Robert Schoelkopf Gallery records, 1851-1991, (bulk 1962-1991)

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A Finding Aid to the Robert Schoelkopf Gallery Records, 1851-1991, bulk 1962-1991, in the Archives of American Art, by Stephanie L. Ashley

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Funding for the processing of this collection was provided by the Getty Foundation.

Table of Contents:

• Historical Note
• Overview of the Collection
• How to Use the Collection
• Detailed Description and Container Inventory
• Appendices

Historical Information

Robert Schoelkopf, Jr., was born in Queens, New York, in 1927. He graduated from Yale College in 1951 with a bachelor of arts degree and then taught briefly at his alma mater while conducting graduate research in art history. Schoelkopf began his career in commercial art in 1957 as an independent dealer of American painting and sculpture and became a member of the Art Dealers Association of America in 1958. In 1959 he formed a partnership with Virginia Zabriskie, of the Zabriskie Gallery in New York, that lasted until 1962. The gallery exhibited late-nineteenth and early-twentieth-century American painting, together with contemporary painting of a somewhat conservative style.

In 1962 Schoelkopf signed a three-year lease for the fourth floor of a building at 825 Madison Avenue in New York, where he opened the Robert Schoelkopf Gallery. From the outset, Schoelkopf aimed to specialize in American painting of the nineteenth and twentieth century and sculpture of all schools. He predicted a burgeoning market for the Hudson River School in particular, believing that American painting was increasingly perceived as being worthy of serious attention. In a letter dated January 3, 1963, Schoelkopf congratulated John Spencer for his decision to collect nineteenth-century American paintings for the Allen Memorial Art Museum at Oberlin College, assuring him that "progressive chauvanism [sic] will operate to elevate prices in American painting. Every year more colleges teach Art History, and soon they shall have reached the level of sophistication and development where they will be obliged (for face) to offer tuition in specifically American art - hitherto neglected of academicians.... I and many other dealers have plans for exhibitions of nineteenth-century American painting, especially the Hudson River School."

Schoelkopf's instincts regarding the Hudson River School were undoubtedly correct, and consequently nineteenth-century American painters formed a permanent mainstay of his inventory. He is perhaps remembered more, however, for his dedication to reviving interest in lesser-known American painters from the turn-of-the-century who were impressionist or modernist in style. Shoelkopf developed something of a reputation for unearthing forgotten talent that, while sometimes mediocre or inconsistent, was occasionally exceptional and certainly worthy of note. He was committed to reinstalling Joseph Stella in the pantheon of major American artists, representing Stella's estate from 1963 to 1971 and holding regular exhibitions of the artist's work from 1962 on. In 1969 the gallery held the first New York exhibition of the paintings of Manierre Dawson, who was subsequently acclaimed by the critics for his important and innovative contributions to modernism. In 1970 Schoelkopf began showing the work of Jan Matulka, an artist whose work had been neglected since the 1930s, and his enthusiastic representation of the Matulka estate paved the way for a retrospective at the Whitney Museum of American Art in 1979.

Schoelkopf's interest in turn-of-the-century artists also extended to sculptors such as John Flannagan, Ethel Myers, Elie Nadelman, and John Henry Bradley Storrs, and he directed considerable energy to furthering Gaston Lachaise's reputation as an artist of major stature. When Lachaise died at the peak of his career in 1935, his estate was left to his wife, Isabel, and in 1957 to Isabel's son, Edward. When Edward died shortly thereafter, John B. Pierce, Jr., a nephew of Isabel Lachaise, was appointed trustee of the estate and formed the Lachaise Foundation. In 1962 Pierce entered an agreement with Robert Schoelkopf and Felix Landau to represent Lachaise's sculpture on the East and West Coasts, respectively. In this capacity Schoelkopf helped to launch a major retrospective of the artist's work at the Whitney Museum of American Art in 1964 and a traveling exhibition that began circulating in 1967.

The gallery's other major commitment was to painting and sculpture by contemporary American realists, many of whom worked in a figurative style and explored elements of allegory and classical mythology in their work, presenting landscapes, still lifes, and portraits from a realist perspective. The bulk of the gallery's exhibitions were, in fact, of work by contemporary artists, including metaphysical still-life painter William Bailey, colorist Leland Bell, figurative painter Martha Mayer Erlebacher, landscape and narrative painter Gabriel Laderman, and Icelandic artist Louisa Matthiasdottir. William Bailey was one of the gallery's most commercially successful artists, and his first one-person exhibition in New York was held there in 1968. Demand for Bailey's paintings often far exceeded his output, and by the late 1970s Schoelkopf invariably sold out his exhibitions and had compiled a lengthy waiting list for his work.

In its early years the Robert Schoelkopf Gallery contributed considerably to the development of interest in fine art photography that fostered an increasingly lucrative market for photographic prints during the 1960s and 1970s. In 1965 Schoelkopf began incorporating photography into the gallery's exhibition schedule and, in the spring of 1974, opened a gallery dedicated to photography on the second floor at 825 Madison Avenue. Between 1965 and 1979 Schoelkopf's was the only serious New York gallery dealing in painting and sculpture that also regularly exhibited photography as fine art. His interests lay primarily in antiquarian photography and the work of nineteenth-century and twentieth-century masters including Eugéne Atget, Mathew Brady, James Robertson, and Carleton Watkins. Schoelkopf organized shows examining specific photographic processes, the photogravure and the cyanotype, and presented surveys of genres such as portrait and landscape photography. In 1967 he held the first exhibition in many years of the work of Julia Margaret Cameron, an important figure in the history of Victorian photography, timing it to coincide with a show at the Metropolitan Museum of Art that focused on Cameron as one of four Victorian photographers.

Schoelkopf also handled the work of several influential contemporaries, most notably Brassaï, Henri Cartier-Bresson, Walker Evans, and Gisèle Freund. The gallery held Freund's first exhibition in the United States in 1975 and was, for a time, the only place in New York where one could see and purchase prints by Cartier-Bresson. Schoelkopf began exhibiting Evans's work in 1966 and regularly thereafter, including a 1971 exhibition that coincided with a major retrospective at the Museum of Modern Art.

In the fall of 1976 the second-floor gallery space was turned over to Marcuse (Cusie) Pfeifer, then the gallery's director, who planned to use it to show the work of young photographers in a gallery under her own name. Schoelkopf continued to hold several photography exhibitions a year in the fourth-floor gallery but decided to concentrate primarily on nineteenth-century masters.

In March 1971 a fire in the building at Madison Avenue resulted in substantial water damage to the gallery space. Although very little of the inventory was destroyed, the incident forced Schoelkopf to close until September. This temporary loss of revenue compounded with a nationwide recession cut into Schoelkopf's financial resources and left him questioning his commission policy and his level of commitment to contemporary work in all media. A letter to artist Adolph Rosenblatt dated May 3, 1971, records how Schoelkopf had become increasingly disenchanted with "all contemporary work" and would begin taking 40 percent commission on sales, instead of 33.3 percent. "Beside the matter of enthusiasm is the matter of economics," Schoelkopf remarked, "and the last year and a half have been really dreadful for the art business."

