Richard Bellamy Papers

Overview of the Collection

Arrangement

Index Terms

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.

Extensive correspondence discussing a competition and purchase of Borealis by MdS.

Large quantity of sent and received correspondence with the art collector.

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.

Correspondence regarding the purchase of seven drawings by Walter De Maria from the estate of Robert C. Scull.

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.

Correspondence and materials related to the exhibition, Bilderstreit: Contradiction, Unity and Fragmentation in Art Since 1960, Cologne, 1989.

Includes 7 black and white photographs of possible Bremen site for MdS sculpture.

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.

[Original folder title: "di Suvero-Dallas"].

De Wilde was at this time director of the Stedelijk Museum, Amsterdam.

Correspondence with Kunstsammlung Nordrhein-Westfalen and Landeshauptstadt Düsseldorf Der Oberstadtdirektor.

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.

No last name indicated.

1 item found in following folder labeled "Missing Formans."

Correspondence with various individuals.

[Folder wrapped in second folder labeled "Frankfurt - DG Bank"].

[Original folder title: "Gago Contract"]
Includes contract relating to exhibition and representation of MdS by the gallery.

Includes invoices, appraisals, sales contracts and consignment agreements; particular correspondence with Ealan Wingate.

Includes documentation of MdS work at the studio; ten 35mm color slides of MdS sculptures and prints.

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.

Folder only contains two photocopies of unattributed drawings.

[Original folder contained within previous.]
Contains materials relating to MdS sculpture commissioned by ISIS for the Hirshhorn Museum.

Leaflet for German museum.

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.

Includes sales lists of various shows at Knoedler over two decades.

Konig was associated with various organizations in Cologne and Frankfurt during this time.

Correspondence with directors Evert J. van Straaten and R.W.D. Oxenaar.

[Original folder title: "Sharon Keays," but all correspondence addressed to Krygier].

Includes RB's itemized appraisal of Lang's entire art collection, 1976.

Includes four color 35mm slides of paintings by Neil Williams from the Foundation's collection.

RB served as an honorary board member for the park from 1996 on.

Contains only 1 letter to a Richard Schwartz.

Includes 1 TLS MdS-MIT (n.d.) [re: the return of a sculpture by MIT].

Includes correspondence with Marla Hand, curator for Mrs. Robert B. Mayer (Buddy).

Includes correspondence between RB, Dominique de Menil, Walter Hopps, and others.

Includes correspondence with Lowery Sims.

Includes 1 TLS James Michener-RB (9/28/1989).

Includes correspondence with the Milwaukee Museum of Art, the Bradley Family Foundation Sculpture Garden, and the Milwaukee Art Center.

Contains mainly letters sent to MoMA.

Includes nine 35mm color slides of Mucha's work.

Includes twelve 8x10 color images and list of works of sculpture garden exhibition.

Includes multiple letters from Anne d'Harnoncourt.

[Original folder title: "Pulitzer/di Suvero"].

Documents concerning the appraisal of artworks in Ruskin's estate.

[Original folder title: "Doris Saatchi"].

Includes 1 ALS MdS-unknown (n.d.) describing installation of sculpture.

Correspondence with the Museum of Contemporary Art and University of California, San Diego.

Correspondence related to sculpture contest for Embarcadero Gateway site; includes ALS artist statement by MdS for project.

Two letters from RB in support of Serra's Tilted Arc.

Extended correspondence from George W. Neubert, director of the gallery.

Includes eighteen 35mm color slides of MdS works 1981-1991.

Material concerning MdS sculpture for "Bishopsgate Project," London. Includes photographs and numerous full-scale architectural drawings of site.

Correspondence with various individuals as well as with the IVAM Centre Julio Gonzalez concerning a show there of MdS work.

These letters were added to the collection in 2015.

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.

List of works, leaflet, notes and receipts for the show.

[Original folder title: "Art Gallery of Toronto"].

Small amount of materials relating to Mark di Suvero a Venezia and the 64th Venice Biennale.

Leaflet only.

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.

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.

Folder also includes two drafts of lease agreement, 12/30/1985, for property at 30-40 Vernon Boulevard, Long Island City, New York, for use by Mark di Suvero and the Oil & Steel Gallery (previously located at Chambers Street in Manhattan).

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.

Includes lists of the fund's acquisitions during the 1970s and minutes of the Board of Directors' meeting 7/7/1978.

Materials relating to a show at Zabriskie on the Hansa Gallery.

