, undated
2 48 (unfilmed), 1970, undated
2 49 Boris and Bea Greenberg (unfilmed), 1979, undated
2 Gres Gallery
2 50 (Reel D298), 1959-1962, undated
2 51 (unfilmed), 1960-1962
2 52 Grey Art Gallery, New York University (unfilmed), 1978
2 Guggenheim Museum
2 53 (Reel 796), 1968-1972
2 54 (unfilmed), 1980-1983
2 H
2 55 (Reel D298), 1945, 1965-1966
2 56 (Reel 796), 1969-1973
2 57 (Reel 1269), 1973-1977
2 58 (unfilmed), 1976-1986
2 59 Margaret Haggerty (Reel 796), 1967-1968, undated
2 William Heller
2 60 (Reel 796), 1966-1967, 1974
2 61 (Reel 829), undated
2 Thomas Hess
2 62 (Reel 796), 1968
2 63 (Reel 1269), undated
2 Hirshhorn Museum
2 64 (Reel 1269), 1975
2 65 (Reel 1372), 1977
2 66 (unfilmed), 1979-1983
2 Walter Horak
2 67 (Reel 1372), undated
2 68 (unfilmed), 1970, undated
2 69 Robert Hunter (Reel 796), 1971
2 70 Elliott Hurwitt (Reel D298), 1962-1966
2 The Hyde Collection
2 71 (Reel 796), 1973
2 72 (Reel 1269), 1975-1976
2 73 (unfilmed), 1984
2 I
2 74 (Reel 796), undated
2 75 (Reel 1269), 1976
2 76 (Reel 1372), 1977
2 77 (unfilmed), 1977, 1979
2 J
2 78 (Reel 796), 1965-1966, 1972-1973
2 79 (unfilmed), 1982-1985
2 80 Jewett Arts Center, Wellesley College (Reel D298), 1965
2 81-82 Johns Hopkins Press (Reel 796), 1967-1971
(2 folders)
2 83 David Hoyt Johnson (Reel 1372), 1977
2 84 Virginia Jones (unfilmed), 1980-1984
2 Kathleen and Pete Juster
2 85 (Reel 796), 1968
2 86 (unfilmed), 1967-1973, undated
2 K
2 87 (Reel D298), 1966
2 88 (Reel 796), 1967-1970
2 89 (Reel 1269), 1976, undated
2 90 (unfilmed), 1986-1987
2 91 Anita Kahn (unfilmed), 1979-1981
2 92 Keystone Junior College (Reel 796), 1970
2 93 Kling Interior Design (Reel 1269), 1975
2 Rosalind Krauss
2 94 (Reel D298), 1966
2 95 (Reel 796), 1967-1969, undated
2 96 (Reel 1372), 1968
2 L
2 97 (Reel D298), 1966, undated
2 98 (Reel 796), 1972, undated
2 99 (Reel 829), 1974
2 100 (Reel 1269), 1977
2 101 (Reel 1372), 1973
2 102 (unfilmed), 1971, 1975, 1981-1986
2 103 Susan Laird (Reel 1269), 1971-1974
2 104 Ellen Lawrence (Reel 1269), 1975-1977
2 Priscilla [Legett] (The Hyde Collection)
2 105 (Reel 829), 1974
2 106 (Reel 1269), 1973
2 107 (Reel 1372), 1975
2 108 (unfilmed), 1975
2 Leonardo (Pergamon Press)
2 109 (Reel 796), 1968-1969
2 110 (unfilmed), 1969
2 David Levy
2 111 (Reel 1269), 1976, undated
2 112 (unfilmed), 1975, 1981
2 Joel Levy (See also Artists for Environment)
2 113 (Reel 796), undated
2 114 (unfilmed), 1975, undated
2 Lucille and Edgar Levy
2 115-117 (Reel D298), 1943-1965
(3 folders)
2 118 (Reel 829), 1970, undated
2 119-121 (unfilmed), 1930s-1950s
(3 folders)
2 122 Laurie Lisle (unfilmed), 1982-1983
2 Ira Lowe
2 123 (Reel 796), 1965-1966, 1969-1970
2 124 (unfilmed), 1965-1966, 1982
2 M
2 125 (Reel D298), 1961-1966
2 126 (Reel 796), 1968, 1971-1972
2 127 (Reel 1269), 1976-1977, undated
2 128 (Reel 1372), 1977, undated
2 129 (unfilmed), 1965, 1981-1986, undated
2 130 Mary MacNaughton (unfilmed), 1979
2 131 Saul and Dorothy Maloff (Reel 1372), 1968
2 Ferdinand Mann
2 132 (Reel 829), undated
2 133 (unfilmed), undated
2 Stanley Marcus
2 134 (Reel 1269), 1975, 1977
2 135 (Reel 1372), undated
2 136 (unfilmed), 1975-1983
2 Marian Locks Gallery
2 137 (Reel 1269), 1975, 1977
2 138 (Reel 1372), 1977
2 139 (unfilmed), 1977-1978, undated
2 140 Joan Marter (Rutgers University) (unfilmed), 1979-1982
2 Kay McCampbell
2 141 (Reel 829), 1967
2 142 (unfilmed), 1975, undated
2 Judith McCandless
2 143 (Reel 796), 1973
2 144 (Reel 1372), 1974-1975
2 145 (unfilmed), 1979-1983
2 Miranda McClintic (Hirshhorn Museum)
2 146 (Reel 1269), 1976-1977