This difficult period was followed immediately by more prosperous times. January 1973 proved to be the gallery's most successful month to date, encouraging Schoelkopf to purchase a house in Chappaqua, New York, later that year. In November 1974 Schoelkopf wrote to Anthony D'Offay that business "is as slow as it has ever been, but what sales we make are big ones" and revealed that auctions had, at that point, become his primary avenue for trade.

Around 1975 Schoelkopf's wife of eleven years, Laura Jane Schoelkopf, began working in the gallery. Although seemingly dubious of the work at first, she became a considerable asset to the business and reputedly complemented her husband's relationship with the gallery's contemporary artists through her warmth and hospitality, qualities often noted by artists who corresponded regularly with the couple.

The financial instability that characterized the 1970s undoubtedly influenced Schoelkopf's decision to cease exhibiting photography in 1979. By 1978 however, his investment in early-twentieth-century art appeared to be paying off. Jan Matulka, Joseph Stella, and John Henry Bradley Storrs had all been represented in exhibitions at major museums, and sales of their work had increased considerably. Gaston Lachaise's reputation continued to grow, and the traveling exhibition still circulated, garnering far more interest than had originally been anticipated.

Although contemporary artists continued to take up the largest portion of the gallery's changing exhibitions, Schoelkopf's interest in contemporary work was growing more conservative, tending toward a narrower focus on the narrative and allegorical. By 1979 he no longer exhibited contemporary sculpture, admitting to a lack of enthusiasm for the work of any of the current figurative sculptors and a dislike of all contemporary abstract work. In a letter to Lillian Delevoryas, dated March 17, 1982, he confessed, "With age has come a hardening of the aesthetic arteries perhaps. What we have been showing is realism, but getting tighter all the time."

In April 1984 the gallery was moved to 50 West Fifty-seventh Street, and, during the years that followed, the Schoelkopfs pared down the number of contemporary artists they represented, handling only those to whom they felt most strongly committed while continuing to specialize in nineteenth-century and early-twentieth-century American painting and sculpture. As the gallery approached its thirtieth anniversary, Schoelkopf's achievements were considerable. He had operated a successful New York gallery for almost three decades, rejuvenated the reputations of several important American artists, and was respected by artists and clients alike for the integrity, intelligence, and humor with which he conducted his business affairs. In 1987 he had been appointed to the board of trustees of the Williamstown Regional Art Conservation Laboratory. By this time he was also a member of the advisory board to the National Academy of Design, and in 1988 he became a co-trustee of the Joseph and Robert Cornell Memorial Foundation.

In March 1990, Robert Schoelkopf was diagnosed with leukemia and underwent a regimen of cancer treatment that resulted in a brief remission by the summer. Schoelkopf returned to work temporarily, but by 1991 his condition had worsened and he died in April of that year. Having known for some time that her husband's prognosis was poor, Laura Jane Schoelkopf had apparently decided that she would not continue the gallery in the event of his death. With the help of the youngest of their two sons, Andrew, she settled final accounts and assisted the gallery's contemporary artists in finding representation elsewhere before closing the business in August 1991.

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Overview of the Collection

Scope and Contents

The records of the Robert Schoelkopf Gallery comprise 29 linear feet of material from 1851 to 1991, with some items predating the founding of the gallery. The bulk of the records date from 1962 to 1991, providing researchers with fairly comprehensive coverage of the gallery's development and operations from its inception in 1962 until its closure in 1991. Items dated prior to 1962 relate principally to the period of transition during which Robert Schoelkopf ended his partnership with the Zabriskie Gallery and established his own business. There are also some items relating to artists of the nineteenth and early twentieth century.

The collection consists primarily of artist files documenting relations with contemporary artists, representation of deceased artists, and other works of art handled by the gallery. It also chronicles the gallery's exhibition schedule and the day-to-day administration of the business. The types of material that can be found here include correspondence, exhibition inventories, price lists, accounting and consignment records, shipping and insurance records, printed material, and photographs.

The collection is a valuable source of information on twentieth-century American art history, focusing primarily on early-twentieth-century modernists as well as an important group of American realist painters and sculptors from the latter half of the century. The collection illuminates, in detail, the developing market for these schools and, in the case of the latter group, provides personal insights from artists on the realist perspective.

The records also document the Robert Schoelkopf Gallery's significant contribution to the resurgence of interest in fine art photography during the 1960s and 1970s as reflected in an increase in the value of works by important American photographers such as Walker Evans.

Much of the outgoing correspondence from the gallery consists of copies of letters written by Robert Schoelkopf, with additional business being handled by assistant staff and, from the mid-1970s, Schoelkopf's wife, Laura Jane Schoelkopf. The records offer insight into the personalities of the Schoelkopfs and how their congenial and candid management style influenced their relationships with the contemporary artists they represented.

See Index 2 for List of Exhibitions

Arrangement and Series Description

Originally the collection was organized as one large file arranged alphabetically by folder title, with titles ranging from names of artists to general subject headings such as "Correspondence." During processing it became clear that the gallery delineated operations into three main functions: artist relations, client-dealer relations, and exhibitions. Consequently the collection is arranged as three main series based on these areas of concern. A small group of miscellaneous photographs of artists constitutes an additional series at the end of the collection.

Originally paper records throughout the collection were generally arranged chronologically, although this order was not strictly adhered to. Frequently, correspondence and memoranda were attached to related records going back several years. To preserve the relationship between such documents, records stapled together in this way have been left together. They are arranged in reverse chronological order and filed in the folder corresponding to the primary date (i.e., the date of the first and most recent paper in the group). Researchers should be aware that date ranges provided on folders refer to the primary dates of documents contained therein and that some items in the folder may predate that range. Otherwise, the general chronological scheme has been retained throughout the collection, with undated material placed at the beginning of the appropriate file.

Printed material is arranged in chronological order, with undated material at the beginning of the folder, and may include press releases, exhibition announcements, exhibition catalogs, posters, clippings from newspapers, magazines, and journals, and other publicity material. Large amounts of printed material are broken down into several discrete folder units.

The most consistent labeling system for photographic material apparent throughout the collection was title of work of art. The majority of images are not dated with a printing date or the date that the work of art was produced, and although many of them have a processing number, these are by no means consistent and there are no master lists that can be used to interpret them. Consequently, images are arranged primarily by media type and then alphabetically by title. Untitled images are placed at the beginning of a media group; "the" in a title is ignored. Exceptions to this method are addressed in the appropriate series descriptions.

Files labeled "Photographs of Works of Art" will typically include any or all of the following: black-and-white copy prints, black-and-white transparencies, color transparencies, slide transparencies, Polaroid prints, color snapshots, contact sheets, and separation sheets. Often the same image will be duplicated in several different formats. Any notes on photographic material found in or on the original folder in which the material was filed have been preserved with the material or transcribed onto a sheet of acid-free paper that either encloses or is placed directly before the item to which the information applies.

The designation "General" indicates that a file may contain any or all of the types of material outlined above.

• Series 1: Artist Files, 1851-1991, undated (Boxes 1-23; 23 linear ft.)
• Series 2: General Business Files, 1960-1991, undated (Boxes 24-28; 4.74 linear ft.)
• Series 3: Group Exhibition Files, 1960-1988, undated (Boxes 28-29; 1 linear ft.)
• Series 4: Photographs of Artists, undated (Box 29; 0.25 linear ft.)

