]> PUBLIC "-//NATIONAL GALLERY OF CANADA//TEXT (US::CaOONG::::Lisette Model fonds)//ENG" "ngc028.sgm" Lisette Model fonds: Finding Aid National Gallery of Canada Library and Archives 2000 Finding aid encoded by Irene-Ann Spanner, October 2000. Finding aid written inEnglish. Lisette Model fonds: Finding AidNational Gallery of Canada Library and Archives2000

© 2000 National Gallery of Canada. All rights reserved.

 Collection Summary Lisette Model fonds. - [186-?]-1988; predominant 1920-1983. - 1.59 m of textual records, ca. 27,000 photographs and other material. Biographical Sketch

Elise Amelie Félicie (Lisette) Stern was born on November 10, 1901, in Vienna, Austria. In 1903 her family name was changed to Seybert. In 1934, having been introduced to darkroom techniques by her sister Olga, Lisette decided to pursue a career in photography. Her first series of works were taken along the Promenade des Anglais, Nice. A year after her marriage to the Russian-born painter Evsa Model, in 1937, the couple moved to New York City, where they lived for the rest of their lives. Lisette Model was most prolific between 1940 and 1947, resulting in a well-known series of photographs, including Reflections, Running Legs, Lower East Side, Sammy's, and Nick's; most of these works were featured in Harper's Bazaar and U.S. Camera. Beginning in 1940, Model's photographs were actively acquired by major museums and galleries around the world, most notably by the Museum of Modern Art, New York, which first purchased her work that year. As well as receiving critical acclaim as a photographer, Model was highly regarded and sought after as a teacher of photography. In conjunction with her teaching at the New School for Social Research in New York City from 1951 to 1983, she also conducted private workshops and was in great demand as a guest lecturer. In 1965 Model received both a Guggenheim fellowship and an honorary Doctor of Fine Arts from the New School for Social Research, New York. The following year she was given La Médaille de la Ville de Paris. On March 30, 1983, Lisette Model died in New York City.

Scope and Contents of the Collection

The fonds consists of approximately 25,000 negatives taken by Lisette Model; photographic prints, primarily by Lisette Model; personal and professional correspondence; 34 notebooks of lecture notes; legal documents pertaining to Lisette and Evsa Model; notices, clippings, tear sheets, and posters, many of which cite Model or reproduce her photographs; and recorded interviews with and lectures by Model.

Source of supplied title proper: Title based on contents of fonds.

Finding aids: An item-level finding aid to the negatives is available at the National Gallery of Canada Library and Archives; a detailed finding aid to the remainder of the fonds is also available.

Associated material: Other material related to Lisette Model at the National Gallery of Canada includes 291 gelatin silver prints by Model in the Photographs Collection. In addition, the National Gallery of Canada Archives holds contact sheet prints and duplicate exhibition-quality prints (the latter produced by Gerd Sander for the 1990 National Gallery of Canada exhibition Lisette Model), and research material compiled for the Lisette Model exhibition.

General note: Monographs, exhibition catalogues, periodicals (magazines, museum bulletins, newsletters), and academic calendars (New School for Social Research) owned by Lisette Model were included in the donation and have been transferred to the National Gallery of Canada Library. Most of the exhibition catalogues and periodicals cite Model and/or reproduce her work. The academic calendars usually include a faculty biography of Model and a description of courses given by her.

 Immediate Source of Acquisition

Donated by Joseph G. Blum, Executor of the Lisette Model Estate, through the American Friends of Canada Committee Inc., 1991.

 Organization of the Collection

This collection is organized into 12 series.

Series 1 - NegativesSeries 2 - CorrespondenceSeries 3 - Official documentsSeries 4 - Personal papersSeries 5 - Professional papersSeries 6 - Teaching notebooksSeries 7 - Exhibition notices / postersSeries 8 - Clippings and tear sheetsSeries 9 - Works on paperSeries 10 - Study photographsSeries 11 - Gerd Sander materialSeries 12 - Moving images Restrictions on Access

Access to Diane Arbus's correspondence requires written permission from the Arbus Estate.

 Terms Governing Use and Reproduction

Permission to reproduce or publish material from the Lisette Model fonds must be obtained from the National Gallery of Canada, Ottawa.

 Index Terms Names: Model, Lisette, 1901-1983 Subjects: Photography Document Types: Photographic negatives.Photographic prints.Correspondence.Files. Clippings files.Posters.Audio recordings. Preferred Citation

[Title of item], Lisette Model fonds, Library and Archives, National Gallery of Canada.

