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|Title:||Richard Bellamy Papers|
|Quantity:||30.5 Linear Feet
67 5" manuscript boxes, 2 2.5" manuscript boxes, 1 5x10" cassette box, 1 12x18" flat box
|Abstract:||Professional papers of Richard Bellamy, art dealer, gallery owner, friend and patron of artists and the art world. The papers particularly contain records of the Hansa Gallery, the Green Gallery, the Oil & Steel Gallery, and material relating to the artists Mark di Suvero and Alfred Leslie, as well as many others.|
|The Richard Bellamy Papers have been arranged into four series with additional subseries subdivisions:|
|Series I: Correspondence|
|Subseries I.A: Alphabetical Correspondence 1962-1998|
|Subseries I.B: Duplicate Outgoing Correspondence 1986-1998|
|Series II: Gallery and Business Records 1953-1998|
|Subseries II.A: The Hansa Gallery 1953-1998|
|Subseries II.B: The Green Gallery 1962-1998|
|Subseries II.C: The Noah Goldowsky Gallery and Other Business Records 1967-1998|
|Subseries II.D: The Oil & Steel Gallery 1971-1998|
|Subseries II.E: Records of the Robert C. Scull Estate 1972-1996|
|Series III: Artists Files 1950-1998|
|Subseries III.A: First Alphabetic Series 1959-1998|
|Subseries III.B: Jo Baer 1967-1995|
|Subseries III.C: James Lee Byars 1979-1997|
|Subseries III.D: Mary Corse 1967-1996|
|Subseries III.E: William Crozier 1970-1990|
|Subseries III.F: Michael Heizer 1968-1996|
|Subseries III.G: Alfred Leslie 1950-1998|
|Subseries III.H: Walter de Maria 1965-1996|
|Subseries III.I: Grégoire Müller 1982-1995|
|Subseries III.J: Jan Müller 1957-1996|
|Subseries III.K: Richard Nonas 1975-1988|
|Subseries III.L: David Rabinowitch 1973-1998|
|Subseries III.M: Myron Stout 1954-1997|
|Subseries III.N: Mark di Suvero 1970-1998|
|Subseries III.O: Neil Williams 1967-1996|
|Subseries III.P: Peter Young 1967-1995|
|Series IV: Posthumous Materials 1998-1999|
|Series V: Adam Aronson Correspondence 1963-1999|
Richard Hu Townley Bellamy was born in Cincinnati, December 3, 1927, the son of doctors. At the age of 21, after dropping out of college, he moved to Provincetown, Massachusetts. There, while working at various jobs including selling antiques and house painting, he became friends with numerous artists of the Hans Hofmann school.
Bellamy moved to New York in the early 1950s and continued his association with the Hofmann students, a group of whom opened the Hansa Gallery in 1952. Originally located on East 12th Street, Hansa was one of the first cooperative galleries in New York and one of many spaces devoted to displaying works of young artists attempting to define themselves apart from Abstract Expressionism, then the dominant style and the focus of major uptown galleries. By 1955, Bellamy was named director of the Hansa, the gallery had relocated to 210 Central Park South, and it was attracting significant attention from art world figures such as Hans Richter, Clement Greenberg, and Meyer Shapiro. The gallery's members included Jan Müller, Richard Stankiewicz, Allan Kaprow (who staged some of his first environments there), Miles Forst, Wolf Kahn, Jane Wilson, and others, and it held exhibitions of works by Alfred Leslie, John Chamberlain, George Segal, Myron Stout, and Lucas Samaras. Despite the eventual critical and commercial success of many of these artists, the Hansa was never financially viable and it closed in 1959.
In 1960, with the unpublicized financial backing of Robert Scull, Bellamy opened the Green Gallery on West 57th Street. He selected and represented new and emerging artists providing first or second exhibitions for James Rosenquist, Claes Oldenburg, George Segal, Larry Poons, Robert Morris, Lucas Samaras, Donald Judd, Tom Wesselmann, Milet Andrejevic, and Dan Flavin. For a few years, the Green Gallery was considered the center of groundbreaking work in the New York art world, yet in 1964 Robert Scull withdrew his support and in 1965 the gallery closed.
From 1965 until 1974, Bellamy maintained a small office at the Noah Goldowsky Gallery where he acted as a private dealer but also organized shows in the gallery and shared many operational duties with Goldowsky. Between 1974 and 1980 he lived in and worked from a private gallery at 25th Street and Park Avenue. Finally, in 1980, Bellamy opened the Oil & Steel Gallery at 157 Chambers Street, though in 1985 the gallery moved to 30-40 Vernon Boulevard alongside the studios of Mark di Suvero and Alfred Leslie. The Oil & Steel Gallery focused on artists Bellamy had supported or been friends with for decades. They included Richard Nonas, Myron Stout, Neil Williams, David Rabinowitch, Peter Young, Walter de Maria, Michael Heizer, Miles Forst, and many others. Most prominent among these artists were Alfred Leslie and Mark di Suvero. In collaboration with the Barbara Flynn, Bellamy organized four major retrospective shows of Leslie's work at the Flynn Gallery between 1991 and 1992 and, over numerous decades, organized the sale, consignment, and loan of Leslie's works. Bellamy's relationship with Mark di Suvero was equally long standing, having spanned thirty-five years. Bellamy is credited with helping revive di Suvero's reputation in New York beginning with an exhibition held at Oil & Steel in 1983. In the 1990s, Bellamy began to devote most of his time to arranging large shows of di Suvero's work in Venice, Paris, and elsewhere in Europe, and also helped arrange di Suvero's joint representation by the Gagosian Gallery beginning in 1993. At the time of his death he was also involved in compiling a catalogue raisonné of di Suvero's work.
Bellamy was an enthusiastic photographer, notable for his sensitive and illuminating images of sculpture. An exhibition of his photographs of di Suvero sculpture was held at Storm King Art Center in 2006. He was also a founding member, in 1971, of P.S.1 Contemporary Art Center in Long Island City, New York, and served on advisory boards of numerous other organizations. Apart from his friendships with artists, Bellamy developed close relationships with the collectors and patrons Virginia Wright and Robert Scull, and numerous museum curators and directors and gallery owners. He is remembered by his extensive community of friends, artists, and by the New York art world, as a tireless correspondent, visionary, booster, and all around supporter of the arts. Richard Bellamy died in his sleep on Sunday, March 29, 1998, at the age of seventy.
A note on names: Close friends sometimes called Richard Bellamy "George," a nickname bestowed on him by his father (referred to in this scheme as "Lenny.") Not only does some correspondence carry the appellation, but Bellamy also used the name for credits of his photography (sometimes even using foreign versions of the name for publication in other countries). This should not be confused with occasional photographs credited to Peter Bellamy, a noted photographer of no relation to Richard.
Much of the above material was taken from various published obituaries as well as a biographical statement prepared by Miles Bellamy for Roberta Smith of The New York Times. See Series IV for those materials.
The Richard Bellamy Papers document nearly fifty years of activity in the life of a noted connoisseur, gallerist, private dealer, and friend and supporter of the arts. Through correspondence, invoices, expense documents, lists of works, consignment and loan agreements, installation diagrams, photographs, announcements and other ephemera, news clippings, articles, and interviews, the papers provide a detailed portrait of Bellamy and the careers of his most prominent artists and friends, and display an intimate look at the actual mechanisms and activities of galleries and art dealing over four decades. The collection is organized into four major series with additional subdivisions.
Series I: Correspondence, is organized into two subseries. Subseries I.A consists of nearly four decades of sent and received correspondence organized alphabetically by personal or institutional name. The bulk of the material begins in the early 1970s when Bellamy maintained an office at the Noah Goldowsky Gallery, continues through his years on Park Avenue, through the establishment and relocation of the Oil & Steel Gallery, and ends in the weeks before his untimely death. The correspondence deals mostly with business matters and displays Bellamy's tireless promotion of different artists. The series details the arrangements he made to stage exhibitions, manage consignments and loans, and organize the installation of major pieces of sculpture in distant locations. A large portion of the correspondence relates to Bellamy's work on behalf of Mark di Suvero though his efforts for other artists are also represented. Subseries I.B is a duplicate set of outgoing correspondence organized by year.
Series II: Business Records, is divided into five subseries. Subseries I.A focuses on the Hansa Gallery. The folders here contain key early documents of the gallery, exhibition announcements, the transcript of the oral history of the Hansa Gallery conducted by Richard Brown Baker for the Archives of American Art, and documents of a later exhibition on the gallery. Subseries II.B, records of the Green Gallery, contain important material detailing sales of works by numerous artists, disbursements and expenses for them, news clippings and reviews, and an extensive collection of elaborately designed and printed posters and announcements for numerous groundbreaking exhibitions. Subseries II.C documents the years Bellamy shared space with the Noah Goldowsky Gallery. The series contains ledgers, check stubs, records of sales, purchases, expenditures and other financial documents. Subseries II.D chronicles the history of the Oil & Steel Gallery as well as detailing activities in the years 1975-1980. Oil & Steel was the first time in fifteen years Bellamy ran a gallery with public exhibitions and a full-time staff. These records attest to the energy and organization required to manage such an operation as the subseries contains extensive financial documentation including payroll and expense records, ledgers, receipts, credit card and bank account reports, and invoices and records of sales and purchases. The subseries also contains records of exhibitions including price lists, announcements, press, photographs, advertisements, and a guestbook. Subseries II.E constitutes a discrete set of materials relating to the settlement of the Robert C. Scull estate after Scull's passing, in 1986. Bellamy aided the estate's lawyers in reappraising Scull's art collection (sold in 1986 to record-setting prices) after the IRS questioned the pre-auction appraisal upon which estate taxes were assessed. Robert Scull's ex-wife, Ethel Scull, also sued to gain possession of a greater portion of the estate and Bellamy provided testimony and evidence to the early years of the Sculls' joint activities in the art world. The records here record the labyrinthine path of Bellamy's involvement in these legal affairs.
Series III comprises materials of and about specific artists generated, collected, and compiled by Bellamy over his career. Subseries III.A is devoted to artists Bellamy was less involved with professionally, never represented (or only in the distant past), or had only incidentally come into contact with. Most artists here are represented by one folder each and the contents include numerous slides and photographs of work, some correspondence, biographical material and curricula vitae, exhibition ephemera, and news clippings. Subseries III.B through III.P comprise files of artists Bellamy directly represented or had closer relationships to, especially during the existence of the Oil & Steel Gallery. The largest groups of records here are concerned with Mark di Suvero and Alfred Leslie. Subseries III.N, the Mark di Suvero files, document and depict Bellamy's work curating exhibitions, aiding the organization of domestic and foreign installations and purchases of di Suvero's work, and abetting the growth of his reputation and dissemination of his output. There is abundant correspondence, receipts, invoices, expense records, photographic documentation, exhibition announcements, advertisements, press, and other documentation located in these files. They present a vivid picture of the relationship between Bellamy and di Suvero and a testament to the impact of Bellamy's role in di Suvero's career. Likewise, the files of Alfred Leslie, Subseries III.G, provide a detailed view of Bellamy's involvement in Leslie's career. In particular, Bellamy formally collaborated with Barbara Flynn and the Flynn Gallery in staging major retrospective shows of Leslie's work in the years 1991 and 1992. The substantive portion of this subseries is actually composed of files created and maintained by the Flynn Gallery but Bellamy's joint role in the exhibitions is clear. The extensive photographic documentation of works from Leslie's entire career as a painter and draftsman amount practically to a catalogue raisonné. Additionally, there is a wealth of documentation of other exhibitions held at Oil & Steel, correspondence, invoices and other financial material. The other subseries devoted to individual artists are smaller in size but likewise document exhibitions Bellamy staged of their work, his personal and professional history with them, and in some cases, his close personal relationship. Subseries III.M, Myron Stout, contains fourteen audio cassettes of Stout recounting his life and career in interviews with Kathryn Maartens. Subseries III.B, III.F, III.H, III.L, III.M, concerning Joan Baer, Michael Heizer, Walter de Maria, David Rabinowitch, and Myron Stout, all contain correspondence testifying to the strength of the friendship the artists had with Bellamy and revealing details of their works and careers. These and other files contain numerous photographs and negatives documenting the artists' work. The files of Neil Williams, Subseries III.O, contain negatives and contact sheets comprising nearly three thousand images taken by Williams and documenting his travels, his friendships, and the artworks by himself and others, particularly John Chamberlain. Overall the artist files are a wealth of information not only on the artists but on Bellamy's deep and lasting relationships with them.
Series IV contains a small amount of material accumulated after Bellamy's death in 1998. In addition to biographical materials assembled for authors of obituaries, and copies of the obituaries and memorials themselves, the series contains a large amount of correspondence sent in condolence to Miles Bellamy and video recordings of two memorial services: one held at Oil & Steel on April 1st (only three days after Bellamy's death), and the other held at P.S.1 on May 13th. In November 1998 a public reading of bellamy's correspondence was staged and an audio cassette and program of that event are present This series provides condensed tribute to the personal and professional accomplishments of Bellamy's life, and invokes and testifies to those labors which the Richard Bellamy Papers so extensively describe.
Finally, Series V comprises correspondence between Bellamy and noted collector Adam Aronson. Aronson bought numerous works from the Green Gallery and the first correspondence here dates from 1963. The professional relationship and friendship lasted until Bellamy's death. Included here are original letters from Bellamy to Aronson, copies of sent letters by Aronson, occasional third party correspondence, and scattered invoices and financial records. This series was received from Adam Aronson in 2000.
The records are open for research and contain no restricted materials.
The Richard Bellamy 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.
|This collection is indexed under the following headings in DADABASE, the library catalog of The Museum of Modern Art. Researchers desiring materials about related topics, persons, or places should search the catalog using these headings.|
|Persons and Organizations:|
|Art dealers -- New York (State) -- New York -- History -- 20th century -- Biography -- Sources.|
|Art, American -- New York (State) -- New York -- History -- 20th century -- Sources.|
|Di Suvero, Mark, 1933-|
|Flynn (Gallery) -- Archives.|
|Green Gallery (New York, N.Y.) -- Archives.|
|Hansa Gallery -- Archives.|
|Leslie, Alfred, 1927-|
|Oil and Steel Gallery -- Archives.|
|Art dealers -- New York (State) -- New York -- History -- 20th century -- Biography -- Sources.|
|Art, American -- New York (State) -- New York -- History -- 20th century -- Sources.|
|Di Suvero, Mark, 1933-|
|Flynn (Gallery) -- Archives.|
|Green Gallery (New York, N.Y.) -- Archives.|
|Hansa Gallery -- Archives.|
|Leslie, Alfred, 1927-|
|Oil and Steel Gallery -- Archives.|
Within the Museum Archives, scattered materials relating to Richard Bellamy, the Green Gallery, and Robert Scull can be found in Collectors Records, Art Lending Service/Art Advisory Service Records, the Alfred H. Barr Papers, and the James Lee Byars - Dorothy C. Miller Correspondence.
Catalogs to many of the exhibitions documented here are located in the Museum Library. The library's subject and pamphlet files contain exhibition announcements and ephemera for the Green Gallery, the Oil & Steel Gallery, and other institutions; the library's artist files contain folders on Richard Bellamy and most of the artists he befriended and represented.
In the 1960s, Richard Brown Baker conducted interviews with Richard Bellamy and Richard Stankiewicz for the Archives of American Art to document the history of the Hansa Gallery; those transcripts are accessible online. The Archives of American Art also contains interviews with Robert Scull and oral histories or records of many of the artists mentioned in this collection, including the Alfred Leslie Papers and the Mark di Suvero and di Suvero Family Papers.
In 2016 Richard Bellamy's son Miles launched the website richardbellamy.com to provide information about his father and promote his legacy.
The Richard Bellamy Papers were acquired by the Museum Archives from Richard Bellamy's son, Miles Bellamy, in November, 2000. Series V, Adam Aronson Correspondence, was given to the museum in 2000 by Aronson to complement the main collection.
Published citations should take the following form:
Long version: Richard Bellamy Papers, [series.folder]. The Museum of Modern Art Archives, New York.
Short version: Bellamy, [series.folder]. MoMA Archives, NY.
The processing of the Richard Bellamy Papers was funded by a generous grant from The Henry Luce Foundation.
The bulk of the collection dates only from the last forty years so the materials are generally in good condition. All materials have been rehoused in archival folders; news clippings and acidic printed material has been photocopied and discarded. Other acidic materials have been encapsulated or isolated by acid-free paper or Mylar as occasion warranted. Because so many of the materials in the collection originate from the 1980s and 1990s, there was a large quantity of thermofax paper in numerous folders. Due to thermofax instability and image impermanence, all such items were photocopied and discarded except in those few instances where handwritten notes and information dictated the retention of the original documents.
Series V, Adam Aronson Correspondence, was given to the museum in 2000. In 2007, Miles Bellamy gave eight additional folders of material to the Museum. These folders contain early records and founding documents of the Hansa Gallery, materials relating to Green Gallery exhibitions, and news clipping and other records of Miles Forst's career. Evidence indicates these materials were likely kept by Miles Forst and given to Richard Bellamy at a later date. The materials have been placed in the relevant series with notes made as to their specific provenance.
Explanation of Abbreviations
RB is Richard Bellamy.
MdS is Mark di Suvero.
ALS is an Autographed Letter Signed.
TLS is a Typed Letter Signed.
TL stands for Typed Letter.
MoMA is The Museum of Modern Art.
n.d. stands for no date.
re: stands for regarding.
Series I: Correspondence 1962-1998
Richard Bellamy was a tireless, prolific, and notable correspondent. In November, 1998, a posthumous reading of his correspondence was staged at The New School in New York City, a tribute to his epistolary élan. While the bulk of correspondence in series I is concerned solely with professional and business matters, Bellamy's style, wit, and personality are readily evident. The correspondence also displays the unflagging effort Bellamy undertook to promote artists, organize exhibitions, sell and gain commissions for artworks, and overall to maintain contact with innumerable collectors, curators, institutional directors and anyone who might at that moment or in the future have an interest in supporting the artists Bellamy represented. Much of the correspondence, in fact, contains little more than polite greetings or reminders of exhibitions, friendly letters accompanying complimentary exhibition catalogs and equally polite responses to those gifts. The more substantive correspondence deals with gallery consignments and loans, negotiating commission rates and major sales, directing the shipping, assembly, and installation of large sculptures in foreign countries, and dealing with all other aspects of running a gallery. Correspondence dates from the early 1970s until March 1998. A small quantity of earlier correspondence does exist here: a packet of letters sent to Virginia Wright in the 1960s testifies to the length of their close relationship. The predominant portion of the correspondence, though, originates from the 1980s and 1990s and concerns the activities of the Oil & Steel Gallery. Among that material, a majority concerns Bellamy's representation of Mark di Suvero.
Subseries I.A consists of folders arranged and originally labeled alphabetically by recipient. Individual folders with one name on the label often contain correspondence from multiple individuals with occasional carbon copies of correspondence between other people, but all materials in one folder usually relate to a single institution or project. Subseries I.B consists of "duplicate correspondence" arranged chronologically. Miles Bellamy joined his father at the Oil & Steel Gallery in 1993 and many letters by him concerning gallery business are present. During many of the years Oil & Steel was in operation, Jeannie Blake was the main office assistant; her name appears frequently as well.
For further correspondence relating to specific galleries or artists, see the appropriate files of Series II and III. Series V contains numerous correspondence between Bellamy and Adam Aronson poredating most of the correspondence here.
Subseries I.A: Alphabetical Correspondence 1962-1998
Folders in this series may contain numerous items, but a large quantity of the folders contain as few as one item. Folders with one item only will have a specific, single date indicated. Other folders, however, may have only two or three items spanning a number of years. Researchers are cautioned not to presume the existence of a large quantity of material for any particular correspondent, nor that the material present is of any particular significance. Some materials, or letters from siginificant individuals not mentioned in the folder title, have been noted underneath their folder titles. Names abbreviated on the original folders are given complete here and any inconsistencies in alphabetization have been corrected. Folders have been replaced on a one-to-one correspondence whenever possible.
|I.A.1||Abrams Original Editions||4/4/1979|
|I.A.2||Achenbach Art Consulting
Extensive correspondence discussing a competition and purchase of Borealis by MdS.
|I.A.3||Adirondack Community College||1994|
|I.A.4||Abe Adler, Adler Gallery||1977-1978|
|I.A.5||Albright-Knox Art Gallery||1975-1989|
|I.A.6||William H. Alexander||8/15/1990|
|I.A.7||Nancy C. Allen||1995|
|I.A.9||David Anderson Gallery||1991-1998|
|I.A.10||Harry W. "Hunk" Anderson||1976-1994|
|I.A.13||The University of Arizona||1979-1982|
|I.A.14||Arkansas Arts Center||1995|
Large quantity of sent and received correspondence with the art collector.
|I.A.17||Art dealers Association of America||1992|
|I.A.18||Art in America||1991-1998|
|I.A.19||Staatliche Kunsthalle Baden Baden||1992-1993|
|I.A.20||Richard Brown Baker||1958-1966|
|I.A.21||Ball State University, Muncie, Indiana||1985-1996|
|I.A.22||The Baltimore Museum of Art and City of Baltimore
Includes numerous correspondence, receipts and invoices (including receipts for material from U.S. Steel) concerning the purchase of an MdS sculpture by the City of Baltimore.
|I.A.23||Barcelona, Fundacio Antoni Tàpies||1988-1992|
|I.A.27||Battery Park City Authority, Sydney Druckman||1988-1989|
|I.A.29||Thomas and Cristina Bechtler
Correspondence regarding the purchase of seven drawings by Walter De Maria from the estate of Robert C. Scull.
|I.A.33||University of California, Berkeley||1/4/1970|
Includes 22 color snapshot photographs of German architecture exhibition posters; 8 35mm color negatives of site photographs of works by MdS; 16 color slides of the Nationalgalerie and museum grounds.
