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Richard Bellamy Papers

in The Museum of Modern Art Archives

The Museum of Modern Art Archives
11 West 53 Street
New York, NY 10019-5497
© 2007
The Museum of Modern Art Museum Archives
Finding aid prepared by Jonathan Lill, 2007.

Overview of the Collection

Creator: Bellamy, Richard
Title: Richard Bellamy Papers
Inclusive Dates: 1950-1999
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

Biographical Note

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.

Scope and Content Note

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.


Access Restrictions

The records are open for research and contain no restricted materials.

Ownership and Literary Rights

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.

Index Terms

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:
Aronson, Adam
Art dealers -- New York (State) -- New York -- History -- 20th century -- Biography -- Sources.
Art, American -- New York (State) -- New York -- History -- 20th century -- Sources.
Bellamy, Miles
Di Suvero, Mark, 1933-
Flynn (Gallery) -- Archives.
Flynn, Barbara
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.
Document Types:
Business records.
Personal papers

Related Collections at MoMA and Elsewhere

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 to provide information about his father and promote his legacy.

Administrative Information


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.

Preferred Citation

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.

Processing and Condition Information

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.

Additional Descriptive Data

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.

Container List

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.

Folder Title Date
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.8 Amnesty International 1991
I.A.9 David Anderson Gallery 1991-1998
I.A.10 Harry W. "Hunk" Anderson 1976-1994
I.A.11 Wayne Anderson 4/17/1986
I.A.12 Paule Anglim 1978-1991
I.A.13 The University of Arizona 1979-1982
I.A.14 Arkansas Arts Center 1995
I.A.15 Tom Armstrong 7/17/1996
I.A.16 Adam Aronson

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.24 Walter Bareis 1989-1992
I.A.25 Erik Barkan 6/19/1986
I.A.26 Sid Bass 1982-1986
I.A.27 Battery Park City Authority, Sydney Druckman 1988-1989
I.A.28 Eduard Beaucamp 10/13/1997
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.30 Edna Bendel 1980
I.A.31 Helen Benjamin 2/16/1978
I.A.32 Thomas Berger n.d.
I.A.33 University of California, Berkeley 1/4/1970
I.A.34 Barry Berkus 12/18/1990
I.A.35 Berlin, Nationalgalerie

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.

ca. 1993
I.A.36 Berlin, Nationalgalerie

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.]

I.A.37 Bernheim 11/7/1997
I.A.38 André Bernheim 1991-1997
I.A.39 Edna Beron 1996
I.A.40 Patrizio Bertelli 1996-1998
I.A.41 Sidney Bestoff 1981-1983
I.A.42 "Beverly Hillbillies"

Actual correspondent is Joan Selwyn, of Beverly Hills.

I.A.43 Ernst Beyeler, Galerie Beyeler 1980
I.A.44 Bildersteit

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.46 Peter Blum 4/26/1991
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.51 Frances Bowes 2/2/1994
I.A.52 Museum Boymans-van Beuningen 1988-1989
I.A.53 Bradley Sculpture Garden 1989-1993
I.A.54 Norman Braman 1997-1998
I.A.55 Sandra Brant 5/13/1997
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.58 Brest 1989-1993
I.A.59 Broad Foundation 1995
I.A.60 Edward Broida 1984-1994
I.A.61 The Brooklyn Museum 1993-1994
I.A.62 Brown University 1985
I.A.63 Bruce Museum, Hollister Sturges 1996
I.A.64 Bryant Park 1994-1995
I.A.65 Ernst Busch Galerie, Cologne 2/11/1992
I.A.66 C&M Arts 1995
I.A.67 Lewis Cabot 1976-1977
I.A.68 Calder Foundation 1/26/1998
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.72 Giovanni Caradente 1/10/1990
I.A.73 Catherine and David Cardon 1995
I.A.74 Museum of Art, Carnegie Institute 1975-1986
I.A.75 Carnegie International 9/6/1994
I.A.76 Susan Carney

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.77 Charles Carpenter 8/22/1990
I.A.78 Norman Champ 7/21/1987
I.A.79 Mrs. Howard W. Cheel 1989
I.A.80 Wendell Cherry 1988-1989
I.A.81 Jay Chiat 11/12/1996
I.A.82 The Art Institute of Chicago 1982-1996
I.A.83 City of Chicago 1998
I.A.84 China 1986-1998
I.A.85 Christie's 1989-1996
I.A.86 Cincinnati Art Museum 1983-1996
I.A.87 Citibank Art Advisory Service 1990-1997
I.A.88 Clark University 1977
I.A.89 The Cleveland Museum of Art 1973-1997
I.A.90 Maurice Cohen 1985-1996
I.A.91 Cologne 1997
I.A.92 Columbus Museum of Art 1989-1997
I.A.93 University of Connecticut at Waterbury 1987
I.A.94 Conservation 1995
I.A.95 Lynne Cooke 1988-1991
I.A.96 Gene Corman 1985-1986
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.99 Donald Cox 1984-1996
I.A.100 Douglas Cramer 1988-1990
I.A.101 Cranbrook Educational Community 1976
I.A.102 Galerie Heike Curtze 1992-1993
I.A.103 DaimlerBenz 1996-1997
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.110 A.M. Debré 2/28/1997
I.A.111 DeCordova and Dana Museum and Park 1986-1990
I.A.112 Jeffrey Deitch 1997-198
I.A.113 Suzanne Delehanty 9/11/1996
I.A.114 The Denver Art Museum 1995-1997
I.A.115 Jerome Dersh 1988-1989
I.A.116 Des Moines Art Center 1979-1996
I.A.117 James DeSilva 1987
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.121 Carl Djerassi 1995
I.A.122 Junia Doane 7/26/1996
I.A.123 The Duke University Museum of Art 4/13/1987
I.A.124 J. Robert Duncan 1992-1997
I.A.125 Düsseldorf, Germany

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

I.A.126 Virginia Dwan 1990-1994
I.A.127 Barney Ebsworth 1982-1990
I.A.128 Gilbert Edelson, Art Dealers Association of America 12/23/1996
I.A.129 Stefan Edlis 1992
I.A.130 The Edmonton Art Gallery 1973-1974
I.A.131 Joel Ehrenkranz 9/23/1996
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
I.A.135 England

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.

I.A.136 Tom Epstein 1994-1995
I.A.137 Equitable

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
I.A.140 Evrard

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."

I.A.146 Fort Lauderdale

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.151 Jackie Fowler 1993-1996
I.A.152 Elisabeth Franck 1989-1990
I.A.153 Eric Franck 10/31/1990
I.A.154 Stuart Frankel 1997
I.A.155 Frankfurt - Museum für Moderne Kunst 1995
I.A.156 Frankfurt/Stadel/Gallwitz

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

I.A.157 Martin Friedman 1991-1996
I.A.158 Frito-Lay, Inc. 1985-1987
I.A.159 Edward F. Frye 1986-1992
I.A.160 Johannes Gachnang, Kunsthalle Bern 1979-1980
I.A.161 Gagosian Gallery

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

I.A.162 Gagosian Gallery

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

I.A.163 Gallaudet College 11/27/1979
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.167 Sidney Geist 1996
I.A.168 Henry Geldzahler 1990
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.171 Philip Gersh 1990
I.A.172 Norman Geske 10/15/1990
I.A.173 Léonard Gianadda, Fondation Pierre Gianadda, Switzerland 1990-1991
I.A.174 James Ross, Gibbs Sculpture Collection 1997
I.A.175 Michael Gibson n.d.
I.A.176 Arthur and Carol Goldberg 11/22/1996
I.A.177 Helen Goldenberg 1/5/1985
I.A.178 Adolph and Esther Gottlieb Foundation, Inc. 1976-1996
I.A.179 Grand Rapids Art Museum, MI 1977-1978
I.A.180 Anthony Grant 12/10/1996
I.A.181 Tamara Greeman 12/11/1997
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.186 Agnes Gund 1991-1998
I.A.187 Dr. Ernst-Gerhard Güse, Saarland Museum 10/10/1997
I.A.188 Inge Hacher 5/5/1995
I.A.189 Paul J. Haim 1989-1990
I.A.190 Charles Hamlin 12/6/1996
I.A.191 Hampshire College 12/11/1992
I.A.192 Hannover, Germany

Includes correspondence and thirty-five color snapshots (with negatives) of site for MdS commission by the Verband Deutscher Stahl.