Subjects and Names

Provenance

Twenty-seven linear feet of records were donated to the Archives of American Art by Laura Jane Schoelkopf, Robert Schoelkopf's widow, and the Coe Kerr Gallery in 1991 and 1992. An additional gift of 3.4 linear feet was donated by Laura Jane Schoelkopf in 1996. The collection was reduced slightly during processing.

How the Collection was Processed

The collection was processed by Stephanie L. Ashley in 2000 and 2001 with funding provided by the Getty Grant Program.

How to Use the Collection

Restrictions on Use

The collection is open for research. Use requires an appointment.

Ownership & Literary Rights

The Robert Schoelkopf Gallery records 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.

How to Cite this Collection

Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.

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Detailed Description and Container Inventory

Series 1: Artist Files, 1851-1991, undated (boxes 1-23, 23 linear ft.)

This series forms the core of the collection and comprises files relating to more than three hundred artists whose work the gallery represented or handled at some point. The main types of material that can be found here include correspondence with artists and clients interested in borrowing, consigning, or purchasing their work; printed material documenting exhibitions of individual artists at the Robert Schoelkopf Gallery and related events; general reference material about gallery artists; photographic images of works of art dealt with by the gallery; and photographs of artists. Items of particular interest are noted in parentheses after the folder title.

Individual artists are represented by groups of material ranging from a single file to several linear feet of files, depending on the gallery's level of involvement with their work. Groups of files of particular interest are described in greater detail below. A list of all known group and one-person exhibitions held at the gallery is provided as an appendix and can be used to identify the dates of exhibitions for specific artists.

Relations with many of the gallery's contemporary artists are particularly well documented in this series. The gallery's interest in figurative painting that incorporated elements of allegory, myth, fantasy, and dreams is evinced in files relating to artists such as Milet Andrejevic, Bruno Civitico, Martha Mayer Erlebacher, and David Ligare. Gabriel Laderman, another artist who worked extensively with allegorical themes, is also well represented in this series, and of particular interest are his letters describing his experiences living and working in Malaysia. Correspondence files relating to the painter Caren Canier contain personal letters from the artist that detail her attitude to her work and her relationships with her husband, artist Langdon Quin, and their two children. Paul Wiesenfeld, a realist painter who specialized in portraits and finely detailed interiors, also wrote to the gallery from Germany disclosing aspects of his personal life that affected his work. Correspondence with sculptor Isabel McIlvain contains detailed explanations by the artist of her attitudes to her work and her sculpting methods. McIlvain's files also chronicle her commission to produce a sculpture of John F. Kennedy that was unveiled in Boston in 1990.

Files relating to William Bailey record many aspects of his relationship with the Schoelkopfs. Correspondence files primarily comprise letters to and from clients interested in Bailey's work but are interspersed with correspondence with Bailey and his wife that often details personal aspects of their lives as well as providing insight into Bailey's artistic development and his experiences living in Italy, where he and his family resided much of the time. Consignments and sales of Bailey's work are well documented here, as is the gallery's role in the compilation and publication of three books about the artist. An extensive collection of news clippings records various stages of his career and the growth of his commercial success.

Two substantial groups of files document the gallery's representation of painter Louisa Matthiasdottir and her husband, Leland Bell. Correspondence with Bell includes mention of his time spent in Europe and his teaching experiences, and reveals his sardonic wit.

Several files of correspondence with Miyako Ito offer rich insight into a short period during the artist's life. The bulk of the material comprises letters written by Ito to Robert Schoelkopf in 1960 and 1961, occasionally on a daily basis and often of a very poetic and deeply reflective and emotional nature.

Folders relating to Joseph Cornell contain some correspondence with the artist that offers insight into his personality. They also record Schoelkopf's bid, albeit in vain, to represent the artist's estate following his death in 1972 and the gallery's commitment to Cornell through continued consignment of his work.

Files concerning Manierre Dawson document the gallery's representation of the artist's estate and arrangements for the first one-person exhibition of his paintings in New York only a few months before his death in the summer of 1969. The files include correspondence with Dawson in which he discusses preparations for the exhibition, supplies information concerning dates and locations of his paintings, and expresses concerns about his illness. Letters from Dawson's wife, Lillian, written immediately after his death, can also be found here as well as several marked-up copies of the catalog for the 1969 exhibition that includes an introduction written by the artist. The Dawson files document the activities of the partnership formed by Frank J. McKeown, Jr., Dr. Lewis Obi, and Lefferts L. Mabie, Jr., to purchase paintings from the Dawson estate and provide details of how the partnership worked with Schoelkopf as the sole gallery agency for Dawson's paintings. The files also record the distribution of loans and gifts from the partnership to various art institutions.

More than two feet of records offer detailed coverage of Robert Schoelkopf's interest in Gaston Lachaise and his involvement in the administration of the Lachaise Foundation. Correspondence files chronicle relations among Schoelkopf, John B. Pierce, Jr. (trustee of the foundation), and Felix Landau and record decisions taken regarding publications about the artist, policies for casting and limiting editions of his sculpture, and strategies for promoting Lachaise through exhibitions. The traveling exhibition that opened in September 1967 and was still circulating in 1991 is well documented here, as are other practical concerns such as maintaining accounting and storage records of the artist's work.

Files relating to Ethel Myers include correspondence with the artist's daughter, Virginia Downes, and document Schoelkopf's handling of Myers's estate and his involvement in exhibitions to promote her work. The files include one undated letter and one copy of a letter from Myers to Downes, dated 1941, and a copy of a letter from Henry McBride to Myers from 1913. Copies of autobiographical notes written by Myers about her childhood, artists she knew, her marriage to Jerome Myers, and the outbreak of war in Europe can also be found here.

Several files document the appointment and activities of Robert Schoelkopf and Felix Landau as exclusive agents for the sale of works of art from the estate of Elie Nadelman.

A substantial group of files relating to Joseph Stella chronicle Schoelkopf's involvement with Michael and Sergio Stella, trustees of Joseph Stella's estate, and his representation of the estate from 1963 until 1971, when he withdrew from the position following a dispute over commissions. The gallery continued to consign work from the Stella estate until 1991, and these files contain details of those consignments and reflect Schoelkopf's lifelong commitment to promoting Stella's work.

Files relating to John Henry Bradley Storrs document Schoelkopf's relationship with the artist's daughter, Monique Storrs Booz, who designated Schoelkopf as the new agent for works of art from her father's estate when her contract with the Downtown Gallery was terminated in 1969. Schoelkopf continued to represent Storrs's work when Monique Storrs Booz died in 1985, leaving the estate in the hands of two of the artist's grandchildren. Details of the gallery's relationship with Noel Frackman, who conducted important research on Storrs, can also be found here. Of additional interest are two sets of photographs attributed to John Storrs: a group of eleven platinum prints (apparently there were originally thirteen), primarily portraits of children, and a group of twenty-seven silver gelatin prints of rural and coastal scenes.

Another significant component of this series is the number of files documenting the gallery's relationship with various contemporary photographers. Files of correspondence concerning Brassaï contain substantial correspondence with the photographer himself, who frequently wrote to the gallery in French. Records relating to Walker Evans detail Evans's consignments to the gallery and include some letters from him of a more personal nature, such as one describing his observations during a trip to London in 1966. Photographer Giséle è wrote regularly to the gallery, and her letters include detailed descriptions of the processes she employed in printing her work.