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
2/2 Julie Meyers
2/3 Millard F. Rogers
2/3 Sid R.Bass
2/4 John Powers
2/11 Stephen Nowlin
2/11 Don Fisher
2/12 Robert A. Rowan
2/17 Steve Martin
2/17 Mrs. S. Bos
2/17 Dominique Evrard
2/17 Patsy Nasher
2/21 Millard F. Rogers
2/27 Frederick Brandt
2/27 Leon A. Arkus
2/27 Suzanne Landau
3/3 Richard and Jalane Davidson
3/7 Judd (Tully?)
3/11 Steve Martin
3/11 O.K. Smit and H. Hoekstra
3/12 Margit Rowell
3/26 Henry Feiwel
3/26 Jim Oberlander
4/7 Tilman Osterwold
4/8 Ann Gaulak
4/8 Linda Bartel
4/8 Frank Goodyear
4/10 Rudi Oxenaar
4/15 Rachel Rosenfield Lafo
4/16 Arnold Forde
4/16 Patterson Sims
4/17 Liane M. Thatcher
4/17 Wayne Anderson
4/18 Robert B. Meltzer
4/22 Paul Schimmel
5/9 Peter Marzio
5/13 T.A. Fassburg
5/27 Paul Schimmel
6/5 Judith Selkowitz
6/6 Alain de Guinzburg
6/12 Martin Margolies
6/12 Steve Weil
6/13 Janie C. Lee
6/13 Edward F. Frye
6/17 Fredericka Hunter
n.d. Dominique de Menil
6/17 Frederick R. Weisman
6/17 Midori Nishizawa
6/19 Mary Jane Victor
6/19 Eric Barkan
7/9 Deborah Emont Scott
7/10 Stephanie Barron David
7/11 Donald Cox
8/11 Jane Kite
8/14 Richard Feigen
n.d. Richard Feigen
8/16 Richard Feigen
8/16 Richard Feigen
8/17 Don Fisher
8/20 Paul Naster-Kamik
8/20 Martin Friedman
8/29 Patsy Nasher
n.d. Adam Aronson
9/31 Ryda Levi
9/31 Linda
9/14 William F. Haggett
9/15 Allison Greene
9/19 William Camfield
9/19 Harris Rosenstein
9/19 James A. Speyer
9/19 Robert R. Littman
9/23 Beryl Sokoloff
9/23 Judy Pardue
9/25 Polidori with 27 Aug. letter
9/30 Martin Friedman
10/6 Lisa Phillips (x2)
10/9 Dick and Betty Hedreen
10/24 Sandy Schwab
10/28 Lisa Phillips
10/28 Emily Pulitzer
10/29 David S. Miller
10/29 Vivian Chill
10/31 FCC (Jeanie Blake)
10/31 Spectra Photo Supplies (Jeanie Blake)
11/18 Rita Fraad (Jeanie Blake)
11/18 Wayne Anstice (Jeanie Blake)
11/18 Stephen Prokopoff
11/18 Wanda Hansen
11/18 Stephen Prokopoff
11/19 Joyce Szabo
11/19 Joyce van Hoerck
11/19 Pedro Guerrero
11/19 Joyce Szabo
11/25 Elliott Bassman
12/16 Rita Schaffer
12/16 Howard and Jean Lipman
12/17 Philip Monk
12/18 Rita Fraad
121/18 Janet Kardon
12/20 Charles Wright.

1/3 Alison Greene
1/5 Alice Snyder
1/8 Eugene M. Klein
1/16 George Neubert
1/16 Irving Sandler
2/3 Theresa Samek, with 1986 inquiry
2/5 Sandy Harthom, with 15 Jan. request
2/10 James Demetrion
2/10 Michael Shapiro
2/10 Richard Koshalek
2/23 Tilman Osterwold
2/26 Diane Karp
2/26 Ruth Fine
2/26 Janet Flint
3/5 Jack A. Adelaar (Jeanie Blake) with 2/23 de Suvero letter
3/10 Theresa Samek
3/13 Paula Friedman
3/16 Midori Nishizawa
3/17 George W. Neubert
3/19 Richard Field
3/26 Connie Gryparis
3/27 Midori Nishizawa
3/31 Cynthia at Livet Reichard Co. (Jeanie Blake)
4/8 Lisa Phillips
4/14 Artists Studio Program, The Institute for Art and Urban Resources
4/21 T.A. Fassburg
4/23 William Haggett
4/28 Virginia Wright
4/28 Mrs. Schulhof
4/29 Walter Germans(Jeanie Blake)
5/1 Mark-Stephen Lane-RB
5/1 Irit Kryier
5/8 Olle Granath
5/8 Douglas Walla
5/12 Peter Brant
5/14 George J. Perutz
5/15 Anne-Marie and Robert F. Shapiro (x2)
5/19 Lois Dickson
5/27 Rachel Rosenfield Lafo
6/3 Joseph Pulitzer
6/3 Lewis Manilow
6/5 Rene di Rosa
6/11 Hank Hine
6/11 Dominique Nahas
6/11 Andrea Clark
6/12 Arnold Herstand
6/16 Charles Wright
6/17 Wald Rasmussen
6/18 Martha Sickles
7/7 Wanda Hansen
7/8 Jane at Germans van Eck Gallery (Jeanie Blake)
7/15 Emily Topper
7/22 Ruth Ann Appelhof
8/6 Tamara
n.d. Charlie Wright
9/6 Marie H. Berger
9/23 Daryl Hamish (x2)
n.d. Mr. Jablonka
9/25 Martin Friedman
9/30 Adam Aronson
9/30 Emily Pulitzer
10/6 James Demetrion
10/9 Carolyn Goldsmith
10/14 Joseph Giordano
10/14 Dahlia Morgan
10/14 Gilbert Perlein
10/20 Midori Nishizawa
11/5 Hannelore Schulhof
11/11 Shirley Vlasic
12/1 Martin Friedman
12/9 Lisa Phillips
12/9 Jan Van Der Marek
12/10 Gilbert Perlein
12/11 S.I. Newhouse
12/11 Rudi Oxenaar
12/16 Charlotta Kotik
12/16 Michel D. Evrard
12/18 Michel D. Evrard
12/18 Catherine Thiek
12/18 Vera List
12/22 Ernest Simpson.