I.A.193 Wanda Hansen 1977-1990
I.A.194 HansenFuller Gallery

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
I.A.197 Susan Harris

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.202 Richard Hedreen 1986-1995
I.A.203 Henry Art Gallery, University of Washington 9/9/1996
I.A.204 Arnold Herstand 6/12/1987
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.209 Hank Hine 1986-1989
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.]
Contains materials relating to MdS sculpture commissioned by ISIS for the Hirshhorn Museum.

I.A.212 Jeffrey Hoffeld & Company, Inc. 7/8/1986
I.A.213 Edmund M. Hoffman 1976-1977
I.A.214 William Hokin 10/4/1988
I.A.215 Steven Holl Architects 1996-1998
I.A.216 Insel Homboich

Leaflet for German museum.

I.A.217 Honeywell, Inc. 1984-1990
I.A.218 Henry Hopkins 1/17/1989
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.222 Thomas Hoving 9/22/1988
I.A.223 Pontus Hulten 1975-1993
I.A.224 Claudine Humblet 1994-1995
I.A.225 Sam Hunter 2/14/1994
I.A.226 Max Hutchinson 1980-1993
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.231 Edwin Janss 1973-1979
I.A.232 Glen Janss 1992
I.A.233 Bruce Hartman, Johnson County Community College Gallery of Art, KS 1994
I.A.234 Philip Johnson 1978-1993
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.244 Nina Kislak n.d.
I.A.245 Klein Art Works, Chicago 10/18/1990
I.A.246 Eugene Klein 1979-1990
I.A.247 Marvin Klein 3/11/1992
I.A.248 Knoedler & Co.

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

I.A.249 Kasper König

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.252 Jane Korman 1990
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.

I.A.255 Irit Krygier

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

I.A.256 Phyllis Lambert, Canadian Centre for Architecture 1987-1990
I.A.257 Jack Lang 7/1/1991
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.263 Jean Leering 6/20/1977
I.A.264 Edward Leffingwell 1995-1996
I.A.265 Ryda Levi 1983-1997
I.A.266 Peter B. Lewis 10/25/1988
I.A.267 Frances and Sidney Lewis 1977-1992
I.A.268 Fred Licht 5/29/1979
I.A.269 Sydney Licht 1996
I.A.270 Jerry Lieber 11/12/1992
I.A.271 Lincoln Center

Contains only 1 letter to a Richard Schwartz.

I.A.272 Howard and Jean Lipman 1876-1992
I.A.273 Vera List 1976-1993
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.277 Peter Ludwig 1978-1982
I.A.278 Luhrig Augustine Gallery 1995-1997
I.A.279 Linda and Harry Macklowe 5/20/1993
I.A.280 Magasin 3 1991
I.A.281 Lewis Manilow 1979-1996
I.A.282 Daniel Marchesseau, Musée des Arts Décoratifs, Paris 1989-1997
I.A.283 Martin Margulies 1981-1993
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.288 Steve Martin 1986-1996
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.295 Nan McEvoy 1996-1997
I.A.296 David McKee 5/4/1989
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.301 Richard Menschel 1995-1998
I.A.302 Tom Messer 10/2/1992
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
I.A.309 James Michener

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

I.A.310 Middlebury College Museum of Art, Middlebury VT 3/28/1997
I.A.311 George Milrad 5/20/1993
I.A.312 Milwaukee

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

I.A.313 Alan Mintz 1/23/1990
I.A.314 David Mirvish Gallery 1/25/1975
I.A.315 Mobil 1980
I.A.316 Museum of Contemporary Art, Los Angeles 1985-1997
I.A.317 Robin Moll 1996
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
I.A.322 Patty Mucha

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

I.A.323 Jose Mugrabi 1991-1993
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.339 David Neuman 1995-1996
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.343 Si Newhouse 1987-1992
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.352 Northwestern University 1976
I.A.353 The Oakland Museum, Oakland, CA 1975
I.A.354 Ed Okun, Okun Gallery 1992-1993
I.A.355 Steven Oliver 1989-1994
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.359 Opus 1992-1993
I.A.360 Robert H. Orchard 1977
I.A.361 Jerry Ordover 1973
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.365 PaceWildenstein Gallery 1996-1997
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.372 Albert Pauly 8/12/1997
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.376 Pepsico, Inc. 1984-1991
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.382 David Pincus 1983-1992
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.386 John Powers 1972-1996
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.398 Leonard Riggio 1994-1996
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.401 John Rosekrans 1989-1993
I.A.402 Mark Rosenthal 1992-1997
I.A.403 Courtney Ross 1990-1993
I.A.404 Donald Rothfeld 1993-1998
I.A.405 Rotterdamse Kunststichting 1989-1991
I.A.406 Robert Rowan 1984
I.A.407 William Rubin 2/20/1990
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
I.A.411 Charles Saatchi

[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
I.A.415 San Diego

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.418 Irving Sandler 1987-1997
I.A.419 Santa Barbara Contemporary Art Forum 8/28/1988
I.A.420 Santa Barbara Museum of Art 11/1/1990
I.A.421 Herman Sarkowsky 1992-1993
I.A.422 Dieter Schiffelen 10/13/1997
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.427 Michael Schulhof 7/23/1993
I.A.428 Joyce Pomeroy Schwartz, Ltd. 3/26/1991
I.A.429 Seymour Schwebber 1992-1995
I.A.430 Seagram Art Collection 1990-1993
I.A.431 Anton Segerstrom 9/6/1995
I.A.432 Carol O. Selle 1990-1997
I.A.433 Phyllis Seltzer 10/11/1990
I.A.434 Joan and Jerome Serchuk 1985-1996
I.A.435 Richard Serra

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

I.A.436 Anne Marie and Robert F. Shapiro 1995-1996
I.A.437 Susanna Sheffield 1992-1993
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.442 John Shrem 11/6/1996
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.448 Alice Snyder 5/13/1997
I.A.449 Susan Sollens 7/29/1997
I.A.450 Horace Solomon, Arts Video News Service, Inc. 1989
I.A.451 Sonsbeek 86 2/17/1986
I.A.452 Sotheby's 1988-1996
I.A.453 South Bend Art Center, IN 1984-1990
I.A.454 Spain

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
I.A.456 Ray Stark 1990-1996
I.A.523 Judith Stein

These letters were added to the collection in 2015.

I.A.457 Jerome Stern 1991-1997
I.A.458 Timothea Stewart 1976-1977
I.A.459 Stiebel Modern 1990-1991
I.A.460 Stinehour Press 1993-1994
I.A.461 Moderna Museet, Stockholm 1994
I.A.462 Harald Szeemann 7/14/1989
I.A.463 Tampa Museum of Art 4/10/1989
I.A.464 Sarina Tang Fine Art 7/17/1997
I.A.465 Tasende Gallery 1988-1997
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.475 Calvin Tomkins 12/31/1996
I.A.476 City of Toronto

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

I.A.477 François Trèves 6/26/1997
I.A.478 Emily Hall Tremaine 1975-1981
I.A.479 Tyler Graphics 1992
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
I.A.485 Venice

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

Leaflet only.

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.

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).

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.500 Marcia Weisman 9/21/1982
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.504 David Whitney 4/30/1989
I.A.505 Whitney Museum of American Art, New York 1973-1998
I.A.506 The Wichita Art Museum 2/26/1982
I.A.507 Torsten Wiesel 10/27/1994
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.511 Jerry Wind 11/30/1994
I.A.512 Günter Winkelman 6/16/1988
I.A.513 Helga and Peter Winter 1993-1997
I.A.514 Penny and Mike Winton 1977-1998
I.A.515 Virginia Wright

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.517 Yale University 1973-1990
I.A.518 York University 1978-1979
I.A.519 Yorkshire Sculpture Park 1994
I.A.520 Donald Young Gallery 2/21/1984
I.A.521 Zabriskie Gallery

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.