Correspondence relating to Julia Margaret Cameron contains several items of interest including a letter from Cameron dated August 10, 1873, to a Mrs. Way concerning photographs of Way's daughter, and an article on Cameron by Charles Harvard with notes containing biographical details about the photographer.

Within its artist files the gallery retained a group of files marked "Miscellaneous." These files contain small amounts of material, often only one or two pieces, relating to various artists for whom an individual file was not maintained or who were unidentified. These records are placed at the end of the alphabetical files and contain primarily copy prints, transparencies, and slide transparencies. Material is arranged alphabetically by name of artist, with records relating to unidentified artists placed at the beginning. To retain the alphabetical arrangement various media formats are filed together and dated material is interfiled with undated material, which forms the bulk of the contents.

The gallery tended to group various types of paper records together with correspondence in a single file. The term "correspondence" in this series, therefore, refers not only to incoming and outgoing letters but also to accounting and consignment records, reports (such as inventory lists), artists' résumés, exhibition lists, price lists, and other miscellaneous notes. In cases where a certain type of "correspondence" was originally filed separately from other material of this kind, and represents a significant amount of material, that material is filed in a separate folder (e.g., Accounting and Consignment Records).

Generally, arrangement of photographs in this series follows the system outlined under Organization and Arrangement, with some notable exceptions. Photographs of works of art by Gaston Lachaise and Elie Nadelman were originally arranged in a numbering system that is fairly consistent, and this basic original order has been retained. Also, for large groups of photographs of works of art, such as those by Gaston Lachaise, Joseph Stella, and John Henry Bradley Storrs, the gallery filed photographs by media in which the work of art was created; such delineations are reflected in the final arrangement.

The gallery maintained a collection of negatives, primarily of works of art by artists found in Series 1: Artist Files, in addition to other artists not represented there. There is also a small number of negatives of installation shots. The negatives are arranged alphabetically by artist name, with unknown artists at the beginning, and are stored, for preservation reasons, in containers separate from other records in the series. Negative numbers found on the original sleeves have been transcribed onto the paper enclosures now housing the negatives, so that they may be matched to prints in Series 1: Artist Files, in cases where prints exist. An appendix provides an alphabetical list of artists whose work is represented in the negative collection. In some cases, names of artists are incomplete because of insufficient information on the original negative sleeves.

See Index 1 for list of artists represented in negatives of works of art

Series 2: General Business Files, 1960-1991, undated (boxes 24-28, 4.75 linear ft.)

This series comprises records relating to the day-to-day administration of the Robert Schoelkopf Gallery. It provides extensive coverage of the gallery's relationships with a wide variety of clients including gallery owners, art dealers, museums, and art institutions primarily nationwide but also abroad. The series records activities such as appraisals; requests for information from clients and responses to their inquiries; correspondence to and from clients regarding works of art to be taken on approval or purchased; consignment of works of art; and loan arrangements.

The largest group of files in the series contains general correspondence that provides a broad overview of business activities. These files contain the bulk of the letters offering works of art to clients and responding to requests for information, loan, or purchase. The early correspondence files in particular document how Schoelkopf actively targeted particular collectors and institutions in his efforts to launch the gallery as a going concern. The gallery maintained a group of files entitled "Correspondence-Offerings" that contained letters offering works of art to clients. However, many such letters were also contained in files labeled simply "Correspondence," and to avoid redundancy, these two sets of files were combined during processing. The first file of general correspondence contains the lease for the fourth-floor gallery space at 825 Madison Avenue.

More detailed documentation of particular aspects of the gallery's administration can also be found in this series. Files recording appraisals contain estimates of value for works of art that Robert Schoelkopf provided to individuals for insurance purposes. Two additional files document large-scale appraisals that Schoelkopf conducted for the Art Dealers Association of America, including an appraisal of approximately two hundred works by Morgan Russell given by Henry M. Reed to the Whitney Museum of American Art.

The gallery maintained a group of files recording works of art sent out on approval and consignment. They include incoming letters requesting loans from the gallery and replies in the form of memoranda listing works of art sent out, the terms of the loan agreement, or price of the works if purchased. During the 1970s the gallery maintained separate files for consignment of photography, and these records can be found at the end of the group. Additional records relating to photography consignment can also be found in the other approval and consignment files.

Three files in this series document the gallery's involvement with the administration of client estates. Records relating to the estate of Arie K. Fluiter contain several pieces of correspondence with Georgia O'Keeffe discussing whether a painting owned by the Fluiter estate, Red Barn, was an early work of hers.

This series also contains a group of files relating to individual galleries, art dealers, and clients that the gallery apparently retained for a short time. Additional records relating to these clients may be found elsewhere in the series. Arrangement of material within folders in this series is complicated by the fact that dates of final actions taken on items are often hand-written on memoranda and are later than the type-written date of the item. Generally the type-written date was taken as the primary date as this method tended to retain the original order of the material.

Series 3: Group Exhibition Files, 1960-1988, undated (boxes 28-29, 1 linear ft.)

This series primarily documents group exhibitions held at the Robert Schoelkopf Gallery between 1963 and 1987, in addition to several exhibitions held in other locations. Records relating to exhibitions of work by individual artists are not included in this series but can be found in Series 1: Aftist Files. The first files in the series contain exhibition lists and printed material for shows that have no accompanying material and thus are not represented in an individual folder. Much of the printed matter consists of general reference material relating to themes of group shows held at the gallery. It also documents group exhibitions at other locations that featured artists in whom the gallery had an interest. Three folders of photographs that were originally labeled "Publicity Photographs" can be found immediately following these files.

The bulk of the series deals with specific exhibitions. Records include photographs of installations and individual works of art shown, exhibition catlogs, clippings, press releases, and material pertaining to related events. Correspondence concerning arrangements for exhibitions and requests for information can also be found here. Files chronicling specific exhibitions are arranged chronologically, with the exception of three files combining material relating to two exhibitions entitled Nine Realist Painters and Nine Realist Painters Revisited that can be found at the end of the series. Dates of exhibitions are given in parentheses after the exhibition titles and should not be confused with record dates.

The series contains ten negatives of photographs used in the 1985 exhibition, Photographs of the American West, and three negatives of installation shots from the 1985 exhibition, American Stone Carvers. For preservation reasons these are stored at the end of the negatives from Series 1: Artist Files, in Box 24.

A list of all known exhibitions held at the gallery, both one-person and group shows, is available as an appendix

Series 4: Photographs of Artists, 1963-1981, undated (box 29, 0.25 ft.)

This series comprises a group of photographs and slide transparencies of artists stored separately by the Robert Schoelkopf Gallery from other photographs of artists that are interspersed throughout the collection. The majority of the images are of artists whose work the gallery did not handle. They are arranged alphabetically by artist, with unidentified artists placed at the beginning of the group.