2 147-148 (unfilmed), 1978-1982
(2 folders)
2 The Member's Gallery, Albright-Knox Art Gallery
2 149 (Reel 796), 1971
2 150 (Reel 1296), 1971
2 151 Metropolitan Museum of Art (unfilmed), 1979
2 152 Munson-Williams-Proctor Institute (Reel D298), 1960-1963
2 153 Museum of Art, Carnegie Institute (unfilmed), 1982-1983
2 Museum of Fine Arts, Boston
2 154 (Reel D298), 1959-1966
2 155 (Reel 1269), 1974
2 Museum of Modern Art
2 156 (Reel D298), 1956-1966
2 157-158 (Reel 796), 1963-1971
(2 folders)
2 159 (unfilmed), 1986
2 N
2 160 (Reel D298), 1960
2 161 (Reel 796), 1969-1973
2 162 (Reel 829), 1974
2 163 (Reel 1269), 1974
2 164 (Reel 1372), 1977
2 165 (unfilmed), 1972, 1983-1987
2 Mary Nash
2 166 (Reel 1269), 1975-1977
2 167 (unfilmed), 1977
2 National Association of Women Artists
2 168 (Reel D298), 1966
2 169 (Reel 796), 1970
2 170 (Reel 1269), 1977
2 171 (unfilmed), 1984-1985
2 172 National Collection of Fine Arts (unfilmed), 1978-1981
Box Folder
3 Louise Nevelson
3 1 (Reel 829), 1970s
3 2 (unfilmed), 1960s, 1985
3 North Jersey Cultural Council
3 3 (Reel 796), 1970-1973
3 4 (Reel 829), 1974
3 5 (Reel 1269), 1974
3 O
3 6 (Reel D298), 1965
3 7 (Reel 796), 1970, 1972, undated
3 8 (Reel 1269), 1977
3 9 (unfilmed), undated
3 P
3 10 (Reel D298), 1957-1963
3 11 (Reel 796), 1969-1972
3 12 (Reel 829), 1974
3 13 (Reel 1269), 1962, unfilmed
3 14 (Reel 1372), 1968
3 15 (unfilmed), 1979-1986
3 16 Stephen Paine (Reel 796), 1969-1972
3 Parson's School of Design (New York WPA Artists Exhibition)
3 17 (Reel 1372), 1977
3 18 (unfilmed), 1977
3 Marion Pease
3 19 (Reel D298), 1948, 1965
3 20 (Reel 1372), 1973
3 21 (unfilmed), undated
3 22 Katherine Rich Perlow (unfilmed), 1986
3 Robert [Peterson?]
3 23 (Reel 1372), 1972-1973
3 24 (unfilmed), 1971-1972
3 25 Philadelphia Art Alliance (Reel D298), 1962
3 26 The Phillips Collection (unfilmed), 1985-1987
3 27 Carlos Arturo Picon (unfilmed), 1973, 1975
3 28-29 Jean Smith Pond (Reel 1372), 1965-1977
(2 folders)
3 Leona Prasse
3 30 (Reel 796), 1967, 1973
3 31 (Reel 829), 1974, 1979
3 32 (Reel 1269), undated
3 33 The Print Club (unfilmed), 1983
3 R
3 34 (Reel D298), 1960-1966
3 35 (Reel 796), 1967-1973
3 36 (Reel 829), undated
3 37 (Reel 1269), 1975-1976
3 38 (unfilmed), undated
3 39 Raymond Burr Galleries (Reel D298), 1963-1964
3 40 Helen Robison (See also Bloomington-Normal Art Association) (unfilmed), 1975, 1981
3 41 Charlotte Rubenstein (unfilmed), 1980-1987
3 42 Rutgers University (unfilmed), 1982-1986
3 Ruth White Gallery
3 43 (Reel D298), 1960
3 44 (Reel 796), 1967
3 45 (Reel 1269), 1976
3 S
3 46 (Reel D298), 1946-1965
3 47 (Reel 796), 1967-1973
3 48 (Reel 829), 1966-1973
3 49 (Reel 1269), 1974-1977
3 50 (Reel 1372), 1969-1977, undated
3 51 (unfilmed), 1953, 1971-1983, undated
3 52 Lucille Sadwith (Reel 796), 1968
3 53 Werner Schmidt (unfilmed), 1979
3 54 Louis Shaeffer (Reel 1269), 1970s
3 Skidmore College
3 55 (Reel D298), 1948, 1960-1965
3 56-57 (Reel 796), 1969, 1972-1973, undated
(2 folders)
3 58 (Reel 1269), 1975-1977
3 59 (Reel 1372), 1977
3 60 (unfilmed), 1977-1987
3 Candida Smith
3 61 (Reel 1269), 1976, undated
3 62 (Reel 1372), 1977
3 Catherine Smith
3 63 (Reel D298), 1950-1966, undated
3 64-66 (Reel 796), 1966-1972, undated
(3 folders)
3 67 (Reel 829), 1973-1974
3 68 (Reel 1269), 1974
3 69 (unfilmed), 1965, undated
3 David Smith
3 70-71 (Reel D298), 1927-1928, 1944-1947
(2 folders)
3 72 (Reel 1372), 1927
3 73 (unfilmed), 1947?-1965
3 Golda Smith
3 74 (Reel D298), 1950-1966, undated
3 75-76 (Reel 796), 1966-1972, undated
(2 folders)
3 77 (Reel 829), 1973
