Department of Publications Collection on Proposed David Smith Monograph

Overview of the Collection

Arrangement

Index Terms

Series I: MoMA Files, 1957-1974

Scope and Content

The series includes notes, correspondence, and background information on the David Smith by David Smith monograph project from the files of staff members in the Department of Publications (see Historical Note for details), including both its planning and demise. Because the monograph was never published, and the project was examined and revised repeatedly under various Directors of the Department, the material is repetitive, with certain memos and summary documents appearing in multiple files over time.

The files include copies of Krauss's catalogue forms (folders I.44-I.54), which were sent to owners of works by Smith and returned to the Department of Publications (other copies of the forms were returned to Krauss and form the bulk of Series II.E). They document significant holdings of his works by Smith's first wife Dorothy Dehner, collectors Joseph Hirshhorn and Roy Neuberger, the Whitney Museum of American Art, and the Estate of David Smith. The pieces owned by the Storm King Art Center are alphabetized under Mountainville, the sculpture park's location in New York State.

Historical Note

MoMA Department of Publications staff during the project included Directors of Publications Monroe Wheeler (until November 1966, when he became MoMA's Director of Exhibitions), Gray Williams (November 1966-October 1968), Robert Carter (October 1968-November 1969), and Richard Oldenburg (1969-1971, after which he served as Acting Director and then Director of the Museum). Helen Franc served as Editorial Associate in the Office of the Director, and as Senior Editor and Editor-in-Chief in the Department of Publications, where Françoise Boas was Publications Manager and Christine Kaiser Editorial Assistant. Associate Curator of Painting and Sculpture Frank O'Hara had worked on MoMA's exhibitions David Smith [MoMA Exh. #621, September 11-October 20, 1957], which traveled in the United States [C/E 61-20] in 1961; and David Smith, 1906-1965 [ICE-F-82-63], which traveled internationally in 1966 and 1967.

Arrangement

The series is arranged chronologically, beginning with any undated materials. Files originally identified as related to specific contributors to the book are grouped together by their names within the chronological order, and are also ordered chronologically.

Information on Smith-related materials at the Archives of American Art; also includes list of "negatives at Bolton Landing"

Includes Smith's article "Sculpture" (Arts, May 1957), Special David Smith Number (Arts, February 1960), "Some Late Work by David Smith" edited by Gene Baro (Art International, October 20, 1965), Smith's "Notes for David Smith Makes a Sculpture" (Art News, January 1969)

Artforum: Max Kozloff's "David Smith at the Tate" (November 1966), Jane Harrison Cone's "David Smith" (Summer 1967: special issue on American sculpture), Rosalind Krauss's "The Essential David Smith, Part I" (February 1969)

Includes February 1960 issue of Arts devoted to Smith; memo FOH-MW (4/28/1966) accompanying Cleve Gray's book mock-up (see Series II.D); "summary of correspondence file” (1966-1970); memo Carl Morse-Francis Kloeppel (9/18/1974) on "status of David Smith project" summarizing efforts to date and recommending release of contractual agreements

Blank catalogue entry sheets sent to owners of Smith works. See folders I.44-I.54 for forms that were completed and returned to MoMA; see Series II.E for those returned to Krauss

Complete photocopied essay, removed from cardboard binder

Includes "Inventory of Sculptures of David Smith 1932-1965" from Marlborough-Gerson Gallery; lists of Smith works by year typed on Terminal Iron Works letterhead

Includes correspondence, Department of Publications memos, notes on essay

Various MoMA correspondence, photographs, notes to and from Franc

Correspondence to and from Kaiser and Franc re: catalogue entries; later correspondence recapping the project

Carbons from Kaiser’s staff photograph requisition forms, for images from various books and photographs

“Pending”: notes in Krauss’s hand; includes three unattributed color slides (1962) of Smith alone and with an unidentified couple

Carbons of questionnaire letters

Correspondence and forms received by Department of Publications, with questions for Krauss from Kaiser

Catalogue: includes checklist of questionnaires sent and received

Catalogue forms returned or with address unknown

Returned questionnaires: includes list of tasks to be completed once the questionnaires were returned

“For thank you letters”: completed and returned forms from some individuals and collections, each with a carbon of the query letter attached

Letters to be written: form letters to accompany catalogue forms, notes. Originally housed directly following Krauss’s estate questionnaires (see Series II.E). These appear to be MoMA correspondence sent out by Kaiser.