Includes 1 ALS MdS-Dr. Dieter Honisch (Director of the Nationalgalerie) n.d. [unsent; vituperative attack on Honisch's lack of interest in MdS' work.]
Actual correspondent is Joan Selwyn, of Beverly Hills.
|I.A.43||Ernst Beyeler, Galerie Beyeler||1980|
Correspondence and materials related to the exhibition, Bilderstreit: Contradiction, Unity and Fragmentation in Art Since 1960, Cologne, 1989.
|I.A.45||Birmingham Museum of Art, Alabama||1987-1995|
|I.A.47||Frank Bordas: Lithographs, Paris||1991-1996|
|I.A.48||Frank Born, San Francisco||7/16/1991|
|I.A.49||Museum of Fine Arts, Boston||1986-1996|
|I.A.50||University of Massachusetts, Boston||1996|
|I.A.52||Museum Boymans-van Beuningen||1988-1989|
|I.A.53||Bradley Sculpture Garden||1989-1993|
|I.A.56||Brazil, Museu Brasileiro Da Escultura||1995-1996|
|I.A.57||Bremen, Neues Museum Weserberg
Includes 7 black and white photographs of possible Bremen site for MdS sculpture.
|I.A.61||The Brooklyn Museum||1993-1994|
|I.A.63||Bruce Museum, Hollister Sturges||1996|
|I.A.65||Ernst Busch Galerie, Cologne||2/11/1992|
|I.A.69||California Institute of Technology, Baxter Art Gallery||7/20/1978|
|I.A.70||Cambridge Seven Associates, Inc.||1979|
|I.A.71||Canada, Musée d'art contemporain de Montreal||1998|
|I.A.73||Catherine and David Cardon||1995|
|I.A.74||Museum of Art, Carnegie Institute||1975-1986|
Includes 6 color Polaroid images and two 11x11" color prints of four images each showing possible sites for a MdS sculpture in houses owned by a "Mr. Bernstein." in Hollywood.
|I.A.79||Mrs. Howard W. Cheel||1989|
|I.A.82||The Art Institute of Chicago||1982-1996|
|I.A.83||City of Chicago||1998|
|I.A.86||Cincinnati Art Museum||1983-1996|
|I.A.87||Citibank Art Advisory Service||1990-1997|
|I.A.89||The Cleveland Museum of Art||1973-1997|
|I.A.92||Columbus Museum of Art||1989-1997|
|I.A.93||University of Connecticut at Waterbury||1987|
|I.A.97||Herbert H. Johnson Museum of Art, Cornell University||1985|
|I.A.98||Art Museum of South Texas, Corpus Christie||1977-1979|
|I.A.101||Cranbrook Educational Community||1976|
|I.A.102||Galerie Heike Curtze||1992-1993|
|I.A.104||Dallas Museum of Art
[Original folder title: "di Suvero-Dallas"].
|I.A.105||Mr. and Mrs. Werner Dannheiser||9/30/1986|
|I.A.106||Mr. and Mrs. Julius Davis||1977|
|I.A.107||Kenneth and Judy Davis||1985-1996|
|I.A.108||Christophe and Dominique de Menil||1986-1998|
|I.A.109||E.L.L. de Wilde
De Wilde was at this time director of the Stedelijk Museum, Amsterdam.
|I.A.111||DeCordova and Dana Museum and Park||1986-1990|
|I.A.114||The Denver Art Museum||1995-1997|
|I.A.116||Des Moines Art Center||1979-1996|
|I.A.118||The Detroit Institute of Arts||1987-1996|
|I.A.119||Rene and Veronica di Rosa Foundation||9/16/1996|
|I.A.120||Dia Art Foundation||1986-1987|
|I.A.123||The Duke University Museum of Art||4/13/1987|
|I.A.124||J. Robert Duncan||1992-1997|
Correspondence with Kunstsammlung Nordrhein-Westfalen and Landeshauptstadt Düsseldorf Der Oberstadtdirektor.
|I.A.128||Gilbert Edelson, Art Dealers Association of America||12/23/1996|
|I.A.130||The Edmonton Art Gallery||1973-1974|
|I.A.132||Mandy and Cliff Einstein||1990-1996|
|I.A.133||Elvehjem Museum of Art, University of Wisconsin-Madison||1989-1996|
|I.A.134||André Emmerich Gallery||1990-1994|
Correspondence with Sustrans, Consett & Sunderland, of England, concerning MdS artwork for a railway converted to a bike path. Includes nine 7x10" color photographs and other images of site. Correspondence with other English entities also present.
Site plan for landscaping around the Tribune Tower in Chicago.
|I.A.138||Joachim (Kim) Esteve/Brazil||1989-1993|
|I.A.139||Everson Museum of Art, Syracuse, NY||1987|
No last name indicated.
|I.A.141||Richard L. Feigan & Co.||1986-1997|
|I.A.142||Doris and Donald Fisher||1985-1996|
|I.A.143||Florida International University Art Museum/Dahlia Morgan||2/10/1997|
|I.A.144||Marie and Arnold Forde||1986-1988|
|I.A.145||Irving and Natalie Forman
1 item found in following folder labeled "Missing Formans."
Correspondence with various individuals.
|I.A.147||Fort Wayne Museum of Art||8/14/1986|
|I.A.148||Modern Art Museum of Fort Worth, TX||1982-1998|
|I.A.149||Sir Norman Foster||2/25/1991|
|I.A.150||Xavier Fourcade, Inc.||1985|
|I.A.155||Frankfurt - Museum für Moderne Kunst||1995|
[Folder wrapped in second folder labeled "Frankfurt - DG Bank"].
|I.A.159||Edward F. Frye||1986-1992|
|I.A.160||Johannes Gachnang, Kunsthalle Bern||1979-1980|
[Original folder title: "Gago Contract"]
Includes invoices, appraisals, sales contracts and consignment agreements; particular correspondence with Ealan Wingate.
|I.A.164||Victor and Sally Ganz||11/24/1981|
|I.A.165||Guy S. Gardner||2/22/1989|
|I.A.166||Jean François Geger||n.d.|
|I.A.169||Ken Tyler/Gemini G.E.L.
Includes documentation of MdS work at the studio; ten 35mm color slides of MdS sculptures and prints.
|I.A.170||Philip George, Miami||1990-1995|
|I.A.173||Léonard Gianadda, Fondation Pierre Gianadda, Switzerland||1990-1991|
|I.A.174||James Ross, Gibbs Sculpture Collection||1997|
|I.A.176||Arthur and Carol Goldberg||11/22/1996|
|I.A.178||Adolph and Esther Gottlieb Foundation, Inc.||1976-1996|
|I.A.179||Grand Rapids Art Museum, MI||1977-1978|
|I.A.182||Greenberg Van Doren Gallery||1976-1998|
|I.A.183||David Grob, Grob Gallery||1990-1998|
|I.A.184||General Services Administration (GSA)||1976-1979|
|I.A.185||Solomon R. Guggenheim Museum||1978-1998|
|I.A.187||Dr. Ernst-Gerhard Güse, Saarland Museum||10/10/1997|
|I.A.189||Paul J. Haim||1989-1990|
Includes correspondence and thirty-five color snapshots (with negatives) of site for MdS commission by the Verband Deutscher Stahl.
Includes photocopies of ledger sheets and other documents detailing income and expenses generated by sales of MdS works by the HansenFuller Gallery in 1975 and other years.
|I.A.195||Glen Hanson Gallery||11/11/1981|
|I.A.196||Hara Museum, Japan||6/21/1990|
Folder only contains two photocopies of unattributed drawings.
|I.A.198||Jurgen Harten, Stadtische Kunsthalle, Düsseldorf||11/28/1981|
|I.A.199||Ulrich Hartmann, VEBA AG||1993-1997|
|I.A.200||Harvard University Museums||1996|
|I.A.201||David Heath, Advisory on International Sculpture, Ltd.||1991-1995|
|I.A.203||Henry Art Gallery, University of Washington||9/9/1996|
|I.A.205||Max-Ulrich Hetzler, Hetzler+Keller GmbH||1979|
|I.A.206||Karin and Dieter Heutelbeck||11/16/1995|
|I.A.207||Samuel J. Heyman||1993-1997|
|I.A.208||Peter Morrin, High Museum of Art, Atlanta||1985-1986|
|I.A.210||Hirshhorn Museum and Sculpture Garden||1975-1997|
|I.A.211||Institute of Scrap Iron and Steel (ISIS) - Hirshhorn
[Original folder contained within previous.]
|I.A.212||Jeffrey Hoffeld & Company, Inc.||7/8/1986|
|I.A.213||Edmund M. Hoffman||1976-1977|
|I.A.215||Steven Holl Architects||1996-1998|
Leaflet for German museum.
|I.A.219||Contemporary Arts Museum, Houston||1982-1996|
|I.A.220||Cultural Arts Council of Houston||7/23/1979|
|I.A.221||The Museum of Fine Arts, Houston||1986-1998|
|I.A.227||University of Illinois, Urbana-Champaign||1992-1994|
|I.A.228||Indianapolis Museum of Art||1976-1993|
|I.A.229||International Sculpture Center (ISC)||11/13/1996|
|I.A.230||Sidney Janis Gallery||11/17/1990|
|I.A.233||Bruce Hartman, Johnson County Community College Gallery of Art, KS||1994|
|I.A.235||Donald M. Jonas||1991|
|I.A.236||Tommy Lee Jones/Marfa, TX||8/8/1996|
|I.A.237||Kalamazoo Institute of Arts||1998|
|I.A.238||Joachim Peter Kastner
Includes large quantity of correspondence between RB, Enrico Martignoni (MdS' project director), Dr. Jur. Albert Pauly, Peter Kastner, and others concerning installation of MdS work, New Star, and other issues in Europe.
|I.A.239||Mary Ann Keeler/Grand Rapids, MI||1975-1996|
|I.A.240||Walter Kelly Gallery, Chicago||n.d.|
|I.A.241||Kent Fine Art, Inc.: Douglas Walla||1987|
|I.A.242||Priscilla Colt, University of Kentucky Art Museum||1/2/1980|
|I.A.243||Helen and Martin Kimmel||1997-1998|
|I.A.245||Klein Art Works, Chicago||10/18/1990|
|I.A.248||Knoedler & Co.
Includes sales lists of various shows at Knoedler over two decades.
Konig was associated with various organizations in Cologne and Frankfurt during this time.
|I.A.250||da Vinci Art, Seoul, Korea||1993|
|I.A.251||Korea/Kukje Art, Inc./Vorbach||1995|
|I.A.253||Kaiser Wilhelm Museum, Krefeld, Germany||1979-1980|
|I.A.254||Rijksmuseum Kröller-Müller, Otterlo, Netherlands
Correspondence with directors Evert J. van Straaten and R.W.D. Oxenaar.
[Original folder title: "Sharon Keays," but all correspondence addressed to Krygier].
|I.A.256||Phyllis Lambert, Canadian Centre for Architecture||1987-1990|
|I.A.258||Jane Lang Davis||4/24/1992|
|I.A.259||Richard E. Lang
Includes RB's itemized appraisal of Lang's entire art collection, 1976.
|I.A.260||Patrick Lannan Foundation
Includes four color 35mm slides of paintings by Neil Williams from the Foundation's collection.
|I.A.261||Laumeier Sculpture Park, St. Louis, MO
RB served as an honorary board member for the park from 1996 on.
|I.A.262||Margo Leavin Gallery, Los Angeles||1983-1985|
|I.A.266||Peter B. Lewis||10/25/1988|
|I.A.267||Frances and Sidney Lewis||1977-1992|
Contains only 1 letter to a Richard Schwartz.
|I.A.272||Howard and Jean Lipman||1876-1992|
|I.A.274||E.B. Lloyd (Mrs. Horatio Gates Lloyd)||1978|
|I.A.275||Locks Gallery, Philadelphia||1992|
|I.A.276||Los Angeles County Museum of Art||1985-1998|
|I.A.278||Luhrig Augustine Gallery||1995-1997|
|I.A.279||Linda and Harry Macklowe||5/20/1993|
|I.A.282||Daniel Marchesseau, Musée des Arts Décoratifs, Paris||1989-1997|
|I.A.284||Lawrence Markey, Inc.||10/23/1996|
|I.A.285||Direction des Musées de Marseille||4/29/1994|
|I.A.286||Stanley Marsh 3||1974|
|I.A.287||Maria Luisa Martignoni||1984-1997|
|I.A.289||Ann Kearsley, University of Massachusetts||1/15/1997|
|I.A.290||Massachusetts Institute of Technology List Visual Arts Center
Includes 1 TLS MdS-MIT (n.d.) [re: the return of a sculpture by MIT].
|I.A.291||Larry Shopmaker, Barbara Mathes Gallery||12/28/1994|
|I.A.292||Jan and Frederick Mayer||1989-1996|
|I.A.293||Mrs. Robert Mayer
Includes correspondence with Marla Hand, curator for Mrs. Robert B. Mayer (Buddy).
|I.A.294||The Mayor Gallery, London||2/22/1989|
|I.A.297||John McManus, Chicago||3/6/1998|
|I.A.298||William J. Chiego, McNay Art Museum, San Antonio||1996|
|I.A.299||Richard B. Meltzer||4/18/1986|
|I.A.300||The Menil Collection, Houston
Includes correspondence between RB, Dominique de Menil, Walter Hopps, and others.
|I.A.303||The Metropolitan Museum of Art, New York
Includes correspondence with Lowery Sims.
|I.A.304||Centro Cultural Arte Contemporaneo, Mexico||1986-1996|
|I.A.305||Byron Meyer & Co.||1992-1995|
|I.A.306||Franz Meyer, Öffentliche Kunstsammlung Kunstmuseum Basel||1975-1976|
|I.A.307||Miami Branch, Federal Reserve Bank of Atlanta||1979|
|I.A.308||Miami University Art Museum, Oxford, OH||1996|
Includes 1 TLS James Michener-RB (9/28/1989).
|I.A.310||Middlebury College Museum of Art, Middlebury VT||3/28/1997|
Includes correspondence with the Milwaukee Museum of Art, the Bradley Family Foundation Sculpture Garden, and the Milwaukee Art Center.
|I.A.314||David Mirvish Gallery||1/25/1975|
|I.A.316||Museum of Contemporary Art, Los Angeles||1985-1997|
|I.A.318||James Mollison, National Gallery of Victoria, Australia||1981-1991|
|I.A.319||The Museum of Modern Art, New York
Contains mainly letters sent to MoMA.
|I.A.320||Montgomery Museum of Fine Arts, AL||1992-1994|
|I.A.321||Mark Moore Gallery||10/17/1996|
Includes nine 35mm color slides of Mucha's work.
|I.A.324||Muhlenberg College, Allentown, PA||1977-1996|
|I.A.325||Mary S. Myers||1996-1997|
|I.A.326||Helen and Jack Nash||1994-1997|
|I.A.327||Patsy and Raymond Nasher||1985-1997|
|I.A.328||City of Nashville||1980|
|I.A.329||Nassau County Museum of Art||1993-1997|
|I.A.330||National Endowment for the Arts||1975-1979|
|I.A.331||National Gallery of Art, Washington, D.C.||1989-1997|
|I.A.332||National Gallery of Canada||1978|
|I.A.333||National Museum of American Art, Smithsonian Institution||1992-1997|
|I.A.334||The Nelson-Atkins Museum of Art, Kansas City, MO||1978-1998|
|I.A.335||Jerome and Lewis E. Nerman||1996-1997|
|I.A.336||Walter A. Netsch||n.d.|
|I.A.337||Neuberger Museum of Art, Purchase College, State University of New York||1979-1998|
|I.A.338||Hans Neuendorf, Galerie Neuendorf, Frankfurt||1991|
|I.A.340||University of Nevada, Las Vegas||1977-1978|
|I.A.341||Arts Council of Greater New Orleans||1976|
|I.A.342||Michael Kimmelman, The New York Times||7/29/1992|
|I.A.344||Jody Newman, The Magic House||1977-1979|
|I.A.345||Muriel Kallid Newman||1989-1996|
|I.A.346||Orange County Museum of Art, Newport Beach, CA||10/31/1996|
|I.A.347||Newport Harbor Art Museum, Newport Beach, CA||1979-1996|
|I.A.348||Jack Kroll, Newsweek Magazine||5/14/1990|
|I.A.349||Joan and Frederick Nicholas||1993|
|I.A.350||Irene Veenstra, Förderkreis Städtische Galerie Nordhorn E.V.||1991|
|I.A.351||Northwestern Bank, Minneapolis, MN||1979-1981|
|I.A.353||The Oakland Museum, Oakland, CA||1975|
|I.A.354||Ed Okun, Okun Gallery||1992-1993|
|I.A.356||Reinhard Onnasch Galerie, Berlin||1987|
|I.A.357||The Open University, Milton Keynes, UK||1993|
|I.A.358||Marti and Tony Oppenheimer||9/15/1994|
|I.A.360||Robert H. Orchard||1977|
|I.A.362||Orlando Museum of Art, Orlando, FL||1997|
|I.A.363||Ottoway newspapers, Inc.||1996|
|I.A.364||P.S.1 Contemporary Art Center||1987-1997|
|I.A.366||Alfred Pacquement, Galerie Nationale du Jeu de Paume, Paris||1992|
|I.A.367||Stephen D. Paine||1976-1996|
|I.A.368||Harry S. Parker III, The Fine Arts Museums of San Francisco||1989-1992|
|I.A.369||Art Center College of Design, Pasadena, CA
Includes twelve 8x10 color images and list of works of sculpture garden exhibition.
|I.A.370||Peter Pastreich, San Francisco Symphony||1/17/1996|
|I.A.371||Alan J. Patricof||1995-1996|
|I.A.373||Julie Meyers, Cesar Pelli||2/2/1986|
|I.A.374||Pennsylvania Academy of Fine Arts||7/14/1986|
|I.A.375||Jane M. Hallett, Peoria Civic Center, IL||1977-1978|
|I.A.377||Philadelphia Museum of Art
Includes multiple letters from Anne d'Harnoncourt.
|I.A.378||The Philbrook Museum of Art, Tulsa, OK||1989-1996|
|I.A.379||The Phillips Collection, Washington, D.C.||1979-1993|
|I.A.380||Phoenix Art Museum||1993-1998|
|I.A.381||Jean Clair, Musée Picasso, Paris||6/10/1997|
|I.A.383||The Pollock-Krasner Foundation, Inc.||11/4/1997|
|I.A.384||Centre Georges Pompidou, Musée d'art moderne||1986-1994|
|I.A.385||Portland Art Museum, ME||1978-1980|
|I.A.387||The Art Museum, Princeton University||1976-1985|
|I.A.388||Mme. F. Propper||6/25/1997|
|I.A.389||Public Art Fund, Inc.||1987-1994|
|I.A.390||Joseph Pulitzer, Jr. and Emily Rauh Pulitzer
[Original folder title: "Pulitzer/di Suvero"].
|I.A.391||Pyramid Hill Sculpture Park & Museum||1/9/1995|
|I.A.392||Suzanna Simor, Queens College Libraries, New York||1992|
|I.A.393||Queens Museum of Art, Flushing, New York||7/15/1986|
|I.A.394||Rolf W. Renker||1990|
|I.A.395||Rettig y Martinez Gallery||1993|
|I.A.396||Rice University Department of Art and Art History||1983-1986|
|I.A.397||Galerie Ricke, Cologne||2/5/1975|
|I.A.399||Roanoke Museum of Fine Arts, VA||12/14/1990|
|I.A.400||Barbara Rose, The Journal of Art||1990-1996|
|I.A.408||James Smith Rudolph||1994-1995|
|I.A.409||B. Michael "Mickey" Ruskin
Documents concerning the appraisal of artworks in Ruskin's estate.
|I.A.410||Saarland Museum, Saarbrücken||1997|
[Original folder title: "Doris Saatchi"].
|I.A.412||Sacramento Metropolitan Arts Commission
Includes 1 ALS MdS-unknown (n.d.) describing installation of sculpture.
|I.A.413||The Saint Louis Art Museum||1987-1993|
|I.A.414||San Antonio Museum Association||1983-1996|
Correspondence with the Museum of Contemporary Art and University of California, San Diego.
|I.A.416||San Francisco Art Commission
Correspondence related to sculpture contest for Embarcadero Gateway site; includes ALS artist statement by MdS for project.
|I.A.417||Fine Arts Museums of San Francisco||1985-1998|
|I.A.419||Santa Barbara Contemporary Art Forum||8/28/1988|
|I.A.420||Santa Barbara Museum of Art||11/1/1990|
|I.A.423||Galerie Alfred Schmela||1978-1981|
|I.A.424||School of Visual Arts, New York||1995-1998|
|I.A.425||Phillip G. Schrager||1981-1996|
|I.A.426||Hannelore and Rudolf B. Schulhof||1976-1995|
|I.A.428||Joyce Pomeroy Schwartz, Ltd.||3/26/1991|
|I.A.430||Seagram Art Collection||1990-1993|
|I.A.432||Carol O. Selle||1990-1997|
|I.A.434||Joan and Jerome Serchuk||1985-1996|
Two letters from RB in support of Serra's Tilted Arc.
|I.A.436||Anne Marie and Robert F. Shapiro||1995-1996|
|I.A.438||Sheldon Memorial Art Gallery, University of Nebraska, Lincoln
Extended correspondence from George W. Neubert, director of the gallery.
|I.A.439||Sheldon Memorial Art Gallery: Graphics, MdS Show
Includes eighteen 35mm color slides of MdS works 1981-1991.
|I.A.440||Mary and John Shirley||9/9/1996|
|I.A.441||Robert H. Shoenberg||1/6/1978|
|I.A.443||Kurt E. Shuler||1993|
|I.A.444||Manny Silverman Gallery||1990-1995|
|I.A.445||Alice Simsar, University of Michigan||1994|
|I.A.446||Skidmore, Owings, & Merrill, Inc.