3 78 (unfilmed), 1974, undated
3 Rebecca Smith
3 79 (Reel 829), 1974, undated
3 80 (Reel 1372), 1974
3 81 (unfilmed), 1986
3 82 Sara Kathryn Smith (Reel 1296), 1976-1977
3 83 St. Bartholomew's Church (unfilmed), 1979-1980
3 84 Stamford Museum and Nature Center (unfilmed), 1984-1985
3 85 State University College at Potsdam (Reel 796), 1971-1972
3 86 H. Peter Stern (See also Storm King Art Center) (unfilmed), 1986
3 Storm King Art Center
3 87 (Reel 796), 1967-1973
3 88 (Reel 829), 1974
3 89 (Reel 1269), 1973-1976
3 90-91 (unfilmed), 1976-1986
(2 folders)
3 92 The Studio Museum in Harlem (unfilmed), 1986-1987
3 Syracuse University
3 93 (Reel 796), 1964-1968
3 94 (unfilmed), 1966
3 T
3 95 (Reel D298), 1948, 1966
3 96 (Reel 1269), 1977, undated
3 97 (unfilmed), 1961, undated
3 Tamarind Lithography Workshop (See also University of New Mexico)
3 98 (Reel D298), 1963-1965
3 99 (Reel 796), 1970-1972
3 100 William Thayer (unfilmed), 1980-1984
3 Abby and Stephen Thernstrom
3 101 (Reel D298), undated
3 102 (unfilmed), 1974, 1977
3 103 Melanie Thernstrom (unfilmed), undated
3 David Traxel
3 104 (Reel 1269), 1976-1977
3 105 (Reel 1372), 1977
3 106 (unfilmed), 1978
3 107 Judd Tully (unfilmed), 1981-1983
3 108 The Twining Gallery (unfilmed), 1984-1987
3 U
3 109 (Reel D298), 1964-1965
3 110 (Reel 796), 1967-1972, undated
3 111 (Reel 1269), 1975-1976
3 University Art Museum, State University of New York at Albany
3 112 (Reel 1269), 1974
3 113 (unfilmed), 1986, undated
3 114 University of Cincinnati (unfilmed), 1986-1987
3 University of New Mexico (See also Tamarind Lithography Workshop)
3 115 (Reel 1269), 1974-1976
3 116 (Reel 1372), 1977
3 117 (unfilmed), 1978
3 V
3 118 (Reel D298), 1966
3 119 (unfilmed), 1984-1985
3 120-121 Various, Traveling Show (Reel D298), 1951-1954
(2 folders)
3 122 Various, Family (unfilmed), 1957-1965
3 123 Various, Condolence Letters (Reel D298), 1965
3 124 Various, Great Southwest Industrial Park (Atlanta, GA) (Reel 796), 1967-1968
3 125 Various, Jan Matulka Painting (Reel 796), 1968-1969
3 126 Various, Round-Robin Letter (Reel 829), 1974
3 127 Various, Painted Surfaces of David Smith Sculptures (Reel 1296), 1974
3 W
3 128 (Reel D298), 1944-1948, 1962, undated
3 129 (Reel 796), 1967-1973
3 130 (Reel 829), 1971-1974
3 131 (Reel 1269), 1975-1976
3 132 (Reel 1372), 1971-1977
3 133 (unfilmed), 1977-1986
3 134 Tracy White (Reel 796), undated
3 Whitney Museum of American Art
3 135 (Reel 796), 1968, 1972
3 136 (unfilmed), 1979-1980
3 137 Wichita Art Museum (unfilmed), 1985-1986
3 138 Wichita State University (Reel 1269), 1974
3 139 Karen Wilkin (unfilmed), 1982, undated
3 Marian Willard (See also Willard Gallery)
3 140 (Reel 829), 1967, 1974
3 141 (Reel 1269), 1976
3 142 (Reel 1372), 1976
3 143 (unfilmed), 1970, undated
Box Folder
4 Willard Gallery (See also Marian Willard)
4 1 (Reel D298), 1946-1966
4 2 (Reel 829), 1953-1970
4 3 (Reel 1269), 1973-1976
4 4 (unfilmed), 1969
4 5 William Pall Gallery (Reel 1269), 1974
4 6 Paula Wisotzki (unfilmed), 1985
4 7 Women's Caucus for Art (unfilmed), 1982-1983
4 8 Women's Interart Center (Reel 1296), 1974, undated
4 9 John Xceron (unfilmed), circa 1937
4 10 Yaddo (Reel 796), 1968, 1971
4 11 Zimmerli Art Museum, Rutgers University (unfilmed), 1983-1985
4 Irene ------
4 12 (Reel D298), undated
4 13 (unfilmed), 1967-1980, undated
4 Unidentified Letters
4 14 (Reel D298), 1949, 1965, undated
4 15 (Reel 796), 1971-1973, undated
4 16 (Reel 1269), 1976
4 17 (unfilmed), 1940s, 1970-1985, undated
4 18 Unidentified Fragment (unfilmed), undated