Index 1: Artists Represented in Negatives of Works of Art

• Albright, Ivan
• [Allston]
• Anderson, Lennart
• Andrejevic, Milet
• Anshutz, Thomas Pollock
• Aponovich, James
• Bailey, William
• Ballaine, G.
• Balthus
• Barye
• Bazelon, Cecile Gray
• Beauchamp
• Beckwith
• Bell, E.
• Bell, Leland
• Bellows, George
• Benton, Thomas Hart
• Bernard
• Birch, Thomas
• [Blauvelk]
• Bluemner, Oscar
• Blythe, David Gilmour
• Bolles, Jesse H.
• Bouvier, August
• Bradford, William
• Branchard, Emile Pierre
• Brassaï
• Bratby, John
• Breckenridge, Hugh H.
• Bricher, A. T.
• Brook, Alexander
• Brown, John George
• Burchfield, Charles
• Burra, Edward
• Carles, Arthur B.
• Carlsen
• Cartier-Bresson, Henri
• Charkow, Natalie
• Chase, William Merritt
• Chiriani, Richard
• Civitico, Bruno
• Clark, Alson Skinner
• Codman, Charles
• Cohen, Frederick
• Cole, Thomas
• Coleman, Glenn O.
• Conrad, Kramer
• Cornell, Joseph
• Cropsey, Jasper Francis
• Currier, [J. Frank]
• Dallman, Daniel
• Dalou, Jules
• Dasburg, Andrew
• Daugherty, James Henry
• [Davidson]
• Davidson, Jo
• Davies, Arthur B.
• Davis, Stuart
• Dawson, Manierre
• Degas, Edgar
• De Kooning, Willem
• Demuth, Charles
• Dewing, Thomas Wilmer
• Dickinson, Preston
• Diederich, William Hunt
• [Dix, Otto]
• Du Bois, Guy Péne
• Duchamp, Marcel
• Duveneck, Frank
• Eaton
• Edmonson, Will
• [Eilshemius]
• Epstein, [Sir Jacob]
• Erlebacher, Martha Mayer
• Evans, Walker
• Fellini
• Fisher, M.
• Fiske, Gertrude
• Flannagan, John Bernard
• Forbes, Charles
• Frazier, John Robinson
• Freckelton, Sondra
• Frieseke, Frederick C.
• Gallatin, A. E.
• Gay, Walter
• Gifford, R. Swain
• Gifford, Sanford Robinson
• Gignoux, R.
• Glackens, William J.
• Gleizes, Albers
• Goodnough, Robert
• Goodwin, Arthur Clifton
• Gorky, Arshile
• Gorsline
• Graham, John
• Graham, William
• Grant
• Grausman, Philip
• Graves, Morris
• Groz
• Guglielmi, Louis
• Guillaume
• Halsall
• Han, Raymond
• Hardy, DeWitt
• Hart, William
• Hartley, Marsden
• Hartman, Bertram C.
• Harvey, Anne
• Hatke, Walter
• Hawthorne, Charles Webster
• Heade, Martin Johnson
• Henri, Robert
• Hill, T.
• Hirst, Claude R.
• Hitchcock
• Hohwiller, L. M.
• Hopper, Edward
• Horton, William S.
• Johnson, David
• Johnson, Eastman
• Johnson, Lester
• Jones, Bern
• Kane, John
• Karfunkle, David
• Kelly, L.
• Kensett, John Frederick
• Klee, Paul
• Klimt, Gustav
• Kline, Franz
• Knaths, Karl
• [Kresch]
• Kruger, Louise
• Kuhn, Walt
• Kuniyoshi, Yasuo
• Lachaise, Gaston
• Laderman, Gabriel
• Lawrence, Jacob
• Lawson, Ernest
• Lechay, Myron
• Leibowitz, Leonard
• Leutz
• Levinson, Abraham F.
• Ligare, David
• Lipchitz
• Luks, George
• MacDonald-Wright, Stanton
• MacMonnies, Frederick William
• Manolo
• Manship, Paul
• Manzu
• Marin, John
• Martin, Homer D.
• Matthiasdottir, Louisa
• Matulka, Jan
• Maurer, Alfred Henry
• McFee Henry
• McIlvain, Isabel
• Melchers
• Metcalf, Willard Leroy
• Mills
• [Morandi, Giovanni]
• Muybridge, Eadweard
• Müller, Jan
• Muller, Lisa
• Myers, Jerome
• Nadelman, Elie
• Nakian, Reuben
• Nevelson, Louise
• Newman, A. L.
• Nick, George Bentley
• Of, George F.
• O'Keeffe, Georgia
• Orozco, José Clemente
• Peterson, Jane
• Peto, John Frederick
• Pfreim, Bernard
• Picasso, Pablo
• Piccolo, Richard
• Pollet, Joseph
• Pollock, Jackson
• Poor, H.
• Powers, Hiram
• Prendergast, Maurice Brazil
• Price
• Prior, William Matthew
• Quin, Langdon
• Raiselis, Richard
• Ream, C. P.
• Reid, Robert
• Richards, William Trost
• Rimmer, William
• Robinson, T. W.
• Rodin, Auguste
• Romero, Orozco
• Rummelspacher
• Russell, Morgan
• Ryan, Richard
• [Ryder, Albert Pinkham]
• Saint-Gaudens, Augustus
• Salemme, Antonio
• Salemme, Attilio
• Sargent, John Singer
• Schamberg, Morton L.
• Schiele, Egon
• Schmidt, Edward
• Schultz, E. N.
• Scott, J. W. A.
• Shahn, Ben
• Shaw, Sidney Dale
• Sheeler, Charles
• Shinn, Everett
• Sklarski, Bonnie
• Sloan, John
• Smith, Hope
• Staples, W. L.
• Steene
• Steichen, Edward
• Stella, Joseph
• Storrs, John Henry Bradley
• Stuart, Frederick, T.
• Suba, Miklos
• Tamayo, Rufino
• Tanguy, Yves
• Tanner, Henry Ossawa
• Taylor, Henry Fitch
• Tillim, Sidney
• Touster, Irwin
• Turner, Helen
• Twachtman, John Henry
• Urness, Scott
• [V., F.]
• Van Beest
• Van Everen, Jay
• Vedder, Elihu
• Vespignani
• Vonnoh, Robert William
• Walcutt, William
• [Wall]
• Weber, Max
• Weir, Julian Alden
• Weiss, George
• Whistler, James McNeill
• Whittredge, Worthington
• Wiesenfeld, Paul
• Woking
• Wood, Thomas Waterman
• Wyant, A. H.
• Wyeth, Andrew
• Zorach, [William]

Index 2: List of Exhibitions at Robert Schoelkopf Gallery

Below is a list of all known exhibitions held at the Robert Schoelkopf Gallery. Italics indicate that the exact title of an exhibition is is known. Brackets indicate that the date or occurrence of an exhibition is assumed but cannot be confirmed.