Catalogue raisonée of Smith's sculpture: preface, entries 1-417. Originally in envelope addressed from Krauss to Franc.

Catalogue raisonée of Smith's sculpture: entries 418-676, Jewelry, Posthumous, list of exhibitions, appendix. Originally in envelope addressed from Krauss to Franc.

Includes Franc correspondence with archivists Garnett McCoy and Butler Coleman re: use of items and microfilm from Smith Papers; Gray correspondence; purchase orders for photo reproductions

Includes TL Franc-Gray (8/3/1966) announcing death of FOH (7/25/1966); typed report on meeting (2/6/1967) re: "status of varying sections of book at present" attended by Williams, Gray, Greenberg, Berkson, Krauss, Boas, and Franc; memo of meeting (7/12/1967) "to discuss the new form our David Smith publication should take"; meetings (7/1967, 8/1967) to discuss revised plans; memo Williams-Gray (8/4/1967) that MoMA is going "ahead with a different project than we were contemplating earlier"; note Kramer-Franc (8/22/67) agreeing to write essay; publishing agreement MoMA/Krauss (7/1/1968) for work entitled David Smith.

Correspondence with Franc; includes her December 1967 correspondence with Krauss re: revised catalogue cards

Original and photocopied correspondence with various Department of Publications staff members

Includes table of contents and cost estimate; TL Carter-Carroll G. Bowen, MIT Press (9/15/1966)

"Photos of drawings at Bolton Landing which relate to sculpture"

"B. Berkson's Dehner tape for our transcription if necessary": interview with Smith's ex-wife Dorothy Dehner - 3.25" audio reel

NOTE: This sound recording was preserved in Spring, 2012. In addition to the original, a CD-R use copy and a CD-R back-up copy now exist.

Blank pages from chronology for book; chronology prepared for David Smith: 1906-1965 [ICE-F-82-63]

"Bill Berkson's original chronology and documents": original typescript is heavily annotated, cut and pasted

Empty envelope marked "work notes for Bill Berkson's Chronology"

"Documents Smith Chronology" sent from Berkson to Christy Kayser [sic]; includes photocopied letters from Dorothy Dehner and Catherine Stewart (Smith’s sister), and TLS Lawrence Campbell (Art Students League)-Berkson (1/31/1968) providing biographical information on Smith; 1966 correspondence from gallerist Marian Willard Johnson with information on 1930s Smith exhibitions at Willard Gallery

Franc correspondence, editorial changes; these items were originally filed with folders I.37 and I.38.

Snapshots of Smith and of his sculpture; original mailing envelope from The Detroit Institute of Art, with hand-written note "ordered by BB [Bill Berkson] & RK [Rosalind Krauss]''

Chronology draft I: photocopy, includes "queries in re Chronology" (2/6/1969)

Typescript of chronology; with Franc’s note: "not needed for Smith book"

Biography: earlier draft; includes photocopies of photographs and of Smith's passport. See folder I.33 for the correspondence file that accompanied this material.

Biography: later draft - photocopied typescript, edited in ink.

Includes summary of proposed book project (12/16/1966); background information on Smith; Franc and Kaiser memoranda and correspondence

To and from Franc

Includes checklist for David Smith: 1906-1965 [ICE-F-82-63] and concordance of Krauss’s working numbers in the catalogue with "Fogg handlist"

Correspondence; includes "summary of negotiations with Hilton Kramer on his contribution to ‘David Smith’" (2/16/1969). See also folder I.58.

Correspondence to and from Kaiser, re: owners of Smith items sold by Marlborough-Gerson gallery

Original catalogue forms returned to MoMA, alphabetical by recipient; includes carbon correspondence from MoMA to owners of Smith works

Original catalogue forms returned to MoMA by Smith’s first wife, alphabetical by name of piece

Original catalogue forms returned to MoMA, alphabetical by recipient; includes carbon correspondence from MoMA to owners of Smith works

Original catalogue forms returned to MoMA, alphabetical by recipient; includes carbon correspondence from MoMA to owners of Smith works. Extensive entries from collector Joseph Hirshhorn.