Material concerning MdS sculpture for "Bishopsgate Project," London. Includes photographs and numerous full-scale architectural drawings of site.
|I.A.447||Thomas W. Smith||1995|
|I.A.450||Horace Solomon, Arts Video News Service, Inc.||1989|
|I.A.453||South Bend Art Center, IN||1984-1990|
Correspondence with various individuals as well as with the IVAM Centre Julio Gonzalez concerning a show there of MdS work.
|I.A.455||The J.B. Speed Art Museum, Louisville, KT||1977-1995|
These letters were added to the collection in 2015.
|I.A.461||Moderna Museet, Stockholm||1994|
|I.A.463||Tampa Museum of Art||4/10/1989|
|I.A.464||Sarina Tang Fine Art||7/17/1997|
|I.A.466||Tate Gallery, London||1975-1997|
|I.A.467||A. Alfred Taubman||1979-1992|
|I.A.468||Foundation Daniel Templon||1991|
|I.A.469||Terra Museum of American Art||6/25/1986|
|I.A.470||Texas Gallery, Houston||1979-1998|
|I.A.471||Catherine Thieck, Galerie de France
Includes photographs and numerous other reproductions of MdS graphic work held by the gallery, as well as extensive correspondence revolving around the consignment and exhibition of work in France and Europe.
|I.A.472||Catherine Thieck, Galerie de France Show, September 1990
List of works, leaflet, notes and receipts for the show.
|I.A.473||New Tokyo Metropolitan Art Museum Project||1995-1998|
|I.A.474||The Toledo Museum of Art||1975-1994|
|I.A.476||City of Toronto
[Original folder title: "Art Gallery of Toronto"].
|I.A.478||Emily Hall Tremaine||1975-1981|
|I.A.480||Ulmer Museum, Ulm||1993-1995|
|I.A.481||Gloria and David Urban||1976-1985|
|I.A.482||Ville de Valence||1989-1992|
|I.A.483||Vancouver Art Gallery||5/7/1996|
|I.A.484||Isabel Vasseur & Associates||1992-1995|
Small amount of materials relating to Mark di Suvero a Venezia and the 64th Venice Biennale.
|I.A.486||Very Special Arts||3/26/1992|
|I.A.487||Kunsthalle Wien, Vienna
|I.A.488||University of Virginia Art Museum||1976-1977|
|I.A.489||Marika and Charles Wachtmeister, Wanås||1990-1996|
|I.A.490||Leslie Waddington, Waddington Galleries||1993-1996|
|I.A.491||Wadsworth Atheneum, Hartford||1991-1998|
|I.A.492||Walker Art Center, di Suvero Minneapolis Piece, 1980
Expense tallies, receipts, bills and invoices, for materials, rigging, crew, and other aspects of sculpture installation in the Walker Art Center sculpture park, most likely for the work, Arichidea.
|I.A.493||Walker Art Center, Minneapolis
Various and extensive correspondence; much related to the creation and preservation of the MdS sculpture, Arichidea (including the original signed contract for the work), and a later-acquired piece, Molecule.
|I.A.494||Paul F. Walter||1/3/1997|
|I.A.495||George H. Waterman III||1990|
|I.A.496||Wave Hill Center for Environmental Studies||7/21/1977|
|I.A.497||Weatherspoon Art Gallery||2/7/1992|
|I.A.498||Daniel Weinberg Contemporary Art||1975-1998|
|I.A.499||Frederick R. Weisman||6/17/1986|
|I.A.501||Michael Werner, Inc.||5/13/1997|
|I.A.502||Western Washington University||n.d.|
|I.A.503||Joan Wetenhall, Cheekwood, The Museum of Art, Nashville||1997|
|I.A.505||Whitney Museum of American Art, New York||1973-1998|
|I.A.506||The Wichita Art Museum||2/26/1982|
|I.A.508||Harry Wilks, Pyramid Hill Sculpture Park & Museum||1995-1998|
|I.A.509||Williams College Museum of Art||1988-1996|
|I.A.510||Susan W. Williams||1996|
|I.A.513||Helga and Peter Winter||1993-1997|
|I.A.514||Penny and Mike Winton||1977-1998|
This file includes the oldest correspondence found in this series; a packet of letters sent from RB to Virginia Wright, dating between 1962 and 1977 in chronological order. The letters discuss works and activities of James Rosenquist, Robert Morris, George Segal, and other artists and works in Wright's collection. There are occasional notes, apparently by RB, later interposed on adhesive memos. These letters were located in their own envelope within the file. The file includes additional correspondence from later years.
|I.A.516||The Virginia Wright Fund
Includes lists of the fund's acquisitions during the 1970s and minutes of the Board of Directors' meeting 7/7/1978.
|I.A.519||Yorkshire Sculpture Park||1994|
|I.A.520||Donald Young Gallery||2/21/1984|
Materials relating to a show at Zabriskie on the Hansa Gallery.
|I.A.522||Gemeente Zoetermeer, Netherlands
Includes photocopy of ALS MdS-Gemeente Zoetermeer discussing possible work for the institution (n.d.)
Subseries I.B: Duplicate Outgoing Correspondence 1986-1998
This series was received as a discrete set of files following the initial series of alphabetically arranged correspondence. Original folders each contained a single year of correspondence and within each folder letters were in chronological or reverse chronological order. Due to size, some years have been divided into multiple folders. While the preponderance of material is, as indicated, photocopies or carbon copies of sent correspondence, some original received correspondence is also present in these files with responses. Other materials, such as shipping receipts, also appear. Miles Bellamy composed itemized lists of many (but not all) of the folders. The lists vary in format and detail and appear to be complete but have not been checked. The lists have been reproduced underneath the folder titles below and the originals are at the front of each folder. The chronological organization within some folders is imperfect but has been left as found in all cases.
1/27 Frank Goodyear
1/3 Alison Greene
1/6 Janie C. Lee
n.d. Helen and Jack Nash
Materials have been left in imperfect chronological order; the accompanying list may be incomplete.
1/4 Diane Vanderlip
7/3 Robin Moll
Materials are in imperfect reverse chronological order.
Materials are in imperfect reverse chronological order.
Series II: Gallery and Business Records 1953-1998
Series II contains the primary extant gallery records of Bellamy's entire career. Documentation includes records of artwork purchases, sales, consignments and loans, and disbursements and other financial arrangements with artists. Exhibition documentation includes announcements, posters and other ephemera; records of loans, shipping, restoration and conservation, framing, photography, and other expenses; biographical material on artists, work lists and price lists, plans and diagrams of installations; slides and photographs or works and installation; catalogue materials, and news clippings and other press and bibliographic material. Records of Bellamy's final two decades of activities are fuller and more complete than those from earlier periods. Records of the Oil & Steel Gallery, for instance, contain extensive financial records including bank and credit card account statements, federal tax documents, payroll, and other material documenting the day-to-day operations of the gallery; such detail is missing from the earlier gallery records.
Material in this series was received loosely organized in the following subseries. However, the arrangement was not thorough and required some amendment and re-arrangement for clarity and historical accuracy. For instance, the files of subseries II.A, on the Hansa Gallery, were discovered amidst the files of the Oil & Steel Gallery, Subseries II.D. Likewise, many of the Green Gallery files (particularly the posters and exhibition ephemera) of Subseries II.B, as well as some financial files from the Goldowsky years, Subseries II.C, were originally located among files from later time periods. The order of folders in Subseries III.A through III.C has not been substantially or meaningfully altered. However, the folders of III.D were found to be in no logical order and to lack any structure or meaningful arrangement. They have been loosely rearranged in a topical order (i.e., invoices, expenses and banking, payroll and tax documents, exhibition documents, etc.) only to aid research and discovery, not to suggest any possible original order. Despite these efforts there is still a haziness to the chronological division of series. There are materials in each series that were created before or after the existence of the gallery or business enterprise. The 1970s are a particular problem. Richard Bellamy ended his affiliation with the Noah Goldowsky Gallery in 1975 and opened the Oil & Steel Gallery in 1980. In between, he operated a private gallery at 25th Street and Park Avenue South. Yet the collection as received contained no discrete set of records from this time period and such files have been impossible to sort out or fully differentiate from the surrounding series. Thus records of the 1970s can be found among files in both Subseries II.C and II.D, that is, mixed in with files of both earlier and later periods.
Subseries II.E, Records of the Robert C. Scull Estate, presents a separate issue. When received they were labeled as a discrete set of correspondence and located at the end of the other boxes now in Series I. Upon examination, the materials proved to consist of records of Bellamy providing his expertise as an appraiser and as a witness to and expert on the art world of the 1960s to lawyers for the Scull estate. Thus it was deemed more proper to move the records to their current location.
Some material in this series, particularly in II.A and II.B, was "pre-processed." Materials were placed in glassine envelopes inside archival folders with typed labels. This rehousing was likely begun by Barbara Flynn and continued by Miles Bellamy. While all original enclosures have been replaced, original folder titles have been retained whenever present.
Subseries II.A: The Hansa Gallery 1953-1998
The Hansa Gallery opened on East 12th Street in 1952 as one of the first cooperative galleries in New York. It's founding members had all been students of Hans Hofmann and included Wolf Kahn, Jan Müller, Jean Follett, Barbara Forst, Miles Forst, Allan Kaprow, and Richard Stankiewicz. The gallery exhibited its members' work as well as inviting outside artists to show; it was also a space for performances, lectures, and some of the first installations of art environments and early Happenings. At the time, East 12th Street hosted a number of galleries that were seen as alternatives to the more established uptown galleries, and Hansa showcased artists alienated from Abstract Expressionism and with strong tendencies towards figurative art. Through his friendships with the artists, Richard Bellamy slowly became involved in the gallery and was named director in 1955, a position he kept until the gallery closed in 1959 (for a short period he was co-director with Ivan Karp). Few, if any, records of the Hansa are known to exist outside of this collection.
In 1963, while proprietor of the Green Gallery, Bellamy was interviewed by Richard Brown Baker for the Archives of American Art for an oral history of the Hansa Gallery; the transcript can be found in folder II.A.2. Baker also interviewed Richard Stankiewicz for the same project and that transcript, not in this collection, can be accessed online. In 1997, the Zabriskie Gallery staged an exhibition detailing the history of the Hansa Gallery. The materials here concerning that exhibition contain chronologies of the Hansa composed at a later date.
Folders II.A.4-II.A.7 were received from Miles Bellamy as a later accrual; evidence indicates this material was kept by Miles Forst and given to Richard Bellamy at a later date. Some folders among Series III, Artist Files, also contain material relating to the Hansa Gallery. III.A.25, on Miles Forst, contains correspondence and photographs from the time period. Folder III.J.3, in the Jan Müller artist files, contains a nine-page typescript list of all works sold by the gallery in the 1956-1957 season and includes work description, buyer, and sale price.
Includes postcard announcement of:
|II.A.2||Richard Bellamy Interview About the Gallery
Sixty-nine-page transcript of interview conducted by Richard Brown Baker, part of a series of oral histories recording the history of the Hansa Gallery for the Archives of American Art.
|II.A.3||The Hansa Gallery Revisited
[Original folder title: "Hansa Revisited/Zabriskie"]
Includes brochures and announcements for the following exhibitions: group show opening the Hansa Gallery's second season,
|II.A.5||Hansa Gallery Material
Brochures for the Hansa exhibitions Jane Wilson, 10/13-10/26/1953
Twelve-page typescript draft of the Hansa Gallery's mission statement, membership requirements, financial and organizational
arrangement, and general rules. Includes numerous hand edits. The name "Hansa Gallery" is nowhere indicated but the first
page is marked "Dodeca gallery" in pencil. The pages are enumerated and page two is not present.
|II.A.7||"Jan and Hansa"
Brochure for Jan Muller: Recent Paintings, 3/22-4/3/1954, and news clippings on the artist, exhibition poster for Ray Johnson.
Subseries II.B: The Green Gallery 1962-1998
Richard Bellamy opened the Green Gallery in 1960 with the backing of collector Robert C. Scull. This financial arrangement was not public at the time and it is unclear how and when the arrangement became known. The gallery quickly established a reputation for showing and representing some of the most exciting art of the time and for providing important artists with their first or second exhibitions uptown where they received much broader exposure. Bellamy's stable included Claes Oldenburg, Lucas Samaras, George Segal, Tom Wesselmann, Robert Morris, Dan Flavin, Milet Andrejevic, Larry Poons, and others. Despite the burgeoning careers of these artists, the Green Gallery was financially unstable. When Scull withdrew his support in 1965, Bellamy was forced to close. Numerous sources have noted the efforts Bellamy made to place his artists with other galleries, particularly with Leo Castelli and Sydney Janis.
Despite opening the Green Gallery in 1960, the earliest records here date from 1962. This series contains a wealth of financial records detailing the sales of artworks and the financial support of artists. The folders titled "Sales Receipts" (all originally titled "Green Gallery Sales") uniformly contain typed receipt records of sales grouped by artist. The receipts, approximately 8x3.5 inches, indicate the artist, work title, purchaser, sale date, sale amount, total amount due to artist, payment received and remittance to artist, inventory number, and other markings and notes. Sometimes many receipts will record a series of payments for the sale of a single work. Only occasionally do the receipt files contain other notes or items. Buyers' names that appear frequently include The Whitney Museum of American Art, Philip Johnson, Adam Aronson, Ed Cauduro, David Bourdon, Hanford Yang, Robert Scull, Edwin Janss, Al Ordover, Virginia and G.B. Wright, "G.G." (likely the Green Gallery itslef),and Richard Brown Baker, though many other names also appear. The other significant component of this series are the posters and announcements of various exhibitions at the gallery. Many of the posters are printed in silkscreen, letterpress, or lithography, and most are innovatively designed. Even if the exhibitions they advertised weren't historically significant, the posters themselves would still be a showcase of 1960s art and graphic design. Some records from 1966 onward are also present.
Folder II.B.35 was received from Miles Bellamy as a later accrual; evidence indicates this material was kept by Miles Forst and given to Richard Bellamy at a later date. Some files relating to the Green Gallery, or originating at the same time, may be found elsewhere in the collection. In Subseries I.A, for instance, there are photocopies of correspondence between Virginia Wright and Bellamy dating back to 1962. The artists files of Series III may also have material contemporary with the gallery. In Folder II.E.5, Records of the Scull Estate, a transcript is present of testimony Bellamy gave on the history of the Green Gallery, the Sculls' participation in it, and of their general collecting activities in the 1960s. This testimony was apparently provided on behalf of the defense in Ethel Scull's suit to gain possession of a greater part of her ex-husband's art collection.
|II.B.1||Small Ledger Book
6x9 inch, 200-page ledger book; first page has heading, "Inventory of Works Nov. 16, 1963." The first fifteen pages contain descriptions and list prices of works of art by Larry Poons, Tom Wesselmann, Robert Beauchamp, Alice T. Mason, Robert Morris, and Lucas Samaras. Pages 16-59 predominantly list payments, loans and other disbursements to artists including Peter Young, Jo Baer, Richard Serra, and others, though some pages seem to list sales or contain only notes. The dates for these pages range from 1968 through 1971.The remainder of the book is blank except for a page heading on page 101 (dated 1974), an apparent record of sales on pages 150-151, and notes on pages 195-196. Some leaves have detached from the binding.
|II.B.2||Sales Receipts: Milet Andrejevic||1963-1964|
|II.B.3||Sales Receipts: Robert Beauchamp||1963-1964|
|II.B.4||Sales Receipts: Ronald Bladen||1963|
|II.B.5||Sales Receipts: David Budd||1965|
|II.B.6||Sales Receipts: Mark di Suvero||1963-1965|
|II.B.7||Sales Receipts: Sally Hazelet Drummond||1963-1965|
|II.B.8||Sales Receipts: Jean Dubuffet
One receipt only; apparently represents sale of Dubuffet painting on consignment to the Green Gallery from the Allan Frumkin Gallery.
|II.B.9||Sales Receipts: Dan Flavin
Includes invoice for fixtures and lamps from the Radar Fluorescent Company for a Flavin work, with handwritten note stating that the order won't be filled until past bills are paid.
|II.B.10||Sales Receipts: Donald Judd
Includes invoices from Bernstein Bros. sheet metal suppliers for materials for Judd's artwork; 1966 invoice indicating purchase of artwork from Judd (Untitled Wall Sculpture) and its resale.
|II.B.11||Sales Receipts: Tadaaki Kuwayama||1963|
|II.B.12||Sales Receipts: Lee Lozano||1964-1965|
|II.B.13||Sales Receipts: Robert Morris||1963-1965|
|II.B.14||Sales Receipts: Claes Oldenburg||1963-1965|
|II.B.15||Sales Receipts: Larry Poons||1964-1965|
|II.B.16||Sales Receipts: James Rosenquist||1963-1964|
|II.B.17||Sales Receipts: Lucas Samaras||1963-1965|
|II.B.18||Sales Receipts: George Segal
Includes three-page summary of disbursements to artist and his share of particular sales.
|II.B.19||Sales Receipts: George Segal||1964|
|II.B.20||Sales Receipts: Richard Smith||1963-1965|
|II.B.21||Sales Receipts: Myron Stout||1963-1965|
|II.B.22||Sales Receipts: Leo Valledor||1964-1965|
|II.B.23||Sales Receipts: Tom Wesselmann||1963-1965|
|II.B.24||Sales Receipts: Neil Williams||1964-1965|
Three large photocopied ledger pages of accounts payable, with original additions.
Typed and handwritten memos, to the Green Gallery administrative assistant, Marie Dickson, from RB, detailing sales, expenditures, and other financial issues. Some later invoices and records also present.
Includes sales records of individual artworks typed on memo sheets.
|II.B.28||Richard Bellamy CV, Exhibition Posters, Announcements, and Ephemera
Includes photocopy of Richard Bellamy's handwritten CV (5/9/61)
|II.B.29||Announcements and Ephemera
Poster for Lucas Samaras, 9/16-10/10/1964, addressed to Tom Wesselmann, postmarked 9/14/1964
One 8x10" black and white image of gallery installation; with review of show on the Green Gallery at Hofstra University, 1972.
|II.B.31||Interview with Amy Newman
Fifty-page transcript of interview, 2/7/1996, between RB and Newman for book Challenging Art: Artforum 1962-1974 (New York: Soho Press, 2000), includes quotes selected for publication and correspondence.
Complete issues of Time Magazine (February 21, 1964) with article "At Home With Henry,": 68-71 on Robert C. Scull; Newsweek (April 25, 1966) with cover story on Pop Art; and Look (January 9, 1968), a special issue on the arts, with profiles of artists, and article "Architecture: A Twentieth-Century
Flop," by Philip Johnson.
Photocopies of proof sheets of interview of RB recounting the Hansa, Green, and Oil & Steel Galleries for a book by Laura de Coppet and Alan Jones, The Art Dealers (New York: Clarkson N. Potter, 1984.)
|II.B.34||Sample Green Gallery Envelope
[Original folder title: "Examples of RB Letterhead Over the Years"]
|II.B.35||Green Gallery and Other Exhibition Material
Posters of the exhibitions: Recent Paintings and Sculpture: George Segal, 11/15-12/10/1960
Subseries II.C: The Noah Goldowsky Gallery Office and Other Records 1967-1998
From 1965 until 1974, Richard Bellamy worked as an independent dealer in a small office within the Noah Goldowsky Gallery. Records show they split the costs of much of the gallery operations such as photography and printing costs for exhibition materials and advertisements. They also often split the cost of artwork purchases and the proceeds from their sales. Nonetheless, Bellamy was not an employee of the gallery and much of his activity was independent. This is displayed by the fact that many of the records here are still on Green Gallery stationery or on stationery with letterhead of Bellamy's Hyena Escrow & Garanshee Development Company (HEGDCO) while Goldowsky's stationery is also common. Bellamy's arrangement with Goldowsky ended in 1974 whereupon Bellamy moved into a private space on Park Avenue.