Date

Exhibition

Nov., 1962

A Selection of Drawings & Watercolors

Nov. 13-Dec. 1, 1962

Johan Birnie

Dec. 4-22, 1962

Norman Zammitt

Jan. 2-Feb. 9, 1963

Joseph Stella

Mar. 5-30, 1963

19th Century American Paintings

Apr. 2-27, 1963

Ethel Myers: Drawings and Sculpture

May 1-31, 1963

Gus Mager (1878-1955)

Oct. 1-19, 1963

Murray Reich: Recent Paintings

Oct. 19-Nov. 16, 1963

Joseph Stella

Nov. 9-Dec. 7, 1963

Irwin Touster

Dec. 10-Jan. 4, 1964

9 Realist Painters

Jan. 7-25, 1964

19th Century American Paintings & Drawings: Beckwith, Bierstadt, Bradford, Carlsen, Chase, Cropsey, Durand, Duveneck, Field, Gifford, Kensett, Harnett, Hassam, La Farge, Leavitt, Martin, Melchers, Moran, Ranger, Ream, Richards, Stella

Jan. 28-Feb. 15, 1964

Louisa Matthiasdottir: Recent Paintings

Feb. 18-Mar. 14, 1964

An Exhibition of Portraits by Gaston Lachaise

Mar.-Apr., 1964

Joseph Pollet

May 5-30, 1964

Antonio Salemme

June 2-26, 1964

New York, New York

Oct., 1964

Joseph Stella: An Exhibition of Drawings

[Nov.], 1964

[Gabriel Laderman]

undated, 1965

Lisa Muller

Jan. 5-30, 1965

Lillian Delevoryas

Mar. 2-27, 1965

Sidney Tillim

Apr., 1965

Joseph Pollet

May, 1965

George Weiss

May 25-June 25, 1965

19th and 20th Century Americans

Oct. 26-Nov. 13, 1965

Joseph Fiore

Dec. 7-31, 1965

George Bentley Nick

Jan. 4-29, 1966

Robert Cornell Memorial Exhibition

Jan. 11-29, 1966

Douglas Gorsline

Feb. 1-19, 1966

Drawings and Sculpture by Gaston Lachaise

Feb. 23-Mar. 13, 1966

Leland Bell: Paintings

Mar.-Apr., 1966

Charles Marks: Drawings

Mar. 15-Apr. 2, 1966

Ethel Myers

Apr. 5-23, 1966

Louisa Matthiasdottir

Apr. 26-May 14, 1966

Joseph Cornell: Collages

May 17-June 11, 1966

Lillian Delevoryas

July 1-31, 1966

A Selection of Modern Sculpture: Becquet, Bolotowsky, Butler, Calder, Chadwick, Dalou, Davidson, Flannagan, Gauguin, Kogan, Kuhn, Lachaise, Manzu, Marini, Moore, Nadelman, Rodin, Salemme

Oct. 11-29, 1966

Adolph Rosenblatt

Nov. 1-19, 1966

Joseph Stella: Watercolors, Drawings, and Collages

Nov. 22-Dec. 10, 1966

Sydney Dale Shaw

Dec. 20-Jan. 7, 1967

Walker Evans

Jan. 10-Feb. 4, 1967

Miklos Suba

Feb. 7-25, 1967

Joseph Pollet: Paris, Seven Years

Feb.-Mar., 1967

Charles Marks: Paintings, 1960-1967

Mar. 21-Apr. 8, 1967

19th & 20th Century American Paintings

Apr. 11-29, 1967

Gabriel Laderman: Recent Paintings

May 2-20, 1967

Recent Paintings and Watercolors by Sidney Tillim

May 23-July 28, 1967

19th and 20th Century American Landscapes

Sept. 19-Oct. 7, 1967

Exhibition of Watercolors, Drawings and Prints by Gallery Artists

Sept. 19-Oct. 7, 1967

Sculpture by Thyra Davidson

Oct. 10-31, 1967

George Bentley Nick: Recent Paintings

Oct. 31-Nov. 25, 1967

Figurative Painting of the Fifties

Nov., 1967

19th & 20th Century American Art

Nov. 28-Jan. 6, 1968

Julia Margaret Cameron, 1815-1879

Jan. 9-27, 1968

Louisa Matthiasdottir: Paintings and Sculpture

Jan. 30-Feb. 17, 1968

William Bailey

Mar. 19-Apr. 13, 1968

Jane Peterson: Paintings, 1910-1920

Apr. 16-May 4, 1968

Leland Bell: Paintings

May 7-31, 1968

Yun Gee

Sept. 28-Oct. 17, 1968

Leonard Leibowitz: Paintings and Etchings

Oct. 19-Nov. 7, 1968

Adolph Rosenblatt

Nov. 9-Dec. 5, 1968

Louise Kruger

Nov. 22.-Dec. 10, 1968

Sydney Dale Shaw

Dec. 7-Jan. 2, 1969

Gertrude Fiske: Oil Paintings, 1910-1928

Jan. 4-23, 1969

Irwin Touster

Jan. 25-Feb. 13, 1969

Joseph Fiore: Recent Paintings

Feb. 15-Mar. 6, 1969

William S. Horton

Mar. 8-Apr. 3, 1969

Gaston Lachaise: Sculpture and Drawings

Apr. 5-May 1, 1969

Manierre Dawson: Paintings, 1909-1913

May 3-23, 1969

Sidney Tillim: Paintings

May 3-July 18, 1969

American Landscapes of the 19th and 20th Centuries

Oct. 4-23, 1969

John Robinson Frazier (1889-1966)

Oct. 25-Nov. 13, 1969

Gabriel Laderman

Nov. 14-Dec. 4, 1969

Louisa Matthiasdottir

Dec. 6-24, 1969

Eugéne Atget (1857-1927): Photographs

Jan. 3-29, 1970

Joseph Stella: Oils, Watercolors, Drawings, and Collages

Jan. 31-Feb. 19, 1970

Douglas Gorsline

Feb. 21-Mar. 12, 1970

Leland Bell: Paintings

Mar. 14-Apr. 2, 1970

Louise Kruger: Sculpture

Apr. 4-30, 1970

Significant 19th & 20th Century Photographs

Apr. 4-30, 1970

Paul Manship

May 2-29, 1970

American Narrative Painting of the 19th Century

June 8-July 3, 1970

Modernist Painting in America

Oct. 3-22, 1970

Leonard Leibowitz: Recent Paintings

Oct. 24-Nov. 19, 1970

Jan Matulka

Nov. 21-Dec. 24, 1970

John Henry Bradley Storrs: Paintings, Sculpture, and Drawings

Jan. 9-28, 1971

Cecile Gray Bazelon: Paintings

Jan. 30-Feb. 25, 1971

Walker Evans: Photographs

Mar. 20-Apr. 8, 1971

Myron Lechay: Paintings, 1922-1932

[Summer], 1971

Gaston Lachaise: Sculpture and Drawings

[July], 1971

American Landscape Paintings

Sept. 18-Oct. 14, 1971

Brassaï: Photographs

Oct. 16-Nov. 11, 1971

William Bailey: Paintings and Drawings

Nov. 13-Dec. 2, 1971

Alson Clark (1876-1949)

Dec. 4-31, 1971

James H. Daugherty: Retrospective

Jan. 4-27, 1972

Paul Manship (1885-1966)

Jan. 7-30, 1972

Four Americans

Jan. 29-Feb. 17, 1972

Louisa Matthiasdottir

Feb. 19-Mar. 9, 1972

Miklos Suba and O. Louis Guglielmi: Paintings of New York

Mar. 11-30, 1972

Douglas Gorsline

[April, 1972

Jan Matulka]

Apr. 22-May 11, 1972

Leland Bell

May 13-June 1, 1972

Gertrude Fiske (1878-1961)