Original catalogue forms returned to MoMA, alphabetical by recipient; includes carbon correspondence from MoMA to owners of Smith works

Original catalogue forms returned to MoMA and other correspondence with the owner of Willard Gallery

Original catalogue forms returned to MoMA, alphabetical by recipient; includes carbon correspondence from MoMA to owners of Smith works. Extensive entries from Storm King Art Center (alphabetized as "Mountainville”).

Original catalogue forms returned to MoMA, alphabetical by recipient; includes carbon correspondence from MoMA to owners of Smith works

Original catalogue forms returned to MoMA, alphabetical by recipient; includes carbon correspondence from MoMA to owners of Smith works; photocopied empty folder titled "Smith, Jean Freas" [Smith’s second wife]. See folder I.50 for entries from Storm King Art Center (alphabetized as “Mountainville”)

Original catalogue forms returned to MoMA, alphabetical by recipient; includes carbon correspondence from MoMA to owners of Smith works

Original catalogue forms returned to MoMA, alphabetical by recipient; includes carbon correspondence from MoMA to owners of Smith works

Includes acknowledgments to donors of photographs of Smith's sculpture; comments on Krauss's chapters 1-3; checklist for David Smith: 1906-1965 [ICE-F-82-63]; Krauss and Berkson's choices for book illustrations

Materials found unfoldered in original cartons

Includes memo Franc-Carter (2/13/1969) explaining project; TLS Krauss-Carter (7/29/1969) outlining history of the project from June 1966-July 1969, and stating that she will exercise option to withdraw her manuscript from MoMA

Includes Franc memo (2/16/1969) "Re: The perfidy of Hilton Kramer," describing his article in The New York Times of that day and recommending that he not participate further in the project, with supporting documents. See also folder I.42.

Includes photocopied queries re: chronology, memos, correspondence with Ugo Mulas and others re: photographs

Catalogues for exhibition at Solomon R. Guggenheim Museum, New York, March 29-May 11, 1969, which traveled to Dallas Museum of Fine Arts, June-September 1969; Corcoran Gallery of Art, Washington, D.C., October-November 1969: two copies

Includes Berkson's time sheets and financial summaries for research on the project

Includes copy of original 1966 cost estimate for book

In envelope addressed to Kaiser from Calvin Cafritz, with b/w print of Cubi XI in situ

Series II: Draft Texts and Supporting Documents, 1940-1969

Scope and Content

The series includes drafts of the book's sections by its various contributors, originating from them. Because the project evolved over time, and multiple versions of drafts changed hands between the authors and Department of Publications staff members, these materials complement, and may in some cases also duplicate, those in Series I pertaining to specific contributors.

Subseries II.A. David Smith, 1940-1954

Photocopied typed transcripts and reproductions of published and unpublished articles and speeches by Smith, numbered and marked in red by an unidentified hand; some attributions added in blue ink

Subseries II.B. William Berkson, 1960-1968

Historical Note

Berkson had assisted FOH with the Smith exhibitions at MoMA: David Smith [MoMA Exh. #621, September 11-October 20, 1957], which traveled in the United States [C/E 61-20] in 1961; and David Smith, 1906-1965 [ICE-F-82-63], which traveled internationally in 1966 and 1967. This included creating a chronology that was also used in the Fogg Museum's retrospective exhibition David Smith 1906-1965 (September 28-November 15, 1966). Both Berkson and Krauss used this earlier work to inform their contributions to David Smith by David Smith.

Originals and photocopies, edited by hand

Annotated typescript

Typescript with changes typed in red, as well as hand-written annotations

The original folder "Notes to be checked" contained various folders and loose materials

Includes photocopied clippings; Department of Publications meeting minutes; correspondence with Berkson, Kramer, and Greenberg

Notes, photocopies of Smith's writings, typescripts edited by hand in multiple colors

Typed pages with penciled changes in unidentified hand

TLS Mrs. A.C. (Jane) Diller (3/4/1968); copy of her January 1967 thesis "A Discriminative Study of the Early Life of David Smith"

Subseries II.C. Clement Greenberg, 1966, undated

The book’s original plan called for Greenberg to describe a limited number of Smith works.