Folder Title Date

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.

I.B.5 1990
I.B.6 1991
I.B.7 July-December, 1992
I.B.8 January-June, 1992
I.B.9 1993
I.B.10 1994

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 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
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.

I.B.12 January-June,

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.

I.B.13 July-December,

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.

I.B.14 December-July,

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.

I.B.15 June-January,

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.

I.B.16 March-January, 1998

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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.

Folder Title Date
II.A.1 Exhibition Announcements

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

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"]
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.

II.A.4 Brochures

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.

II.A.5 Hansa Gallery Material

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

II.A.6 Hansa Documents

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

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.

Folder Title Date
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
II.B.25 Cash Expenditures

Three large photocopied ledger pages of accounts payable, with original additions.

II.B.26 Financials

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.

II.B.27 Sales

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)
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.

II.B.29 Announcements and Ephemera

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.

II.B.30 Gallery Photograph

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.

II.B.32* Press

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.

II.B.33 Proof Sheets

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"]
Folder contains no other items.

II.B.35 Green Gallery and Other Exhibition Material

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.

Folder Title Date
II.C.1 Works Bought

Receipts and invoices for works bought by RB from other galleries.

II.C.2 Sales

Records of works bought and sold by the gallery.

II.C.3 Sales 1968
II.C.4 Sales

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.

II.C.5 Sales 1970
II.C.6 Works Bought

Includes signed invoice from Richard Artschwager.

II.C.7 Sales

Includes invoices of works by Joseph Cornell sold to John and Yoko Lennon.

II.C.8 Works Bought 1971
II.C.9 Sales 1972
II.C.10 Works Bought 1972
II.C.11 Cash Expenditures 1971-1972
II.C.12 Sales 1973
II.C.13 Cash Expenditures 1973
II.C.14 Cash Expenditures 1974
II.C.15 Reimbursement of Expenses 1970-1974
II.C.16 Cash Expenditures 1976
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.

II.C.18 Miscellaneous Correspondence

One letter, handwritten, to "George," likely from Joe Lo Giudice.

II.C.19 Check Registers

Four volumes.

II.C.20 Check Registers

Four volumes.

II.C.21 Check Registers

Three volumes.

II.C.22 Check Registers

Two volumes.

II.C.23 Check Registers

Three volumes.

II.C.24 Check Registers

Three volumes.

II.C.25 Check Registers

Five volumes.

II.C.26* Ledger Pages

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.

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.

II.C.28 Reviews

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.

Folder Title Date
II.D.1 Invoices Paid

One invoice from 1971, the remainder from 1978-1980.

II.D.2 Invoices Paid 1980-1981
II.D.3 Invoices: Heizer and MdS

Ledger sheets, receipts.

II.D.4 Invoices 1981-1984
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.9 Invoices 1982-1986
II.D.10 Invoices Paid 1983
II.D.11 Invoices: Ellen Kean 1983-1987
II.D.12 Invoices: Virginia Wright 1984
II.D.13 Invoices Paid 1985-1986
II.D.14 Invoices Paid 1985-1990
II.D.15 Invoices: Alfred Leslie 1987
II.D.16 Invoices: Mark di Suvero 1987
II.D.17 Invoices Paid 1987-1989
II.D.18 Invoices Paid 1987-1990
II.D.19 Invoices

Includes ledger sheets of artwork sales from 1989.

II.D.20 Invoices Paid 1988
II.D.21 Invoices: catalogue Sales 1988-1993
II.D.22 Invoices 1990
II.D.23 Invoices Paid 1990-1991
II.D.24 Invoices 1990-1992
II.D.25 Invoices 1992-1993
II.D.26 Invoices 1993-1995
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

One invoice.

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)

Statements only.

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
II.D.44 Bank Statements 1996
II.D.45 Bank Statements 1996-1997
II.D.46 Bank Statements 1996-1997
II.D.47 Bank Statements 1997
II.D.48 Payroll 1988-1991
II.D.49 Payroll 1990-1994
II.D.50 Payroll

Small quantity of miscellaneous material.

II.D.51 Payroll

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.

II.D.52 Payroll

Includes ledger pages, handwritten notes.

II.D.53 Payroll 1994-1995
II.D.54 Denise Corley

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.61 Sales Tax 1995
II.D.62 Oil & Steel Corporate Taxes 1995-1997
II.D.63 Oil & Steel Corporate Taxes 1995
II.D.64 Unemployment 1995
II.D.65 Commercial Rent Tax 1995
II.D.66 Wages and Tax Statements 1996
II.D.67 Sales Tax 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.

II.D.70 IRS Forms 1996
II.D.71 "Financial Stuff"

General ledger reports and other material.

II.D.72 Accounting

Short general ledger report.

II.D.73 Accounting

General ledger reports.

II.D.74 Financial Reports 1994-1995
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
II.D.77 Appraisals 1978-1987
II.D.78 Appraisals

Appraisals and correspondence, mostly on behalf of private owners, and primarily concerned with works by artists RB represented.

II.D.79 Address Book

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."

II.D.81 Pocket Calendar

Largely blank.

II.D.82 Desk Calendar

Includes numerous notes and items inserted between pages.

II.D.83 Desk Calendar 1986
II.D.84 Desk Calendar

Smaller volume, only partially filled.

II.D.85 Desk Calendar 1987
II.D.86 Pocket Calendar 1987
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
II.D.91 Desk Calendar 1992
II.D.92 Pocket Calendars

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

II.D.93 Desk Calendars

Two volumes.

II.D.94 Desk Calendars

Two volumes.

II.D.95 Desk Calendars

Two volumes.

II.D.96 Miles Bellamy

One letter from Paul Anglim.

II.D.97 Miscellaneous Materials

Handwritten lists of names, notes, pocket notebook, two-sheet typed summary of disbursements, 1975.

II.D.98 Miscellaneous Material

Pages from legal-sized notepads and other large sheets of handwritten notes.

II.D.99 Miscellaneous Materials

Postcards, receipts, color negatives of snapshots, medical bill from 2/27/1998, minor correspondence, and other materials.

II.D.100 Miscellaneous 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.102 Newspaper Clippings 1972-1985
II.D.103 Mailers and Announcements

Postcards and other mailed announcements.

II.D.104 Exhibition Materials

[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.

II.D.105 Group Shows

Includes price lists of shows, press releases, announcements, plan of gallery space.

II.D.106 Announcements

Includes handwritten chronology of exhibitions organized by the "Hyena Escrow & Garanshee Development Co.", (of which Oil & Steel was a division).

II.D.107 Press Release

Photocopy of press release for group show, possibly Oil & Steel's third exhibition.

II.D.108 Exhibition Materials

Photocopies and originals of announcements, artwork lists, press releases, and a catalogue essay, for various exhibitions.

II.D.109 Exhibition Materials

Announcements, advertisements, price lists, insurance documents, correspondence, invoices, space plans, press releases.

II.D.110 Exhibition Materials

Announcements, advertisements, correspondence, invoices, space plans, press releases.

II.D.111 Magazine Advertisements 1985
II.D.112 Photographs/Publishers

Correspondence regarding reproduction permission requests; invoices for photographs made for the gallery.

II.D.113 Exhibition Materials

Two lists of works only.

II.D.114 Advertisements

Tear sheets of advertisements of exhibitions at Oil & Steel and of artists represented by RB exhibiting elsewhere, correspondence and invoices.

II.D.115 Paris Advertisements

Tear sheets of advertisements for outdoor MdS show in Paris.

II.D.116 Miscellaneous Notes

[Original folder title: "Photography"]
Notes possibly relating to reproductions of artworks.

II.D.117 Photographs

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.

II.D.120 Stationery

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.

Folder Title Date
II.E.1 Scull Loan

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).

II.E.2 Christie's Auction

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.

II.E.4 Appraisal Materials

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.

II.E.6 IRS Documents

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.


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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.

Folder Title Date
III.A.1 Milet Andrejevic

Includes twenty-nine unlabeled slides.

III.A.2 Richard Artschwager

One announcement only.