Included here is documentation of sales of artworks by Claes Oldenburg, Peter Young, Yayoi Kusama, Richard Artschwager, Sidney Tillim, Milet Andrejevic, Alfred Leslie, Myron Stout, Lucas Samaras, Christo, John Tweddle, and others. Most invoices are typed on 8 1/2x11" paper or sheets from legal pads, though some are handwritten. Other invoices and records document artworks purchased directly from the artists but also from other galleries. The records indicate extensive sharing of a work's cost and sales between Bellamy, Goldowsky, and other dealers. Expenditure folders contain records of more prosaic expenses such as purchases of advertisements, utilities, staff costs, and services such as deliveries, the stretching of paintings for shows, photography, and the printing of posters and ephemera. Some records from after 1974 are present in this series as it has proved impossible to fully distinguish between those records and ones from the Goldowsky years. For further records from this time period, see folder II.B.1 for a ledger book that contains records of both the Green Gallery and the Goldowsky years.
Receipts and invoices for works bought by RB from other galleries.
Records of works bought and sold by the gallery.
Includes two signed invoices from Claes Oldenburg to RB for purchase of works from the artist's collection; also includes unsigned invoices for works purchased directly from Richard Serra, John Chamberlain, Richard Artschwager and Dan Christensen.
Includes signed invoice from Richard Artschwager.
Includes invoices of works by Joseph Cornell sold to John and Yoko Lennon.
|II.C.15||Reimbursement of Expenses||1970-1974|
|II.C.17||Commissions on Sales Paid
Includes numerous commission payments to RB from the André Emmerich Gallery, 1969, though majority of records are payments made by Noah Goldowsky.
One letter, handwritten, to "George," likely from Joe Lo Giudice.
Twelve 25x14" ledger pages of cash receipts and disbursements for 1969.
|II.C.27||Interviews and Articles
Photocopies and originals of interviews and articles including "Protagonists of Pop: Five Interviews Conducted by Suzi Gablik," Studio International 178, no. 913 (1969): 9-16; Barbara Rose, "8 Gamblers on Young Artists: Art Dealers in New York," Vogue (February 1, 1970): 176-179, 221; Amy Goldin, "Requiem for a Gallery," Arts Magazine (January 1966): 25-29; Calvin Tomkins, "The Creative Life: Remembering One of the Art World's least Businesslike Businessmen," The New Yorker (July 6, 1998): 27; review of the Green Gallery show at Hofstra University; Judith Wilson, "Richard Bellamy," Issue: A Journal for Artists, No. 4 (Fall 1985): 20-23.
Includes some correspondence, photocopies and magazine articles; one 8x10" black and white photo of installation of Goldowsky Gallery, undated and unlabeled.
|II.C.29||Exhibition Announcements Received and Kept
Posters and postcard announcements of shows around New York.
Subseries II.D: The Oil & Steel Gallery 1971-1998
In 1980, Richard Bellamy decided once again to open a gallery to the public with a regular stable of artists and a schedule of exhibitions and installations. The Oil & Steel Gallery first opened in Tribeca, at 157 Chambers Street in Manhattan, and the gallery also served as Bellamy's living space. In 1985, Bellamy moved the gallery to 30-40 Vernon Boulevard in Long Island City, Queens. While this new location was in some ways even more remote from the Manhattan center of the art world than Tribeca, the gallery was housed within the same compound as Mark di Suvero's studio, near the site of what was to become Socrates Sculpture Park (co-founded by di Suvero in 1986), and not far from P.S.1 Contemporary Art Center (co-founded by Bellamy). Bellamy continued to stage exhibitions at Oil & Steel until the late 1980s when he began to devote more of his time again to private dealing and specifically to promoting the career of di Suvero as well as continuing his efforts on behalf of Alfred Leslie and Myron Stout.
The records in this series present a thorough depiction of the activities of the Oil & Steel Gallery. There are numerous folders of invoices representing records of artworks bought, sold, loaned, and consigned, as well as receipts, bills, and other expense documents showing the costs and details of every aspect of running a gallery and presenting exhibitions. There are extensive financial records present including payroll reports, federal tax forms, complete bank statements and credit card account statements for numerous years in sequence, and sales tax records (most dating from after 1996 when the gallery was audited for sales tax payments). Exhibition records include announcements, press releases, lists of works, some photographic documentation, and other material. The series also contains appointment books and desk calendars Bellamy kept through the 1980s and a gallery guest book from 1984. There are some records present from the 1970s, from before the Oil & Steel Gallery opened, intermingled with those of later dates. The records continue through March, 1998. The latest material in the series includes a series of photographs by Jerry Thompson documenting the gallery and Bellamy's work space six days after his death.
The Richard Bellamy Papers as a whole are weighted in their documentation to the years when the Oil & Steel Gallery was in existence and thus records relating to this series can be found throughout the collection. The bulk of correspondence in Series I describes activities of the gallery in great detail. Folder I.A.492, in particular, contains two copies of the draft lease agreement for the space at 30-40 Vernon Boulevard. Likewise, artists files for individuals represented by Bellamy or exhibited at Oil & Steel frequently contain records of those exhibitions as well as records of sales or other relevant activities. It seems likely in fact that the major artists files of Subseries III.B through III.P were compiled because of Bellamy's professional relationship with the artists through the duration of the Oil & Steel Gallery. Those files greatly enhance the records found here.
Some tax records in this series containing social security numbers of employees of the Oil & Steel Gallery have had that information redacted.
One invoice from 1971, the remainder from 1978-1980.
|II.D.3||Invoices: Heizer and MdS
Ledger sheets, receipts.
|II.D.5||Invoices and Shipping Documents
Includes scattered correspondence.
|II.D.6||Invoices: Berggruen Gallery
Invoices concern sculpture, Molecule, and other works by MdS.
|II.D.7||Invoices: Edward Broida||1982-1985|
|II.D.8||Invoices: Hansen Fuller Golden Gallery||1982-1988|
|II.D.11||Invoices: Ellen Kean||1983-1987|
|II.D.12||Invoices: Virginia Wright||1984|
|II.D.15||Invoices: Alfred Leslie||1987|
|II.D.16||Invoices: Mark di Suvero||1987|
Includes ledger sheets of artwork sales from 1989.
|II.D.21||Invoices: catalogue Sales||1988-1993|
|II.D.27||Consignment and Loans, Various Artists||1977-1986|
|II.D.28||Expenses and Expenditures
Includes documents of payment for services such as photography, carpentry, painting, materials and supplies.
|II.D.29||Eagle Storage Corporation
Invoices from the warehouse company; includes copy of inventory of Scull estate.
|II.D.30||Judson Art Warehouse, Inc.
Invoices from the warehouse.
|II.D.31||Flynn to Oil & Steel Commissions
|II.D.32||Oil & Steel-Mark di Suvero Finances
Invoices, computer reports, and other records, many on Spacetime C.C. letterhead, detailing works sold and amounts paid or owed to the artist.
|II.D.33||Credit Card Records: American Express Gold (Business)||1988-1989|
|II.D.34||Credit Card Records: Chase Visa Gold (Business)||1990-1991|
|II.D.35||Credit Card Reconciliation
Balance statements and records.
|II.D.36||Credit Card Records: American Express Gold (Business)||1991|
|II.D.37||Credit Card Records: American Express Optima (Business)||1991|
|II.D.38||Credit Card Payments and Payroll
Series of ledger sheets and tabulations.
|II.D.39||Credit Card Records: American Express Gold (Business)
|II.D.40||Credit Card Receipts
Includes ledger sheets.
|II.D.41||Credit Card Records: American Express Optima (Business)||1993-1996|
|II.D.42||Credit Card Records: Chase Visa (Business)||1993-1996|
|II.D.43||Bank Statements and Check Receipts||1995-1996|
Small quantity of miscellaneous material.
State and federal tax documents (including 940, 941, W-2, and W-3 forms), correspondence, canceled checks and other documentation of payroll costs and taxes.
Includes ledger pages, handwritten notes.
Handwritten timesheets for part-time employee.
|II.D.55||Money Market and Retirement Accounts
Balance statements and other materials.
|II.D.56||Sales Tax Audit Records; Expenditures||1985-1989|
|II.D.57||Sales Tax Audit Records||1988|
|II.D.58||Oil & Steel Corporate Taxes||1994|
Tax forms, payments, correspondence.
|II.D.60||New York State Tax||1994-1997|
|II.D.62||Oil & Steel Corporate Taxes||1995-1997|
|II.D.63||Oil & Steel Corporate Taxes||1995|
|II.D.65||Commercial Rent Tax||1995|
|II.D.66||Wages and Tax Statements||1996|
|II.D.68||Oil & Steel Corporate Taxes||1996|
|II.D.69||IRS Charitable Contributions and Other Tax Material
Includes appraisal and other records of donated works of art.
General ledger reports and other material.
Short general ledger report.
General ledger reports.
|II.D.75||Oil & Steel General Ledger
Computer report of all accounts, assets, and liabilities.
|II.D.76||Peter J. Repetti & Co., CPA's||1996|
Appraisals and correspondence, mostly on behalf of private owners, and primarily concerned with works by artists RB represented.
Book of contact information for museums, galleries and individuals.
|II.D.80||Address Books, Europe
Two 2¾" computer floppy disks, of obscure format, in sleeves, marked: "87.12 Address book, Dick, Europe 10/87" and "87.13 Address book, Dick, Europe Part 2 10/87."
Includes numerous notes and items inserted between pages.
Smaller volume, only partially filled.
|II.D.87||Desk Calendar and Pocket Calendar||1988|
|II.D.88||Desk Calendar and Pocket Calendar||1989|
|II.D.89||Desk Calendar and Pocket Calendar||1990|
|II.D.90||Desk Calendar and Pocket Calendar||1991|
Three separate calendars, all with some content but largely blank.
One letter from Paul Anglim.
Handwritten lists of names, notes, pocket notebook, two-sheet typed summary of disbursements, 1975.
Pages from legal-sized notepads and other large sheets of handwritten notes.
Postcards, receipts, color negatives of snapshots, medical bill from 2/27/1998, minor correspondence, and other materials.
Numerous pages and scraps of handwritten notes and memos, three pocket notebooks, notepad.
|II.D.101||Documentation of Exhibitions
Announcements from Oil & Steel, pricelist from 1967 Michael Heizer show; complete issue of Drawing II, No. 5 (1981); floor plan of Oil & Steel Gallery at 157 Chambers Street, with notations for locations of artworks.
|II.D.103||Mailers and Announcements
Postcards and other mailed announcements.
[Original folder title: "Exhibition History"]
Includes price lists of shows, press releases, announcements, plan of gallery space.
Includes handwritten chronology of exhibitions organized by the "Hyena Escrow & Garanshee Development Co.", (of which Oil & Steel was a division).
Photocopy of press release for group show, possibly Oil & Steel's third exhibition.
Photocopies and originals of announcements, artwork lists, press releases, and a catalogue essay, for various exhibitions.
Announcements, advertisements, price lists, insurance documents, correspondence, invoices, space plans, press releases.
Announcements, advertisements, correspondence, invoices, space plans, press releases.
Correspondence regarding reproduction permission requests; invoices for photographs made for the gallery.
Two lists of works only.
Tear sheets of advertisements of exhibitions at Oil & Steel and of artists represented by RB exhibiting elsewhere, correspondence and invoices.
Tear sheets of advertisements for outdoor MdS show in Paris.
[Original folder title: "Photography"]
Photographs of installations and artworks, most labeled but of indeterminate date.
|II.D.118||Photographs of Gallery and Office Spaces
Fifteen 8x10" black and white photographs, dated and stamped Jerry L. Thompson, taken six days after RB's death.
|II.D.119||Richard Bellamy Signatures
Three examples of RB's signature, on a receipt, a letter, and a calling card.
Blank samples of sheets and envelopes.
|II.D.121||Gallery Guest Book
Composition book with names and addresses of visitors.
Subseries II.E: Records of the Robert C. Scull Estate 1972-1996
The materials in this series concern the collection of artwork amassed by Robert C. Scull and dispersed, in part after his death in 1986, at an auction that set numerous records for works by Pop artists. Years after the auction, and as a result of the auction sales, the IRS contested the pre-auction valuation of the estate that was used to calculate the taxes on it. Records in this series include correspondence between numerous parties and Epstein and Furman, the law firm representing the Scull estate; old and new appraisals of the Scull estate by various gallerists and scholars at the time of his death and afterwards; invoices and records of sales of artworks; and depositions and other legal documents. Also included, in folder II.E.5, is a lengthy court transcript, undated, of testimony Bellamy apparently gave for the defense in Ethel Scull's lawsuit to gain possession of a greater part of her husband's estate; other materials here may also relate to that suit. The transcript of the cross-examination sheds particular light on Robert Scull's support of the Green Gallery and it's financial operations and provides valuable evidence to the Sculls' general activity in the art world at the time.
Materials were originally located in folders and envelopes marked "Scull" or "Scull Estate" and unorganized or sorted. Numerous documents are duplicated throughout the folders. These materials were originally located at the end of correspondence and materials now located in Series I. The records were relocated to their current position because of their relation to the Green Gallery and to Bellamy's business as a gallerist, dealer, and appraiser.
Includes lists of artworks divided by current owner: Adam, Stephanie, and Jonathan Scull, and Stephen Paul; deposit slips, marked "Scull loan," "Scull/Muller Hill/di Suvero," "Scull/G. Muller," etc., and other records of payments (1982); letter to the Scull family from attorney firm discussing various works of art (9/7/1995).
One letter Christie's-RB, (8/19/1994), discussing their proposal for auction of works from the Scull estate; typed list of works with hand revisions and various appraisal amounts (2/1/1995).
|II.E.3||Auction Appraisal and Other Material
Photocopy of undated appraisal, with high and low auction estimates, of the Scull collection by Lucy Havelock-Allan of Sotheby Parke Bernet, Inc.; transcript of deposition of RB, 3/2/1992, in the United States Tax Court, affirming his credentials as an appraiser and discussing particular parts of the estate; letter from Sotheby's discussing the appeal of the IRS of the valuation of the estate; twenty-nine-page list of questions for Leo Castelli regarding the valuation of specific works from the Scull estate and their prior appraisals; copy of RB's 1987 appraisal of estate with 1992 letter from attorneys requesting confirmation or amendment.
Copies of two appraisals, 3/3/1992, of the Scull estate, by Karen Carolan and Ivan Karp, focused on the value of the estate at time of Scull's death (1/1/1986); list of works sold at 1986 auction, with IRS appraisal; copies of invoices of sales by Robert Scull.
|II.E.5||Appraisals Materials and Court Transcript
Copies of court documents outlining original claim by the IRS, 1990-1991, showing original claimed value and IRS appraisal; appraisal of Scull works by Sotheby Parke Bernet, Inc., 1978, various inventories of the estate, ca. 1987; catalogue of auction, 11/11 and 11/12/1986 (Sotheby's number 5540 "Scull"); receipts and correspondence regarding the purchase of three works at the auction by MdS; copy of court transcript, undated, of RB's testimony for the defense, focusing on his history with Robert Scull, and Ethel Scull's involvement with collecting. The cross-examination focuses on Scull's financing of the Green Gallery; photographs and transparencies of works from the Scull estate; magazine article on Ethel Scull: John Duka, "Back on Top With the Mom of Pop Art," Time Magazine (June 9, 1986): 62-68.
Photocopies of "Adjustments to Sched. F..."; RB's deposition to the tax court; "Questions for Ms. Lucy Mitchell-Inness;" concluding report of the IRS Art Advisory Panel, 10/25/1989, regarding the 1986 value of the Scull estate; analysis of the value of particular works, with images.
|II.E.7||Appraisals, Inventories, and Correspondence
Includes some documents relating to the 1994 Christie's auction of remnants of the Scull estate, and later sales.
|II.E.8||John Tweddle Images
Photocopies of works by the artist.
|II.E.9||Images of Works by Various Artists||n.d.|
|II.E.10||Images of Works by Various Artists||n.d.|
|II.E.11||Weatherspoon Art Gallery Gift
Correspondence and records relating to the gift by Scull of a group of artworks to the gallery at the University of North Carolina at Greensboro, and the dispersal of other pieces.
|II.E.12||IRS Documents and Appraisals
RB's report to the United States Tax Court, with hand edits and amendments; additional copy of Lucy Havelock-Allan's appraisal of the Scull estate, and documents from the IRS.
|II.E.13||Invoices and Correspondence
Correspondence and notes regarding the Scull estate, Ethel Scull's claims of missing works, and the Weatherspoon Art Gallery gift; numerous invoices and correspondence regarding works by Milet Andrejevic purchased by Scull, 1972-1973; invoices for the purchase of Black Figure Five, by Jasper Johns, 1976; various shipping invoices and appraisal documents.
|II.E.14||News Clippings and Thank You Note
Includes thank you note from the Scull family with handwritten message from Stephanie Scull offering personal thanks for RB's eulogy at Scull's memorial.
Series III: Artist Files 1950-1998
Over thirty years of activity, Richard Bellamy used the files in this series as a place to sort and store records pertaining to the activities of individual artists and his participation in their careers. The artists represented in the files range from the obscure to the famous, and Bellamy's relationship with them varies from negligible to being of central importance.
The files are arranged in groupings and in alphabetical order as found (with minor corrections). Subseries III.A was originally titled "First Alphabetical Series," in contrast to Subseries III.B through III.P which compose a second alphabetical series. Subseries III.A comprises smaller files and concerns artists Bellamy had few professional dealings with or with whom he hadn't worked since the days of the Goldowsky Gallery or earlier. These files may contain only a few items such as exhibition announcements or a packet of slides and curriculum vitae. Larger files in Subseries III.A may contain sales documents and loan and consignment records; records of exhibitions of the artist that Bellamy was involved in; correspondence from the artist or concerning their activities; photographic documentation of artworks; and news clippings and other ephemera.
Subseries III.B through III.P were received as a distinct group and includes artists that Bellamy represented or was more closely involved with, particularly in the final two decades of his career. Because of the size and number of files, each artist has been given their own subseries designation. In general these files contain a greater quantity of all materials, whether that be correspondence or materials from the artist's hand, sales and exhibition records, or news clippings and ephemera. The artists of this later group are all ones represented by Bellamy or given exhibitions at the Oil & Steel Gallery; many of these files contain material that duplicates or complements material in Series II.D and provides substantial documentation of the gallery and Bellamy's activities. The largest subseries here, III.G on Alfred Leslie and III.N on Mark di Suvero, contain extensive documentation on numerous exhibitions, at Oil & Steel and other institutions and more fully document Bellamy's work on behalf of these artists than the gallery files in previous series. Particular notes are located at the beginning of individual subseries as warranted.
Apart from the basic alphabetic organization, folders devoted to individual artists show only infrequent signs of organization or original order. Subseries III.O, on Mark di Suvero, seems clearly ordered into groups of files relating to exhibitions, gallery representation, and other records. But all other series lack such arrangement. Additionally, while there is no apparent relationship between folders, material within folders is also haphazardly grouped. Many folders overlap in subject, content, and chronology. Due to this disarray and lack of any evidence of organizational intent, folders have been left in the order they were received in. Original folder titles have been used whenever present but expanded upon when necessary. Only Subseries III.G, on Alfred Leslie, has been rearranged due to the large number of folders present. The rearrangement is described below.
Subseries III.A: Alphabetical Series of Minor Files 1959-1998
This series includes files related to artists for whom, for whatever reason, Bellamy never had cause to accumulate more than one or two folders' worth of material. Nonetheless, many of these artists were of professional or personal importance to Bellamy at various times in his life. Artists such as Miles Forst, Lee Lozano, Claes Oldenburg, Donald Judd, and Dan Flavin were represented by Bellamy at the Green Gallery or involved in the Hansa and Goldowsky Galleries (and materials relating to those artists may be found in the relevant series). Other artists, such as John Chamberlain or Christo, may have had more significance as friends and art world acquaintances. Some files contain records of particular interest. Files such as those for Dan Flavin, James Rosenquist, Lee Lozano, and Yoko Ono contain revealing correspondence or other material in the artist's own hand. Files for Miles Forst and Jean Follett (and possibly others) contain photographs and other documents that date back to the Hansa Gallery era. Other files simply help to flesh out a portrait of activities of the art world, such as photographs of artwork taken by Rudy Burckhardt (in folder III.A.25). Folders III.A.26-III.A.28 were received from Miles Bellamy as a later accrual; evidence indicates this material was kept by Miles Forst and given to Richard Bellamy at a later date.
The series contains numerous photographs, slides, transparencies, and negatives. All slides are 35mm color unless otherwise noted. Dates for much of the material is uncertain and dates listed usually pertain only to some materials in each folder. When dates are noted for photographs or images they represent when the reproductions of the artworks were made (if known, slides are often date stamped, for instance) not the date of the works themselves. All materials have been rehoused as appropriate.
Includes twenty-nine unlabeled slides.
One announcement only.
Three letters from the artist.
Leaflet from exhibition at The Whitney Museum, 10/7-12/13/1981.
Includes twenty-three mostly labeled slides; two 8x10" positive transparencies; artist's biography; two exhibition catalogs; other announcements and material.
Small quantity of undated unlabeled images.
Announcements, images, biography, fifteen labeled slides.
Includes thirteen unlabeled slides; curriculum vitae, invoices from the Green Gallery for the sale of Budd's work; announcement for Budd's memorial service; keys to Budd's loft; appraisal and estate documents.
Photocopy of typescript of "The Shadow," an untitled narrative of surveillance; postcards, announcements; exhibition pamphlets.
Announcements and photographs.
Exhibition leaflets; photographs of foam and styrene sculptures and other works; articles and news clippings.
Announcements, poster and mailings; photocopy of typescript outline of film by John Chamberlain and Viva Auder, The Secret Life of William Shakespeare (n.d.)
