The records of New York based Audubon Artists, a national exhibiting organization of painters, sculptors, and graphic artists, measure 6.7 linear feet and date from 1944-2001. The collection documents the organization's adoption of its constitution and first major expansion in the mid-1940s, and its subsequent growth to the present day. The records include correspondence with artist members, administrative files, exhibition files, financial records, printed material including an almost complete run of annual exhibition catalogs and prospectuses, and photographs of artwork, juries, and other groups involved in the annual exhibitions from the 1970s to 1999.
The Domenico Facci papers are dated 1914 to 1995, with the bulk falling between the years 1950 and 1984. They measure 1.2 linear feet and consist of biographical material, correspondence, artwork relating to sculpture projects, printed material, and photographs. Among the well-documented aspects of Facci's professional career are: his leadership roles in several arts organizations based in New York City, including Audubon Artists, National Sculpture Society, and Artists Equity Association; his work on the United States Treasury's 1988 Olympic Games commemorative coin competition, Brooklyn Bridge 100th Anniversary reliefs, Endangered Species Medal, and Neptune Fountain at Busch Gardens in Williamsburg, VA.
The papers of New York sculptor, painter, educator, and video artist, Benedict Tatti (1917-1993) measure 1.8 linear feet and date from 1936-2011, with the bulk of the collection dating from 1945-1993. Papers consist of biographical material, correspondence, project files, subject files, exhibition files, writings, notes, and lists, printed materials, and photographs. Exhibition files and printed material, such as catalogues and checklists provide an overview of Tatti's activities as a sculptor and video artist. Also, photographs of artwork are a rich source of provenance-related information on Tatti's sculptures.
The papers of painter and educator Hughie Lee-Smith measure 33.7 linear feet and 0.381 GB and date from circa 1890 to 2007, with the bulk of the material dating from 1931 to 1999. The collection documents Lee-Smith's career through biographical material, personal and professional correspondence, writings by Lee-Smith and others, personal business records, exhibition files, organization records, printed material, scrapbooks, photographs, a small amount of artwork, numerous interviews, and recordings for a documentary film on Lee-Smith. Also found are the papers of artist Rex Goreleigh, a friend of Lee-Smith.
The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work.
The papers of Bill Barrett measure 8.9 linear feet and 2.70 GB and date from 1930-2013, with the bulk of the material dating from 1950-2013. The collection consists of biographical material, lectures, exhibition files, scrapbooks, printed and digital material, artwork, sketchbooks, and photographic materials that document Bill Barrett's career as a sculptor and painter.
The papers of the painter, photographer, printmaker, and teacher Joseph Kaplan measure 4.5 linear feet and date from 1915-1977. The bulk of the collection consists of printed material, specifically exhibition catalogs. Also found are a large number of photographs taken of and by Kaplan. The papers also include biographical material, correspondence, personal business records, and artwork.
The papers of Chaim and Dorothy Koppelman measure 4.0 linear feet and date from circa 1930s-2006, bulk 1942-2005. The collection documents the activities of Chaim Koppelman and his wife, Dorothy Koppelman, as artists and educators, and their affiliation with the Terrain Gallery and the Aesthetic Realism Foundation. Materials include biographical material, correspondence, writings and notes, subject files, teaching files, exhibition files, personal business records, scrapbooks, printed material, sketches, sketchbooks, and photographs.
The papers of New York painters and teachers Josef Presser and Presser's wife Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as artists and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.
The Enid Klass correspondence regarding George Perutz art collection measures 0.4 linear feet and dates from 1965-1970, with one letter from 1994. The majority of the letters are from Perutz to various dealers and artists, inquiring about artworks and tracking provenance. There is also correspondence between George Perutz and his friend and art consultant Enid Klass indicating their exchange of often detailed information about various art works to consider buying and comments about the current art scene. Correspondence between Perutz and dealers have been forwarded to Klass, sometimes with an additional note to Klass. Perutz collected American art, including artists John James Audubon, Thomas Hart Benton, Stuart Davis, Philip Evergood, Marsden Hartley, Childe Hassam, Robert Henri, Edward Hopper, George Inness, Yasuo Kuniyoshi, John Marin, Maurice Prendergast, John Sloan, Grant Wood, and others. Correspondence with galleries includes Ankrum, Banfer, Downtown, David B. Findlay, Forum, Martha Jackson, Kennedy, Kraushaar, Landou-Alan, Midtown, Milch, Rosenberg, Jacques Seligmann, Zabriskie, and others.