Introduction and captions for twelve Smith pieces, with TLS Greenberg-Franc

Subseries II.D. Cleve Gray, 1966

Scope and Content

The subseries consists of photostatic images of Gray's design and layout for the planned book, in two sizes. The pages show the placement of photographs and text, photo reproductions of Smith works, biographical information, other images, and some portraits of Smith.

Introductory

I. Events in a life

II. Work & technique

III. The concept of vision

IV. Paintings, drawings, scrapbooks

V. Color

VI. Tradition and art history

VII. Poems and dreams

VIII. The artist's identity

Subseries II.E. Rosalind Krauss, 1966-1969

Scope and Content

The subseries includes various drafts of the essay that was to precede Krauss's catalogue raisonée of Smith's work in David Smith by David Smith, correspondence and other writings, and the individual forms received by Krauss from owners of works by Smith that would form the basis for the catalogue. The latter make up the largest part of the subseries. A copy of each completed form was also returned to the MoMA Department of Publications: see folders I.44-I.54 for these items.

Arrangement

The catalogue entry forms (folders II.E.13-II.E.51) were sent to and filled out by individual and institutional owners of works by Smith, and returned to Krauss. There is a separate run of forms for works held by the Smith estate (folders II.E.52-II.E.55). Krauss had created one folder for each work, which included the catalogue entry form detailing size, markings, provenance; images; and other supporting documentation (see folder I.5 for blank forms). For some earlier works whose owners she could not identify, only photographs are included. The forms are now ordered sequentially in larger groupings within a folder. Her numbering of the works (typed on the forms at lower left, and marked on the back of photographs in red) is based on their chronological ordering from 1932 to 1965, and is alphabetical by title of works produced in a given year. Other numbers on some photographs may refer to those used in the Smith Papers held in the Archives of American Art.

The Medals for Dishonor are placed in the 1940-1944 period, with their own numbering. The chronologically ordered forms are followed by those describing works grouped by type: the Voltri, Cubi, and Posthumous Works (finished by Smith's studio assistant Leon Pratt), Miscellaneous, and Jewelry.

Any empty folders were photocopied and filed in order by number. Numbers in brackets represent those missing from the numerical sequence. Dates provided are those of the return of the forms to Krauss by the works' owners.

Includes 1966 exhibition checklist with working catalogue numbers added by hand, lists of catalogue numbers with and without photographs, various versions of catalogue numbers

Some sheets are annotated in pencil.

Includes original, carbon, and photocopied typescript entries by item number, some with pencil annotations

Notes on various numbered works; original and photocopy, both annotated by hand

Photocopied numbered cards

Includes Gray selection of color reproductions; edited in pen and pencil

Removed from folder II.E.11

Runs of cards in chronological order of the works' creation (similar to catalogue forms), alphabetical order by owner of works, and extra alphabetical card dividers

Two runs of cards labeled "old set"; unidentified cards

Includes Krauss's typed changes: "suggestions for additions to the present text," according to TLS Krauss-Franc (9/13/1966)

Dehner's Standing Figure (1), Coral Figures (1 bis 1, 2), Construction (2-4, 6-8), Lyndhaven (5), Head (8 bis)

Kneeling Woman (8 bis 2, 9), Lead Head (10), Coral Head (11), Untitled 1932 (?) (11 bis), Agricola Head (12), Chain Head (13), Head with Cogs for Eyes (14), Saw Head (15), Reclining Figure (16)

Wood Figure (17-20), Coral Fragments (21, 23), Coral Bird (22), Untitled (24-26)

Counterpoint (27), Pix. Bet. Doors (28), Untitled (29), Project in Counterpoint (30), [30 bis], Dancer (31), Reclining Figure (32-34), Suspended Figure (35), Untitled (36)