Series 3: Business and Financial Papers, 1940-1985
(Box 4; 0.3 linear feet)

Series consists of papers relating to various art and personal business matters and to certain financial matters. Some material is organized loosely into gallery and exhibition files consisting of lists, loan agreement forms, consignment receipts, shipping paperwork, and related material pertaining to galleries that represented Dehner at various points in time (including the Willard Gallery and A. M. Sachs Gallery), organizers of exhibitions (such as American Federation of Art and Associated American Artists), or particular exhibitions (including ones at the Philadelphia Art Alliance in 1962, Editions Alecto, Ltd. in 1964, and the Parsons-Dreyfuss Gallery in 1979). Other material is organized loosely into project files, consisting of printed material and notes pertaining to the Committee for the American Participation in the Triennale and to Dehner's commission for the Great Southwest Industrial Park in Atlanta, Georgia (a project which never ended up happening).

Material relating to more general art business consists of numerous handwritten and typed lists (of works, art sales, prices, exhibitions, art books donated to Skidmore College Library, etc.); visitor books for unidentified exhibitions in 1957, 1959, 1960, and 1963; shipping and delivery receipts; and handwritten documents authenticating certain David Smith works. Material relating to personal business and financial matters includes property and school tax records for Bolton's Landing; a receipt for payment by David Smith, presumably made to Dehner as part of their separation agreement; and an agreement by Dehner to sell certain sculptures by David Smith that she owned to Samuel Dorsky.

Business and financial papers are arranged in rough chronological order. Related material can be found amongst correspondence.