1/6 Janie C. Lee
1/12 Ryda Levi
1/15 Dominique Evrard
1/19 Douglas S. Cramer
1/19 Joanna Ross
1/21 Joanna Ross
1/21 Louise Brown
1/27 Paul Schimmel
2/9 Wibke von Bonin
2/11 Uta Nusser
2/12 Gianna Marini
2/16 Mary Jane Victor, with 3 Feb. request
2/24 Paula Kendall Waxman
2/26 RB, from Anthony Grant/Candy Cole
2/27 Lucille Harper
3/1 Thomas Kellein
n.d. Paul Richard, with request
3/8 Marc Richards, with 17 Feb. letter
3/8 Mike von Joel, with 19 Jan. request
3/11 Vera List
3/11 Richard Koshalek
3/16 James Demetrion and Steve Weil (x2)
3/18 Catherine Thieck
3/21 Susan Carney
3/29 George H. Meyer
3/29 Miranda McClintic, with 15 March request
4/12 Rudi Oxenaar
4/15 Alison Greene
4/19 Mary Zlot
4/20 Peter Marzio
8/12 Josep-Antoni Acebillo i Marin
8/13 Gayle Maxon
8/13 Judith Richardson
n.d. Uta Nusser
8/16 Kathy Liebowitz
8/17 Lynne Cooke
8/17 Lilo Aorin
9/2 Jim Rose
9/7 Uta Nusser
n.d. Professor Fecker
9/15 Virgina Wright
9/15 Susan Romano
9/22 Ryda Levi
9/23 Mary Beth Hynes, reply
10/4 William Hokin
10/4 Mary Gardner Neill
10/12 Carla Hoke
10/13 Eugene Klein
10/18 Linda Satcher
10/19 Ed Broida
10/22 Uta Nusser
10/25 Peter B. Lewis
10/25 Alice Stone Ilchman
10/25 Dominique Bozo
10/29 Wendell Cherry
11/4 Joyce and Eugene Klein
11/4 Carol Smith
11/9 Charles Carpenter
11/10 Siegfried Gohr
11/15 William F. Haggett
11/15 S.I. Newhouse
11/22 Antonio Riello, with request
11/22 Mary Jane Victor
n.d. Judith Richardson Silvia
11/23 Judith Richardson Silvia
11/29 Marie and Arnold Forde
11/30 Eugene Klein
12/1 Steve Weil
12/1 Mary Ann Keeler
12/6 Allan Frumkin
12/13 Diana Fuller
12/14 Sydney Druckman
12/29 Ryda Levi.

n.d. Helen and Jack Nash
1/2 Judy and Kenneth Dayton
1/2 Dr. Dersh
1/2 Alan Mintz
1/17 Catherine Thieck
1/17 Henry Hopkins
1/17 Miles Forst
1/22 Julie Myers
1/25 Martin Friedman
1/26 Harry S. Parker III
1/26 Jerome Stern
1/27 Walter Bareiss
2/2 RB, from Hornung
2/5 Louise Brown
2/5 Susan Wyatt
2/7 Dr. and Mrs. Selzer
2/9 Mr. and Mrs. Eugene V. Klein
2/14 Johannes Gachang
2/14 Klaus Hornung
2/14 Klaus Hornung
2/14 James Michener
2/15 Andrew Nickle
2/16 Barbara Rose
2/16 Emmie Donadio
2/16 Michael Shapiro
2/21 Patrick Lannan
2/21 Deborah Eamon-Scott
2/21 Guy Gardner
2/22 Marilyn Lubetkin
2/28 Wendell Cherry
n.d. Scott
3/15 Siegfried Gohr
3/15 Doktor Bantle
3/16 Uta Nusser
3/21 Douglas Schultz
3/22 Thomas Messer
3/24 Steve Greene
4/5 Wendell Cherry
4/5 John Rosencrans
4/5 Klaus Hornung
4/11 Jose Tasende
4/12 Doris and Don Fisher
4/18 George Mintz
4/18 Steve Oliver
4/19 S.I. Newhouse
4/30 David Whitney
5/3 Barbara Haskell, with request
5/10 Harold W. Cheel, with note
5/10 Sue Graze
5/10 Jose Tasende
5/11 Walter Bareiss, with request
n.d. Hunk Anderson
5/20 Martin Selig
5/25 Harold W. Cheel
5/31 Carla Camise Ash
6/8 Bhupendra Karia, with 6 June request
6/8 Patrick Barry
6/12 Dody and John Rosecrans
6/13 Tim Hill (x 2)
6/14 Mrs. Schulfbof
6/19 Jonathan Gluss
6/20 Alison Greene
6/20 Richard Koshalek
6/21 Les Hooper
6/30 Donald G. Fisher
7/6 Kathy Halbreich
7/7 Horace Solomon
7/14 Frances and Sydney Lewis
7/15 Alison Greene
7/20 Wendell Cherry
7/24 Mia Faraletto
8/14 Don Fisher
8/14 Marc Wilson
8/24 Brigitte Peterhaus
8/30 Ruth Fine
9/1 Muriel
9/5 Christine Knop Kellenberger
9/7 Vera List, with Invoice
9/7 Robert Kramer (1)
9/13 George Perutz
Sept. Jim Rose
10/1 Herr Jerrentrup
10/3 Piet de Jonge
10/6 Aaron Milrad
10/6 Aaron Milrad
10/9 Ani Bojajian
10/10 Christina Rathgeber
10/21 Herr Jerrentrup
10/24 Anthony Grant
10/31 Maurice Cohen
11/1 Robert F. Phillips
11/1 Russell Panczenko
11/7 Nancy Jo Johnson
11/11 Al Ordover (?)
11/19 Russell Panczenko
11/21 Akira Ikeda
11/27 Catherine Theik
12/5 Barbara Rose (x2)
12/27 Paul Schimmel
12/30 Kim Esteve.