III.A.3 Darby Bannard

Three letters from the artist.

III.A.4 Forrest Bess

Leaflet from exhibition at The Whitney Museum, 10/7-12/13/1981.

III.A.5 Ronald Bladen

Includes twenty-three mostly labeled slides; two 8x10" positive transparencies; artist's biography; two exhibition catalogs; other announcements and material.

III.A.6 Bill Bollenger

Small quantity of undated unlabeled images.

III.A.7 Chakaia Booker

Announcements, images, biography, fifteen labeled slides.

III.A.8 David Budd

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.

III.A.9 Sophie Calle

Photocopy of typescript of "The Shadow," an untitled narrative of surveillance; postcards, announcements; exhibition pamphlets.

III.A.10 Anthony Caro

Announcements and photographs.

III.A.11 John Chamberlain

Exhibition leaflets; photographs of foam and styrene sculptures and other works; articles and news clippings.

III.A.12 John Chamberlain

Announcements, poster and mailings; photocopy of typescript outline of film by John Chamberlain and Viva Auder, The Secret Life of William Shakespeare (n.d.)

III.A.13 Christo

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.]

III.A.14 Christo

Five ACS, Christo-RB; numerous postcards of works and curriculum vitae.

III.A.15 Dan Christensen

Records of payments and loans to Christensen, 1967-1969; pricelists; list of collectors and Christensen works purchased from Noah Goldowsky; news clippings.

III.A.16 Contino

Ten slides.

III.A.17 James Dalglish

One transparency of work, twelve slides.

III.A.18 Willem de Kooning

Images of artworks.

III.A.19 Andrew Dunnill

Photographs, pricelist.

III.A.20 Manny Farber

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

III.A.21 Manny Farber

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

III.A.22 Dan Flavin

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.

III.A.23 Linda Fleming

Sixteen slides.

III.A.24 Jean Follett

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.]

III.A.25 Miles Forst

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.

III.A.26 Miles Forst

Photograph of Miles Forst or possibly other artist.

III.A.27 Miles Forst

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.

III.A.28 Miles Forst

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.

III.A.29 Robinson Fredenthal

Curriculum vitae, slides.

III.A.30 Nancy Graves

Photographs and slides of various camel sculptures.

III.A.31 Walter Gutman

Brief correspondence, newsletters, news clippings.

III.A.32 Michael D. Hall

Announcements, poster, twenty-one labeled slides.

III.A.33 Lawrence Hanson

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

III.A.34 Susan Hartnett

1 ALS Susan Hartnett-RB.

III.A.35 John R. Henry

Slides and images of one work.

III.A.36 Hans Hofmann

One transparency of work.

III.A.37 Patricia Houlihan

Four photographs only.

III.A.38 Rebecca Howland

Twenty labeled slides.

III.A.39 Tehching Hsieh

Posters, artist statements, ephemera of various "One Year Performances."

III.A.40* Tehching Hsieh

Published portfolio of images of exhibition, One Year Performance 1981-1982, Exit Art, New York.

III.A.41 Kate Hunt

Sixty-four labeled slides, curriculum vitae.

III.A.42 Neil Jenney

Includes record of payments to Jenney, 1970; photographs of work; announcements and lists from Oil & Steel exhibition; news clippings, press releases, invoices.

III.A.43 Alfred Jensen

One photograph and one slide only.

III.A.44 Kristin Jones and Andrew Ginzel

One leaflet about permanent installation.

III.A.45 Richard Joseph

One photograph and ten labeled slides.

III.A.46 Donald Judd

Articles and news clippings.

III.A.47 Allan Kaprow

Poster for series of happenings, Six Ordinary Happenings, by Kaprow.

III.A.48 Menashe Kadishman

Images of work and one letter.

III.A.49 Harriet Korman

Loan receipt and announcement.

III.A.50 Gary Kuehn

Announcements, nineteen photographs of work.

III.A.51 Ted Kurahara

One image, work list, curriculum vitae.

III.A.52 Tadaaki Kuwayama

Handmade holiday cards from Kuwayama, announcements, nine slides, photographs.

III.A.53 Robert Lobe

Fifteen photographs and correspondence.

III.A.54 Jane Logemann

Letter and six photographs.

III.A.55 Lee Lozano

Published writings by Lozano, seventeen photographs of works, announcements.
1 ALS Lee Lozano-James Harithas (11/21/1968)
1 ALS Lee Lozano-Simonne Sterne (6/4/1969)
2 handwritten, signed descriptions of artworks to be performed during the Language III exhibition at the Dwan Gallery: Investment Piece and Cash Piece, 8/14/1969.

III.A.56 Bruce McLean

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.

III.A.57 Robert Morris 1994-1995
III.A.58 Clark Murray

Nine photographs, images, sixteen slides, record of payment, news clippings.

III.A.59 Forrest W. Myers

Twenty-eight slides.

III.A.60 Bruce Nauman

Correspondence; list of works with handwritten prices and notes (ca. 1967); photocopies of drawings.

III.A.61 Claes Oldenburg

One slide, three photographs of works stamped by the Green gallery; photocopy of list of works with prices (n.d.)

III.A.62 Jules Olitski

Announcement, list of works.

III.A.63 Yoko Ono

1 ALS Yoko Ono-RB (12/14/1966) [re: Ono updates RB on her conversations with John Cage and her recent musical and artistic activities.]
List of works.

III.A.64 Darrell Petit

Correspondence, twenty-four slides, photographs, images.

III.A.65 Darrell Petit

Correspondence, forty-four slides, photographs, collaged photographs showing proposed installation of works at Storm King, catalogue.

III.A.66 Larry Poons

Five slides, images, articles and news clippings.

III.A.67 Yvonne Rainier

Two news clippings.

III.A.68 Thomas Rose

Exhibition leaflets, work list, fifty-three slides.

III.A.69 Royden Rabinowitch

Correspondence, some images.

III.A.89 Ad Reinhardt

Copy of 1 ALS RB-Ad Reinhardt (n.d.)

This letter was added to the collection in 2015.

III.A.70 James Rosenquist

1 ALS James Rosenquist-RB (9/16/1965) [re: closing of Green Gallery.]
Articles and news clippings.

III.A.71 Mark Rothko

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.

III.A.72 Lucas Samaras

Twelve slides of early drawings; exhibition leaflet.

III.A.73 George Segal

Three photographs of early paintings.

III.A.74 Richard Serra

Photocopies of news clippings, photograph, and letter.

III.A.75 Richard Smith

Includes correspondence from the artist.

III.A.76 Sidney Tillim

Eighteen slides, announcements and pamphlets from the Noah Goldowsky Gallery and other venues; twenty photographs and transparencies of work; news clippings.

III.A.77 Sidney Tillim

Correspondence from the artist; lists of works, record of money owed RB by the artist; pricelist, loan documents.

III.A.78 Michael Steiner

Exhibition announcements and leaflets; three photographs of work.

III.A.79 John Tweddle

Photographs and images of work; correspondence form the artist; sales notes and records of expenses and outlays to the artist.

III.A.80* John Tweddle

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.

III.A.84 Gabriel Warren

Twenty-seven slides; various grant application materials.

III.A.85 Tom Wesselmann

Five photographs only.

III.A.86 Phillip Wofford

Photographs, announcements.

III.A.87 Wotruba

Ten photographs of work.

III.A.88 Duane Zaloudek

Exhibition pamphlet.


Subseries III.B: Jo Baer 1967-1995

Folder Title Date
III.B.1 Catalogs

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
III.B.4 Financial Records

Notes, receipts and correspondence.

III.B.5 Slides, Article, Invoice

Includes five slides.


Subseries III.C: James Lee Byars 1979-1997

Folder Title Date
III.C.1 Slides and Photographs

Three slides (1987) and nine snapshots (n.d.)

III.C.2* Contact Sheets

Three 11x14" contact sheets, with negatives, apparently of RB's visit to Byars exhibition in Spain.

III.C.3 Article

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

Folder Title Date
III.D.1 Transparencies

Eighteen 4x5" color transparencies in window mattes with labels.