Box Folder
4 19 Tax Records (Reel D298), 1940, 1943
4 Miscellaneous Exhibition Records
4 20 (Reel D298), circa 1945-1965
4 21 (Reel 796), 1967
4 22 (unfilmed), 1967, 1982
4 23 Receipt for Payment by David Smith (Reel D298), 1952
4 24 Museum of Modern Art (Reel D298), 1952, 1959
4 25-26 Visitor Books (Reel D298), 1957-1963
(2 folders)
4 27 Willard Gallery (See also Price Lists and Lists of Works Exhibited and Sold) (unfilmed), 1957-1973
4 28 American Federation of Arts (Reel D298), 1960-1963
4 Philadelphia Art Alliance
4 29 (Reel D298), 1962
4 30 (unfilmed), 1962
4 Shipping and Delivery Receipts
4 31 (Reel D298), 1962-1966, undated
4 32 (unfilmed), 1977
4 Lists
4 33 Lists of Art Sales (unfilmed), 1963, 1977-1980
4 34 Price Lists and Lists of Work Exhibited and Sold (unfilmed), circa 1966-1985
4 35 List of Art Books Donated to Skidmore College Library (unfilmed), 1979
4 36 List of David Smith Paintings Owned By Dorothy Dehner (Reel 1269), 1979
4 37 List of Disposition of Certain Art Works (unfilmed), undated
4 38 Lists of Exhibitions and Photographs (unfilmed), undated
4 39 List of Works at Home (unfilmed), undated
4 40 Mailing Lists (unfilmed), undated
4 41 Miscellaneous Lists (unfilmed), undated
4 42 Committee for the American Participation in the Triennale (Reel D298), 1964
4 43 Editions Alecto, Ltd. (Reel D298), 1964
4 44 Great Southwest Industrial Park (Reel D298), circa 1967
4 Associated American Artists
4 45 (Reel 796), 1971
4 46 (Reel 1269), 1974-1976
4 47 (unfilmed), 1976-1987
4 48 Parsons-Dreyfuss Gallery (See also Price Lists and Lists of Works Exhibited and Sold) (unfilmed), 1979
4 49 A.M. Sachs Gallery (unfilmed), 1981
4 50 Agreement to Sell Sculptures by David Smith (unfilmed), 1983
4 51 Handwritten Receipt and Authentication of David Smith Painting (unfilmed), 1985
4 52 Photograph of David Smith Work with Authentication by Dorothy Dehner (unfilmed), undated

Series 4: Writings, 1920, 1951-1987
(Box 4; 0.3 linear feet)

Series consists of the writings of Dorothy Dehner, including articles, poems, lectures and speeches, and other pieces, as well as some writings of others. Writings document some of the influences on Dehner's art, some of her ideas about art in general and certain works in particular, and some of her other creative and more scholarly endeavors, as well as some instances of the scholarly interpretation of her own work by others.

Found is extensive material, including various drafts, proofs, and reprints, relating to her essay on John Graham, which was initially written as a foreword to Graham's Systems and Dialectics of Art re-issued by Johns Hopkins Press in 1971, but was first published as an article in the art journal, Leonardo, in 1968. (Related material can be found amongst correspondence.) Also found are research material (correspondence - mostly copies - and printed material) and drafts of Dehner's essay on David Smith's work, "Medals for Dishonor," which was published as an article in Art Journal in 1977, in addition to a draft of a piece on first meeting Smith for Art in America.

Dehner's other writings on art include notes and copies of various speeches and lectures given at the Artists Club and the Cummer Gallery of Art, among other places; various statements on art, including remarks on the Menorah, a plan of work, and a short piece on the series of paintings, Life on the Farm; and contributions to catalogs for others, including ones for Joel Levy and Joan Paul. Dehner's poems include one she wrote in high school, manuscripts of two that were published in the journal, Tracks, and ones that she wrote for her stepdaughter and granddaughter. Other writings include notes taken during a stay in the hospital in 1933, and later reflective and memoir pieces, written for her granddaughter, upon the death of Marian Willard, and on other occasions.

Writings of others include a copy of a letter by David Smith and a piece he wrote on his work, "Medals for Dishonor" (which could very well be part of Dehner's research material for her essay on this work); a copy of a 1953 speech on "the origins of sculpture" given by David Smith; poems by Herman Cherry; and manuscripts for various essays on Dehner, two of which appeared in catalogs accompanying Dehner exhibitions at Rutgers University in 1984 ("Dorothy Dehner: Life and Work" by Judith McCandless) and Baruch College in 1991 ("Dorothy Dehner" by Joan Marter).