Materials have been left in imperfect chronological order; the accompanying list may be incomplete.

1/3 James Smith Rudolf
1/3 Midori
1/3 The Rockefeller Buildings
1/5 Barbara Flynn
1/6 Laurence Luhring
1/9 John Berggruen
1/9 Mr. and Mrs. Hunk Anderson
1/9 John Berggruen
1/10 Helga and Peter Winter
1/10 Josep Salvador
1/10 Ulrich Hartmann
1/10 André Bernheim
1/10 Edvard
1/10 John Henry
1/11 Catherine and David Cardon
2/1 Elizabeth Baker
2/8 André Bernheim
2/15 Midori
2/17 Deborah Scott
2/21 Peter Boswell
2/22
2/22 L.A. Packing and Crating, Inc.
2/22 Danielle Gardner
2/24 Alfred
2/28 Ulrich Hartmann
3/1 Jerry Lieber
3/6 Joan Selwyn
3/8 George Howell
3/8 Jerry Ganz
3/10 Catherine and David Cardon
3/14 Hannelore Schulhof
3/14 Sam Heyman
3/15 Joanne Hayler
3/15 David Neuman
3/15 Nancy Allen
3/15 Cardine Law
3/15 Christie's
3/15 Christie's
3/16 Tom Hinson
3/16 Andrew Manshel
3/21 Maurice Cohen
3/21 Emily Pulitzer
3/28 Richard Hedreen
3/30 Adam Weinberg
4/11 Townsend D. Wolfe
4/12 Tom Hinson
4/13 Andrew Manshel
4/20 From Darrell Petit
4/21 Rex Stouton
4/21 Shivaun
4/25 Joanne Heyler
4/26 Brigitte Reinhardt
5/5 Inge Hacher
5/5 Carl Djerassi
5/9 Thomas and Christine Bechtler
5/19 Richard Menschel
5/22 Lucia Spidalieri
5/22 Lucia Spidalieri
5/25 Maurice Cohen
5/25 Nancy Allen
5/25 Mark Moore
5/26 Ulrich Hartmann
5/30 John Berggruen
5/30 Alan Patricof
6/29 Armand
6/30 David Heath
7/6 Philip Jodido
7/10 Chris Kallenberger
7/11 Barbara Gibbs
7/11 Seymour
7/11 Mark
7/16 Deborah Scott
7/16 Deborah Scott
7/23 David Heath
7/26 Gretchen Berggruen
8/1 Betsy Baker
8/1 John E. Schloder
8/1 Harry Rand
8/2 Mark Moore
8/4 Barbara Flynn
8/4 Mark Moore
8/11 John Marks
8/22 Byron Meyer
8/22 Kimberly Davis
8/22 Brigitte Reinhardt
8/22 Richard Menschel
8/22 Tom Epstein
8/23 Doris and Don Fisher
4/25
9/14 Harry Rand
9/19 Kimberly Davis
9/21 Ulrich Hartmann
9/22 Richard Menschel
9/22 Hannelore Schulhof
9/22 Harry Wilks
9/23 Lisa Phillips
9/28 Adachiara Zevi
9/28 Jim Ballinger
10/3 Lisa Phillips
10/4 Harry Rand
10/5 David Heath
10/10 Sam Heyman
10/11 Judy and Kenneth Dayton
10/19 Tom
10/24 Christina Bechtler
10/26 Joachim Gerd Diekhaus
10/31 Lisa Phillips
10/31 Christina Bechtler
11/3 Nat Kramer
11/6 Victor de Suvero
11/6 Jill Manton
11/7 Sotheby's International
11/9 Richard Koshalek
11/16 Karin and Diter Heutelbeck
11/18 Drue A. Wilson
11/28 Anna Marie and Robert F. Shapiro
11/30 Diane Venderlip.