June 3-30, 1972

Julia Margaret Cameron: Victorian Photographs

July, 1972

Landscapes by American Artists

Sept. 12-Oct. 5, 1972

20th Century Drawings

Oct. 7-Nov. 2, 1972

Gabriel Laderman

Nov. 4-30, 1972

John Storrs (1885-1956): Drawings and Prints

Dec. 2-23, 1972

19th and 20th Century Landscape Photography

Jan. 2-25, 1973

Martha Mayer Erlebacher: Paintings, Drawings, and Watercolors

Jan. 27-Feb. 22, 1973

Bruno Civitico: Paintings and Drawings

Feb. 24-Mar. 22, 1973

Paul Wiesenfeld: Paintings

Mar. 24-Apr. 19, 1973

Cecile Gray Bazelon

Apr. 21-May 17, 1973

Walker Evans

[Apr. 21-May 17], 1973

[The Unknown Lachaise]

May 19-June 14, 1973

Brooklyn Bridge: Paintings, Prints, Photographs, Memorabilia, and Historical Documents Celebrating the 90th Anniversary of One of Man's Noblest Works

Sept. 18-Oct. 13, 1973

A Century of Photographs, 1842-1949

Oct. 20-Nov. 29, 1973

Gaston Lachaise: Sculpture and Drawings

Dec. 8-Jan. 17, 1974

Photography in Italy in the 19th Century

Jan. 19-Feb. 14, 1974

Louisa Matthiasdottir

Feb. 16-Mar. 14, 1974

Myron Lechay: Paintings of the Twenties & Thirties

Mar. 16-Apr. 11, 1974

Leland Bell: Recent Paintings

Apr. 13-May 9, 1974

Douglas Cumming: Paintings and Drawings

May 11-June 7, 1974

Gabriel Laderman: Retrospective

June 11-July 19, 1974

The Art of the Portrait Photograph

Oct. 1-31, 1974

North American Indians

Oct. 19-Nov. 14, 1974

William Bailey

Nov. 2-30, 1974

Walker Evans: Vintage Prints

Dec. 10-Jan. 11, 1975

The Art of the Photogravure

Jan. 7-31, 1975

Four Americans

Jan. 14-Feb. 28, 1975

Rome by Robert MacPherson

Feb. 4-Mar. 1, 1975

Altar Pieces of World War II

Mar. 4-29, 1975

Giséle è

[Mar. 4-Apr. 26], 1975

[John Henry Bradley Storrs]

Apr. 1-30, 1975

Margaret Bourke-White, 1904-1971

Apr. 29-May 30, 1975

Martha Mayer Erlebacher

May 3-31, 1975

Arnold Genthe

June 2-July 11, 1975

19th Century Photographs of the Middle East

June 10-July 11, 1975

New Talent

Sept. 16-Oct. 18, 1975

Richard Piccolo

Sept. 16-Oct. 30, 1975

August Sander: Vintage Prints

Oct. 3-Nov. 9, 1975

Impressionism: Gertrude Fiske

Nov. 4-29, 1975

Kipton Kumler: Photographs

Nov. 24-Dec. 2, 1975

Cecile Gray Bazelon

Dec. 2-24, 1975

Roger Fenton: Photographs of the Crimean War

undated, 1976

Andrew Dasburg and Some Friends

Jan. 6-31, 1976

Van Deren Coke

Jan. 13-Feb. 14, 1976

Louisa Matthiasdottir

Feb. 17-Mar. 13, 1976

Bonnie Sklarski

Mar. 2-30, 1976

Fredrich Cantor: Photographs

Mar. 16-Apr. 17, 1976

Bruno Civitico

Apr. 1-29, 1976

Cecil Beaton

Apr. 20-May 15, 1976

Leland Bell

May 1-28, 1976

Cyanotypes by Well Known and Amateur Photographers from the Turn of the Century and Today

June 1-July 16, 1976

Laton A. Huffman: Frontier Photographs

June 4-July 16, 1976

Drawings by Gallery Artists

Oct. 5-30, 1976

Paul Wiesenfeld

Nov. 9-Dec. 4, 1976

Don Wynn

Dec. 14-Jan. 15, 1977

Joan Myers

Jan. 25-Feb. 26, 1977

Joseph Stella

Mar. 7-Apr. 2, 1977

Walker Evans: Photographs, 1930-1971

Apr. 12-May 7, 1977

Gabriel Laderman: Paintings of Malaysia

May 17-June 10, 1977

Walter Hatke

June 14-July 15, 1977

Paul Caponigro: Photographs

Sept. 13-Oct. 8, 1977

Brooklyn College Art Department Past and Present, 1942-1977

Oct. 15-Nov. 5, 1977

William Wilkins

Nov. 12-Dec. 3, 1977

Frances Cohen Gillespie: Recent Paintings

Dec. 10-Jan. 7, 1978

Richard Piccolo: Recent Paintings

Dec. 14-Jan. 15, 1978

Joan Myers: Photography

Jan. 14-Feb. 9, 1978

Early 20th Century American Modernist Painting

Feb. 11-Mar. 11, 1978

Louisa Matthiasdottir: Recent Paintings

Mar. 18-Apr. 8, 1978

Bruno Civitico: Recent Paintings

Apr. 15-May 6, 1978

Leland Bell

June 19-July 21, 1978

19th and 20th Century American Painting

Sept. 16-Oct. 14, 1978

Drawings by Gaston Lachaise and Elie Nadelman

Oct. 21-Nov. 18, 1978

John Storrs: Paintings of the Thirties

Nov. 21-Dec. 23, 1978

Emile Branchard & William Fellini: Two 20th Century American Primitive Painters

Dec. 10-Jan. 7, 1979

Richard Piccolo

undated, 1979

Laton Huffman: Photographs

Jan. 6-Feb. 10, 1979

William Bailey: Recent Paintings

Feb. 17-Mar. 17, 1979

Jan Matulka

Mar. 24-Apr. 21, 1979

Joseph Stella: Works on Paper

Apr. 28-May 26, 1979

John Storrs: Painting and Sculpture of the Thirties

June 4-July 13, 1979

American Impressionism

Sept. 15-Oct. 6, 1979

Hans Burkhardt: Drawings, 1936-1979

Oct. 13-Nov. 10, 1979

William Wilkins: Recent Paintings

Nov. 18-Dec. 8, 1979

Keith Jacobshagen: Recent Paintings

Dec. 15-Jan. 12, 1980

Martha Mayer Erlebacher: Drawings and Watercolors

undated, 1980

[DeWitt Hardy]