Writings are typically arranged in rough chronological order. The writings of others are arranged in files at the end of the series.

Box Folder
4 53 Poems (Reel 1269), 1920, 1952-1975
4 54 Notebook, Hospital Notes (unfilmed), 1933
Notebook also contains some drawings and sketches that may or may not relate to the hospital notes.
4 Artist Statements
4 55 (Reel D298), undated
4 56 (Reel 796), undated
4 57 (Reel 1269), 1976
4 58 (unfilmed), 1956
4 Lectures and Speeches
4 59 Speech Given at Sculpture Forum at the Artists Club (Reel D298), circa 1959
4 60 Notes on Lecture Given at Parsons School of Design (Reel 796), 1969
4 61 Lecture Given at Cummer Art Gallery (unfilmed), circa 1969
4 62 Notes on Speech Given at College Art Association Meeting (unfilmed), undated
4 On John Graham
4 "Memoir of John Graham"
4 63 (Reel D298), undated
4 64 (unfilmed), undated
4 65-66 Drafts of Foreword to System and Dialectics of Art (Reel 796), 1966-1971
(2 folders)
4 67 Proof of Foreword to System and Dialectics of Art (Reel 796), 1971
4 Drafts of "John Graham: A Memoir"
4 68 (Reel 796), 1968
4 69 (unfilmed), 1968
4 70 Proofs of "John Graham: A Memoir" (Reel 796), 1968
4 71 Reprints of "John Graham: A Memoir" (Reel 796), 1969
4 72 [Notes on John Graham?] (unfilmed), 1966, undated
4 On David Smith
4 73 Draft of "David Smith: First Meeting" (Reel D298), circa 1966
4 Research Material on "Medals for Dishonor"
4 74 (Reel 1269), undated
4 75 (Reel 3482), 1968
4 76 (unfilmed), 1940, 1968
4 "Medals for Dishonor: The Fifteen Medallions of David Smith"
4 77 (Reel 1269), circa 1968-1977
4 78 (Reel 3482), circa 1968-1977
4 79-80 (unfilmed), circa 1968-1977
4 81 Reprint of "Plexiglas Relief for the Great Southwest Industrial Park, Atlanta, Georgia, U.S.A." (unfilmed), 1969
4 82 Draft of Foreword to Catalog for Joel Levy (Reel 1372), 1978
4 83 "Remembering Marian" (unfilmed), 1985
4 84 "Of Life and Death" (Reel 1269), undated
4 85 Biographical Writing, undated
4 86 "For Melanie" (unfilmed), undated
4 87 "A Response to the Work of Joan Paul" (unfilmed), undated
4 Writings of Others
4 88 Copy of David Smith Letter and Text and "Medals for Dishonor" (unfilmed), 1942
4 89 Copy of Speech Given by David Smith, Norman, Oklahoma (Reel 1269), 1953
4 90 Poems by Herman Cherry (Reel 1372), 1974-1976
4 91 "Dorothy Dehner: Life-Line in Sculpture" by Judith McCandless (Reel 1269), 1974
4 92 "Dorothy Dehner: Life and Work" by Judith McCandless (unfilmed), 1983
4 93 "Dorothy Dehner" by Joan Marter (unfilmed), 1987

Series 5: Printed Material, 1940-1987
(Boxes 4-5; 0.6 linear feet)

Series consists of printed material collected and accumulated by Dehner, including exhibition catalogs, announcements and invitations, clippings, art catalogs, programs, and miscellaneous printed material, pertaining to her own work, the work of David Smith, and, to a limited extent, the work of others. Clippings on Smith concern his death in 1965 and posthumous alterations to the painted surfaces of some of his outdoor sculptures (at the hands or through the negligence of Clement Greenberg, one of the executors of Smith's estate), which was a source of some controversy in the art world of the mid-1970s.

Printed material is typically arranged in alphabetical order by type.

