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| Creator: | Grace M. Mayer | |
| Title: | Grace M. Mayer Papers | |
| Dates: | 1929-1997 | |
| Quantity: | 28.5 linear feet of records Twenty museum cases of photographs |
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Grace M. Mayer, self-described "Writer, Collector and Curator" was born in New York City on November 26, 1901. She established herself as a pioneering Curator of Prints at the Museum of the City of New York and later as a Curator of Photography (1964-1968) and Curator of the Edward Steichen Archive (1968-1996) at The Museum of Modern Art. She was privately educated at the Ethical Culture School and the Seabury Schools, both in New York City, and attended one semester at Columbia University. As a teenager she spent two years in Europe where she was privately tutored and during World War I, she worked as a Nurse's Aide at Roosevelt and Holleran Hospital.
In 1930, Mayer joined the staff of The Museum of the City of New York as a volunteer and was named Curator of Prints in 1934. Although she did not have a formal education in this field, she took a fevered interest in expanding her knowledge of prints and photographs and was an early member of the Print Council of America. Over the next twenty-seven years, she organized more than one hundred exhibitions at the Museum and helped with the formation of one of the world's most comprehensive collections of prints and photographs depicting views of New York City. During this time she also established a close relationship with many of the contemporary photographers whose work she included in exhibitions such as Todd Webb, Erich Hartmann, Shirley C. Burden and Bernice Abbott. In 1958, Once Upon a City was published by MacMillian. The book contained a selection of photographs by the Byron Company depicting scenes of New York, with text by Mayer and a foreword by Edward Steichen, and was accompanied by an exhibition of the same name at the Museum. As Mayer described the story to Paul Cummings in an Oral History conducted with him in 1970 for the Archives of American Art, she sent Steichen a thank you letter for his contribution to the book and asked him what she could do to repay him. He immediately replied, requesting her help with the 1957 Museum of Modern Art exhibition, Seventy Photographers Look At New York [MoMA Exh. # 624, November 26, 1957-March, 1958].
In order to assist Steichen with the exhibition, Mayer took a leave of absence from The Museum of the City of New York; then in July of 1959, she joined The Museum of Modern Art staff as a Personal Assistant to Edward Steichen. In this position she worked on The Sense of Abstraction [MoMA Exh. # 659, February 17-April 10, 1960], Steichen The Photographer [MoMA Exh. # 682, March 29-May 21, 1961], and The Bitter Years [MoMA Exh. # 711, October 18-November 25, 1962].
Edward Steichen retired as Director of Photography in 1961, and John Szarkowski was appointed Director in 1962. Mayer was named Curator of Photography that same year, and in 1964, she organized the inaugural installation of the Museum's photography collection galleries. In 1968, Mayer retired as Curator of Photography and began working as a volunteer under the title Curator of the Edward Steichen Archive. During Mayer's tenure at the Museum her relationships with photographers continued to grow, and thus, her personal collection of photographs continued to expand. This is reflected by the inscription dates on the photographs, with the majority of dates spanning from the early 1960s through the 1980s.
Mayer's work on the Edward Steichen Archive included maintaining, collecting, and researching original and secondary material about Steichen. The collection consists of correspondence, articles by and about him, interviews, films, lectures, television scripts, photographs, and other significant material pertaining to his life and career. She made the Steichen Archive available to many researchers while continuing to work as an assistant to Steichen. Even though Steichen spent most of his time at his home Umpawaug in Redding, Connecticut, Mayer, was in close contact with him in reference to permissions to copy, loan or sell his photographs, and other matters involving Steichen materials at The Museum of Modern Art. In 1972, through Paul Cummings' suggestions, Praeger Publishers approached Mayer with the possibility of publishing a volume devoted to Steichen in the series, Documentary Monographs in Modern Art. The volume was never published but the initial work became Mayer's unpublished biography "Steichen's Way".
Mayer's contributions to the field of photography have been recognized by numerous biographical dictionaries as well as curatorial awards and honors including the In Service to Photography Award of the Maine Photographic Workshops (1987), the Infinity Award for Curatorial Achievement from the International Center of Photography, New York (1990), and in 1995 the Museum of the City of New York honored her with the exhibition, Curating New York: The Legacy of Grace M. Mayer. In 1993, The Museum of Modern Art named Grace M. Mayer Curator Emeritus of Photography.