Numerous postcards of works; photographs of Wrapped Walk Ways, Valley Curtain, Wrapped Coast, Running Fence and gallery pieces; announcement from 1967 exhibition in Antwerp; list of Christo's works on consignment to RB, 1970.
Five ACS, Christo-RB; numerous postcards of works and curriculum vitae.
Records of payments and loans to Christensen, 1967-1969; pricelists; list of collectors and Christensen works purchased from Noah Goldowsky; news clippings.
|III.A.18||Willem de Kooning||n.d.|
Announcements, correspondence, shipping bills, invoices, mailing list, news clippings.
News clippings and articles; layout for Oil & Steel announcement; other ephemera.
Includes twenty large photographs of Follett's work, many hand-labeled by Follett and stamped by the Hansa Gallery.
1 TLS, 1 ALS RB-Miles Forst (6/20/1959, n.d.); [re: discussing car trip to Provincetown, gallery business]
Photograph of Miles Forst or possibly other artist.
News clippings, with cover letter from Dorothy Greenberg, concerning an exhibition of contemporary art by New York artists sponsored by the Richmond Artists Association and held in Richmond Virginia, in 1959. Most of the news clippings are from the Richmond Times-Dispatch.
Includes materials received by Miles Forst in advance of his residency at the Macdowell Colony and concerning a visit he made to Texas; exhibition announcements for the artist's group and solo shows.
Curriculum vitae, slides.
Photographs and slides of various camel sculptures.
Brief correspondence, newsletters, news clippings.
|III.A.32||Michael D. Hall
Announcements, poster, twenty-one labeled slides.
Includes five posters for performances and exhibitions, resume, thirty-three labeled slides.
1 ALS Susan Hartnett-RB.
|III.A.35||John R. Henry
Slides and images of one work.
One transparency of work.
Four photographs only.
Twenty labeled slides.
Posters, artist statements, ephemera of various "One Year Performances."
Published portfolio of images of exhibition, One Year Performance 1981-1982, Exit Art, New York.
Sixty-four labeled slides, curriculum vitae.
Includes record of payments to Jenney, 1970; photographs of work; announcements and lists from Oil & Steel exhibition; news clippings, press releases, invoices.
One photograph and one slide only.
|III.A.44||Kristin Jones and Andrew Ginzel
One leaflet about permanent installation.
One photograph and ten labeled slides.
Articles and news clippings.
Poster for series of happenings, Six Ordinary Happenings, by Kaprow.
Images of work and one letter.
Loan receipt and announcement.
Announcements, nineteen photographs of work.
one image, work list, curriculum vitae.
Handmade holiday cards from Kuwayama, announcements, nine slides, photographs.
Fifteen photographs and correspondence.
Letter and six photographs.
Published writings by Lozano, seventeen photographs of works, announcements.
Twelve labeled photographs of installations; typescript proposal for "retrospective" exhibition at the Whitehall gallery, London, entitled 'King for a Day' and 999 Other Pieces/Works/Things etc.; with cover letter.
Nine photographs, images, sixteen slides, record of payment, news clippings.
|III.A.59||Forrest W. Myers
Correspondence; list of works with handwritten prices and notes (ca. 1967); photocopies of drawings.
One slide, three photographs of works stamped by the Green gallery; photocopy of list of works with prices (n.d.)
Announcement, list of works.
1 ALS Yoko Ono-RB (12/14/1966) [re: Ono updates RB on her conversations with John Cage and her recent musical and artistic
Correspondence, twenty-four slides, photographs, images.
Correspondence, forty-four slides, photographs, collaged photographs showing proposed installation of works at Storm King, catalogue.
Five slides, images, articles and news clippings.
Two news clippings.
Exhibition leaflets, work list, fifty-three slides.
Correspondence, some images.
Copy of 1 ALS RB-Ad Reinhardt (n.d.)
This letter was added to the collection in 2015.
1 ALS James Rosenquist-RB (9/16/1965) [re: closing of Green Gallery.]
Catalogue of exhibition, Some American History, 1971; program materials from the dedication of the Rothko Chapel, 2/28/1971, including complete guest list, program for opening of chapel and dedication of Broken Obelisk, and photographs; provenance correspondence.
Twelve slides of early drawings; exhibition leaflet.
Three photographs of early paintings.
Includes correspondence from the artist.
Eighteen slides, announcements and pamphlets from the Noah Goldowsky Gallery and other venues; twenty photographs and transparencies of work; news clippings.
Correspondence from the artist; lists of works, record of money owed RB by the artist; pricelist, loan documents.
Exhibition announcements and leaflets; three photographs of work.
Photographs and images of work; correspondence form the artist; sales notes and records of expenses and outlays to the artist.
Two signed drawings, one in crayon (1974), one in ink (n.d.), both sent as holiday cards to RB.
|III.A.81||David Von Schlegell
Correspondence from the artist including drawings of proposed work; press release, exhibition announcements and pamphlets; fifty-two photographs of work.
|III.A.82||David Von Schlegell
Forty-eight photographs and eight slides of work.
|III.A.83||Franz Erhard Walther
Exhibition announcements and poster.
Twenty-seven slides; various grant application materials.
Five photographs only.
Ten photographs of work.
Subseries III.B: Jo Baer 1967-1995
Five catalogs and one announcement.
|III.B.2||Correspondence, Articles, Photographs
Includes numerous handwritten letters from Baer to RB and typewritten letters to various others; eight photographs, news clippings; records of purchases.
|III.B.3||Lists of Works, Biographical Materials||1975-1985|
Notes, receipts and correspondence.
|III.B.5||Slides, Article, Invoice
Includes five slides.
Subseries III.C: James Lee Byars 1979-1997
|III.C.1||Slides and Photographs
Three slides (1987) and nine snapshots (n.d.)
Three 11x14" contact sheets, with negatives, apparently of RB's visit to Byars exhibition in Spain.
Photocopy of pieces of book, James Elliott, The Perfect Thought (Berkeley, CA: University of California: 1990).
|III.C.4||Announcements and Correspondence
Exhibition announcements; letter from Byars (cut paper piece in pink envelope), thirteen postcards, including one measuring 9.5x12".
Subseries III.D: Mary Corse 1969-1996
Eighteen 4x5" color transparencies in window mattes with labels.
Approximately sixty color snapshots of artworks and people in studio, likely Topanga Canyon, CA.
Thirteen color snapshots of works, one slide, negatives of all snapshots in this and previous folder.
|III.D.4||Slides, Photographs, Exhibition Material
Eight slides, press releases, correspondence, news clippings, price lists, photographs of artwork assembly.
Exhibition announcements and leaflets, four-page handwritten biographical sketch, resume, and artist's statement by Corse, record of payments, negatives, eight slides and three transparencies.
Notes on work sizes and costs, price lists, press release.
Complete issues of Artspace and Vogue Italia.
Twenty slides, eight photographs, one transparency.
Materials removed from black ring binder; resume at front on stationery of Irit Krygier Contemporary Art; dates are approximate.
One transparency, sixty-seven slides, eight photographs.
Twelve transparencies, fifteen slides, seven photographs, statements about various works and career summary, news clippings; dates approximate.
Subseries III.E: William Crozier 1970-1990
Forty photographs including thirty-eight snapshots of Crozier in his studio (1980), negatives of snapshots, fifty-four slides; laminated copy of tear sheet, advertisement for Crozier exhibition at Oil & Steel, from Art in America; exhibition leaflet.
|III.E.2||Photographs, Exhibition Materials
[Original folder title: "Giesenangst"]
Curriculum vitae; two photographs, five slides; articles and news clippings; notes on costs of casting and molds for various works; notes and invoices of sales (to Robert Scull, photocopy in following folder;) exhibition announcements.
Letters from Xavier Fourcade indicating prices for works and one sale; six handwritten letters William Crozier-RB (1974) written while casting works in Munich; photocopies of expenses incurred by the artist while abroad.
|III.E.5||Portrait of Robert Scull
Seven photographs and images of the portrait and other works.
|III.E.6||Robin, Bella, and Other Works
Fourteen photographs (including snapshots of works in studio); exhibition catalogue.
Six photographs of work; advertisements.
|III.E.8||Bob Unfinished in Clay
|III.E.11||Six Completed Sculptures
Nine photographs of one work; contact sheet of various works in studio.
|III.E.12||Contact Sheets, Negatives
Negatives and contact sheets of Crozier and sculpture in studio, some with models and in process.
|III.E.13||Contact Sheets, Negatives
Negatives and contact sheets sculpture in studio; includes four photographs, thirty-four slides.
Five photographs, 11x14".
Subseries III.F: Michael Heizer 1968-1996
Ninety slides of various earthworks and outdoor sculptures; many unlabeled and undated.
Forty photographs of indoor and outdoor sculptures and earthworks; includes some negatives and transparencies, as well as exhibition announcements.
Complete issue of Cover 5 (Spring/Summer 1981); forty-four snapshots of outdoor sculpture and drawings, with negatives.
|III.F.4||Photographs; News Clippings
Press release for 1969 exhibition at Galerie Heiner Friedrich; negatives, contact sheet, four snapshots and three larger photographs of drawings; articles and news clippings; some correspondence.
Four transparencies of gallery work, with documentation.
[Original folder label: "City: Complex One, 1972-1974 Photos Richard Bellamy 1974"]
|III.F.7||Publications and News Clippings
Includes Cherie L. Kluesing, Reclamation Works: An Aesthetic Approach to Land Reclamation (s.l.: s.n.; 1980); report from the Abandoned Mined Lands Reclamation Council with news clipping and schematics of Buffalo Rock project in Ottawa, Illinois, n.d.
|III.F.8||Photographs and Exhibition Materials
Exhibition announcements, leaflets and pricelists; three slides, eighteen photographs, and four transparencies; news clippings.
Includes 2 ALS Michael Heizer-RB (7/20/1968) [re: earthworks and financial situation] and (12/22/75) [re:sales]; two letters to Heizer from RB discussing sales and finances.
Documents regarding damage to a painting by Heizer incurred while on loan to Oil & Steel from the St. Louis Art Museum.
|III.F.11||Correspondence and Exhibition Material
Includes exhibition history and bibliography, press releases.
Includes three large photographs of paintings and twelve transparencies.
Includes ten slides, seven photographs; invoices and receipts; news clippings; draft of catalogue essay; materials from Michael Heizer Paintings: 1967, Oil & Steel Gallery, 1983.
Includes sketches of artworks in Oil & Steel Gallery installation; installation floor plan; correspondence (mostly outgoing).
Subseries III.G: Alfred Leslie 1950-1998
The painter, filmmaker, and writer Alfred Leslie was a long-time friend and associate of Richard Bellamy. Leslie had some of his early works shown at the Hansa Gallery, when he was considered a prominent second- or third-generation Abstract Expressionist. In 1959, Bellamy appeared in the film Pull My Daisy co-directed by Leslie and Robert Frank. In the 1960s Leslie turned away from abstraction and turned his attention towards realism and depictions of the figure. This change was first significantly shown in his series of large-scale grisaille paintings of nudes, executed in the early to mid 1960s, and Leslie has continued exploring the figure until today. The first evidence of Bellamy's representation of Leslie, or trade in his artwork, dates from the late 1960s and early 1970s. Bellamy's work on behalf of Leslie increased with the opening of the Oil & Steel Gallery. Beginning in 1982, Bellamy organized a show of the large corpus of watercolor landscapes Leslie had executed en plein air under the title 100 Views Along the Road. The show originated at Oil & Steel but traveled to numerous venues and a catalogue was produced in 1988. Beginning in 1991, at a time when Bellamy had ceased staging exhibitions at Oil & Steel, he joined with Barbara Flynn and the Flynn Gallery to organize four retrospective exhibitions of Leslie's work. The shows focused on Leslie's grisaille paintings, red paintings, working drawings for his paintings, and a new group of figure drawings. This period marked a high point in Leslie's exhibition history as numerous shows of Leslie's work were held at other institutions in the same years.
Due to the recentness of this activity and Flynn's participation, there is a wealth of documentation present in this series. Much of the material was created by Flynn and later transferred to Bellamy's custody (perhaps after Flynn closed her gallery in 194). These files can often be recognized for their neater organization and internal dividers within folders. The material makes clear that, in addition to the exhaustive work necessary for planning and executing the exhibitions and corresponding catalogs, Bellamy and Flynn also were compiling documentation with an eye towards a future catalogue raisonné of Leslie's work.
The great number of folders has necessitated further dividing this subseries into three groups of news clippings, photographs, and exhibition and sales records. Descriptions of those subseries can be found below.
Subseries III.G.1: News Clippings and Bibliography
All the files in this series were created by the Flynn Gallery in preparation for the series of exhibitions there. Originally, each clipping was located in its own folder labeled with the article citation and arranged in chronological order. Photocopies of each article were cut out and pasted to large pieces of board with additional loose copies present. Only loose copies of each clipping have been retained. And while the chronological order has been kept, files have been condensed and the original enumerations discarded. The first folder in the series contains a bibliography compiled from these clippings by the Flynn Gallery. Not all the citations in the bibliography are present and a list of missing articles, prepared by the archivist, is included in the first folder. The clippings are nonetheless a practically complete bibliography of Leslie's career up until 1992. The citations included in the folder descriptions below are taken directly from the bibliography in the first folder.
A[shton], D[ore]. "Alfred Leslie." Art Digest 26, no. II, March I, p. 26.Farber, Manny. "Art." Nation 174. no. 9. March 1, p. 210.P[orter], F[airfield]. "Reviews and Previews: Alfred Leslie." Art News 50, no. 10, February, p. 39.
A[shton], D[ore]. "Alfred Leslie." Art Digest 27. no. 13, April I, pp. 24-25.P[orter], F[airfield]. "Alfred Leslie." Art News 52, no. 1, March, p. 37, ill.P[reston], S[tuart]. "Interesting Oils Seen at Galleries." New York Times, March 14, p. 13.
Atkinson, Brooks. "Theatre: 'The Dybbuk'." New York Times, October 27, 1954, p. 33.G[uest], B[arbara]. "Alfred Leslie." Art News 53, no. 3, May, P·43.N[ewbill], A[l]. "Alfred Leslie." Art Digest 28, no. 16, May 15, p.26.N[ewbill], A[l]. "De Nagy Group." Arts Digest 29. no. 2, October 15, p. 28.O'H[ara], F[rank]. "Old and New." Art News 53, no. 6, " October. p. 53.P[reston], S[tuart]. "About Art and Artists." New York Times, May 8, p. 12.
Ashton. Dore. "Art: Painters' Village [; Alfred Leslie]." New York Times, October 24, p. 66.B[urrey], S[uzanne]. "Alfred Leslie." Arts Magazine 32. no. 2, November, p. 61.S[chuyler], J[ames]. "Alfred Leslie." Art News 56, no. 7. November. p. 13.
Schuyler, James. "Alfred Leslie." School of New York: Some Younger Artists. Ed. B. H. Friedman. New York: Grove Press, 1959. p. 36-41. Reprinted in Swedish in 4 Amerikanare. Stockholm: Moderna Museet, 1962. p. 57-58.
Ashton, Dore. "Art: Two Abstractionists." New York Times. January 6, p. 31.Ashton, Dore. "Alfred Leslie." Arts & Architecture (Los Angeles) 77, no. 3, March. pp. II, 32, 35, ill.Butler, Barbara. "Movie Stars and Other Members of the " Cast." Art International 14, nos. 2-3, pp. 52-53, ill.Frankenthaler, Helen. Letter [and editorial response]. Art News 59, no. 3, May, p. 6.H[ess], T[homas] B. "Alfred Leslie." Art News 59, no. 2, April, pp. 13-14.J[udd], D[onald]. "Alfred Leslie." Arts Magazine 34, no. 5, February, p. 58.Chicago. Holland-Goldowsky Gallery. Michael Goldberg, Alfred Leslie. January 16-February II, 1960. Catalogue. Introduction by Sam Hunter.Rubin, William. "Younger American Painters." Art International (Zürich) 4, no. I, pp. 24-31.S[chulze], F[ranz]. "Art News from Chicago: New Yorkers On View." Art News 59, no. 3, May, p. 46.
Alloway, Lawrence. "Easel Painting at the Guggenheim." Art International 5, no. 10, Christmas, pp. 26-39.Fried, Michael. "International Reports, London: Visitors from America." Arts Magazine 36, no. 3, December, pp. 38, 40, ill."For Movement's Sake." Newsweek 57, no. 11, March 13, pp. 92-93.S[andler], I[rving] H. "Alfred Leslie." Art News 59, no. 9, January, p. 12.
[A., P.F.] "Ausstellungen, Bern: 'Francis Picabia'; 'Jasper Johns, Alfred Leslie, Richard Stankiewicz, Robert Rauschenberg.'" Werk (Winterthur, Switzerland) 49, Heft 9, September, p. supp. 209, ill.R[aynor], V[ivien]. "Alfred Leslie." Arts Magazine 36, nos. 8-9, May/June, p. 99.S[andler], I[rving] H. "Alfred Leslie." Art News 61, no. 2, April, p. 13, ill.
"Alfred Leslie: The New York Story" [cartoons]. Artforum 2, no. 3, September 1963, pp. 28-29, ill.[Cartoon cover.] Diane di Prima, ed. The Floating Bear: A Newsletter (New York), no. 28, [Christmas] 1963. Reprinted in The Floating Bear: A Newsletter. Eds. Diane di Prima and LeRoi Jones. La Jolla: Laurence McGilvery, 1973 P. 329.[H., R.] "Ausstellungen, St. Gallen: 'Sechs Schweizer'; 'Zwei Amerikaner.'" Werk 50, Heft 11, November, pp. supp. 250-51.L[angsner], J[ules]. "Art News from Los Angeles." Art News 62, no. 4, Summer, p. 47, ill.
"Comment by Alfred Leslie" [cartoons]. Marshall Matusow, ed. New York Art Calendar 1, nos. 4-8, February-May, June/September 1964, frontispieces.Hartung, Philip. "The Screen: What is Truth?" The Commonweal 81, no. 5, October 23, pp. 134, 130.
French, Philip. "Pop Cinema?" Encounter 24, no. 3, March, pp. 55-57.Genauer, Emily. "American Art Survey: '65 Edition at Whitney." New York Herald Tribune, December 8, p. 29.[H., C.] "Ausstellungen, Basel: 'Die Sammlung La Peau de l'Ours.'" Werk 52, Heft 1,January, p. supp. 21, ill.
Berkson, William. "Whitney Annual" Arts, February, p. 52.Glueck, Grace. "3 Artists' Works Destroyed in Fire." New York Times. October 20, p. 11.Krebs, Albin. "10 Missing, 2 Dead in 22d Street Fire." New York Times, October 18, 1966, pp. 1,37."Part 1… Naked, The Art of Confrontation: 20 Rules on How to Paint the Nude Person" [statement], in "Nudes Now," introd. Rolf-Gunter Dienst. Art Voices (New York) 5, no. 3, Summer 1966, p. 37, ill.""Six Went Out, One Came Back." Village Voice 12, no. 2, October 27, p. 1, ill.Ting, Walasse. "Near 1¢ Life: A Volume of Poems and Lithos." Art News 65, no. 3, May, p. 38, ill. (color).Charlotte Willard, ed. "Eye to I" [text]. Art in America 54, no. 2, March/April 1966, p. 50, ill."
"The Playmate As Fine Art: Eleven Famous Contemporary Artists Interpret Playboy's Provocative Gatefold Girl." Playboy (Chicago) 14, no. 1, January, pp. 141-48, ill.Willard, Charlotte. "In the Art Galleries: The Life Force." New York Post, May 27, p. 48, ill.
Baur, John I. H. "The Whitney on the Road." Arts Magazine 42, no. 4, February, pp. 42-45, ill.Constable, Rosalind. "Art, Style of the Year: The Inhumanists." New York 1, no. 37, December 16, pp. 44-50, ill.Philadelphia. Philadelphia College of Art. Directions 1968. January 12-February 9,1968. Catalogue. Text by Larry Day and Morris Berd."Painting: Return to the Challenge." Time 91, no. 2, January, pp. 30-31, ill. (color).Poughkeepsie, New York. Vassar College Art Gallery. Realism Now. May 8-June 12, 1968. Catalogue. Essay by Linda Nochlin.
C[ampbell], L[awrence]. "Reviews and Previews." Art News 68, no. 3, May, pp. 16, 69, ill.Canaday, John. "Alfred Leslie." New York Times, April 5, p. 23.Canaday, John. "Art, Realism: Waxing or Waning?" New York Times, July 13, p. D27.Milwaukee, Wisconsin. Milwaukee Art Center. Direction 2: Aspects of a New Realism. June 21-August 10.1969. Catalogue and supplement. Introductions by Tracy Atkinson and John Lloyd Taylor; essays by Sidney Tillim and William S. Wilson.N[emser], C[indy]. "Alfred Leslie." Arts Magazine 43, no. 7, May, p. 63.P[incus]-W[itten], R[obert]. "Jo Baer, Al Leslie: Goldowsky Gallery." Artforum 7, no. 6, February, p. 67.R[osenstein], H[arris]. "Reviews and Previews: Jo Baer and Alfred Leslie." Art News 67, no. 9, January, pp. 16,30, ill.Tillim, Sidney. "The Reception of Figurative Art: Notes on a General Misunderstanding." Artforum 7, no. 6, February, pp. 30-32, ill.Tillim, Sidney. "A Variety of Realisms." Artforum 7, no. 10, Summer, pp. 42-47, ill.