Aerial Construction (36 bis), Bent Blade Plane (37), Construction in Bent Planes (38), Construction on a Fulcrum (39), Reclining Figure (40, 41), Reclining Construction (42), Seated Figure / Portrait of Lucille Corcos (42 bis), [43], Steel Torso (44), Billiard Player Construction (45), The Drummer (46), Untitled (Female Figure) (47), Four Spikes (48), Horse and Rider (49), Interior (50), Man (51), Sculptor and Model (52), Swung Forms (53), Torso (54, 55), Unity of Three Forms (56), Vertical Figure (57), Untitled (58-61, 61 bis 1-3), The Bird (61 bis 4), Abstraction (61 bis 5)

Concave Construction (62), Construction with Points (63), Planes with Drawing (64), Amusement Park (65), Bi-Polar Structure (66), Blue Construction (67), Dancer (67 bis), Riley Head (68), Head (69, 70), Head Screw (71), Leda (72), Nude (72 bis), Spoon (72 bis 1), Reclining Woman (72 bis 2), Construction Still Life (73), Vertical Structure (74), Suspended Cube (75), Suspension in Balance (76), Untitled (76 bis, bis 1), Head (77), Untitled (77 bis)

Ad Mare (78), Bas Relief (78 bis), Blond Head (79), Dancer A (80), Dancer B (81), Dancer (82, 83), Growing Forms (83 bis), Head (84), Interior for Exterior (85), Reclining Figure (85 bis), Ritual (86), Sea Forms (87), Steel Spoon (88), Structure of Arches (89), Vertical Structure (90), Untitled (91), [92-94]

Propaganda for War (77a), 4th Estate (77b), Munitions Makers (77c), Diplomats (77d), Private Law and Order Leagues (77e), War Exempt Sons of the Rich (77f), Clergy (77g), Death by Gas (77h), Civil Pop (77i), Sinking Ships (77j), Death by Bacteria (77k), Reaction in Medicine (77l), Prostitution (77m), Food Trust (77n), Body Disposal (77o); catalogue for exhibition Medals for Dishonor, Willard Gallery, November 1940

Unnamed: photographic prints only

Andirons (95), Bather (95 bis), Bathers (96), Dancers (97), Head (97 bis), Head as a Still Life (98), Objects Left (99), Woman on Horseback (99 bis), At the Bar (100), [101], Tri-Construction (102), Woman with Guitar (103), Arch Figure (104), Construction Horizontal (105), Perceiving Head (106), Figure (107), [108], Bathers (109), Head as Still Life I (110)

Head as Still Life II (111), Table Torso (112), Widow's Lament (113), Morgan Mare (113 bis), Abstraction (114), Atrocity (115 bis 1), Black Cape (115 bis 2), Construction #35 (116), Reclining Figure (117), Sewing Machine (118), [119], Classic Figure I (120), Classic Figure II (Sedate Figure) (121), War Spectre (122), Woman Music (123)

Adagio Dancers (124), Aftermath Figure (125), Ancient Household (126), Belial Figure (127), Big Rooster (128), Billiard Player I, II (129, 130), [131], Boaz Dancing School (132), Classic Figure (Abstract Figure) (133), Cockfight (134), Cockfight Variation (135), Cheese Cloud Construction (136), Dancer (136a), False Peace Spectre (137), Figure of Greed (138), Head as Figure (139, 140), Home of the Welder (141), House in Landscape (142)

Jurassic Bird (143), Perfidious Albion (144), Pillar of Sunday (145), The Rape (146), Reliquary House (147), Ring Tooth Woman (148), Seaman and Siren (149), Spectre Riding a Golden Ass (150), Steel Drawing I, II (151, 152), The Studio (153), Dancers (154), War Landscape (155), Woman in Room (156), Woman in Subway (157), Woman With Melon (158), Untitled (158 bis)

Abandoned Foundation Landscape (159), Cello Player (160), Cloistral Landscape (161), Deserted Garden (162), Euterpe and Terpsichore (163), [164, 165], Helholtzian Landscape (166), Landscape Strata (167), Low Landscape (168), Orchard Landscape (169), Personage from Stove City (169 bis), Puritan Landscape (170), Race for Survival (Spectre of Profit) (171), Spectre of Mother (172), Tahstraat (173), [174]

Aggressive Character (175), Oculus (176), Terpsichore and Euterpe (176 bis), Untitled (177, 177 bis), Eagle's Lair (178), Insect (179), Royal Bird (180), Art News Award (180 bis), Beach Scene (181), The Eagle (181 bis), The Garden (182), Marden's Dream (183), Marden's Dream Variation (184), [185], Polio's War (186), Portrait of the Eagle's Keeper (187), Blackburn - Song of an Irish Blacksmith (188)