 Contact Information

Cyndie Campbell Head, Archives, Documentation and Visual Resources Library and Archives National Gallery of Canada380 Sussex Drive P.O. Box 427, Station A Ottawa, Ontario K1N 9N4

T 613-990-0597 F 613-990-9818

ccampbel@gallery.ca

 Series Level DescriptionsNegatives. - 1933-1983? - ca. 25,000 negatives.

The series consists of Lisette Model's 2 1/4-inch and 35mm photographic negatives and includes negatives from Model's best known series including Reflections, Running Legs, Promenade des Anglais, Sammy's, and Nick's.

Title based on contents of series.

 Correspondence. - 1926-1983. - 75.5 cm of textual records.

The series consists of correspondence between Lisette Model and family members (including Evsa Model), friends, students, colleagues, museums and galleries, and publishers. Legal correspondence between Lisette Model and her lawyers is also included.

Source of supplied title proper: Title based on contents of series.

Organisation: Correspondence is divided among the following categories: Family, Personal, Students, Other Photographers, Museums, Galleries, Publications, Other Professional, Awards, and Education and Teaching.

Language: Most of the text is in English, with numerous items in French, some in German, and a few in Esperanto.

General note: The letters have been summarized in the finding aid.

 Official Documents. - 1920-1983. - 2.5 cm of textual records.

The series consists of legal papers for both Lisette and Evsa Model. Items include birth certificates, marriage licence, passports, immigration papers, and naturalization papers. In addition, two different versions of Lisette Model's will, together with copies of death certificates for both Evsa and Lisette Model, are included.

Source of supplied title proper: Title based on contents of series.

Language: Most of the text is in English, with a few items in French, Russian, and German.

 Personal Papers. - 1945-1982. - 19 cm of textual records.

The series consists of various personal papers belonging to Lisette and Evsa Model. Items include calendars, appointment books, address books, and business cards of colleagues. Correspondence and other papers related to personal matters such as medical records, apartment rental, and various other personal business are also included.

Source of supplied title proper: Title based on contents of series.

Language: Most of the text in English, with some items in French.

 Professional Papers. - 1942-1983. - 13.5 cm of textual records.

The series consists of papers relating to Lisette Model's various cameras, including owner's manuals, technical booklets and notes, sales receipts, repair invoices, correspondence with manufacturers, and records of insurance coverage for Model's cameras. Included are technical notes on photographic processes and reports on issues relating to photography. This series contains Model's honorary Doctor of Fine Arts from the New School for Social Research, La Médaille de la Ville de Paris, and other awards and honours. Writings on Lisette Model's life and work, together with her own artist's statements and her writings, are included. Papers relating to a memorial service for Lisette Model held at the New School for Social Research are also part of this series.

Source of supplied title proper: Title based on contents of series.

 Teaching Notebooks. - ca. 1950-1982. - 13 cm of textual records.

The series consists of 34 notebooks containing Lisette Model's handwritten lecture notes for courses she taught, as well as hand-drawn technical diagrams illustrating optics and mechanics of the camera. In addition, loose sheets of notes are included in some of the notebooks.

Source of supplied title proper: Title based on contents of series.

General note: In the finding aid notebooks 1-29 have been transcribed, but not verbatim; notebooks 30-34 are included, but not transcribed.

 Exhibition Notices and Posters. - 1941-1979. - 2.5 cm of textual records.

The series consists of exhibition notices for both Lisette and Evsa Model. The series also contains two exhibition posters for Lisette Model.

Source of supplied title proper: Title based on contents of series.

 Clippings and Tear Sheets. - ca. 1940-1983. - 33 cm of textual records.

The series consists of various articles from newspapers, tabloids, magazines, and periodicals. Topics are wide ranging and include Lisette Model herself, other photographers, photography in general, music, well-known people, and a variety of photo images.

Source of supplied title proper: Title based on contents of series.

 Works on Paper. - ca. 1938-1976. - 42 watercolours and other graphic material.

The series consists of 42 watercolours, 4 charcoal sketches on paper, and 2 acrylic paintings on board, all unsigned and undated, by Evsa Model (?), as well as a sketchbook of pencil drawings by Lisette Model. Also included are 19 small mixed-media collage works on board sent by Evsa and Lisette Model as Christmas cards. The words "Greetings, Evsa, Lisette, '56" appear on the verso of most of the Christmas cards.

Source of supplied title proper: Title based on contents of series.

 Study Photographs. - [186-?]-1988. - ca. 1,200 photographic prints and other graphic material.

The series consists of negatives, contact prints, and photographic prints by Lisette Model, including numerous self-portraits and portraits of family and friends. Prints, contact prints, polaroids, and slides by other photographers are included and are usually, but not always, identified. Among the photographers whose work is represented in this series are Berenice Abbott, Ansel Adams, Imogen Cunningham, Marc Kazmarek, Todd Webb, and others. Historical photographs by unidentified photographers are included, as are installation views of some of Lisette Model's exhibitions.