Butler, Joseph T. "The American Way with Art: American Painting 1970." Connoisseur, October, p. 134, ill.Davis, Douglas. "Return of the Real." Newsweek 75, no. 8, February 23, p. 105.Kramer, Hilton. "Dear Reader, Worry No More ..." New York Times, February 15, p. D23, ill.
C[ampbell], L[awrence]. "Alfred Leslie." Art News 70, no. 4, Summer, p. 16.Gruen, John. "Galleries and Museums, Murky Shallows: Coming to Term-Drawings by Alfred Leslie." New York 4, no. 24, June 14, p. 65.Ratcliff, Carter. "New York Letter: 'Younger Abstract Expressionists of the Fifties.'" Art International15, no. 7, September 20, pp. 68-70.
Hand, Judson. "The New Realism: Bigger Than Life and Realer Than Real." New York Sunday News, New York Now Colorfoto Magazine, June 11, cover (color), p. 12.Hughes, Robert. "The Realist As Corn God." Time 99, no. 5, January 31, pp. 50-55, ill. (color).Kramer, Hilton. "Art: Comeback for Landscapes." New York Times, January 31, p. C19.Pozzi, Lucio. "I super realisti USA." Bolaffiarte (Turin) 3, no. 18, March, pp. 54--63, ill. (color).Schjeldahl, Peter. "Down Memory Lane to the Fifties." New York Times, February 6, p. D23, ill.
Barrio-Garay, Jose Luis. "Cronica de Nueva York: 'La bienal de pintura y escultura estadounidense' en el Whitney Museum." Goya (Madrid) II 5, July/August, pp. 38-39, ill.Childs, Lucinda. "A portfolio." Artforum 11, no. 6, February, pp. 54,55. ill.Cooper, Arthur. "Patron Angel of Modern Art." Newsweek 82, no. 18, October 29, p. 64, ill.Davis, Douglas. "Art Without Limits." Newsweek 82, no. 26, December 24, pp. 68-74, ill. (color).Genauer, Emily. "Art and the Artist." New York Post, January 27, p. 34, ill.Hess, Thomas B. "Whits at the Whatney." New York 6, no. 7, February 12, pp. 84-85.Hughes, Robert. "The Last Salon." Time 101, no. 7, February 12, p. 46.Kramer, Hilton. "Second Part of Whitney Show Opens." New York Times, January 20, p. 27.Levathes, Kiki. "Scull Soaring As Angel in Arty Heaven." New York Sunday News, September 9, p. 86, ill.Neely, Anne. "Subjective Realities." Patriot Ledger (Boston), November 6, p. 34, ill.Seiberling, Dorothy. "Scull's Angles, Going Once, Going Twice." New York 6, no. 3, September 17, p. 59, ill.
Bourdon, David. "Three Artists Draw On the Past." Village Voice 20, no. 45, November 10, pp.112-13, ill.Davis, Douglas. "What's in the Galleries." Newsweek 86, no. 23, December 8, p. 106, ill.Ellenzweig, Allen. "Group Show." Arts Magazine 50, no. 3, November, p. 18, ill.Jouffroy, Alain. "Un entretien avec Pontus Hulten, Al Leslie: De l' abstraction gestuelle à l'hyperréalisme." XXe siècle (Paris) 37, no. 45, December, pp. 98-102, ill.Kramer, Hilton. "Art View: The New Realism-Reaching For Tradition." New York Times, November 9, p. D33, ill.Russell, John. "Art, Portraiture by 31 Painters: Show of 'Informal' Works Points Up a Contradiction." New York Times, January 25, p. 22, ill."Ten Portraitists-Interviews / Statements" [statement]. Art in America 63, no. I, January/February 1975, pp. 38, 1I8, ill. (color).
[Announcement: Alfred Leslie (Exhibition), Museum of Fine Arts, Boston, 1976, ill.Boston. Museum of Fine Arts. Alfred Leslie. May 4-June 27, 1976. Catalogue. Essay by Robert Rosenblum.Barilli, Renato, Gregory Battcock, and Pierre Restany. "Biennale: Ambiente Labirinto." Domus 564, November, pp. 1-19, ill.Davis, Douglas. "Challenge to Modernism." Newsweek 87, no. 23,June 7, pp. 62, 65, ill. (entire issue of magazine included).Ellenzweig, Allen. "Alfred Leslie." Arts Magazine 50, no. 5, January, p. 22, ill.Forgey, Benjamin. "Calendar, Art: Alfred Leslie's Paintings Come Out Fighting." Washington Star, November 21, pp. G32-33, ill.Gold, Barbara. "Not Better, Just Better-Packaged." Baltimore Sun (Baltimore, Maryland), November 21, p. D2.Mirsky, Mark. "Picking Up the Old Masters' Options: A Look at Alfred Leslie." Real Paper (Cambridge, Massachusetts), May 12, pp. 20-21, ill.Nochlin, Linda. "Leslie, Torres: New Uses of History. " Art in America 64, no. 2, March/April, pp. 74-76, ill. (color).Richard, Paul. "The Figure Paintings of Alfred Leslie: Larger Than Life-And Scary." Washington Post,November 16, p. CII, ill.Taylor, Robert. "Alfred Leslie: From MFA to Venice." Boston Sunday Globe, May 9, pp. A8, 11, ill.
Artner, Alan G. "Leslie Show In View: His Aim Is Off Center, Technique Is On Target." Chicago Tribune, February 6, sec. 6, p. 6, ill.Gruen. John. "Far-From-Last Judgments or Who's Overrated Now?" Art News. November, pp. 112,113. ill.Johnston, Jill. "Getting Rid of What You Haven't Got." Village Voice 22, no. 8, February 21, p. 91.Lamb, Jane. "Resident Artist Makes Big Impact at YSU." Youngstown Vindicator, November 27, pp. A14, 16, ill."Notes by Alfred Leslie" [on The Last Clean Shirt]. A Tribute to Anthology Film Archives' Avant-Garde Film Preservation Program: An Evening Dedicated to Frederick Kiesler (Leger, Murphy, Ruttman, Cornell, Deren, Leslie). New York: Museum of Modern Art, 1977. p. 4-6.Rose, Barbara. "An: The Nerve of Some Paintings." Vogue 167, no. 2, February, p. 76, ill.Schulze, Franz. "Art: Alfred Leslie's Stilted Realism." Chicago Daily News, Panorama, January 29/30, p. 29, ill."YSU Artist Shares His Views on Painting with Rotary Club." Youngstown Vindicator (Youngstown, Ohio), November 3, p. 4.
Albright, Thomas. "'Art of the Seventies': Slick, Flamboyant Portraits." San Francisco Chronicle, January 17, 1978, n. pag. [clipping]. ill.Kramer, Hilton. "Art: New Realism Writ Large by Leslie." New York Times, November 17, p. C20.Perreault, John. "Heroic Realism." Soho Weekly News(New York), November 23, pp. 30, 54, ill.
"After the Fire" [letter]. New York Review of Books, June 14, 1979, p. 45.Gibson, Eric. "Alfred Leslie." Art International 22, no. 8, January, pp. 21-22, ill. (color)."Interview: Alfred Leslie Talks with John Arthur." Drawing (New York) I, no. 4, November/December 1979, pp. 81-85, ill.[Written responses to interview questions.] J. Marrin, ed. Allan Frumkin Gallery Newsletter (New York), no. 7, Winter 1979, Special Issue, "Kinds of Realism," pp. 1-7.Smith, Corinna, and Brian Wallis. "The Big Still Life." Arts Magazine 53, no. 9, May, p. 15, ill. (color).Thornton, Gene. "Artists' Choice: Figure." Art/World (New York) 4, no. 1, September 22/0ctober 17, pp. 1, 10, ill.
Frank O'Hara and Alfred Leslie [transcript of USA:POETRY, March 5, 1966]. Published in Homage to Frank O'Hara. Eds. Bill Berkson and Joe leSueur. Berkeley: Creative Arts, 1980. p. 215-23.Zimmer, William. 'The Changes They Are A- Timin.'" Soho Weekly News, July 30, p. 20, ill.
Edmund R. Feldman, "The Artist" Englewood Cliffs, New Jersey, Prentice Hall, cover.Hughes, Robert. "Lost among the Figures." Time 119, no. 22, May 31, pp. 64-67, ill. (color).Larson, Kay. "The Figure Out-Of-Focus." New York 15, no. 20, May 17, pp. 62-63, ill. (color).Martin, J., ed. "Leslie Mural Painting Installed in LB J Library." Allan Frumkin Gallery Newsletter, no. 15, Fall, p. 3, ill.
Glueck, Grace. "Art: Alfred Leslie's Black-And-White." New York Times, November 7, p. C14, ill.Larson, Kay. "Alfred Leslie." New York 16, no. 17, April 25, p. 141.Wallach, Amei. "The Parrish's Painterly Figure's." Newsday, August 7. Part II, pp. 19,20.
Newport Beach, California. Newport Harbor Art Museum. Action / Precision: The New Direction in New York, 1955-60. June 28-September 9, 1984. Catalogue. Essays by B. H. Friedman, John Bernard Myers, Robert Rosenblum. and Paul Schimmel.Westfall, Stephen. "Alfred Leslie." Arts Magazine 58, no. 7, March, p. 41, ill.
"Alfred Leslie: The Narrator" [interview by Chris Bruce]. Insight: A Journal of the Henry Gallery Association (Seattle, Washington), Spring 1985, pp. 1-7, ill.Stevens, Mark. "A Fresh Look at the '50s." Newsweek 105, no. 3, January 21, pp. 76-77, ill. (color).Brach, Paul. "Opinion: Return to Realism." East Hampton Star (East Hampton, New York), August 15, p. B12.[Statement.] The Bronx Celebrates. New York: Lehman College Art Gallery, 1985. N. pag."Then and Now: Six of the New York School Look Back" [interview by Stephen Westfall]. Art in America 73, no. 6, June 1985, pp. II2-14, ill. (color).
Glueck, Grace. "Some Art of Union's Missing." New York Times, July 8, p. C13, ill."Alfred Leslie: Folded Constance Pregnant." Print Collector's Newsletter (New York) 17, no. 4, September/October, p. 142, ill.
"Our Luminous Paradise" [introduction]. 100 Views along the Road: Watercolors by Alfred Leslie. New York: Timken Publishers, 1988. p. 5-10. Reprinted as "Watercolors That Transport," ed. Laurie S. Hurwitz. American Artist (New York) 53, issue 561. April 1989, pp. 66-69, 96-102. ill.
"Some Notes on the History of Two Works Called Act and Portrait." Dirty Goat (Austin, Texas) I, no. 1 (1989), "Visual Arts," pp. 47-51, 54-59, ill."Books Received: Leslie, Alfred." Print Collector's Newsletter 20, no. 3, July/August, p. 112.
Faust, Gretchen. "Alfred Leslie's The Last Clean Shirt." Arts 65. no. 9. May. p. 95. ill.[Schwartzman, Allan]. "Alfred Leslie." New Yorker 67, no. 14, May 27, p. 16.Brenson, Michael. "Nude Yet Nor Exposed: Seven Elusive Charcoals." New York Times, June 21, p. C21, ill.[Schwartzman, Allan.] "Alfred Leslie." New Yorker 67, no. 36, October 28. P. 16.MacAdam, Barbara A. "Alfred Leslie." Art News 90, no. 8, October, p. 129, ill.[Liebmann, Lisa.] "Art." New Yorker 67, no. 38, November 11, p. 12.Otis, Lauren. "An Eye for Art and Craft." Vogue Decoration, no. 34, October-1991 November, p. 87, ill. (color).[Schwartzman. Allan.] "Alfred Leslie." New Yorker 67, no. 39. November 18, p. 16.Assorted advertisements.
Decter, Joshua. "Alfred Leslie." Arts 66. no. 5. January. p. 78, ill. (color).Gookin, Kirby. "Alfred Leslie." Artforum 30. no. 5. January, ill.[Schwartzman. Allan]. "Alfred Leslie." New Yorker 68. no. 52. February 17. p. 12.Carbone. David. "In the Galleries: Alfred Leslie." Art & Antiques 9, no. 4. April. p. 82, ill. (color).Smith, Roberta. "Body, Body Everywhere, Whole and Fragmented." New York Times May 15, p. C24.Bourdon, David. "Seeing It All, or, Six Weeks in Manhattan Galleries." Art in America, September 1992, pp. 55, 57, ill.[Schwartzman, Allan.] "Group Show." New Yorker 68, no. 37, November 2, p. 21.
|III.G.1.43||Complete Set Leslie Press Selected||1992|
Subseries III.G.2: Artwork and Exhibition Photographs
This subseries contains the vast amount of photographic documentation compiled by Bellamy and Flynn in the course of their exhibitions. The photographs are arranged within the series according to exhibition or stage of Leslie's career. Most of the folders are titled after specific works in loose alphabetical order by title. Dates provided in parentheses are of the work; except for installation photographs, it is unknown when most of the photographs were taken. Folders for individual works typically contain one 8x10" photograph or 4x5" negative or 4x5" transparency, or a combination of the three. Folders at the end of the series are more likely to have originated with Richard Bellamy and contain images of numerous works.
|III.G.2.1||Drawings: Photocopies of Drawings|
|III.G.2.2||Drawings: Photocopies of Drawings|
|III.G.2.3||Drawing: Constance Pregnant Etching (11/18/1991)|
|III.G.2.4||Drawings: Afternoon Soaps (1983)|
|III.G.2.5||Drawings: Laura Apostalov (1985)|
|III.G.2.6||Drawings: Carolyn Arnold (1974)|
|III.G.2.7||Drawings: Richard Bellamy (1973)|
|III.G.2.8||Drawings: Bridget (n.d.)|
|III.G.2.9||Drawings: Cindy Cresswell (1976)|
|III.G.2.10||Drawings: Cindy Cresswell (1976-1977)|
|III.G.2.11||Drawings: Angelica Fenner (1984)|
|III.G.2.12||Drawings: Fig Newtons and Milk (n.d.)|
|III.G.2.13||Drawings: Folded Constance Pregnant (1985-1986)|
|III.G.2.14||Drawings: The Golden Age (1974)|
|III.G.2.15||Drawings: Hotel California (1980)|
|III.G.2.16||Drawings: Alla Leshko (1976)|
|III.G.2.17||Drawings: Jaroslaw Leshko (1976)|
|III.G.2.18||Drawings: Anthony Leslie (1983)|
|III.G.2.19||Drawings: Jeanette Leslie (1983)|
|III.G.2.20||Drawings: Marcelle and Pierre Monnin (1975)|
|III.G.2.21||Drawings: Melina Lotz (1992)|
|III.G.2.22||Drawings: Hugh Millard (1992)|
|III.G.2.23||Drawings: Robin Miller (1967)|
|III.G.2.24||Drawings: Henry Pitcher (1978)|
|III.G.2.25||Drawings: Self-Portrait (n.d.)|
|III.G.2.26||Drawings: Sonya Sofield (1976)|
|III.G.2.27||Drawings: Untitled (Swivel-Hipped Woman) (1980)|
|III.G.2.28||Drawings: Untitled, No. 1 (1990)|
|III.G.2.29||Drawings: Untitled, No. 2 (1990)|
|III.G.2.30||Drawings: Untitled, No. 3 (1990)|
|III.G.2.31||Drawings: Untitled, No. 4 (1990)|
|III.G.2.32||Drawings: Untitled, No. 5 (1990)|
|III.G.2.33||Drawings: Untitled, No. 6 (1990)|
|III.G.2.34||Drawings: Untitled, No. 7 (1990)|
|III.G.2.35||Drawings: Untitled, No. 8 (1990)|
|III.G.2.36||Drawings: Untitled, No. 9 (1990-1991)|
|III.G.2.37||Drawings: Constance West (1969)|
|III.G.2.38||Drawings: Wigman Practice Class: "She Asked Me to Make a Circle Dance" (1974)|
|III.G.2.39||Drawings: Wigman Class (Youngstown Ohio) (1977)|
|III.G.2.40||Drawings: Final Drawing for Wigman (1977-1978)|
|III.G.2.41||Drawings: Wigman Class (Unsolved Murder with Broom and Dancer) (1980)|
|III.G.2.42||Drawings: Wigman Practice Class (1981)|
|III.G.2.43||Drawings: Rebecca Werner (1978)|
|III.G.2.44||Drawings: Mrs. Bagley (Virginia) Wright, No. 1 (11/11/1966)|
|III.G.2.45||Drawings: Mrs. Bagley (Virginia) Wright, No. 2 (11/16/1966)|
|III.G.2.46||Drawings: Installation Views: Alfred Leslie: Drawings, Flynn Gallery, 5/4-6/29/1991||1991|
|III.G.2.47||Red Paintings: Installation Views: Alfred Leslie: The Red Paintings, 1973-1975, Flynn Gallery, 4/4-6/27/1992||1992|
|III.G.2.48||Red Paintings: Carolyn Arnold (1974)|
|III.G.2.49||Red Paintings: Dina Cheyette (1974-1975)|
|III.G.2.50||Red Paintings: Roy Faudre (1974)|
|III.G.2.51||Red Paintings: Julie Schwer and Jane Schwer (1974-1975)|
|III.G.2.52||Red Paintings: Virginia Wright (1973)|
|III.G.2.53||Red Paintings: In the Tepee at Leverett (1973-1974)|
|III.G.2.54||Grisaille Paintings: Installation Views: Alfred Leslie: The Grisaille Paintings, 1962-1967, Flynn Gallery, 10/5-12/21/1991||1991|
|III.G.2.55||Grisaille Paintings: Photocopies of Contact Sheets, Playboy Shoot, September 1966||1966|
|III.G.2.56||Grisaille Paintings: Studio Shots, Playboy (Jerry Yulsman) September, 1966||1966|
|III.G.2.57||Grisaille Paintings: Stills From USA: Poetry||1966|
|III.G.2.58||Grisaille Paintings: Studio Shots (Leslie)||1962-1965|
|III.G.2.59||Grisaille Paintings: Lisa Bigelow (1963)|
|III.G.2.60||Grisaille Paintings: Lisa Bigelow (1964-1966)|
|III.G.2.61||Grisaille Paintings: Irene Castellana (December, 1965)|
|III.G.2.62||Grisaille Paintings: Linda B. Cross (1967)|
|III.G.2.63||Grisaille Paintings: Judy Duboff (1966-1967)|
|III.G.2.64||Grisaille Paintings: Jane Elford (1967-1968)|
|III.G.2.65||Grisaille Paintings: Katherine Kingsolving (1965-1966)|
|III.G.2.66||Grisaille Paintings: Alfred Leslie (1964)|
|III.G.2.67||Grisaille Paintings: Alfred Leslie (1966-1967)|
|III.G.2.68||Grisaille Paintings: Joseph Leslie (1965)|
|III.G.2.69||Grisaille Paintings: Judy Tenenbaum, Unfinished (1966-1967)|
|III.G.2.70||Grisaille Working Drawings: Installation Views: Alfred Leslie: The Grisaille Paintings: Working Drawings, 1962-1967, Flynn Gallery||1992|
|III.G.2.71||Grisaille Working Drawings: Linda Cross (1/4/1967)|
|III.G.2.72||Grisaille Working Drawings: Linda B. Cross, No. 7 (4/3/1967)|
|III.G.2.73||Grisaille Working Drawings: Jane Elford (1967)|
|III.G.2.74||Grisaille Working Drawings: Jane Elford (1968)|
|III.G.2.75||Grisaille Working Drawings: Jane Elford, No. 3 (1968)|
|III.G.2.76||Grisaille Working Drawings: Bonnie Hilkevitch, No. 1 (Summer 1965)|
|III.G.2.77||Grisaille Working Drawings: Claire Hooton (12/12/1966)|
|III.G.2.78||Grisaille Working Drawings: Study for Leslie's Head in Bridges (1963-1964)|
|III.G.2.79||Grisaille Working Drawings: Study for Leslie's Head in Bridges (Profile) (1963-1964)|
|III.G.2.80||Grisaille Working Drawings: Self-Portrait, No. 2 (9/12/1965)|
|III.G.2.81||Grisaille Working Drawings: Karin Peters, No. 2 (1965)|
|III.G.2.82||Grisaille Working Drawings: Judy Tenenbaum (12/13/1966)|
|III.G.2.83||Grisaille Working Drawings: Mrs. Bagley (Virginia) Wright, No. 1 (11/11/1966)|
|III.G.2.84||Grisaille Working Drawings: Mrs. Bagley (Virginia) Wright, No. 2 (11/16/1966)|
|III.G.2.85||Act and Portrait (1968-1970)|
|III.G.2.86||Afternoon Soaps (1981-1982)|
|III.G.2.87||Americans: Youngstown, Ohio (1977)|
|III.G.2.88||Laura Apostalou (1983)|
|III.G.2.89||The Birth of Venus (1969-1970)|
|III.G.2.90||A Birthday for Ethel Moore (1976)|
|III.G.2.91||Bread and Coffee (1983)|
|III.G.2.92||Cindy Cresswell (1975)|
|III.G.2.93||Family Portrait in 1976 (1976)|
|III.G.2.94||Angelica Fenner (1978)|
|III.G.2.95||Fig Newtons and Milk (n.d.)|
|III.G.2.96||Flooded Parking Lot (1986)|
|III.G.2.97||Four Panel Green (1957)|
|III.G.2.98||High Tea (1961)|
|III.G.2.99||Hotel California (n.d.)|
|III.G.2.100||Instant Pictures (n.d.)|
|III.G.2.101||Donna Kaulenas (1977)|
|III.G.2.102||Cayce Kee (1983)|
|III.G.2.103||Kosher Product (n.d.)|
|III.G.2.104||Kurtz's Station (1956)|
|III.G.2.105||Lakefront Property (1961)|
|III.G.2.106||Nennie Leslie (1982)|
|III.G.2.107||Tony Leslie (1982)|
|III.G.2.108||Sydney Lewis (n.d.)|
|III.G.2.109||The Loading Pier (1975)|
|III.G.2.110||Long Hoboken Rectangle (1954)|
|III.G.2.111||Looking Toward Mount Greylock (1976)|
|III.G.2.112||Marcelle and Pierre Monnin (1975)|
|III.G.2.113||Morning Light (1980-1989)|
|III.G.2.114||New Interstate Highway (1983-1989)|
|III.G.2.115||N.Y. 10, N.Y. (1961)|
|III.G.2.116||Open Door (1951)|
|III.G.2.117||The Raising of Lazarus (1975)|
|III.G.2.118||Robert Scull (1969-1972)|
|III.G.2.119||Self-Portrait With Hammer (1969)|
|III.G.2.120||Self-Portrait With Hoboken Oval (1981)|
|III.G.2.121||Self-Portrait With Tuxedo (1980)|
|III.G.2.122||Sheena See (1974)|
|III.G.2.123||String of Pearls (1961)|
|III.G.2.124||In the Studio of Gretchen McClaine (1979)|
|III.G.2.125||James Tate and Liselotte Tate (n.d.)|
|III.G.2.126||The Television (1978-1979)|
|III.G.2.127||Constance West (1968-1969)|
|III.G.2.128||Mary Wigman's Practice Class ("She Taught Me to Do a Circle Dance") (1973)|
|III.G.2.129||Becky Windmiller (1990)|
|III.G.2.130||First Four (1955)|
|III.G.2.131||A Survivor (1951)|
|III.G.2.132||Constance Pregnant (n.d.)|
|III.G.2.133||Bill Depp (1994-1995)|
|III.G.2.134||Pericles Papayiannis (1995)|
Photographs of different images from The Killing Cycle depicting the death of Frank O'Hara. Includes 1 photograph, 7 transparencies, 7 slides; typescript essay by David Joel Shapiro on Leslie; two-page typescript twenty-year chronology of the development of the paintings (with note from Leslie to RB).