undated, 1980

Leland Bell: Recent Paintings

Jan. 19-Feb. 16, 1980

Louisa Matthiasdottir: Recent Paintings

Feb. 23-Mar. 22, 1980

19th and 20th Century American Paintings and Sculpture

Mar. 29-Apr. 26, 1980

Richard Piccolo: Recent Paintings

June 9-July 3, 1980

Walter Hatke: Recent Paintings and Drawings

July, 1980

The Modernist Movement in America

August, 1980

American Paintings

Sept. 6-Oct. 1, 1980

American Drawings and Watercolors

Oct. 4-29, 1980

Daniel Dallman: Recent Paintings and Drawings

Dec. 2-23, 1980

Bruno Civitico: Recent Paintings

undated, 1981

Bonnie Sklarski

Jan. 3-28, 1981

Milet Andrejevic: Recent Paintings

Mar. 28-Apr. 22, 1981

Manierre Dawson: Paintings, 1910-1914

Apr. 25-May 20, 1981

Paul Wiesenfeld: Recent Paintings

June 9-July 15, 1981

Contemporary Figure Drawings

Sept. 15-30, 1981

Early 20th Century Artists: City Images

Oct. 3-28, 1981

William Wilkins: Recent Paintings

Oct. 31-Nov. 25,1981

Natalie Charkow: Sculpture

Jan. 2-27, 1982

Louisa Matthiasdottir: New Works

Jan. 30-Feb. 24, 1982

Isabel McIlvain: Recent Sculpture

Feb. 27-Mar. 24, 1982

Gaston Lachaise: Twenty Sculptures

Apr. 3-May 4, 1982

William Bailey: Recent Paintings

May 8-June 2, 1982

Keith Jacobshagen

June 5-July 16, 1982

Edward Schmidt: Recent Paintings and Drawings

Sept. 7-29, 1982

American Paintings & Drawings of the Twenties & Thirties

Oct. 2-27, 1982

Raymond Han: Recent Still Life Paintings

Oct. 30-Nov. 24, 1982

Martha Mayer Erlebacher: Recent Oils, Pastels and Drawings

Nov. 30-Dec. 22, 1982

Contemporary Arcadian Paintings

Jan. 4-26, 1983

John Henry Bradley Storrs: Paintings, Sculpture, and Drawings

Jan. 29-Feb. 23, 1983

DeWitt Hardy: Recent Watercolors

Apr. 23-May 18, 1983

Richard Piccolo

May 21-June 15, 1983

Barbara Cushing: Recent Paintings

June 4-July 16, 1983

Drawings by Gallery Artists

Sept. 6-28, 1983

American Realist Works on Paper

Oct. 29-Nov. 23, 1983

Philip Grausman: Portraits 1973-1983, Sculpture, and Drawings

Nov. 3-Dec. 5, 1983

Recent American Still Life Painting

Nov. 29-Dec. 21, 1983

Bruno Civitico: Recent Paintings

Dec. 28-Jan. 25, 1984

Walter Hatke: Recent Paintings

Jan. 28-Feb. 22, 1984

Paintings of the Twenties and Thirties: Works by Gallery Artists

Jan. 28-Feb. 22, 1984

Joseph Stella

Mar. 3-28, 1984

Daniel Dallmann: Recent Paintings

Apr. 21-May 16, 1984

Louisa Matthiasdottir

June 19-July 13, 1984

Richard Ryan: Recent Paintings

July-Aug., 1984

Group Show of Gallery Artists

Sept. 8-Oct. 3, 1984

20th Century American Modernism

Oct. 6-31, 1984

Raymond Han: Recent Paintings

Nov. 3-Dec. 5, 1984

Recent American Still Life Painting

Dec. 8-Jan. 2, 1985

Nine Realist Painters Revisited

undated, 1985

Caren Canier

Jan. 5-30, 1985

Martha Mayer Erlebacher: Recent Paintings

Feb. 2-27, 1985

Recent American Portraiture

Mar. 30-Apr. 4, 1985

David Ligare

May 4-29, 1985

James Aponovich: Recent Paintings

Summer, 1985

Early 20th Century American Modernism

Sept. 7-Oct. 2, 1985

Photographs of the American West

Oct. 5-30, 1985

Laura Shechter: Recent Paintings

Nov. 2-Dec. 4, 1985

American Wood Carvers of the 19th and 20th Centuries

Dec. 7-31, 1985

American Stone Carvers

Jan. 4-29, 1986

Sondra Freckelton

Mar. 1-26, 1986

Gabriel Laderman: Recent Narrative Paintings and Other Work

Mar. 29-Apr. 23, 1986

Barbara Cushing: Recent Landscape Paintings

Apr. 26-May 21, 1986

City Streets

May 24-June 18, 1986

Bonnie Sklarski: Recent Paintings

June 23-July 25, 1986

The Modernist Movement in America

Sept. 6-Oct. 1, 1986

Stone Roberts: Recent Paintings

Oct. 1-29, 1986

Jan Matulka: Drawings and Prints

Nov. 1-Dec. 3, 1986

William Bailey: Recent Paintings

Jan. 10-Feb. 4, 1987

John Henry Bradley Storrs

Feb.-Mar., 1987

Raymond Han

Mar. 7-Apr. 1, 1987

Daniel Dallman

Apr. 4-29, 1987

James Aponovich: Recent Paintings

June 2-26, 1987

Langdon Quin: Recent Paintings

July-Aug., 1987

Summer Group Show

Sept. 1-Oct. 14, 1987

Isabel McIlvain: Recent Sculpture

Oct. 24-Nov. 27, 1987

Philip Grausman: Recent Sculpture

Dec. 6-Jan. 7, 1988

Louisa Matthiasdottir: Recent Paintings

undated, 1988

Milet Andrejevic: Paintings

Feb. 6-Mar. 2, 1988

Sondra Freckelton: Recent Watercolors

April 2-May 4, 1988

Jan Matulka: Paintings of the 1920s and 1930s

Sept. 10-Oct. 12, 1988

Plain Geometry Part II: Geometric Abstraction in America, 1930-1960

Oct. 15-Nov. 16, 1988

The Figure: American Sculpture of the Early 20th Century

Nov. 19-Dec. 21, 1988

Peter Saari: Recent Work

Jan. 3-31, 1989

The Modern Pastoral

Feb. 4-Mar. 8, 1989

Louisa Matthiasdottir: Recent Paintings, Pastels, and Watercolors

Apr. 15-May 17, 1989

Richard Ryan: Recent Paintings and Drawings

July 7-26, 1989

Walter Hatke

Sept. 9-Oct. 11, 1989

Raymond Han: Recent Paintings

Oct. 15-Nov. 15, 1989

Stone Roberts

[Nov. 21-Dec. 24], 1989

[John Storrs]

undated, 1990

Ed Garman and James M. Guy

Jan. 6-Feb. 7, 1990

David Ligare: Recent Paintings and Drawings

Feb. 10-Mar. 14, 1990

Sondra Freckelton

Mar. 17-Apr. 20, 1990

Leland Bell

Apr. 21-May 23, 1990

James Aponovich: Recent Paintings

May 26-June 27, 1990

Four Artists/Four Decades: A Selection of Works on Paper by Gaston Lachaise, Jan Matulka, John Storrs, and Joseph Stella from the Years 1910-1950

Oct. 13-Nov. 14, 1990

Gabriel Laderman: Recent Paintings

Jan. 5-Feb. 6, 1991

Rolph Scarlett (1889-1984): Paintings and Works on Paper

Feb. 9-Mar. 13, 1991

William Bailey: Recent Paintings, Caseins, and Drawings

Mar. 16-Apr. 17, 1991

Louisa Matthiasdottir: Recent Paintings

Apr. 20-May 15, 1991

Caren Canier: Recent Paintings and Collages

May 18-June 12, 1991

Richard Raiselis: Recent Paintings

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