Cathedral (189), The Fish (190), The Forest (191), The Letter (192), Painted Landscape (193), Royal Incubator (194), Sacrifice (195), 17 Hs (196), Song of a Landscape (197), Star Cage (198), Structure of a Small Concept Possessing Big Power (199), 36 Birdheads (200), 24 Greek Ys (201), Inside the Marble Square (202), Arc in Quotes (203), Arc Wing (204), Australia (205), The Banquet (206), [207], Circles and Diamonds (208)

Egyptian Landscape (209), Entrance (210), Family Decision (211), Family Totem (212), Flight (213), Four Soldiers (214), Canopic Head (215), The Hero (216), Hudson River Landscape (217), Landscape Arch (218), Australian Letter (219), Question and Answer (220), Stainless Network (221), [222], Stainless Window (223), Untitled (224), Agricola I (225), Study for Agricola I (226)

Agricola II-X (227-235), [Agricola XI], Agricola XII (236), Anchor Head (237), Big Diamond (237 bis), [238], Horizontal Construction (239), Personage Seeking Australia (240), Don Quixote (241), Spectre Riding a Headless Horse (242), Stainless Network (243), Tanktotem I, II (244, 245), Vertical Pistol Structure (246), Agricola XIII (247), Bicycle (248), Coil Spring (249)

Drawing 3/12/53 (250), Drawing 7/29/1953 (251), Drawing 8/6/1953 (252), Drawing 9/11/1953 (Baker's First Piece) (253), Drawing 9/15/1953 (254), Drawing 10/6/1953 (255), Drawing 10/12/1953 (256), Europa (257), Figure (258, 259), Figure (260), Monday Woman (261), Parallel 52 (262), Ridge Runner (263), Spectre (264), Tanktotem III, IV (265, 266), 12/2/53 (267), Untitled (267 bis), Untitled (Dancer) (268), Untitled (268 bis 1-10)

Agricola 54 (269), Ark 53 (270), Birthday (271), Construction on Star Points (272), Dancer (273), Egyptian Barnyard (274), Hudson River Landscape (275), Portrait of a Painter (276), Portrait of a Young Girl (277), Sitting Printer (278), Stair Rail (279), Untitled (280), [281], Construction with Forged Neck (282), Construction in Rectangle (283), Forgings (284-293), [294], Memory Head (295), Liquid [?] Landscape (296), Poured Metal Form (297), Raven II (298), Construction in Three Elements (and other sculpture) (299), Untitled (300-303, 303A, 303 bis, 303 bis 1-5, 5a, 6,7)

Bone Up (304), Bones Fly (305), Bridge End (Egyptian) (306), Chicago O (307), Chicago I (308), Chicago March (309), Logan Medal (309 AB), Chicago II, III (310, 311), The City (312), Flying Ends (313), Four Figures (314), [Untitled] (314 bis), Rose Garden (315), Skull and Tree (315 bis), Three Figures (316), Wild Plum (317), Wing and Ear (318), Relief (319-323)

The Bar Head (324), [325], Egyptian Still Life (326), Europa and Calf (327), The Five Spring (328), 5-1/2 (328 bis), Four Units Equal (328 bis), Five Units Equal (329), Forging X (330), Thompson Stair Rail Outside (Guard Rail) (331), History of Leroy Boston (332), The Iron Woman (333), Isabella (333 bis), Man and Woman in Cathedral (334)

Mutation I (335), North South Dancer (336), Paul's Wood Bob (337), Personage of August (338), Poured Rectangles (339), Raven I (340), Running Daughter (341), Sentinel I (342), Tanktotem V (343), Structure 38 (344), Woman Bandit (344 bis), Untitled (345-347), Agricola Via (348), Animal Weights (349), Bird (349 bis), Books and Apple (350), Bull in Landscape (351), Detroit Queen (352), Head (353), Lilypad Head (354), Lonesome Man (355), Male and Female in Landscape (356), Mutation II (357), O Drawing (358), Pendulum Head (359), Personage of May (360), Pilgrim (361), Plate of Ramparts (362), Portrait of Lady Painter (363), Raven IV (364), Sentinel II-IV (365-367), Standing Figure (368), Structure 41 (369), Tanktotem VI (370), Timeless Clock (371), Tower 8 (372), Untitled (373, 373 bis, 373 bis 1-3), Baron's Moon (374)