|III.G.2.145||The Course of Birth||1971-1988|
|III.G.2.146||The Course of Birth||1984-1988|
|III.G.2.147||The Course of Birth||1988|
|III.G.2.148||Grisaille Paintings 1990s|
|III.G.2.149||Photographs and Negatives of Drawings|
|III.G.2.150||Photographs of Drawings|
|III.G.2.151||Photographs of Drawings|
|III.G.2.152||Photographs and Negatives|
|III.G.2.154||Major Paintings Available 1967-1990|
|III.G.2.156||Red Paintings 1973-1975||1992|
|III.G.2.157||Drawings for the Grisaille Paintings 1963-1968||1992|
|III.G.2.158||Grisaille Paintings 1962-1967|
|III.G.2.159||Open Questions: Abstract
Images of artworks and events, all showing unidentified abstract paintings by Leslie; includes two snapshots and negatives, five transparencies, thirteen 8x10" photographs, nine 4x5" photographs with some labels and notes, and nine slides.
|III.G.2.160||Photographs To Be Filed|
|III.G.2.161||Open Questions Drawings|
|III.G.2.162||Contact Sheets, Eeva-Inkeri Shoot|
|III.G.2.163||Open Questions Figure Painting|
Subseries III.G.3: Exhibition Records, Correspondence, and Other Artist Files
This subseries contains all the records of the exhibitions and activities Bellamy undertook on Leslie's behalf and the records created by the Flynn Gallery for the four exhibitions staged there. Because of the two different sources for the records and Bellamy's loose filing, the folders appeared to be in no order when received. Exhibition folders were mostly grouped together but materials originating from the same activity or time period were also widely scattered. Here the folders have been rearranged in an approximate chronological order regardless of possible creator. Exhibition materials include records of sales, loans, consignments, provenance research, installation plans, shipping and warehouse invoices. There is extensive documentation of publicity including advertisements, calendar listings, contact with reviewers and press previews. A Leslie catalogue published for the exhibition of grisaille paintings resulted in a separate set of records. Apart from the exhibitions at the Flynn Gallery and at Oil & Steel, there are folders of material dealing with Leslie exhibitions at the University of Hartford, The Saint Louis Art Museum, Magasin 3 in Stockholm, Sweden, and other locations. Other material present includes inventories of work, correspondence, records of sales and disbursements to the artist, news clippings and exhibition ephemera. The earliest material here originates from the days of Bellamy's association with the Noah Goldowsky Gallery and stretches until the month of Bellamy's death.
|III.G.3.5||Records of Sales: Allan Frumkin Gallery||1975-1983|
|III.G.3.8||Catalogs from Shows||1982-1991|
|III.G.3.10||100 Views Along the Road Correspondence||1983-1988|
|III.G.3.12||100 Views Along the Road catalogue||1984-1993|
Various documents related to Leslie's work and to the exhibition 100 Views Along the Road, including list of works in the exhibition, installation layout and mock up of the catalogue, other sales lists, exhibition announcements and leaflets.
|III.G.3.14||Oil & Steel Shows||1984|
|III.G.3.15||Writings and Catalogs
Includes 7-page typescript by Leslie discussing his painted triptych, Act and Portrait, and his 1965 film of the same name; galley copies of catalogue for 100 Views Along the Road, installation map and work list of exhibition, handling instructions for etching, Folded Constance Pregnant.
|III.G.3.16||Inventories and Lists of Works||1984-1988|
|III.G.3.17||Articles and Ephemera||1985-1997|
|III.G.3.18||Works For Sale||1985|
|III.G.3.19||Examples of Sketches||n.d.|
|III.G.3.22||Biography, Catalogs, and Awards List||n.d.|
|III.G.3.25||Correspondence and Notes
Various materials including received correspondence, work lists, photocopies of works, biographical material. Also includes 1 ALS Alfred Leslie-"Steve" at the Hirshhorn Museum (11/10/1981) [3 pages, re: possible exhibitions of work.]
|III.G.3.29||Hill Gallery, MI||1989-1990|
|III.G.3.31||Grisaille and Red Paintings||1990-1992|
|III.G.3.33||The Last Clean Shirt, Flynn Gallery, 2/8-2/10/1991
Documents and materials pertaining to the film by Leslie shown at the Flynn Gallery in 1991. Includes invitations, articles, correspondence, notes and memos, lists of invitees, calendar listings, and other materials.
|III.G.3.36||Grisaille Paintings catalogue Complimentary Copies||1991-1992|
Various materials relating to the Flynn Gallery exhibition including ephemera, printing proofs of signage and advertisements, catalogue extracts, correspondence with journalists, catalogue requests, calendar listings; includes topical dividers.
Includes records and invoices for framing, lists of works, master proof of portions of the catalogue, wall label texts, insurance documents, calendar listings, correspondence, packing and shipping documents, loan agreements; with topical dividers.
|III.G.3.41||Grisaille Paintings: Richard Bellamy Interview||9/6/1991|
|III.G.3.42||Grisaille Book Celebration: Complimentary Copies||1991-1992|
|III.G.3.44||Leslie Offers Out||1991-1992|
|III.G.3.45||Leslie Photographs Out - Retired||1991-1992|
|III.G.3.46||Correspondence and Inquiries||1991|
|III.G.3.47||Killing Cycle Responses||1991|
|III.G.3.48||Lists of Works||1991|
|III.G.3.49||Flynn Gallery 5/91||1991-1995|
Documents relating to the exhibition The Power of Form: Alfred Leslie's Art, 1951-1991, Joseloff Gallery, University of Hartford, 5/5-6/29/1991. Includes sketches of installation, work lists, catalogue essay, correspondence and shipping and loan documents.
|III.G.3.52||Alfred Leslie: Drawings, Flynn Gallery, 5/4-6/29/1991||1991|
|III.G.3.53||Alfred Leslie: Drawings, Flynn Gallery, 5/4-6/29/1991||1991|
|III.G.3.55||Biography and Bibliography Updated from Grisaille catalogue Forward||1991-1994|
|III.G.3.56||Grisaille Paintings catalogue
[Original folder subtitle: "Notes from meetings with J. Kelly; original bid and legal agreement 3/4/92; complaints voiced in corresp. w/ Stephen Stinehour; comparable bids"]Materials relating to the catalogue of the grisaille paintings printed by Stinehour Press.
|III.G.3.57||Grisaille Book Celebration: Howard Reading, Dinner, Saturday Book Party||1992|
|III.G.3.58||Grisaille Book Celebration: RSVPs||1992|
Materials for exhibition, Alfred Leslie: The Red Paintings, 1973-1975, at the Flynn Gallery, 4/4-6/27/1992.Includes correspondence, insurance documents, loan agreements, shipping materials, wall label and announcement materials; with topical dividers.
|III.G.3.60||Red Paintings: Interview||4/28/1992|
|III.G.3.61||Correspondence and Inquiries||1992|
|III.G.3.62||Grisaille Paintings catalogue||1992-1997|
|III.G.3.63||Grisaille Books Sold||1992|
|III.G.3.65||Inventories of Works||1996|
Subseries III.H: Walter de Maria 1965-1996
Facsimile documents relating to organization of exhibition Art by Telephone at The Museum of Contemporary Art, Chicago, and de Maria's participation in it.
|III.H.3||Card and Letter
Includes card with pencil sketch of rectangle, signed by de Maria, 1961; appraisal by Bellamy of 35-Pole Lightning Field and handwritten note (marked "Sahara" and "letter #2") from de Maria.
|III.H.4||Writings and Correspondence
Numerous hand- and typewritten letters to Bellamy from de Maria including some, from 1969, updating RB on work in Utah and the west. Most not dated with year. Includes release form for permission to view spike sculpture by de Maria at the Dwan Gallery, 1969.
Twenty-eight photographs of work including five large prints of Landshow at Galerie Heiner Friedrich, Munich.
Subseries III.I: Grégoire Müller 1982-1995
|III.I.1||Catalogs and Exhibition Ephemera||1982-1992|
|III.I.2||Correspondence, Photographs, and Photograph Booklets
Includes one undated handmade booklet with photographs of portraits by Müller entitled, Some Heads...Roughly 4'x4' (amateur photographs...), and another entitled Some "Contemporary" Landscapes; five letters and assorted other photographs and snapshots.
Includes sent and received correspondence concerning Müller and his works; some loan agreements and other exhibition records; typescript artist's statement and two handwritten letter from Müller, both undated.
|III.I.4||Articles, News Clippings, Exhibition Material
Includes lists of works and bibliography, exhibition history, and other material from the exhibition, Gregoire Muller, Oil & Steel Gallery, 3/20-4/21/1984.
Thirty-eight 4x5" transparencies of various works, unlabeled, and five snapshots.
|III.I.6||Transparencies and Catalogs
Includes fifty unlabeled 4x5" transparencies of various works.
Bound sketchbook with photographs of works pasted in and labeled by Müller; album also includes some news clippings and ephemera.
|III.I.8||Photographs and Miscellaneous Material
Includes seven photographs and seven slides of various works; documents from the 1985 Oil & Steel exhibition including lists of works, map of installation, and news clippings; two letters from Müller.
Subseries III.J: Jan Müller 1957-1996
This subseries deserves special note. Müller was a founder of the Hansa Gallery and achieved the greatest commercial success of any member during it's existence. His early death in 1958 cut short an ascendant career as a painter. In 1985, the Oil & Steel Gallery staged an exhibition of Müller's work and much of the material here documents that show. But some files also contain records from the Hansa Gallery days. Photographs by Robert Frank and Rudy Burckhardt of Müller and his work almost certainly date from the Hansa era. Of greatest interest is the nine-page typescript of sales by the Hansa Gallery during the 1956-1957 season. While Müller is the most frequent artist named, many other notable artists are also listed. The names of purchasers show the serious attention the Hansa received from major collectors and institutions, including The Museum of Modern Art. This series as a whole testifies to the importance of Müller to the Hansa and his growing significance in the art world before his death.
|III.J.1||Articles and News Clippings
Photocopies of various articles and catalogue extracts about the artist; includes entire issue of Arts (February 1959), with article, "Jan Müller, 1922-1958" by Martha Sawin.
Four contact sheets of installation of Müller works; twenty-three photographs, and various transparencies and negatives; many of the images have editing marks for publication. Includes two photographs of Müller by Robert Frank (at front) and others by Rudolph Burckhardt.
|III.J.3||Hansa Gallery Sales and Miscellaneous Materials
Includes nine-page typescript list of all works sold by the Hansa Gallery in the 1956-1957 season; list includes title and
details of work, selling price, artist and buyer. Among the buyers are the names Alfred Barr, Philip Johnson, Richard Brown
Baker, Meyer Shapiro, Sam Spewak, and Monroe Wheeler; works sold include pieces by Richard Stankiewicz, George Segal, Jan
Müller, Miles Forst, and others.
Eleven installation photographs of unknown exhibition of Müller's work by Peter Bellamy (most likely of 1985 Oil & Steel exhibition), thirteen photographs and twelve transparencies of individual works; two photographs of Müller by Robert Frank.
|III.J.5||Oil & Steel Exhibition
Materials related to exhibition, Jan Müller: Major Paintings 1956-1957, 1/15-2/23/1985, Oil & Steel Gallery; includes catalogue, various lists of works, notes and correspondence.
|III.J.6||News Clippings and Ephemera||1984-1990|
Lists of works and price lists, exhibition history lists, insurance and loan documents, and correspondence; includes later invoices and correspondence relating to the sale of Müller's work.
Also includes invoices, shipping, and loan documents.
Three 11x14" prints of Müller and his work.
Subseries III.K: Richard Nonas 1975-1988
|III.K.1||Catalogs and Publications
Hotel (New York: Tanam Press; 1980) with piece, "Montezuma's Last Dead Breakfast in Mexico," by Nonas.
|III.K.2||Catalogs and Publications
Donald Kuspit and Phyllis Rozenzweig, Richard Nonas: Sculpture/Parts to Anything (Roslyn harbor, NY: Nassau County Museum of Fine Art, 1985)
Announcements and leaflets from various exhibitions including Richard Nonas: New Sculpture and Drawings, 10/17-12/1982, Oil & Steel Gallery.
|III.K.4||Bibliography and Exhibition History
Materials prepared for the Oil & Steel exhibition.
|III.K.5||Artist's Statements and News Clippings||1977-1981|
|III.K.7||Press Release and Letter
Includes 1 ALS Richard Nonas-RB (n.d.)
Subseries III.L: David Rabinowitch 1973-1998
As with the Leslie artist files, some of the material here originated with the Flynn Gallery though it is not as clear the extent to which Rabinowitch's exhibitions were a joint activity with Bellamy. But Bellamy staged his own exhibitions of Rabinowitch's work during his days as an independent dealer and at Oil & Steel and his acquaintance with the artist stretched over decades, as the records here testify.
|III.L.1||Bibliography and Exhibition Pamphlets||1978-1992|
Materials originally contained in two binders.
|III.L.4||Photocopies of Works
Copies of sculpture photographs.
|III.L.5||Photocopies of Works
[Original folder title: "Bennington"].
Two large folded diazo floor plans of unidentified space.
One transparency and contact sheet of installation views of an unidentified exhibition, Thirty-five photographs of individual works.
|III.L.8||Correspondence and Exhibition Materials
Includes photocopies of sculpture drawings and notes by the artist, correspondence, floor plan of installation and list of works from David Rabinowitch: Construction of Vision Drawings, 12/13/1983-1/28/1984, Oil & Steel Gallery, invoices for the fabrication and shipping of works.
|III.L.9||Oil & Steel Drawing Show
Includes announcement, press release, floor plan of installation, seven photographs of works, and news clippings.
Thirty photographs of individual works.
Handwritten notes and installation diagrams, price list, press release, list of fabrication needs, for exhibition, David Rabinowitch: Sculptures, 1967-1972, 3/2-4/3/1982, Oil & Steel Gallery.
Various invoices for steel and fabrication.
Includes various letters, news clippings, press releases of exhibitions and writings by Barbara Flynn regarding the possible destruction of one sculpture. Also includes letters from Rabinowitch to Jonas Mekas, Flynn, and RB.
|III.L.14||Photographs of Drawings
|III.L.15||Advertisements and Photographs
Three photographs, various advertisements and photocopies of works.
|III.L.16||Slides and Snapshots
[Original envelope for snapshots labeled: "Rabinowitch I: Lammara/March '81"]
Small amount of materials from various exhibitions.
Mainly includes correspondence, reviews, and other material concerning Rabinowitch's exhibition at the Flynn Gallery in 1992; one undated ALS David Rabinowitch-RB.
|III.L.20||Oil & Steel Exhibition
Original folder title: "Rabinowitch 3/6-4/13/1985"]
[Original folder title: "RAB Guggenheim Selection"]
Includes biographical material, work lists and reviews from various exhibitions; correspondence, invoices, bills and receipts, canceled checks and records of payments.
|III.L.23||Color Separations for Advertisement||1985|
|III.L.24||Photographs and Letter
Includes two photographs (one signed "To Dick with all our love at Christmas, 1982[illegible] David"), one letter from Rabinowitch to RB and Barbara Flynn (n.d.), and possible sketches of works by Rabinowitch.
|III.L.25||Rabinowitch Archive: Announcements||1976-1992|
|III.L.26||Rabinowitch Archive: Original Writings Including Speeches, Interviews, Letters, Texts
Typescripts and photocopies of writings by and about Rabinowitch; many undated.
|III.L.27||Rabinowitch Archive: Press Releases
Press releases for three exhibitions at the Flynn Gallery.
|III.L.28||Writings and News Clippings
Gillette, Frank. "On Rabinowitch's Berginzi Constructions in Six Panels and Two Scales for William Tyndale." Rooms P.S.1. New York: The Institute for Art and Urban Resources, 1976.
Subseries III.M: Myron Stout 1954-1997
Myron Stout was a lifelong resident of Provincetown, and it is likely Bellamy first made his acquaintance there in the 1950s. Bellamy and Stout maintained a close friendship over the ensuing four decades even as Stout remained a figure marginal to the larger art world. Stout joined the Hansa Gallery in 1955 and asked Bellamy to be his private dealer afterward. He began to attract broader attention with an exhibition at The Whitney Museum of American Art in 1980. In the 1990s, the Flynn Gallery, Kent gallery, and numerous other institutions held posthumous exhibitions of his work and Bellamy fully participated in organizing them. In 1977, perhaps in preparation for the Whitney retrospective, Kathryn Maartens recorded an interview with Stout conducted over three months and contained on fourteen audiocassettes; those recordings are described below.
|III.M.1||Biographies, Catalogs, etc.
Includes exhibition announcements, correspondence, news clippings, loan agreements, and curriculum vitae.
Two documents, one of which transcribes a conversation with Stout concerning his unfinished works.
Materials concerning the exhibition, Myron Stout, 2/6-4/20/1980, Whitney Museum of American Art, and curated by Sanford Schwartz. Includes records of framing and photography, loan agreements, shipping receipts, list of works, correspondence, and some later materials.
Lists of artworks, appraisals, and correspondence regarding the Stout Estate.
Invoices, deposit slips, and other records of sales; loan agreements and shipping receipts.
Records concerning consignments and sales of Stout's work by the Joan T. Washburn Gallery, New York, and various exhibitions of Stout's work held there.
Framing receipts, loan agreements, biographical material, and lists of works from various exhibitions.
|III.M.10||Loans and Lender Correspondence
Also includes consignment agreements, sales records, conservation and appraisal documents, and exhibition materials.
Materials concerning the exhibition Myron Stout, 5/28-7/16/1994, Annemarie Verna Galerie, Zurich; includes contact sheet, negatives, and individual prints of installation views; correspondence, and materials dealing with other European institutions.
|III.M.13||Pricelists and Checklists||1990-1994|
Includes numerous letters from Stout, one a sixteen-page ALS (n.d.)
|III.M.15||Exhibition materials and Correspondence
Includes some letters from Stout among other correspondence, and lists of works for unspecified catalogue and various exhibitions.
|III.M.16||Consignment, Loan and Sales Correspondence
Includes letters from Stout, with discussion of his journals.
[Original envelope title: "8/1/90 1x Xeroxes Stout press (in alphabetical order by author)"]
Materials relating to the exhibition, Myron Stout, 10/11-1/1991, Kent Fine Art, New York; includes checklists, ephemera, shipping invoices and other expense records, and correspondence.
Materials relating to the exhibition at Kent Fine Art and the concurrent exhibition, Myron Stout, 10/6-12/15/1990, at the Flynn Gallery; includes insurance forms, correspondence, expenses, checklists and pricelists, loan agreements, and other materials.
Various news clippings, receipts, and correspondence.
[Original folder title: "Selected Press through 1990 B.F."]
Fourteen cassettes recording an interview of Stout by Kathryn Maartens conducted from 6/6/1977 through 9/5/1977. Each cassette is numbered and dated; numbers are from #1 to #15, there is no cassette #10.