1/4 Diane Vanderlip
1/5 Gretchen and John Berggruen
1/5 Minister of Finance
1/11 Melissa Lazarov/Gagosian Gallery
1/15 Alison de Lima Greene
1/15 Peter Marzio
1/16 George Foreman
1/17 John Berggruen
1/22 Raymond Nasher
1/22 Peter Pastreich
1/28 Melissa McGrath
1/29 Melissa McGrath
1/30 Steve Martin
1/30 Marla Hand
1/30 Fisher Stoltz
1/31 Chyris Busa
2/2 Loise Bardes
2/7 Joan and Jerry
2/7 Michael Auping
2/12 Martin
2/12 Ealan Wingate
2/14 Michael Auping
2/14 Bill Chi ego
2/14 LA Louver
2/19 Kimberly David
2/19 Anthony Solomon
2/19 Gretchen Berggruen
2/20 Chris Busa
2/20 Hill Gallery
2/22 Rose Wood
2/26 Sotheby's
2/26 Noelle/Pace Wildenstein Gallery
2/27 Michael Danoff
2/27 Steven Nash
2/29 Kate Hunt
3/1 Bill Kirchgessner
3/1 Harry Rand
3/1 Carmen Gimenez
3/3 Chris Duncan
3/4 Magda Carranza
3/6 Michael Danoff
3/6 Stacey Moss
3/6 Christine Knop Lallenberger
3/8 Marika and Charles Wachtmeister
3/9 Richard Bellamy
3/11 Marika Wachtmeister
3/11 David Neuman
3/11 Diane Vanderlip
3/11 Steven Nash
3/12 Sanford Hirsch
3/12 Mandy and Cliff Einstein
3/15 R. Sturges Ingersoll
3/21 Diane Vanderlip
3/21 Raymond Nasher
3/28 Alanna Heiss
3/28 Alanna Heiss
4/9 Patrick McCaughey
4/10 Franklin Perrell
4/11 Michael Auping
4/11 Raymond Nasher
4/11 Marianne/ Carmen Gimenez
4/16 Mary, Robert, and Stephen Arnstein
4/16 Gretchen and John Berggruen
4/18 Russell Panczenko
4/19 Gretchen Berggruen
4/30 Martha Baer
4/30 Leslie Prouty
4/30 Harry Rand
4/30 Leonard Riggio
5/1 James Ottoway
5/1 Katy Kline
5/2 Sam Heyman
5/2 Pam and Tim Hill
5/2 Raymond Nasher
5/14 Magda Carranza
5/14 National Science Foundation
5/17 Leslie Prouty
5/21 Steven Nash
5/22 John Wilson
5/22 Michael Auping
5/23 David T. Owsley
5/23 Raymond Nasher
5/23 Nan Tucker McEvoy
5/24 Jan and Fred Mayer
5/29 Constance Schwartz
5/29 Nan Tucker McEvoy
6/4 Nancy Tieken
6/12 Josep Salvador
6/12 Constance Schwartz
6/13 Vicente Todoli
6/19 Jan and Fred Mayer
6/21 Raymond Nasher
6/21 Raymond Nasher
6/21 Steven Nash
6/25 Judy and Kenneth Dayton
6/25 Anna Marie and Robert Shapiro
6/26 David Owsley
6/26 Hollister Sturges
6/26 Mary S. Myers
6/28 Martin.

7/3 Robin Moll
7/8 Jackie
7/8 MT
7/8 Stacy
7/9 Ann S. Daley
7/10 Chris Kallenberger
7/11 Mary S. Myers
7/15 Tim Hill
7/17 Tom Armstrong
7/24 Daniel Blau
7/25 Dan Weinberg
7/25 Robert Storr
7/26 Rebeccah Blum
7/30 Anne D'Harnoncourt
7/26 Junia Doan
8/2 Daniel Blau
8/2 Mark Moore
8/6 Karsten Schubert
8/7 Robert Storr
8/8 Dawn
8/9 Oscar and Dede Feldman
8/9 Oscar and Dede Feldman
8/27 Shwu-Huoy Tzou
8/27 Timothy Burgard
9/3 Leslie Waddington
9/9 Elizabeth Baker
9/9 Chris Bruce
9/9 Mary and John Shirley
9/9 Virginia Wright
9/9 Ray Stark
9/10 Doris and Donald Fisher
9/10 Agnes Gund
9/11 Maria and Don Cox
9/11 Alain Joyaux
9/11 Emily Raugh Pulitzer
9/11 Susan and Stephen Paine
9/11 Suzanne Delehanty
9/11 Emily Raugh Pulitzer
9/11 Bill Chiego
9/11 Susan Williams
9/12 Judy Collischan
9/17 James Wood
9/18 Carmen Gimenez
9/18 John Powers
9/21 Cathleen Merrill
9/22 Leslie Waddington
9/23 Joel Ehrenkraz
9/24 Patrick Lannan
9/25 Penny and Mike Winton
9/25 Muriel Kallid Newman
9/25 Raymond Nasher
9/30 Constance Schwartz
10/1 Mr. and Mrs. Leonard Riggio
10/3 Kathleen Merrill
10/8 Judy and Kenneth Dayton
10/22 Veronica Hammett
10/22 Carmen Gimenez
10/22 Emily Raugh Pulitzer
10/22 Robert Littman
10/22 Alan J. Patricof
10/23 Nan McEvoy
10/24 Nina Sundell
10/26 Nancy Tieken
10/26 Bruce Guenther
10/28 Lewis E. Nerman
10/28 Mark Moore
10/28 Vera List
10/30 Maurice Cohen
11/5 Philip George
11/5 Melissa Rodrigues Rathsam
11/5 James Cuno
11/6 Michael Auping
11/6 John Shrem
11/6 Karen and Robert Duncan
11/7 Richard Menschel
11/7 Bruce Guenther
11/8 Brandon Senter
11/11 Yung Yee Kim
11/12 Jay Chiat
11/12 Mr. and Mrs. Leonard Riggio
11/12 Sam Heyman
11/12 Deborah Emont Scott
11/12 Linda Shearer
11/13 Doris and Donald Fisher
11/13 Robin Wright Moll
11/13 Rita and Toby Schreiber
11/14 Peter Freeman
11/14 Mark Moore
11/20 Marianne Wilkerson
11/21 Harvey Lichtenstein
11/25 Sandy Schwartz
11/26 Mandy and Cliff Einstein
12/6 Charles Hamlin
12/10 Maria and Don Cox
12/10 Anthony Grant
12/17 Lynn/ Lucent Technologies
12/20 Harry Rand
12/30 Leslie Waddington
12/31 Phil Shrager
12/31 Mary Ann Keeler
12/31 Calvin Tompkins.