III.D.2 Photographs

Approximately sixty color snapshots of artworks and people in studio, likely Topanga Canyon, CA.

III.D.3 Photographs

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.

III.D.5 Images, Resume

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.

III.D.6 Exhibition Materials

Notes on work sizes and costs, price lists, press release.

III.D.7 Magazines

Complete issues of Artspace and Vogue Italia.

III.D.9 Slides, Photographs

Twenty slides, eight photographs, one transparency.

III.D.10 Gallery Binder

Materials removed from black ring binder; resume at front on stationery of Irit Krygier Contemporary Art; dates are approximate.
Photographs, transparencies, thirty slides, curriculum vitae, articles and news clippings.

III.D.11 Gallery Binder

One transparency, sixty-seven slides, eight photographs.

III.D.12 Gallery Binder

Twelve transparencies, fifteen slides, seven photographs, statements about various works and career summary, news clippings; dates approximate.


Subseries III.E: William Crozier 1970-1990

Folder Title Date
III.E.1 Slides, Photographs

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"]
Exhibition catalogs and announcements; fifty-one photographs and snapshots, including images of Crozier working with model in studio; advertisements.

III.E.3 Exhibition Material

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.

III.E.4 Correspondence

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.

III.E.7 Marilyn

Six photographs of work; advertisements.

III.E.8 Bob Unfinished in Clay

Two photographs.

III.E.9 Antoinette

Three photographs.

III.E.10 Nancy

Three photographs.

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.

III.E.14* Large Photographs

Five photographs, 11x14".


Subseries III.F: Michael Heizer 1968-1996

Folder Title Date
III.F.1 Slides

Ninety slides of various earthworks and outdoor sculptures; many unlabeled and undated.

III.F.2 Photographs

Forty photographs of indoor and outdoor sculptures and earthworks; includes some negatives and transparencies, as well as exhibition announcements.

III.F.3 Photographs

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.

III.F.5 Transparencies

Four transparencies of gallery work, with documentation.

III.F.6 Slides

[Original folder label: "City: Complex One, 1972-1974 Photos Richard Bellamy 1974"]
Thirty-eight slides.

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.

III.F.9 Correspondence

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.

III.F.10 St. Louis

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.

III.F.12 Photographs

Includes three large photographs of paintings and twelve transparencies.

III.F.13 Expenses

Includes ten slides, seven photographs; invoices and receipts; news clippings; draft of catalogue essay; materials from Michael Heizer Paintings: 1967, Oil & Steel Gallery, 1983.

III.F.14 News Clippings 1974-1984
III.F.15 Exhibition Material

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.

Folder Title Date
III.G.1.1 Bibliography

Latest citations are from 1992. This list served as the index to the following files of news clippings.

III.G.1.2 News Clippings

Kees, Weldon. "Art." Nation 170, no. 18, May 6, pp. 430-31.

III.G.1.3 News Clippings

Devree, Howard. "20th Century Art in New Exhibition." New York Times, May 23, 1951, p. 33.

III.G.1.4 News Clippings

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.

III.G.1.5 News Clippings

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.

III.G.1.6 News Clippings

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.

III.G.1.7 News Clippings

B[utler], B[arbara]. "Hansa Group." Arts Magazine 30. no. " 8. May, p. 51.Tyler, Parker. "L'ecole de New York: Alfred Leslie." Prisme des arts (Paris), no. 6, November, p. 27, ill.

III.G.1.8 News Clippings

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.

III.G.1.9 News Clippings

Spoleto, Italy. Festival of Two Worlds. Fifteen American Artists. June 8-29. 1958. Catalogue. Essay by Thomas B. Hess.

III.G.1.10 News Clippings

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.

III.G.1.11 News Clippings

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.

III.G.1.12 News Clippings

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.

III.G.1.13 News Clippings

Undated early response to Whitney collection questionnaire.Undated early biography of Leslie by John Meyers.

III.G.1.14 News Clippings

[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.

III.G.1.15 News Clippings

"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.

III.G.1.16 News Clippings

"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.

III.G.1.17 News Clippings

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.

III.G.1.18 News Clippings

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."

III.G.1.19 News Clippings

"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.

III.G.1.20 News Clippings

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.

III.G.1.21 News Clippings

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.

III.G.1.22 News Clippings

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.

III.G.1.23 News Clippings

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.

III.G.1.24 News Clippings

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.

III.G.1.25 News Clippings

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.

III.G.1.26 News Clippings

Rose, Barbara. "Treacle and Trash." New York 7, no. 21, May 27, pp. 80-82.Russell, John. "Art: Mapping the Human Face." New York Times, November 30, 1974, p. 27.

III.G.1.27 News Clippings

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).

III.G.1.28 News Clippings

[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.

III.G.1.29 News Clippings

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.

III.G.1.30 News Clippings

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.

III.G.1.31 News Clippings

"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.

III.G.1.32 News Clippings

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.

III.G.1.33 News Clippings

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.

III.G.1.34 News Clippings

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.

III.G.1.35 News Clippings

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.

III.G.1.36 News Clippings

"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).

III.G.1.37 News Clippings

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.

III.G.1.38 News Clippings

Smith, Roberta. "Was 1967 When Abstraction Met Reality?" New York Times, March 29, pp. C33, 35.

III.G.1.39 News Clippings

"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.

III.G.1.40 News Clippings

"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.

III.G.1.41 News Clippings

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.

III.G.1.42 News Clippings

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

[Original folder subtitle: "To hand out (through February 1992)"]Duplicate copies of all or gross portion of preceding news clippings.

III.G.1.44 Reviews

News clippings and reviews, most duplicates from previous folders; also includes lists of works, press releases, and ephemera.


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.

Folder Title Date
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)

One letter, negative, and photograph.

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

Five photographs and sixty-four slides.

III.G.2.47 Red Paintings: Installation Views: Alfred Leslie: The Red Paintings, 1973-1975, Flynn Gallery, 4/4-6/27/1992

Three negatives, six photographs and contact sheets, twenty-eight slides.

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

Two photographs and forty-four slides.

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

Two photographs.

III.G.2.57 Grisaille Paintings: Stills From USA: Poetry

Six 5x6" photographs of stills and fifteen 4x5" negatives from the documentary on Frank O'Hara and aired on PBS in 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

Five 4x5" negatives and twenty-two slides.

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)

Includes seven installation photographs and contact sheets.

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)

Includes images of works: Act and Portrait: Common Sense, Act and Portrait: Coming to Term, and Act and Portrait: Your Kindness.

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)
III.G.2.135 Royalyn (1995)
III.G.2.136 Photographs

Ten photographs of portrait drawings.

III.G.2.137 Photographs

Ten 4x5" negatives and one photograph of landscape watercolors; one 8x10" transparence of portrait oil.

III.G.2.138 Photographs

Six photographs, one transparency, and photocopies of various works.

III.G.2.139 Photographs

Six photographs of installation views and list of works from the series "100 Views Along the Road."

III.G.2.140 Photographs

Negatives of early collages: two photographs of landscape watercolors.

III.G.2.141 Photographs

Five photographs and three 4x5" transparencies of various works.

III.G.2.142 Photographs

Contact sheet, five snapshots, transparency and negatives on one portrait; four slides of other work.

III.G.2.143 St. Louis/Killing

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.2.144 Negatives

Contact sheet and negatives (thirty-six 35mm negatives and twenty 4x5" negatives) of Leslie in studio and installation photographs of 100 Views Along the Road.

III.G.2.145 The Course of Birth

Materials on Leslie's series of drawings and paintings on pregnancy; includes twenty-three photographs, 11 slides and one transparency, including installation views.

III.G.2.146 The Course of Birth

50 slides, 7 transparency, 12 photographs, numerous negatives of all formats and contact sheets, most depicting the large wall drawing, Quotidian Landscape, installed at the Oil & Steel Gallery.

III.G.2.147 The Course of Birth

One mounted image of Quotidian Landscape.

III.G.2.148 Grisaille Paintings 1990s

Seventeen slides.

III.G.2.149 Photographs and Negatives of Drawings

Seventeen 4x5" negatives and twenty photographs of portraits and nudes.

