Scope and Contents
The Rose Fried Gallery records measure 8.1 linear feet and date from 1936 to 1972 with the bulk of materials dating from 1945 to 1970. The majority of the collection consists of artists files documenting the gallery's relationship with abstract, modern, and Latin American artists; additional named subject files; and scattered administrative and financial files. Individual artists and subject files contain a wide variety of documentation, such as correspondence, photographs, financial records, and printed materials.
Scattered administrative records document the founding and history of the Rose Fried Gallery, biographical materials about Rose Fried, as well as scattered administrative correspondence, press releases, and gallery catalogs. There are two sound recordings of interviews with Rose Fried in which she discusses the origins of the Rose Fried Gallery and some of the gallery's shows.
The bulk of the records consist of alphabetical artists' and clients' files documenting the gallery's dealings with individual artists, clients, other galleries, museums, and universities. Contents of individual files vary but may include correspondence, contractual agreements, financial records, printed material, and photographs. A few of the artists represented in the files include Olle Baertling, Joseph Cornell, Ben Cunningham, Sonia Delaunay, Sorel Etrog, John Ferren, Raymond Hendler, Wassily Kandinsky, Stanton MacDonald-Wright, Piet Mondrian, Russell Morgan, Francis Picabia, Hans Richter, Joaquin Torres-Garcia, and Jean Xceron, among many others.
Immediate Source of Acquisition
The Rose Fried Gallery Records were donated by Rose Fried and her brother and executor Paul Fried in multiple accretions between 1968 and 1974.
Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care and Preservation Fund.
The collection was processed and a finding aid prepared by Kendra Jae in 2016, with funding provided by the Smithsonian Institution's Collections Care and Preservation Fund, using accelerated processing strategies implemented by the Archives of American Art to increase information about and facilitate access to more of our collections. For this ollection, processing included arrangement to the folder level, with retention of the pre-existing arrangement when possible. Some materials were consolidated to eliminate excess bulk but items within folders were not arranged further. Non-archival housing was replaced for long-term stability, but staples and other fasteners have not all been removed.