Materials are in imperfect reverse chronological order.

12/24 James Ross
12/19 Barbara Haskell
12/17 James Ross
12/16 Irving Sandler
12/16 Richard Schwartz
12/9 Agnes Gund
12/5 Dominique de Menil
12/5 James T. Demetrion
12/4 Christophe de Menil
12/3 Barbara Haskell
11/14 James Ross
11/14 Mark Rosenthal
11/2 James T. Demetrion
10/30 Penny and Mike Winton
10/30 Russell Bowman
10/30 Alison de Lima Green
10/30 Mary Gardner Gates
10/27 Deborah Emont-Scott
10/27 Ronald Lauder
10/25 Diane Vanderlip
10/24 James N. Wood,
10/24 Raymond Nasher
10/24 Steven Nash
10/23 Michael Auping
10/23 Robert Storr
10/22 Kathy Halbriech
10/22 Jennifer Wells
10/21 Sam Heyman
10/21 Ulrich Hartmann
10/16 Morry Cohen
10/16 Stuart Frankel
10/16 Martin Friedman
10/13 Peter Winter
10/13 Dieter Schuffelen
10/13 Eduard Beaucamp
10/6 George Neubert
10/3 Alanna Heiss
10/2 Alanna Heiss
10/1 Michael Auping
9/4 Michael Auping, from Paris
9/3 Nicholas Serota, from Paris
9/3 Frau Dr. Evelyn Weiss, from Paris
8/27 Steven Nash
8/20 Adam Weinberg
8/18 Iris Frey
8/18 Hans Baumgart
8/13 André Bernheim
8/12 Albert Pauly
8/8 Adam Weinberg
7/31 Roberta Smith
7/30 Stephanie Davis Sherman
7/29 Susan Sollens
7/31 Stephanie Davis Sherman
7/25 Hans J. Baumgart
n.d. James de Silva
7/17 Jeffrey Deitch
7/17 Serena Tang
7/14 Hans Baumgart
7/3 David Smith.

Materials are in imperfect reverse chronological order.

6/27 Donna Carlson
6/26 Mr. and Mrs. François Trèves
6/26 Japan-U.S. Friendship Committee
6/26 André Bernheim
6/25 Mme. Propper
6/18 Jerome Stern
6/18 Donna Carlson
6/16 Harry Rand
6/11 Irvin Lippman
6/11 Annegrath Nill
6/10 Betsy Baker
6/3 Ronald Greenberg
6/3 Patrizio Bertelli
5/28 Daniel Marchesseau
5/27 Giovanna Amadasi
5/27 Mark MdS
5/23 Norman Braman
5/22 Michael Werner
5/22 Alice Snyder
5/20 Gray Shelton
5/21 Margit Rowell
5/20 Stuart Frankel
5/13 Helen and Martin Kimmel
5/13 Sandra Brant
5/13 Alice Snyder
5/13 Tom Hinson
5/12 Ann Freedman
5/12 Richard Solomon
5/12 Gordon Veneklasen
5/8 Martin Margulies
5/7 Estate of Robert C. Scull
5/6 Mark Moore
5/5 Mark Moore
5/1 Mark Moore
4/24 Daniel Weinberg
4/23 Jamie Frankfort
4/22 Mark Moore
4/14 Innis Shoemaker
3/28 Emmy Donadio
3/26 Paul Winkler
3/21 Jerome Nerman
3/19 Rick LiBrisi
3/18 Patrick Lannan, Jr.
3/18 Cynthia Nalevenko
3/6 Paul Winkler
n.d. Virginia Wright
2/28 Ruth Fine
2/28 A.M. Debrè
2/27 Paul Schimmel
2/19 Ann Freedman
2/17 Anne d'Harnoncourt
2/17 Agnes Gund
2/14 Helen and Martin Kimmel
2/12 Gary Garrels
2/11 Sarah Clark-Langager
2/10 Dahlia Morgan
2/3 Michael Auping
2/3 Helen and Jack Nash
1/30 Betty Simpson
1/27 Daniel Blau
1/24 Franklin Perrell
1/22 Richard Feigen
1/22 Jose Tasende
1/20 Tom Hinson, Cleveland Museum of Art
1/17 Gagosian Gallery
1/15 Franklin Perrell, Nassau County Museum
1/15 Judy Collischan, Neuberger Museum
1/3 Peter Schjeldahl
1/3 Carol O. Selle
1/3 Paul F. Walter
1/2 Julia Turrell, Guggenheim Museum
1/2 Ryda Levi.