III.G.2.150 Photographs of Drawings

Thirty-nine photographs of works from 100 Views Along the Road.

III.G.2.151 Photographs of Drawings

Seventy-seven photographs of works from 100 Views Along the Road; includes some notes, photocopies, and five slides.

III.G.2.152 Photographs and Negatives

Includes twenty-six transparencies and large-format negatives, and nine photographs, of various works, including early abstractions.

III.G.2.153 Photographs

Four photographs and six transparencies of various paintings.

III.G.2.154 Major Paintings Available 1967-1990

One photograph and fourteen transparencies.

III.G.2.155 Abstractions Available

One transparency.

III.G.2.156 Red Paintings 1973-1975

Three photographs (installation views of Flynn exhibition) and one transparency.

III.G.2.157 Drawings for the Grisaille Paintings 1963-1968

Five photographs.

III.G.2.158 Grisaille Paintings 1962-1967

One photograph and three transparencies.

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

One photograph and news clippings.

III.G.2.161 Open Questions Drawings

Three negatives, three photographs, and one slide of unidentified works.

III.G.2.162 Contact Sheets, Eeva-Inkeri Shoot

Twelve contact sheets: forty-eight images of drawings and paintings.

III.G.2.163 Open Questions Figure Painting

One slide, five negatives, two transparencies, and one photograph of unidentified figurative and abstract paintings.

III.G.2.164 Photographs

Five photographs of various works.

III.G.2.165 Transparencies

[Original folder title: "Leslie"]Ten 8x10" transparencies and seven 4x5" transparencies of recent grisaille paintings (ca. 1995).

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.

Folder Title Date
III.G.3.1 Inventory

Lists of works available for sale or currently in storage, some undated.

III.G.3.2 Finances

Work lists, correspondence, invoices and sales records, receipts and expenses, records of disbursements to Leslie.

III.G.3.3 Finances

Various receipts, invoices, expenses and payments related to Leslie works.

III.G.3.4 Loans 1972-1989
III.G.3.5 Records of Sales: Allan Frumkin Gallery

Includes annual summaries of sales and disbursements to Leslie, notes and memos.

III.G.3.6 Auction Works

Some correspondence, photocopies of Leslie's work from various auction catalogs.

III.G.3.7 Correspondence

Sent and received correspondence concerning Leslie's works; also includes memos, news clippings, invoices and receipts, and occasional correspondence from Leslie.

III.G.3.8 Catalogs from Shows

Announcements, leaflets, pamphlets, and advertisements of group and solo exhibitions.

III.G.3.9 Leslie Show

Correspondence regarding possible venues for exhibiting 100 Views Along the Road, lists of works from that series.

III.G.3.10 100 Views Along the Road Correspondence

Correspondence regarding the tour of 100 Views Along the Road, and the loan and sale of Leslie's work to institutions and individuals; some lists of works.

III.G.3.11 Exhibition Material

Announcements and advertisements for The Course of Birth and 100 Views Along the Road, at Oil & Steel and elsewhere.

III.G.3.12 100 Views Along the Road catalogue

Includes invoices and receipts, lists of works, correspondence, lists of complimentary copy recipients.

III.G.3.13 Watercolors

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

Checklists from exhibitions, various notes and price lists; also includes correspondence.

III.G.3.17 Articles and Ephemera

Various writings on Leslie, some correspondence, exhibition materials.

III.G.3.18 Works For Sale

Two photographs, correspondence.

III.G.3.19 Examples of Sketches

Photocopies of thumbnail sketches by Leslie.

III.G.3.20 Photo List

Lists of photographs sent to various parties and requested from the photo studio.

III.G.3.21 Artist's Statements

Various statements by Leslie, published and in manuscript; photocopy mock up of catalogue for 100 Views Along the Road.

III.G.3.22 Biography, Catalogs, and Awards List

Includes list of solo exhibitions, collectors, awards; lists produced at various times.

III.G.3.23 Unfiled

Small amount of correspondence.

III.G.3.24 Correspondence

Correspondence and exhibition material.

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.3.26 Loans

Loan agreements, insurance documents, consignment forms, correspondence, shipping invoices, notes and memos.

III.G.3.27 Correspondence

Received correspondence, notes and memos, lists of addresses.

III.G.3.28 St. Louis

Materials relating to exhibition, Alfred Leslie: The Killing Cycle, The Saint Louis Art Museum, 6/14-7/21/1991.

III.G.3.29 Hill Gallery, MI

Invoices and sales documents, correspondence.

III.G.3.30 Lists

Various lists of works, many undated.

III.G.3.31 Grisaille and Red Paintings

Correspondence and other materials relating to the Flynn Gallery exhibitions of Leslie's grisaille paintings in 1991 and red paintings in 1992.

III.G.3.32 Correspondence 1990
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.3.34 Correspondence

Includes lists of works, materials from the exhibition Alfred Leslie: The Grisaille Paintings 1962-1967, The Flynn Gallery, 10/5/1991-1/25/1992.

III.G.3.35 Magasin 3

Correspondence, invoices, shipping documents, catalogue, notes and ephemera related to exhibition of Leslie works at Magasin 3 Stokholm, 10/11/1991-1/29/1992.

III.G.3.36 Grisaille Paintings catalogue Complimentary Copies

Correspondence, address lists.

III.G.3.37 Grisaille Paintings

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.

III.G.3.38 Grisaille Paintings

Loan and insurance documents and correspondence, shipping invoices, correspondence.

III.G.3.39 Grisaille Paintings

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.3.40 Grisaille Paintings

Twelve labeled Polaroid photographs of drawings from exhibition.

III.G.3.41 Grisaille Paintings: Richard Bellamy Interview

Forty-three page transcript, with some additional and duplicate pages, of RB interview conducted by Barbara Flynn.

III.G.3.42 Grisaille Book Celebration: Complimentary Copies 1991-1992
III.G.3.43 Red Paintings

Insurance documents, calendar listings, correspondence, loan and shipping documents.

III.G.3.44 Leslie Offers Out

Sent correspondence to interested patrons.

III.G.3.45 Leslie Photographs Out - Retired

Photocopies of slides and checklists of their send and return dates.

III.G.3.46 Correspondence and Inquiries 1991
III.G.3.47 Killing Cycle Responses

Correspondence received in response to complimentary copies of the catalogue of The Killing Cycle.

III.G.3.48 Lists of Works

Lists of works in various series, most undated.

III.G.3.49 Flynn Gallery 5/91

Various documents and correspondence relating to Flynn's exhibitions of Leslie's work.

III.G.3.50 Hartford

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.3.51 Pricelists

Lists prepared by the Flynn Gallery for their various exhibitions.

III.G.3.52 Alfred Leslie: Drawings, Flynn Gallery, 5/4-6/29/1991

Records of the exhibition including calendar listings, announcement designs, correspondence, catalogue materials, framing and matting information.

III.G.3.53 Alfred Leslie: Drawings, Flynn Gallery, 5/4-6/29/1991

Correspondence and contact and address lists.

III.G.3.54 Catalogs Sold

Invoices for sales of various catalogs.

III.G.3.55 Biography and Bibliography Updated from Grisaille catalogue Forward

Includes notes, exhibition ephemera, extracts from other catalogs, news clippings, correspondence, and information on various collectors and collections.

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

Includes budget, invitation proofs, correspondence, guest lists, seating charts, and notes; with topical dividers.

III.G.3.58 Grisaille Book Celebration: RSVPs

Response cards from invitees.

III.G.3.59 Red Paintings

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

One audiocassette with label: "Alfred Leslie, Richard Bellamy, BF [Barbara Flynn] 'Red.'"

III.G.3.61 Correspondence and Inquiries 1992
III.G.3.62 Grisaille Paintings catalogue

Mock-up of the catalogue for Alfred Leslie: The Grisaille Paintings, 1962-1967, images and text pasted into a spiral notebook; also includes other pamphlet.

III.G.3.63 Grisaille Books Sold

Invoices for catalogs sold by the Flynn Gallery.

III.G.3.64 Films

Exhibition announcements and news clippings relating to Leslie's films.