Grace M. Mayer passed away on December 21, 1996, shortly, after her 95th birthday at her home in the Carlyle Hotel, New York City.
| 1901: | Born November 26, 1901, Hotel Sevilla, 58th Street, New York City |
| 1914-1918: | Works as Red Cross Nurse's Aide at Roosevelt and Holloran Hospital |
| 1930: | Joins staff of Museum of the City of New York as a volunteer |
| 1934: | Appointed Curator of Prints, Museum of the City of New York |
| 1934: | Organizes the first major one-person exhibition of Bernice Abbott's photographs of New York City, Museum of the City of New York |
| 1938: | Organizes one-person exhibition of John Albok's photographs, Museum of the City of New York. New York. Faces of the City. September 21, 1938. |
| 1946: | Todd Webb Photographs, Museum of the City of New York. New York. I See a City. September 24, 1946 |
| 1956: | Eric Hartmann, Museum of the City of New York. New York. Sunday with the Bridge. Jan. 24, 1956 |
| 1957: | Shirley C. Burden, Museum of the City of New York. New York. Ellis Island. Dec. 11, 1957-May 19, 1958 |
| 1957: | Assists Edward Steichen in assembling the show, Seventy Photographers Look at New York [MoMA Exh. # 624, Nov. 26, 1957-March, 1958] |
| 1958: | Macmillan publishes her book, Once Upon a City: New York from 1890 to 1910 as Photographed by Byron |
| 1959: | May, resigns as Curator of Prints from The Museum of the City of New York |
| 1959: | July, joins the staff at The Museum of Modern Art, as Edward Steichen's Personal Assistant |
| 1960: | Directs the exhibition The Sense of Abstraction [MoMA Exh. # 659, Feb. 17-April 10, 1963] with Kathleen Haven |
| 1960: | Installs Toward the New Museum of Modern Art-A Bid for Space-Part II [MoMA Exh. # 654, Oct. 28, 1960-Mar. 26, 1962], a selection of fifty-nine photographs from the collection, in the Museum's second floor galleries |
| 1961: | Assists Edward Steichen with his last exhibition, Steichen the Photographer [MoMA Exh. # 682, March 29-May 21, 1961]. The opening preview coincides with his eighty-second birthday on March 27, and his retirement from The Museum of Modern Art. The exhibition is accompanied by a book of the same name. Mayer writes the Biographical Outline for the publication and Bernard Karpel complies a selected Bibliography. |
| 1962: | Works on The Bitter Years [MoMA Exh. # 711, Oct. 18-Nov. 25, 1962] |
| 1962: | John Szarkowski is appointed Director of Photography at The Museum of Modern Art |
| 1962: | Named Curator in the Department of Photography |
| 1964: | Organizes the inaugural installation of the Museum's Photography Collection Galleries |
| 1967: | Space allocated for the Edward Steichen Photography Center |
| 1968: | Retires as Curator from the Photography Department at The Museum of Modern Art |
| 1968: | Continues to volunteer at The Museum of Modern Art, Department of Photography as Curator of the Edward Steichen Archive |
| 1970: | May 11, Oral History; interviewed by Paul Cummings from the Archives of American Art |
| 1987: | Receives the In Service to Photography Award of the Maine Photographic Workshops |
| 1990: | Receives the Infinity Award for Curatorial Achievement from the International Center of Photography, New York |
| 1991: | March, April, The Museum of Modern Art Oral History Project, Interview with Grace M. Mayer conducted by Sharon Zane |
| 1993: | Named Curator Emeritus in the Department of Photography, The Museum of Modern Art |
| 1995: | The Museum of the City of New York honors Mayer with the exhibition, Curating New York: The Legacy of Grace M. Mayer |
| 1996: | December 21, Mayer dies at her home, the Carlyle Hotel, New York City |
The collected papers and photography collection of Grace M. Mayer gather together a lifetime of both professional and personal work. These provide a broad overview of her curatorial activities for the Department of Photography at The Museum of Modern Art including her unpublished research and writing on the life of Edward Steichen and a rich study collection of photographs by many diverse international photographers. Her career is especially distinguished by her work in maintaining the Edward Steichen Archive at The Museum of Modern Art and her command of details pertaining to Steichen's life which is evident throughout her papers. The Papers are arranged to give special emphasis to Mayer's work as Curator of the Edward Steichen Archive and are organized into nine series and two addenda: Series I: Steichen Correspondence; Series II: Steichen's Death; Series III: Steichen's Way; Series IV: Museum Work; Series V: Personal; Series VI: Printed Material; Series VII: Photographs; Series VIII: Artwork; Series IX: Oversized Material; Addendum A. Miles Barth Gift, Addendum B. Office Books and Periodicals and Addendum C. Collection Prints. Series III: Steichen Correspondence, as well as folder V.10 in Series V. Personal, is currently closed to researchers. Addendum C. Collection Prints provides a cataloged record of Mayer's collection of over 1,000 photographs housed in the Department of Photography, separately from the papers. It is a unique collection in that the majority of works are inscribed by the photographers, many of whom were close friends.
The bulk of the Papers focus on details of Edward Steichen's life. It was through her position as Curator of the Edward Steichen Archive that Mayer came in touch with people who assisted her in attaining facts about his life. These people often became friends of Mayer, and included Steichen family members such as his daughters Kate Rodina Steichen and Mary Steichen-Calderone; associates of Steichen's such as his two technical assistants Rolf P. Petersen and Noel H. Deeks; his friend and fellow photographer, Wayne Miller; and other colleagues in the field of photography including: Davis Pratt, Curator of Photographs at Beinecke Rare Book Library, Yale University; photographer Gisèle Freund; fellow researchers Ronald Gedrim and Maynard P. White Jr. (also the grandson of the photographer Clarence H. White); and photography enthusiast and author, Inge Bondi. Many of these letters contain historical accounts of Steichen's life. The writings of Rolf P. Petersen and Noel H. Deeks record various darkroom techniques, discussing technical matters in printing and chemical formulas, as well as opinions on Steichen and his career as a photographer. The letters from his daughters provide quick date references and personal reminiscences of their father. Frankness and intimacy of correspondents is prevalent in both Mayer's professional and personal correspondence.