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:

Miles Forst Paintings Drawings, 3/2-3/14/1953
Paintings by Jacques Beckwith, 4/17-4/30/1953
Group show Drawings Watercolors Pastels, 1/5-1/16/1953 (two copies)
Group show (1st exhibition) Paintings Sculpture, 11/24-12/7/1952
Second season opening group show, 9/29-10/12/1953
Miles Forst: Collages and Paintings, 5/3-5/22/1954
Wolf Kahn, opening 10/27/1953

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.

[Original folder title: "Hansa Revisited/Zabriskie"]
Materials related to the exhibition The Hansa Gallery Revisited, 9/16-11/1/1997, at the Zabriskie Gallery, New York, including a partial chronology of Hansa, Green, and Goldowsky Gallery exhibitions; a fuller yet still incomplete chronology of the Hansa Gallery; and a chronology of "Happenings" in New York between 1958 and 1962, many at the Hansa Gallery.

Includes brochures and announcements for the following exhibitions: group show opening the Hansa Gallery's second season, 9/29-10/12/1953
Drawings Water Colors Pastels, 1/5-1/16/1953
Miles Forst: Paintings Drawings, 3/2-3/14/1953
Miles Forst: Collages and Paintings, 5/3-5/22/1954
Hedi Fuchs, 10/18/1954
Also includes exhibition pamphlets and announcements for the artists Larry Zox, Hans Hofmann, Alfred Leslie, William T. Wiley, for the exhibition Younger American Painters, 5/12-7/25/1954, Solomon R. Guggenheim Museum, New York, and a brochure for "Paint in the Battery" art classes held at 31 Coenties Slip.

Brochures for the Hansa exhibitions Jane Wilson, 10/13-10/26/1953
Paul Beattie, 2/22-3/6/1954
Also includes pencil sketch layout for the brochure of the exhibition Drawings, 1/5-1/18/1954

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.
Handwritten draft of the gallery's "statement of purpose" and other portions of founding document.
Blank student identification card from the Hans Hofmann School of Fine Arts.
Handwritten draft of announcement for the gallery's first exhibition, though both the gallery name and exhibition subject are left blank.
Pencil list of Hansa artists, blank gallery stationery, correspondence from Richard Stankiewicz, Anita Coleman, and Miles Forst, in their roles as Hansa Gallery representatives.
Stock certificate granting Bellamy 5 shares in the Hansa Gallery, Inc., 11/10/54

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.

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.

One receipt only; apparently represents sale of Dubuffet painting on consignment to the Green Gallery from the Allan Frumkin Gallery.

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.

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.

Includes three-page summary of disbursements to artist and his share of particular sales.

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.

Includes photocopy of Richard Bellamy's handwritten CV (5/9/61)
Chronology of Green Gallery exhibitions, 1960-1965 (prepared 4/22/1998)
Poster/announcement for group show, 12/13/1960-1/1/1961
Poster for Tom Wesselmann: Collages/Great American Nude & Still-Life, 11/13-12/1/1962 (folded and sealed for mailing, opened by processor)
Poster for group show, New Work: Part I, 1/8/1963, with image of George Segal plaster sculpture
Poster for Milet Andrejevic: Paintings, 3/19/1963
Poster for Ronald Bladen, 12/11/1962-1/5/1963
Poster for George Segal: Recent Paintings and Sculptures, 5/8-6/2/1962
Poster for Milet Andreyevich: Paintings, 11/14-12/2/1961
Poster for Claes Oldenburg [Pat], 9/24-10/20/1962
Other ephemera interspersed.

Poster for Lucas Samaras, 9/16-10/10/1964, addressed to Tom Wesselmann, postmarked 9/14/1964
Poster for Tom Wesselmann: Collages/Great American Nude & Still-Life, 11/13-12/1/1962
Poster for Neil Williams, 5/6-5/30/1964
Poster for Tom Wesselmann, 1/13-2/1965
Includes some correspondence, photocopies of articles, and other ephemera.

One 8x10" black and white image of gallery installation; with review of show on the Green Gallery at Hofstra University, 1972.

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.
Poster of Green Gallery exhibition L.Poons, 11/5/1963; news clippings and ephemera.

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.)

[Original folder title: "Examples of RB Letterhead Over the Years"]
Folder contains no other items.