III.G.3.65 Inventories of Works

[Original folder title: "Xeroxes of Alfred's Works for Shipping 10/3/96"]Inventory of works, labels, some images.

III.G.3.66 Leslie/David Elliott/Retrospective

Materials regarding plans by David Elliott for a retrospective book and exhibition of Leslie's career.

III.G.3.67 Correspondence

Includes correspondence from Leslie regarding the film, Pull My Daisy.

III.G.3.68 Mexico

Documents and correspondence regarding Leslie's inclusion in the exhibition, Abstract Expressionism in the United States, Centro Cultural Arte Contemporaneo, A.C., 10/10/1996-1/12/1997.

III.G.3.69 Correspondence 1998

Subseries III.H: Walter de Maria 1965-1996

Folder Title Date
III.H.1 Article Photocopy 1977
III.H.2 Chicago Project

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.

III.H.5 Photographs

Twenty-eight photographs of work including five large prints of Landshow at Galerie Heiner Friedrich, Munich.


Subseries III.I: Grégoire Müller 1982-1995

Folder Title Date
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.

III.I.3 Correspondence

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.

III.I.5 Transparencies

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.

III.I.7 Sketchbook Album

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.

Folder Title Date
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.

III.J.2 Photographs

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.
Also includes eight slides, eight photographs, and small amount of negatives and snapshots; exhibition announcements, lists of works, and press releases from various exhibitions of Müller's work; scattered correspondence.

III.J.4 Photographs

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
III.J.7 Müller Show

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.

III.J.8 Correspondence

Also includes invoices, shipping, and loan documents.

III.J.9* Oversized Photographs

Three 11x14" prints of Müller and his work.


Subseries III.K: Richard Nonas 1975-1988

Folder Title Date
III.K.1 Catalogs and Publications

Hotel (New York: Tanam Press; 1980) with piece, "Montezuma's Last Dead Breakfast in Mexico," by Nonas.
Richard Nonas, Boiling Coffee (New York: Tanam Press, 1980.)

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)
Richard Nonas, Richard Nonas, 1970-1988 (Los Angeles: Art and Architecture Books of the Twentieth Century, 1988?).

III.K.3 Exhibition Materials

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.6 Exhibition Announcements 1975-1983
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.

Folder Title Date
III.L.1 Bibliography and Exhibition Pamphlets 1978-1992
III.L.2 Photographs

Materials originally contained in two binders.
Four slides, thirty-two photographs, mainly of work produced between 1963 and 1987.

III.L.3 Exhibition Announcements 1987-1993
III.L.4 Photocopies of Works

Copies of sculpture photographs.

III.L.5 Photocopies of Works

[Original folder title: "Bennington"].

III.L.6 Blueprints

Two large folded diazo floor plans of unidentified space.

III.L.7 Photographs

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.

III.L.10 Photographs

Thirty photographs of individual works.

III.L.11 Exhibition Materials

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.

III.L.12 Bills

Various invoices for steel and fabrication.

III.L.13 Correspondence

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

Fourteen photographs.

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"]
Includes forty snapshots and negatives, twenty-five slides.

III.L.17 Photographs

Twenty-nine photographs.

III.L.18 Miscellaneous Materials

Small amount of materials from various exhibitions.

III.L.19 Correspondence

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"]
Includes announcements and ephemera from numerous exhibitions, but also work list, and biographical material from David Rabinowitch: Recent Sculptures, 3/6-4/13/1985, Oil & Steel Gallery.

III.L.21 Photographs

[Original folder title: "RAB Guggenheim Selection"]
Ten photographs.

III.L.22 Bills

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.

Monk, Philip. "Structures for Behavior." Parachute, Fall 1978, ill.

David Rabinowitch. "The Construction of Vision Drawings, 1971-80: Some Comments." 10 Canadian Artists in the 1970s. Toronto: Art Gallery of Ontario, 1980. P. 75.

Cooke, Lynne. "David Rabinowitch at Oil & Steel Gallery." Art in America, March 1984, pp. 160-61, ill.

Glueck, Grace. "David Rabinowitch." New York Times, March 15, 1985.

David Rabinowitch. "Selected Notes on the Ottonian Construction of Vision Drawings." David Rabinowitch: The Ottonian Construction of Vision Drawings. Krefeld: Kaiser Wilhelm Museum, 1987. p. 18-72.

Storck, Gerhard. "Event and Work: Remarks on the Creative Process." David Rabinowitch; The Ottonian Construction of Vision Drawings. Krefeld: Kaiser Wilhelm Museum, 1987. p. 5-15. English translation by Catrina Neiman and Imke Lode.

Bossetti, Petra. "Tubingen, David Rabinowitch: Masse statt Oberflache." Art: Das Kunstmagazin. November 1987, p. 127, ill.

Wechsler, Max. "David Rabinowitch, Annemarie Verna Galerie." Artforum, March 1988, ill.

Brenson, Michael. "David Rabinowitch." New York Times, February 17, 1989, p. C32

Faust, Gretchen. "David Rabinowitch, Flynn." Nike (Munich) 7, no. 28, May-June 1989, pp. 40-41, ill. (entire issue of magazine).

Smith, Roberta. "Old, New, Traditional and Alternative Spaces." New York Times, May 5, 1989, p. C30.

Faust, Gretchen. "David Rabinowitch." Arts Magazine 63, no. 10, Summer 1989, p.76, ill.

[O., R.] [Portrait Sketch of David Rabinowitch.] New Yorker 68, no. 26, August 17, 1992, p. 8. (entire issue of magazine).


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.

Folder Title Date
III.M.1 Biographies, Catalogs, etc.

Includes exhibition announcements, correspondence, news clippings, loan agreements, and curriculum vitae.

III.M.2 Provincetown

Two documents, one of which transcribes a conversation with Stout concerning his unfinished works.

III.M.3 Correspondence 1984
III.M.4 The Whitney

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.

III.M.5 Stout Estate

Lists of artworks, appraisals, and correspondence regarding the Stout Estate.

III.M.6 Invoices

Invoices, deposit slips, and other records of sales; loan agreements and shipping receipts.

III.M.7 Washburn

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.

III.M.8 Hayden Gallery

Framing receipts, loan agreements, biographical material, and lists of works from various exhibitions.

III.M.9 Miscellaneous Materials 1982-1991
III.M.10 Loans and Lender Correspondence

Also includes consignment agreements, sales records, conservation and appraisal documents, and exhibition materials.

III.M.11 Miscellaneous Materials 1980-1993
III.M.12 Verna

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
III.M.14 Correspondence

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.

III.M.17 News Clippings

[Original envelope title: "8/1/90 1x Xeroxes Stout press (in alphabetical order by author)"]
Clippings date from 1954 through 1980.

III.M.18 Kent Show

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.

III.M.19 Kent/Flynn

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.

III.M.20 Miscellaneous Materials

Various news clippings, receipts, and correspondence.

III.M.21 News Clippings

[Original folder title: "Selected Press through 1990 B.F."]
Clippings date from 1954 through 1991.

Cassettes Title Date
III.M.22* Interview

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.

Folder Title Date
III.N.1 Mannheim

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.

III.N.2 Mannheim

Includes correspondence, invoices, shipping documents.

III.N.3 Mannheim 1993-1994
III.N.4 Stuttgart

Correspondence and records of the planning and installation of an exhibition of MdS work at the Württembergischer Kunstverein in Stuttgart, 1988.

III.N.5 Stuttgart

Includes poster for exhibition; list of works, "Mark di Suvero Sculpture of Major Size: 1965-1987"; exhibition checklist of MdS at Oil & Steel, 1985.

III.N.6 Stuttgart Correspondence 1988
III.N.7 Stuttgart Correspondence

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.

III.N.10 Paris

Correspondence regarding the exhibition of MdS sculpture throughout the city of Paris in 1997.

III.N.11 Paris 1997
III.N.12 Bonn

Correspondence and records regarding the purchase of sculpture, L'Allumé by the Bundesbaudirektion, for new buildings of the German Bundestag, Bonn.

III.N.13 Nice

Correspondence and records of exhibition, Mark di Suvero 1959-1991, at Le Musée d'Art Moderne et d'Art Contemporain de Nice, 1991.