Eight Arc Two Ovals (375), Eight Planes 7 Bars (376), Fifteen Planes (377), Head (378), Parrot's Circle (379), Structure 37 (380), Ten Arcs One Ring (381), [382-389], Twenty-Five Planes (390), [391], Untitled (392, 392 bis 1, 2), Agricola XXI, XXII (393, 394)

Albany I-V (395-399), [Albany VI], Albany VII (400), Auburn Queen (401), Banquet of Concaves (402), Circles and Angles (403), [404], Eleven Books Three Apples (405), [406], Head (407), Noon Sun (408), Raven III, V (409, 410), Sentinel V (411), Six Elements (412), Structure 37 (413), Study in Arcs (414), Three Circles and Planes (414 bis), Three Circles Related (415), Three Deities (416), Walking Dida (417), Untitled (418, 418 bis), [419]

Albany VIII, IX, XX (420-422), August Raven (423), Black Concaves (424), Black Flock (425), Bouquet of Concaves II (426), Doorway on Wheels (427), Egg Temple (428), Four Units Unequal (429), Landcoaster (430), Lunar Arcs on One Leg (431), Pointer (432), Superstructure on Four (433), Tanktotem VII-X (434-437), Three Ovals Soar (438), Three Planes (439), Untitled (440-442), Albany XI, XII (443, 444), Black White Backward (445), Black White Forward (446), Bolton Landing (447), Circle and Arcs (448), Circles Intercepted (449), Cube III (450) [with notation "(should this be with the Cubi?)"], Cube Totem (451)

Dida's Circle on a Fungus (452), Dida Gondola (453), Gondola (454), [455], Hicandida (456), Hirebecca (457), Lectern Sentinel (458), [Lunar Arc] (458 bis 1), March Sentinel (459), Ninety Father (460), Ninety Son (461), Noland's Blues (462), Rebecca's Circle (463), Rosati Landing (464), Sentinel (465), Structure (466), Two Box Structure (467), Two Circle Sentinel (468), Two Wing Circle (469), Zig I-V (470-474), Untitled (475-477), Untitled (Reclining Figure) (478), Untitled (Lost Wax Bronze) (479), Untitled (Lost Wax) (480), Untitled (481), Untitled (Nolands) (482), Untitled (Goat) (482 bis 1), Untitled (Horse) (482 bis 2)

Albany VII B (483), XI B (483 bis), Circle I-IV (484-487), Two Circle IV (488), Primo Piano I (488 bis), Primo Piano II, III (489, 490), [491], Windtotem (492), Untitled (Fog) (493), Untitled (494), Untitled (Standing Figure) (495)

Bec-Dida Day (496), Circle V (497), Circle and Ray (498), Circle Two Legs (499), Five Ciarcs (500), Menand I-VIII (501-508), Oval Nose (509), Seven Hours (510), Tower I (510 bis), Two Circles Two Crows (511), Zig VII (512), Untitled (513), Becca (514)

Bronze Planes (515-519), Dida Becca Merry X (520), Gondola II (521), Two Doors (522), Wagon I-III (523-525), Zig VIII (526), Untitled (527-530), Becca (531), Hi Candida (532), Untitled (533)

Reproductions are mostly photostatic prints, from published source

Voltri Doll (556), Compass Circle (557), Large Circle (558), Untitled (559, 560)

Titled variously Voltri Bolton, and Voltron, with numeral

Photographs of works in situ, without correspondence or catalogue forms

Works finished by Leon Pratt: photographic prints only

Misc. 1-7, two untitled, temp misc 9-12: small photographic prints, some fragments stapled to note cards

JA, JA bis-JD bis, JD bis 1, JD bis 2, JE-JH

Originals (blue), marked "Original to be returned" and carbons (yellow) marked "Copy to be retained by owner" of forms pertaining to items owned by the Smith estate

Originals (blue), marked "Original to be returned" and carbons (yellow) marked "Copy to be retained by owner" of forms pertaining to items owned by the Smith estate

Originals (blue), marked "Original to be returned" and carbons (yellow) marked "Copy to be retained by owner" of forms pertaining to items owned by the Smith estate

Originals (blue), marked "Original to be returned" and carbons (yellow) marked "Copy to be retained by owner" of forms pertaining to items owned by the Smith estate. Begins at 431; also contains Posthumous H.