Posters of the exhibitions: Recent Paintings and Sculpture: George Segal, 11/15-12/10/1960
George Segal, 3/11-4/4/1964
Robert Beauchamp, 10/17-11/11/1961
Ralph Humphrey, 5/5-5/29/n.y.
George Segal: Recent Paintings and Sculpture, 5/8-6/2/1962
Tom Wesselmann, 2/11-3/7/1964
L. Poons, 11/5/1963.
Also includes posters and pamphlets for exhibitions of the artists Mel Ramos, Jean Linder, Frank Roth, Shigeo Fukuda at other institutions and biographical and bibliographical handout on Claes Oldenburg from Claes Oldenburg at Sidney Janis Gallery, 4/26/1967.

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.

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.

Four volumes.

Four volumes.

Three volumes.

Two volumes.

Three volumes.

Three volumes.

Five volumes.

Twelve 25x14" ledger pages of cash receipts and disbursements for 1969.
Eighty-seven 14x11" ledger sheets, two-sided, of disbursements and cash receipts 1975-1980, and sales, 1975.
Also includes three-page summary of receipts and disbursements for 1975.

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.

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.

Ledger sheets, receipts.

Includes scattered correspondence.

Invoices concern sculpture, Molecule, and other works by MdS.

Includes ledger sheets of artwork sales from 1989.

Includes documents of payment for services such as photography, carpentry, painting, materials and supplies.

Invoices from the warehouse company; includes copy of inventory of Scull estate.

Invoices from the warehouse.

One invoice.

Invoices, computer reports, and other records, many on Spacetime C.C. letterhead, detailing works sold and amounts paid or owed to the artist.

Balance statements and records.

Series of ledger sheets and tabulations.

Statements only.

Includes ledger sheets.

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.

Balance statements and other materials.

Tax forms, payments, correspondence.

Includes appraisal and other records of donated works of art.

General ledger reports and other material.

Short general ledger report.

General ledger reports.

Computer report of all accounts, assets, and liabilities.

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.

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."

Largely blank.

Includes numerous notes and items inserted between pages.

Smaller volume, only partially filled.

Three separate calendars, all with some content but largely blank.

Two volumes.

Two volumes.

Two volumes.

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.

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.

Postcards and other mailed announcements.

[Original folder title: "Exhibition History"]
Includes exhibition announcements; plan of artwork installation at 157 Chambers Street; press release for Oil & Steel's second exhibition, American Paintings and Sculptures: 1955-1981, 10/20/1981, with list of artworks in show; correspondence and advertisements.

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"]
Notes possibly relating to reproductions of artworks.

Photographs of installations and artworks, most labeled but of indeterminate date.

Fifteen 8x10" black and white photographs, dated and stamped Jerry L. Thompson, taken six days after RB's death.

Three examples of RB's signature, on a receipt, a letter, and a calling card.

Blank samples of sheets and envelopes.

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).

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.

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.

Includes some documents relating to the 1994 Christie's auction of remnants of the Scull estate, and later sales.

Photocopies of works by the artist.

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.

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.

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.

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.
2 TLS Christo-RB (11/1970) [re: proposal for RB's "sponsorship" of Valley Curtain.]

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.

Ten slides.

One transparency of work, twelve slides.

Images of artworks.

Photographs, pricelist.

Announcements, correspondence, shipping bills, invoices, mailing list, news clippings.

News clippings and articles; layout for Oil & Steel announcement; other ephemera.

Includes:
1 ALS Dan Flavin-RB (8/24/1965) [re: written from Cold Spring, Flavin writes to ask RB for a letter of recommendation for his application for a Guggenheim Fellowship; the letter includes a summary of Flavin's proposal; 3 pages.]
1 ACS Dan Flavin-RB (9/2/1965) [re: follow-up to previous letter]
Poster for Flavin exhibition at Galerie Heiner Friedrich, Munich (5/9-6/5/1968)
Two copies of a computer printout, consisting of either the text of an exhibition pamphlet or the exhibition pamphlet itself, for the exhibition Pink and Gold, The Museum of Contemporary Art, Chicago, 12/9/1967-1/14/1968; one copy signed by Flavin, 1968.

Sixteen slides.

Includes twenty large photographs of Follett's work, many hand-labeled by Follett and stamped by the Hansa Gallery.
8 ALS Jean Follett-RB (1962-1965) [16 pages total, discussing work, studio and gallery issues, and personal matters.]

1 TLS, 1 ALS RB-Miles Forst (6/20/1959, n.d.); [re: discussing car trip to Provincetown, gallery business]
Eleven slides, thirty-two photographs of works, with brief labels, many taken by Rudolph Burckhardt and apparently from the Hansa period; one photograph, 1964, of installation of works at the Green Gallery; leaflet of exhibition Rising Talent, University of Minnesota, 1/21-2/28/1955, and featuring Forst, Grace Hartigan, Larry Rivers, Robert Beauchamp, and Jan Muller.

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.

Announcements, poster, twenty-one labeled slides.

Includes five posters for performances and exhibitions, resume, thirty-three labeled slides.

1 ALS Susan Hartnett-RB.

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.

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.