Subseries III.N: Mark di Suvero 1970-1998
Mark di Suvero's relationship with Richard Bellamy began in the inaugural year of the Green Gallery. The artist was extensively represented in exhibitions there, and Bellamy continued to represent him privately over the decades and publicly through the Oil & Steel Gallery. Their relationship became so close that in 1985 Bellamy moved Oil & Steel from Chambers Street in Manhattan to 30-40 Vernon Boulevard in Long Island City, part of the same compound as di Suvero's studio and where one or more sculptures by the artist was always on display. In the last decade of Bellamy's career, after Oil & Steel had ceased public exhibitions, Bellamy devoted himself almost full-time to coordinating di Suvero exhibitions (particularly in Europe), placing his sculptures in institutions and collections, and compiling documentation of the artist's oeuvre for an eventual catalogue raisonné. Bellamy became known for his sensitive photographs of di Suvero's installed sculpture; those photographs covered the walls of his office at the time of his death (see folder II.D.118).
The files in this series fully depict the range of Bellamy's activity, though the greater part of the material is devoted to activities of the 1980s and 1990s. Groups of folders at the beginning of the series particularly focus on exhibitions and installations of sculptures in Mannheim, Stuttgart, and Bonn, Germany; Paris, Nice, and Valence, France; Valencia, Spain; Venice, Italy; and Storm King Art Center, New York. Numerous files are also devoted to the consignment, loan, and exhibition of works by galleries worldwide. Materials within these folders include extensive correspondence with institutions around the globe; shipping, fabrication, and other expense documents; exhibition announcements, leaflets, and catalogue material; local and national press and reviews. There are financial records of amounts received by Bellamy and Oil & Steel, and disbursed to di Suvero and his company, Spacetime, Inc. In fact, the financial and organizational relationship between the two business is not always clear as there is a great amount of Spacetime stationery here as well as correspondence and business material addressed directly to di Suvero and his firm. The series also contains extensive work lists, biographical materials on the artist, and some photographic documentation. There is no real presence of Bellamy's photographic documentation of the artist's work here as Bellamy's photographic archive of Mark di Suvero's work was acquired by di Suvero in 1998.
Correspondence, contracts, and other records of the art commission of Mannheim's purchase of the sculpture, Spring Rain, by MdS, for the Landesmuseum für Technik und Arbeit; much of the materials in German.
Includes correspondence, invoices, shipping documents.
Correspondence and records of the planning and installation of an exhibition of MdS work at the Württembergischer Kunstverein in Stuttgart, 1988.
Includes poster for exhibition; list of works, "Mark di Suvero Sculpture of Major Size: 1965-1987"; exhibition checklist of MdS at Oil & Steel, 1985.
Some of the earliest letters discuss purchase of MdS works by the Staatsgalerie in Stuttgart and by Daimler Benz; various lists of works by MdS also present.
|III.N.8||Stuttgart Correspondence, 1990 On
Much of the correspondence discusses the purchase of the sculpture, Lobotchevsky, by the city of Stuttgart.
|III.N.9||Stuttgart Credit Card Charges
Bills and receipts.
Correspondence regarding the exhibition of MdS sculpture throughout the city of Paris in 1997.
Correspondence and records regarding the purchase of sculpture, L'Allumé by the Bundesbaudirektion, for new buildings of the German Bundestag, Bonn.
Correspondence and records of exhibition, Mark di Suvero 1959-1991, at Le Musée d'Art Moderne et d'Art Contemporain de Nice, 1991.
Folder devoted largely to correspondence arranging loans of work for the Nice exhibition.
Correspondence and documents concerning the loaning, crating and shipping of works to Nice.
|III.N.16||Nice Transport in USA
Shipping invoices, correspondence and other documents.
|III.N.17||Nice Transport Reimbursement; Copies of Billing||1991|
|III.N.18||Nice Exhibition Checklists||1991|
|III.N.19||Nice catalogue Responses
Thank you correspondence from recipients of complimentary copies of the exhibition catalogue.
|III.N.20||Nice Loan Forms||1991|
Various correspondence and records, much relating to the exhibition catalogue.
Records, correspondence and material related to the exhibition, Mark di Suvero, at the Instituto Valenciano de Arte Moderno (IVAM) Centre Julio Gonzalez, Valencia, 12/16/1994-3/16/1995. Includes work lists, loan forms.
Shipping and photography correspondence and invoices.
News clippings from Spanish papers.
Italian and European news clippings from the MdS show at the Venice Biennale.
Materials regarding the exhibition, Mark di Suvero Valence, 5/19-8/31/1990, at the Musée de Valence, France, around the city. Includes lists of works, shipping documents, correspondence, news clippings and ephemera.
Responses to complimentary catalogs; also includes notes and other material.
Invoices relating to the filming of activities in Valence.
|III.N.29||Storm King Letters and Announcements
Most correspondence sent invitations to view the MdS retrospective, Mark di Suvero: 25 Years of Sculpture and Drawings, 5/22-10/31/1985, Storm King Art Center, Mountainville, New York.
Lists of works, collections.
Materials regarding various activities with the art center across three decades; includes extended loan agreements, documents of purchases and correspondence; and materials for MdS exhibitions of 1976, 1985, and 1995-1996.
|III.N.32||Storm King Invitees
Address lists and correspondence regarding invitations to the exhibition, Mark di Suvero at Storm King Art Center, 5/13-11/15/1995 and 4/1-1/15/1996.
|III.N.33||Storm King Installation Logistics||1995|
|III.N.34||Storm King Notes||n.d.|
|III.N.35||Storm King Checklists and Revisions
|III.N.36||Storm King Press Materials and Exhibition Ephemera||1995-1996|
|III.N.37||Storm King Expenses
Receipts, invoices, release forms; includes some records of sales.
|III.N.38||Storm King Loan Forms||1995-1996|
|III.N.39||John Berggruen, Berggruen Gallery
Correspondence, consignment and sales record concerning their representation of MdS; includes eleven snapshots of Berrgruen exhibition installation (n.d.); catalogue of exhibition, Mark di Suvero: Recent Work, at the gallery, 2/17-4/20/1994.
|III.N.40||The Hill Gallery, Birmingham, MI
Correspondence, exhibition, sales, and consignment documentation.
|III.N.41||The Hill Gallery; La Petite Clef
Records of the purchase, repair, delivery, and installation of the sculpture, La Petite Clef, by, or through the agency of, the Hill Gallery.
|III.N.42||Akira Ikeda Gallery, Japan
Correspondence, sales documents, invoices, and other materials.
|III.N.43||Akira Ikeda Gallery, Japan||1986-1990|
|III.N.44||Janie C. Lee Gallery, Houston
Correspondence, sales records and invoices.
|III.N.45||Janie C. Lee Gallery, Houston
Includes twenty-six 3x4" photographs, labeled, of MdS drawings exhibited at the gallery.
|III.N.46||The Redevelopment Authority of the City of Sharon, PA
Correspondence and material regarding an invitation by Sharon to MdS to come and produce a work in the city.
|III.N.47||L.A. Louver, Inc., Venice, CA
Notes, correspondence, consignment and sale documents, expense sheets.
|III.N.48||L.A. Louver Gallery, Inc., Venice, CA||1989-1997|
Invoices and sales documents, loan statements from banks, records of payments and loans between MdS (and his corporation Spacetime) and Oil & Steel; some ledger sheets and general ledger reports.
|III.N.50||Oil & Steel Exhibition
Materials related to Mark di Suvero at the Oil & Steel Gallery, 3/12-4/16 and 4/26-5/28/1983. Includes poster of show, press releases, checklists, maps of installation, and news clippings.
Material regarding the commission of a sculpture by the city of Pittsburgh in 1983 and the eventual cancellation of the commission in 1989. Includes news clippings, correspondence, contracts, and technical specifications.
Steel and material orders and specifications; cost breakdowns and budget documents; copy of contract with extensive hand edits and signed "Mark."
Includes received correspondence on MdS, some invoices and sales documents, and stray materials on various exhibitions.
[Original folder subtitle: "Monroe Denton: For his PhD dissertation on Mark"]
Includes multiple drafts of a "selected bibliography," with citations ranging from 1960 to 1993 as well as bibliographies compiled earlier.
Photocopies of manuscripts and typescripts of MdS writings, grouped into packets labeled by subject, such as "Religion" and "Philosophy."
Handwritten correspondence from MdS to RB, much undated and some with sketches of sculptures. Includes two letters to MdS from Joe LoGiudice and correspondence from MdS discussing his break with the LoGiudice Gallery; in particular, one postcard announces the break and urges RB to make arrangements for moving and storing works currently in LoGiudice's possession.
|III.N.58||Correspondence and Writings
Handwritten correspondence, including one letter written over computer drawings by MdS; typescript writings.
Three multi-page letters sent to MdS from RB discussing business matters; two undated.
Correspondence regarding various projects and sales.
|III.N.61||Checking and Savings Account Records
Account statements for MdS checking and savings accounts; canceled checks, deposit slips and other transaction records; ledger pages for the checking account.
|III.N.62||Lists of Works
Numerous lists from different years, most undated, and many of unsold or available works.
|III.N.63||List and Images of Works
[Note on folder: "For MdS to identify and date from LoGiudice photos."]
|III.N.64||Lists of Works
Price lists, retrospective lists of works, correspondence and notes.
|III.N.65||Articles and News Clippings
Includes typescript of catalogue essay on MdS by Irving Sandler (1996).
Correspondence, shipping receipts and loan documents for sculptures loaned to various European galleries and institutions; much of the material relates to the exhibition at the Württembergischer Kunstverein in Stuttgart, 1988.
|III.N.67||Miscellaneous Loan Records
Correspondence, consignment and loan agreements, shipping receipts; documents concerning works contributed to charitable auctions and events.
|III.N.68||Miscellaneous Loan Records
Includes later work lists, award presentation programs, and charitable event materials.
Shipping receipts and invoices.
Various versions and fragments of MdS curriculum vitae.
Miscellaneous received and sent correspondence.
|III.N.72||Old Finances, Spacetime, Inc.
MdS savings account passbooks, transaction receipts; invoices, receipts and correspondence regarding purchases and expenses of Spacetime, Inc., including purchases of steel.
|III.N.73||Spacetime Bills Paid
Records of various expenses.
[Original folder title: "catalogue 75 German shipment"]
Received and sent correspondence.
|III.N.76||ConStruct, Inc., Chicago
Correspondence, consignment agreements, invoices; some records relating to sculpture, Under Sky/One Family.
|III.N.77||Mark Di Suvero: Recent Sculptures
Price lists and press release for the exhibition at Oil & Steel.
Correspondence received in response to complimentary catalogs.
|III.N.79||Di Suvero Correspondence
Miscellaneous correspondence addressed to MdS.
Includes occasional invoices, contract for Pittsburgh commission (later canceled).
Announcements, leaflets, advertisements, and some catalogue material for exhibitions at Oil & Steel and other locations.
Received correspondence; includes thirty-six snapshots of various works, some news clippings and other documents.
Received correspondence, news clippings, and other materials.
Subseries III.O: Neil Williams 1967-1996
Neil Williams may be more notable now for his life, friends, and acquaintances, than for the art he made. Bellamy was one of those friends, but Williams' circle also included Larry Poons, John Chamberlain and other artists; for a while Williams shared a studio with Frank Stella. Most relevant to this series is that Williams was a tireless and avid photographer who documented his frequent travels (especially to the American West) and the activities of his friends. In 1988, Williams died suddenly at the age of fifty-four after residing in Brazil the last years of his life. In 1989 a posthumous exhibition of his paintings was held coincident with the 20th São Paulo International Biennial.
Bellamy apparently came into possession of a large quantity of Williams' photographic material after the artist's death. Included here are 35mm negatives and contact sheets representing more than 2300 images, nearly one hundred 2x2" color slides, and nearly four hundred 35mm slides. Labeling and dating is erratic but most images seem to date from the late 1960s and the early 1970s. Some have clearly identifiable subjects (John Chamberlain working on aluminum foil sculptures, for example), but most remain to be deciphered. Many of the negatives seem to have been developed by hand and show signs of adhesion and staining. Much of the materials also evidence water damage. Apart from Williams' own photographs, material in this series includes records related to his posthumous Brazilian exhibition as well as other shows. Photographs and other records here indicate that Bellamy aided in the documentation of extant works by the artist after his death and in the dispersal of his estate. Finally, these files also hold a complete sketchbook by Williams (containing drawings in graphite and oil crayon) and a gouache painting on graph paper.
Contains two letters only.
|III.O.2||Photographs - Black and White Negatives and Contact Sheets
Includes five slides, negatives and contact sheets comprising approximately 512 images. Images are of gatherings of friends, shots of landscapes, nude and clothed models in studio, and other subjects; inserted loose slips of paper may indicate locations or subjects. Slides are dated 1975; other material undated.
|III.O.3||Photographs - Black and White Negatives and Contact Sheets
Negatives and contact sheets comprising approximately 611 images of similar subjects to previous folder. Original labeled envelopes give some indication of subject and have been photocopied.
|III.O.4||Photographs - Black and White Negatives and Contact Sheets
Negatives and contact sheets comprising over 900 images; many negative strips (approximately 700 images) lack contact sheets and were originally wrapped in paper and labeled with date and subject and such names as Betty Parsons, Larry Poons, John Chamberlain, and Richard Bellamy.
|III.O.5||Photographs - Black and White Negatives and Contact Sheets - of John Chamberlain
Negatives and contact sheets comprising over 371 images and including images of Chamberlain's artwork and the artist at work in studio, at his Cologne exhibition, and in other activities.
|III.O.6||Painting on Graph Paper
8.25x11" painting in gouache on graph tracing paper (folded, original sheet size 16.5x11"); undated and unsigned, abstracted image of phone booth.
|III.O.7*||11x14" Prints of Photographs
Forty-six prints, with some duplicates, all apparently from negatives present in previous folders. Images generally are of poor quality.
|III.O.8*||11x14" Prints of Photographs
Eleven photographic prints stamped Barbara Willa Brown; prints are of higher quality than previous folder, many are mounted on board and show signs of water damage; photographer is unknown.
Catalogs of the XXXII international Biennial Exposition of Art, Venice, 1964, United states of America, and Neil Williams: Works from Brazil 1982-1988, 10/14-12/10/1989, the 20th São Paulo International Biennial.
|III.O.10||2x2" Color Slides
Forty-four cardboard-mounted transparencies, most labeled with subject, depicting scenes of the American southwest; also includes snapshots and negatives of artworks.
|III.O.11||2x2" Color Slides
Forty-six cardboard-mounted transparencies, most labeled with subject, depicting scenes of the American southwest.
|III.O.12||Snapshots of Artworks
Ninety-nine snapshots of individual paintings, most labeled with identifying information; approximately half date-stamped.
|III.O.13||Slides: "Chamberlain - Julie; Foil"
Sixteen slides of John Chamberlain creating a sculpture of aluminum foil.
The 35mm slides in this and the following folders were originally contained in separate boxes each with a brief label; individual slides are unlabeled but stamped with date of development. Each box of slides has been rehoused into a folder and the original box is included. The box label is indicated in the folder title.
|III.O.15||Slides: "My Head for Law"
Twenty-six images of Williams, apparently after receiving a severe beating.
|III.O.17||Slides: "Cal House, Mick House, Dog"
|III.O.18||Slides: "California House"
|III.O.19||Slides: "House & John"
Seven images of Chamberlain.
|III.O.20||Slides: "Edited Out Travel"
Thirty-five images, some individually labeled.
|III.O.21||Slides: "Var. Johanas"
|III.O.22||Slides: "Power, Budd, Lamborghini, Judd Sculpture"
|III.O.23||Slides: "Mexican Hat Rock, Cave, Ballroom"
|III.O.25||Slides: "Mike, Claudia, Libba, and Paintings in Studio"
|III.O.26||Slides: "Wainscott Autumn Trees"
|III.O.27||Slides of Artworks
Nineteen images; most unlabeled.
For the exhibition, Neil Williams: New Paintings, 5/18-6/6/1968, Andre Emmerich Gallery.
|III.O.29||Photographs of Artwork
Six images of different works, with news clippings from 1989.
|III.O.30||Photographic Documentation of Works
Contact sheets and negatives for twenty-two images of works and people.
Sketch pad belonging to Williams, containing various drawings in graphite and oil stick.
Two letters from Kaye Stambaugh discussing the posthumous dispersal of Williams' paintings.
Lists of names to receive Williams catalogue (n.d.); two pieces of correspondence.
Includes news clippings of Williams' death, exhibition announcements of various exhibitions, and photocopied typescript essay on the artist by Ed Leffingwell.
Subseries III.P: Peter Young 1967-1995
|III.P.1||Slides and Correspondence
Eleven slides of artworks and installation; two undated ALS Peter Young-Noah Goldowsky.
One photographs and five transparencies of artworks, exhibition announcements and news clippings.
Material for the concurrent exhibitions, Peter Young and Stephen Ludlum, 2/7-3/10/1984, Oil & Steel Gallery. Includes lists of works, reviews, invoices and expense records, press release, maps of installation, biographical materials.
|III.P.4||Photographs and Exhibition Material
Includes seven transparencies, eleven photographs, and seventeen slides of work, news clippings, exhibition announcements, and assorted correspondence.
Includes numerous letters from Young to RB and others, many undated, as well as lists of works written and with sketched descriptions by the artist.
With news clippings and letter from the artist.
|III.P.7||Correspondence and Lists of Works
Includes handwritten lists of works, perhaps by the artist, correspondence from collectors and galleries, letters from the artist, records of sales and disbursements, and nineteen slides of paintings taken in 1972.
Numerous letters from Young to RB, most undated, including one written on the back of two painted pages; also includes correspondence with collectors and galleries, records of consignments from Leo Castelli, and biographical material.
Correspondence, invoices, notes, and receipts documenting sales, expenses, and disbursements; also includes correspondence from the artist.
Numerous letters from the artist, most undated.
Photocopies of numerous letters from RB to Young. (The original letters are with the artist.)
Series IV: Posthumous Materials 1998-1999
This small quantity of material ended the collection of papers as received. Of the few folders present, two contain only condolence correspondence sent by innumerable friends, acquaintances, and business associates. One folder contains biographical material assembled as an aid to authors of published obituaries. Another folder contains programs for the May memorial service and the November reading of Bellamy's letters. In addition to a video cassette of the May memorial and audiocassette of the October reading, a second videotape is present, of a private memorial held at the Oil & Steel Gallery three days after Bellamy's death. No other documentation of this service is extant.
Photocopies of articles, obituaries, materials from various exhibitions at Oil & Steel, and original letter of biographical information sent to Roberta Smith for her obituary of RB published in The New York Times, 4/3/1998.
Invitation and programs to RB's memorial, held 5/13/1998 at P.S.1, and "The Intensest Rendezvous": The Letters of Richard Bellamy, staged 10/26/1998 at The New School. Also included is a letter, Miles Bellamy-Virginia Wright (10/18/98), in preparation for the 10/26/98 program.
See IV.7 for video recording of memorial.
Includes photocopy of remarks by Richard Serra spoken at memorial service.
Complete issues of magazines with commemorations of RB; includes Artforum XXXVI, no. 10 (Summer 1998), Art in America 86, no. 6 (June 1998), and Art Now Gallery Guide 18, no. 5 (January 1999).
|IV.6||Memorial Video Recordings
VHS cassettes of "Oil & Steel Gathering" held at the gallery and the P.S.1 memorial.
See IV.2 for program of the P.S.1 event.
|IV.7||Audiocassette of "The Intensest Rendezvous": The Letters of Richard Bellamy
Recording of memorial staged 11/26/1998 at The New School.
See IV.2 for program of event.
Series V: Adam Aronson Correspondence 1963-1999
This series was received from Adam Aronson in 2000 and comprises four folders of correspondence between Bellamy and Aronson over four decades. Aronson was a business consultant and art collector in Saint Louis, Missouri. His relationship with Richard Bellamy apparently began during the Green Gallery years and continued until Bellamy's death. Aronson was an avid collector of Pop art, of Mark di Suvero's work, and of many other artists Bellamy represented. In addition to amassing a significant personal art collection, Aronson founded and sat on the board of the Laumeier Sculpture Park in Saint Louis, Missouri, and maintained close conections with the Saint Louis Art Museum; numerous artworks found their way from Bellamy to both institutions. Correspondence here shows that Aronson also loaned Bellamy money to start up the Oil & Steel Gallery with Mark di Suvero sculptures as security. Otherwise the letters discuss works of various artists and the activities of the Green and other galleries, and the exhibition of Pop art in Saint Louis and other locations. One portion of correspondence contains discussion for the design of new HEGDCO stationery featuring a logo drawn by Aronson. Some letters have labels with historical comments by Aronson.
Letters from Aronson in this series are mostly carbon copies or photocopies. The bulk of correspondence from Bellamy is original though some photocpies and duplicate copies are present. Also present are scattered news clippings, and exhibition ephemera. See folder I.A.16 for further correspondence concerning Aronson.
Includes unsigned photograph (perhaps by RB) of Aronson and MdS astride one of the artist's sculptures.
Includes a commemorative statement about RB written by Daisy Youngblood
File numbers marked by an asterisk (*) indicate oversize material that have been separated to the end of the collection.
Researchers should include the asterisk when issuing a request for such material.