Mayer's collection of photographs consists predominately of gelatin silver prints received as gifts from the photographers. Largely collected here are the work of John Albok, Sonja Bullaty and Angelo Lomeo, Norbert Buchsbaum, Lucien Clergue, Bruce Davidson, Yasuhiro Ishimoto, Lotte Jacobi, Lennart Olson, Edward Steichen, Josef Sudek, and Jerry Uelsmann. Many of the prints were personally inscribed to Mayer by the photographers. Her correspondence with photographers mainly comprises short greetings and newsy accounts of their travels, exhibitions and personal matters. Included along with the correspondence and photographs in the collection is a bibliography of Edward Steichen's published work and a chronology of his life, documented on index cards; manuscripts; clippings; notes; printed material (including auction sale catalogs, periodicals, and exhibition announcements) and artwork (including graphite and ink drawings, etchings, and watercolor paintings).
Missing from the Grace M. Mayer Papers are items related to her early curatorial involvement at MoMA. In the Department of Photography Mayer's notes and correspondence are found in the Departmental Files and the Bio-Files (a collection of artists' biographical information, including exhibition announcements, clippings, correspondence and press releases).
This collection is open for research, with the exception of restricted material, Series III. Steichen's Way and folder V.C.10 of Series V. Personal. For further information, please consult the Museum Archivist. Series VII. Photographs Subseries A. Collection Prints is housed in the Department of Photography. Please, contact the Department of Photography to view these materials.
The Grace M. Mayer Papers are the physical property of The Museum of Modern Art. Literary rights, including copyright belong to the authors or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with The Museum of Modern Art. For further information, and to obtain permission to publish or reproduce, contact the Museum Archivist.
The Museum Archives includes a copy of an Oral History conducted with Grace M. Mayer by Sharon Zane in 1991. In the Oral History Mayer reflects on her years at The Museum of Modern Art.
The Edward Steichen Archive in the Department of Photography contains Mayer correspondence as well as numerous notes she made.
The institutional records at the Museum of the City of New York contain Mayer correspondence.
An oral history of Mayer, interviewed by Paul Cummings in 1970, can be found at the Archives of American Art, Smithsonian Institute, Washington, D.C. The oral history focuses on Mayer's years at The Museum of the City of New York and The Museum of Modern Art.
The University of Pennsylvania, Rare Book and Manuscript Library holds Mayer correspondence with Carl Zigrosser, 1957-1971.
The University of Arizona, Center for Creative Photography holds the papers of Harry Callahan which include correspondence with Mayer.
The Emily A. Francis papers, 1930-1964 housed at The Archives of American Art, Smithsonian Institution, Washington D.C. include correspondence with Mayer.
The Grace M. Mayer Papers were acquired as a bequest from Grace M. Mayer.
Grace M. Mayer Papers, [series.folder]. The Museum of Modern Art Archives, New York.
Explanation of Abbreviations
Letters: L [letter or memorandum]
AL: Autograph letter not signed
ALS: Autograph letter signed
TL: Typed letter not signed
TLS: Typed letter signed
Card: C [post card, picture postcard, or greeting card]
AC: Autograph card or message not signed
ACS: Autograph card or message signed
TC: Typed card or message not signed
TCS: Typed card or message signed
Notes: N [a line or two, at most a full page or any fragment and not identifiable as a signed letter or memorandum]
AN: Autograph note not signed
ANS: Autographed note signed
Manuscript Material [nonlegal or unoffical papers such as speeches, biographical sketches sermons, manuscript reminiscences, writings, and such
other items of a generally narrative nature]
AMs: Autograph manuscript not signed
AmsS: Autograph manuscript signed in the hand of the author
TMs: Typewritten manuscript not signed in the hand of the author
TMsS: Typewritten manuscript signed in the hand of the author
Abbreviated Names of People, Places and Things
ES: Edward Steichen
ESA: Edward Steichen Archive
GEH: George Eastman House
GMM: Grace M. Mayer
JS: John Szarkowski
KRS: Kate Rodina Steichen
MCNY: Museum of the City of New York
MoMA: Museum of Modern Art
MSC: Mary Steichen-Calderone
NHD: Noel H. Deeks
RPP: Rolf P. Petersen
*Autograph [written in the hand of the author]
Other Abbreviations
[ ]: dates in brackets were determined from outside sources
encl.: enclosed with an item (no longer with the original item)
incl.: included with an item
item: one whole document (may include one or more leaves, or pages)
leaf: one sheet of a letter (used specifically with correspondence)
no.: number
n.d.: no date
n.p.: not published
n.y.: no year
pl.: plate
re:: regarding