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Archives of American Art

Stock books with marbled covers and leather bindings in various color fanned out.

Conserved H. Wunderlich & Company Stock Books Return to Their Former Splendor

Ruth Asawa, Untitled (S.557, Wall-Mounted Tied Wire, Closed Center Twelve-Petaled Form Based on Nature), bronze wire, 38 x 38 x 12 in. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2011.39.

Conversations Across Collections: Ruth Asawa at the Ankrum Gallery, 1962

Vernita N'Cognita introducing gallerist Holly Solomon and curator Robert Costa with her famous line,

Nearly 1,000 Panels with 6,000 Artists: Highlights from the Artists Talk on Art Records

Installation photograph of Chris Burden's All the Submarines of the United States of America at Christine Burgin Gallery, 1987 (detail) / unidentified photographer. Christine Burgin Gallery records, 1980-2016. Archives of American Art, Smithsonian Institution.

Acquisitions: Christine Burgin Gallery Records

Macbeth Gallery, ca. 1896 / unidentified photographer. Macbeth Gallery records, 1838-1968, bulk 1892-1953. Archives of American Art, Smithsonian Institution.

Fifty Ways to Use an Archive

Detail from Roberto Matta letter to Allan Frumkin, circa 1952. Allan Frumkin Gallery records, 1880-2016. Archives of American Art, Smithsonian Institution.

Acquisitions: Allan Frumkin Gallery Records

Detail of cardboard box with price code key for Winslow Homer paintings, between 1900 and 1950. Doll & Richards records, Archives of American Art, Smithsonian Institution.

Cracking Codes: What Does an Artichoke Have to Do With Selling Art?

Betty Parsons standing in the doorway of her gallery, 196-? / unidentified photographer. Betty Parsons Gallery records and personal papers, circa 1920-1991, bulk 1946-1983. Archives of American Art, Smithsonian Institution.

How Betty Parsons Became an American Tastemaker

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