Includes annotations in ink, and divisions into chapter sections

Original typescript and photocopy, edited by hand

Original typescript with minor emendations

By Dorothy Dehner [?]; marked in pencil "carbon of final copy, sent to Hopkins Feb. 2 1968"

Series III: Frank O'Hara Material on David Smith, 1957-1966

Historical Note

Before his sudden death in 1966, MoMA Associate Curator of Painting and Sculpture FOH had written the introduction to David Smith: 1906-1965 [ICE-F-82-63], which traveled in 1966 and 1967. In 1964, he had interviewed Smith for a documentary produced by Colin Clark, directed by Bruce Minnix, and broadcast on educational channel WNDT, the precursor to WNET/Channel 13.

Scope and Content

The series includes material about Smith from FOH's files. More information about both the traveling exhibition and the television documentary can be found in MoMA's C/E and ICE records, and in the FOH Papers.

Catalogue of the exhibition, without cover, annotated in FOH's hand

FOH introduction to exhibition; comments by Ambassador William R. Tyler at exhibition's opening in Otterlo, The Netherlands, with cover letter to FOH

FOH interview with Smith. Originally labeled "O'Hara text (to be supplemented with transcript of dialogue with Smith)"

Script

Series IV: Photographs, 1955-1968, undated

Scope and Content

The series includes various albums and loose photographs of Smith at work, and of his sculptures individually and in galleries; at his studio in Bolton Landing, New York; and in Voltri, Italy. Smith and his works were widely documented during his life by photographers including Dan Budnik, Eliot Elisofon, Alexander Liberman, Ugo Mulas, and Smith himself. It is not clear from the records who amassed these images; many are reproduced in Cleve Gray's mock-ups of the planned book (see Series II.D). Krauss's catalogue (see Series II.E) also includes many images of the works individually and in situ.

Smith at work: b/w prints

Mostly images of individual works not in situ, originally in box labeled "Mulas / Via Spollonia [?]": b/w prints

Originally in box labeled "David Smith photos / (for Rothenstein [sic]": b/w prints

Images of Smith works with paper captions interleaved between some images; some captions without images: b/w prints

Images of works in situ and of Smith: 35 mm and larger-format contact sheets

Originally in envelope with return address of Dan Rhodes Johnson, husband of gallerist Marian Willard: b/w transparencies

Smith works in exhibitions and in situ at Bolton's Landing: 8x10 b/w prints. These may have become detached from pages in the album in folder IV.8.

Album pages of photographs with captions, and pages with captions but no photographs. The prints have been removed and sleeved in Mylar; empty pages were photocopied and retained in their original order.

Smith at Bolton's Landing, in envelope addressed to Gray Williams: 5x7 b/w prints

Originally in envelope labeled "Photographs of David Smith by Harold Jones taken about one month before Smith's death. These were taken at Maryland Institute where Smith was a guest critic. / Please return to Bruce MacDonald in Photography Dep't MoMA": contact sheets

Images of Smith and the Motherwells taken May 15-16, 1965; with cover letter Liberman's secretary-Berkson (11/11/1965): edited contact sheets

Original envelope was labeled "For Smith monograph / Miscellaneous photo material": b/w prints, some fully captioned with provenance information

Original envelope labeled as being from FOH: color transparencies

Smith in the studio, with his family, Smith works. Includes list of photographers; note Franc-William Rubin (1/17/1967); original envelope labeled in FOH’s hand "For Cleve Gray / More photos by [sic] David Smith (some originals, some prints from copy negatives the originals of which were returned to Smith) / Frank [O'Hara]”: b/w prints, Polaroid prints

Smith drawings and sculpture: prints and transparency