Box Folder
4 94 Art Catalogs (unfilmed), 1970s
4 Clippings on Dorothy Dehner
4 95 (Reel 796), 1967-1972
4 96 (Reel 1269), 1954, 1975
4 97 (unfilmed), 1976
4 Clippings on Smith
4 98 (Reel 1269), 1959-1976
4 99 (Reel 1372), 1975
4 100 (unfilmed), 1965-1976
4 101 Clippings on Lucille Corcos Levy (unfilmed), 1973
4 102 Clippings (unfilmed), 1978-1979, undated
4 Exhibition Announcements and Invitations
4 103 (Reel D298), 1952-1965
4 104 (Reel 796), 1967, undated
4 105 (Reel 1269), 1976-1977
4 106 (unfilmed), 1970-1987
4 Exhibition Announcements, Posters
4 107 (Reel D298), 1956, 1963
4 108 (unfilmed), 1972
4 109 Exhibition Announcements and Invitations for David Smith (unfilmed), 1940, 1956
4 Exhibition Announcements and Invitations for Others
4 110 (Reel 1372), 1977, undated
4 111 (unfilmed), 1976-1984
4 Exhibition Catalogs
4 112-114 (Reel D298), 1941-1966
(3 folders)
4 115 (Reel 1269), 1971-1977
Box Folder
5 (hol) 1-3 (unfilmed), 1965-1987
(3 folders)
5 (hol) Exhibition Catalogs for David Smith
5 (hol) 4 (Reel D298), 1971
5 (hol) 5 (Reel 1269), undated
5 (hol) 6 (Reel 1372), 1973, 1976
5 (hol) 7 (unfilmed), 1946-1974
5 (hol) 8 Exhibition Catalogs for Others (Reel D298), undated
5 (hol) Miscellaneous
5 (hol) 9 (Reel 1269), 1977
5 (hol) 10 (unfilmed), 1979, undated
5 (hol) 11 Printed Material on Dorothy Dehner (unfilmed), 1952, 1964-1980
5 (hol) 12 Printed Material on David Smith (unfilmed), 1973
5 (hol) Programs
5 (hol) 13 (Reel D298), 1947
5 (hol) 14 (Reel 1269), 1972
5 (hol) 15 (unfilmed), 1983
5 (hol) 16 Book Excerpts on David Smith (Reel 1269), undated

Series 6: Art Work, undated
(OV 1; 1 item)

Art work consists of two undated etchings. One is an abstract by Dehner, which she gave, presumably as a gift, to Garnett McCoy, former Curator of the Archives of American Art. The second one is of portraits of artists done by one another on one etching plate. Artists include Lucille Corcos by Dehner, David Smith by Lucille Corcos, Adolph Gottlieb by Edgar Levy, Edgar Levy by Esther Gottlieb, Dorothy Dehner by Adolph Gottlieb, Esther Gottlieb by David Smit. A cat and alligator were drawn by Edgar Levy in the middle border. The etching is 91/100 and was printed by Michael Kirk on the Charles Brand Press in the Parsons School of Design Studios and seems to have also originally belonged to Garnett McCoy.

Box
OV 1 Etching, Artists' Portraits(unfilmed), undated
Box Folder
5 (hol) 17 Etching, Abstract(unfilmed), undated

Series 7: Photographs, 1930s-1986
(Box 5; 0.1 linear feet)

Series consists of photographs of Dehner, her friend and mentor John Graham (taken by her in the Brooklyn apartment she shared with David Smith), and her second husband Ferdinand Mann (featured with others, including Fiorello LaGuardia, Arshile Gorky, and Henry Knight, at the opening of the W.P.A. Art Gallery), as well as photographs of Dehner works from the 1950s (assembled in an album or portfolio of "Recent Works") and some later works. Also found is an abstract photograph taken by David Smith circa 1934, one of several he created using the technique of double exposure.

Photographs are arranged in rough chronological order.

Box Folder
5 (hol) 18 Photographs of John Graham and Art in His Collection (Reel D298), 1930s
5 (hol) 19 Abstract Photograph by David Smith (unfilmed), circa 1934
5 (hol) 20 Photograph of Ferdinand Mann at Opening of W.P.A. Art Gallery (Reel 1372), circa 1938
5 (hol) 21-22 Photographs of Art Work, Album and Loose Photographs (Reel D298), 1950s
(2 folders)
5 (hol) 23 Photograph of Dorothy Dehner at Yaddo (Reel 1372), 1971
5 (hol) 24 Photographs of Unidentified Dehner Exhibition (unfilmed), circa 1985
5 (hol) 25 Photograph of Dorothy Dehner with Her Art Work (unfilmed), 1986
5 (hol) 26 Photographs of Art Work [taken at Dehner's home] (unfilmed), 1986
Includes photograph of Dorothy Dehner with unidentified woman.
5 (hol) 27 Photograph of Art Work by John Graham (unfilmed), undated