III.N.14 Nice

Folder devoted largely to correspondence arranging loans of work for the Nice exhibition.

III.N.15 Nice Continued

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
III.N.21 Nice

Various correspondence and records, much relating to the exhibition catalogue.

III.N.22 Valencia

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.

III.N.23 Valencia Bills

Shipping and photography correspondence and invoices.

III.N.24 Valencia Press

News clippings from Spanish papers.

III.N.25 Venice Press

Italian and European news clippings from the MdS show at the Venice Biennale.

III.N.26 Valence

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.

III.N.27 Valence Acknowledgements

Responses to complimentary catalogs; also includes notes and other material.

III.N.28 Valence Film

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.

III.N.30 Storm King

Lists of works, collections.

III.N.31 Storm King

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

Includes correspondence.

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
III.N.49 Financial Records

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.

III.N.51 Pittsburgh

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.

III.N.52 Pittsburgh

Steel and material orders and specifications; cost breakdowns and budget documents; copy of contract with extensive hand edits and signed "Mark."

III.N.53 Correspondence

Includes received correspondence on MdS, some invoices and sales documents, and stray materials on various exhibitions.

III.N.54 Biographical Materials

[Original folder subtitle: "Monroe Denton: For his PhD dissertation on Mark"]
Photocopies of transcribed interviews and writings, from published and unpublished sources.

III.N.55 Bibliographies

Includes multiple drafts of a "selected bibliography," with citations ranging from 1960 to 1993 as well as bibliographies compiled earlier.

III.N.56 Writings

Photocopies of manuscripts and typescripts of MdS writings, grouped into packets labeled by subject, such as "Religion" and "Philosophy."

III.N.57 Correspondence

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.

III.N.59 Correspondence

Three multi-page letters sent to MdS from RB discussing business matters; two undated.

III.N.60 Non-Current Sales

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).

III.N.66 Europe Loans

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.

III.N.69 Shipping Documents

Shipping receipts and invoices.

III.N.70 Biographies

Various versions and fragments of MdS curriculum vitae.

III.N.71 Correspondence

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.

III.N.74 Work Lists

[Original folder title: "catalogue 75 German shipment"]
Work lists for 1975 exhibition in Europe.

III.N.75 Miscellaneous Material

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.

III.N.78 catalogue Responses

Correspondence received in response to complimentary catalogs.

III.N.79 Di Suvero Correspondence

Miscellaneous correspondence addressed to MdS.

III.N.80 Miscellaneous Correspondence

Includes occasional invoices, contract for Pittsburgh commission (later canceled).

III.N.81 Exhibition Announcements

Announcements, leaflets, advertisements, and some catalogue material for exhibitions at Oil & Steel and other locations.

III.N.82 Miscellaneous Materials

Received correspondence; includes thirty-six snapshots of various works, some news clippings and other documents.

III.N.83 Miscellaneous Materials

Received correspondence, news clippings, and other materials.

III.N.84 News Clippings 1975-1996

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.

Folder Title Date
III.O.1 Correspondence

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.

III.O.9 Catalogs

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.14 Slides: "Snow"

Thirty-five slides.

III.O.15 Slides: "My Head for Law"

Twenty-six images of Williams, apparently after receiving a severe beating.

III.O.16 Slides: "Dick"

Twelve images.

III.O.17 Slides: "Cal House, Mick House, Dog"

Thirty-four images.

III.O.18 Slides: "California House"

Thirty-seven images.

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"

Thirty-three images.

III.O.22 Slides: "Power, Budd, Lamborghini, Judd Sculpture"

Nine images.

III.O.23 Slides: "Mexican Hat Rock, Cave, Ballroom"

Twenty-three images.

III.O.24 Slides: "Hovenweep"

Forty images.

III.O.25 Slides: "Mike, Claudia, Libba, and Paintings in Studio"

Nineteen images.

III.O.26 Slides: "Wainscott Autumn Trees"

Nineteen images.

III.O.27 Slides of Artworks

Nineteen images; most unlabeled.

III.O.28 Exhibition Leaflet

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.

III.O.31 Sketch Pad

Sketch pad belonging to Williams, containing various drawings in graphite and oil stick.

III.O.32 Correspondence

Two letters from Kaye Stambaugh discussing the posthumous dispersal of Williams' paintings.

III.O.33 Miscellaneous Materials

Lists of names to receive Williams catalogue (n.d.); two pieces of correspondence.

III.O.34 Miscellaneous Materials

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

Folder Title Date
III.P.1 Slides and Correspondence

Eleven slides of artworks and installation; two undated ALS Peter Young-Noah Goldowsky.

III.P.2 Miscellaneous Materials

One photographs and five transparencies of artworks, exhibition announcements and news clippings.

III.P.3 Young/Ludlum Shows

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.

III.P.5 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.

III.P.6 Biographical Material

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.

III.P.8 Correspondence

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.

III.P.9 Finances

Correspondence, invoices, notes, and receipts documenting sales, expenses, and disbursements; also includes correspondence from the artist.

III.P.10 Correspondence

Numerous letters from the artist, most undated.

III.P.11 Correspondence

Photocopies of numerous letters from RB to Young. (The original letters are with the artist.)


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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.

Folder Title Date
IV.1 Biographical Material

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.

IV.2 Memorial Programs

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.

IV.3 Condolence Letters

Includes photocopy of remarks by Richard Serra spoken at memorial service.

IV.4 Condolence Letters 1998
IV.5 Magazines

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.


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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.

Folder Title Date
V.1 1960s Correspondence 1963-1969
V.2 1970s Correspondence 1970-1979
V.3 1980s Correspondence

Includes unsigned photograph (perhaps by RB) of Aronson and MdS astride one of the artist's sculptures.

V.4 1990s Correspondence

Includes a commemorative statement about RB written by Daisy Youngblood


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Box and Folder List

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.
Series Folder Box
I.A 1-37 1
I.A 38-89 2
I.A 90-141 3
I.A 142-190 4
I.A 191-238 5
I.A 239-293 6
I.A 294-334 7
I.A 335-390 8
I.A 391-441 9
I.A 442-479 10
I.A 480-523 11
I.B 1-8 12
I.B 9-16 13
II.A 1-7 14
II.B 1-18 15
II.B 19-31, 33-35 16
II.C 1-18 17
II.C 19-23 18
II.C 24-25, 27-29 19
II.D 1-24 20
II.D 25-39 21
II.D 40-48 22
II.D 49-66 23
II.D 67-81 24
II.D 82-85 25
II.D 86-90 26
II.D 91-94 27
II.D 95-108 28
II.D 109-121 29
II.E 1-11 30
II.E 12-14 31
III.A 1-12 32
III.A 13-28 33
III.A 29-39, 41-43 34
III.A 44-63 35
III.A 64-75 36
III.A 76-89 37
III.B 1-5 38
III.C 1, 3-4
III.D 1-3
III.D 4-12 39
III.E 1-13 40
III.F 2-13 41
III.F 14-15 42
III.G.1 1-44
III.G.2 1-54 43
III.G.2 55-120 44
III.G.2 121-147 45
III.G.2 148-165 46
III.G.3 1-10 47
III.G.3 11-26 48
III.G.3 27-39 49
III.G.3 40-56 50
III.G.3 57-69 51
III.H 1-4
III.H 5 52
III.I 1-8
III.J 1-8 53
III.K 1-7 54
III.L 1-4
III.L 5-19 55
III.L 20-28 56
III.M 1-6
III.M 7-21 57
III.M 22 58
III.N 1-9 59
III.N 10-21 60
III.N 22-36 61
III.N 37-47 62
III.N 48-56 63
III.N 57-68 64
III.N 69-81 65
III.N 82-84 66
III.O 1-5
III.O 6, 9-17 67
III.O 18-27 68
III.O 28-34 69
III.P 1-11
IV 1-7 70
V 1-4 72
II.B 32* 71 (Oversized)
II.C 26*
III.A 40*, 80*
III.C 2*
III.E 14*
III.J 9*
III.O 7-8*

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