Source of supplied title proper: Title based on contents of series.

Physical description: Series includes: ca. 1155 b/w photographic prints, 14 colour photographic prints, 6 negatives (35mm), 28 contact prints and contact sheets (35mm and 2 1/4-inch), 26 polaroids, 3 colour slides, 3 colour transparencies, 7 postcards, 2 colour stereoviewer images, and 1 tin-type.

 Gerd Sander Material. - [1976-1983?]. - ca. 580 photographs and other material.

The series consists of 2 1/4-inch contact prints of Lisette Model's photographs, which were printed by Gerd Sander of the Gerd Sander Gallery (Model's dealer from ca. 1976 to 1983); a visual inventory of the contact prints consisting of photocopies of Model's photographs arranged by subject; and an index card inventory of prints organized by subject.

Source of supplied title proper: Title based on contents of series.

 Audiovisual Material. - 1954, 1977-1983. - 13 audio cassettes and 1 film reel.

The series consists of taped recordings of interviews with Lisette Model conducted by Janet Beller, Jim McQuaid, Sheila Seed, and Radio France, as well as taped recordings of lectures given by Lisette Model at the Comfort Gallery, Haverford College, Haverford, Pennsylvania, and at the Pratt Institute, New York, N.Y. The series also contains a silent colour film featuring Lisette Model and others in Venezuela.

Source of supplied title proper: Title based on contents of series.

Related material: Transcripts of the interviews of Lisette Model by Janet Beller, Jim McQuaid, and Sheila Seed, as well as a transcript of the lecture at the Pratt Institute, can be found in the reseach material for the Lisette Model exhibition in the National Gallery of Canada Archives.

General note: The recordings have not been transcribed verbatim and the transcripts are not complete.

 Detailed Description of the Collection

Box Lists

Series 2 - Correspondence Correspondence - Family LM.AR2.F1to Lisette Model from Félicie Seybert (1866-1944); date range of correspondence: 2.11.1938 to 17.9.1941;

in French and English; from Nice

 Box 1File 1LM.AR2.F1.0 2.11.38

empty envelope, mailed from Villefranche

Box 1File 1LM.AR2.F1.1 15.8.39

news of war; Marini died; Olga; Beati; Oppio

Box 1File 1LM.AR2.F1.2 30.8.39

horror of war; Olga, Salva, Bianca, Marini, Lucio-Marini's successor, Oppio overseeing Félicie's business

Box 1File 1LM.AR2.F1.3 8.9.39

war - will Italy remain neutral? Mussolini, Prince Humberto, Graziani, Salva, Bianca, Olga, and Suzon in Chatillon-en-Bezois; also a postcard from Nice dated August 15, 1939 and an envelope dated September 1939

Box 1File 1LM.AR2.F1.4 13.9.39

Olga too frightened to return to Nice, still managing to eat well, fearing changes in Italy; Salva, Bianca

[Note: letter from Félicie to LM enclosed with a letter from Olga and Suzanne dated 30.10.1939, see LM.AR2.F2.2]

Box 1File 1LM.AR2.F1.5 20.11.39

food expensive but no one hungry; a friend in Holland sending things; Margherita, Guglielma - Italian friends

Box 1File 1LM.AR2.F1.6 24.12.39

mail increasingly unreliable; travel restrictions; Olga awaiting French citizenship; war finally dampening Félicie's spirits and courage

Box 1File 1LM.AR2.F1.7 12.1.40

anxious because LM not writing or acknowledging gifts; Olga always with Suzon; loneliness, times harder, telling LM not to send money

Box 1File 1LM.AR2.F1.8 13.1.40

congratulating LM on her successes; Olga left home for Cannes; Félicie disowns her; family must stick together to survive hard times; Suzon is to blame

Box 1File 1LM.AR2.F1.9 24.1.40

thanking LM for sending money; shared it with Olga; falling out with Bianca and Salva; separate letter to Evsa, wanting no sacrifices made on her account

Box 1File 1LM.AR2.F1.10 31.1.40

better spirits; no word of Salva and Bianca; Trudi, Madame Steuermann; addresses for Bouthoul, also Marou

Box 1File 1LM.AR2.F1.11 19.2.40

speaks of her ex-daughter [sic] visiting for a day; Olga a slave to Suzon and her family (les Bathon), Salva and Bianca, Bianca, Lo and Hugo; asks for soap!

Box 1File 1LM.AR2.F1.12 5.3.40

received letter from LM dated December 18; Salva; Olga still with her "adoree"; reminds LM to contact her lawyer Cadouna who looks after money?

Box 1File 1LM.AR2.F1.13 7.3.40

still thanking and reprimanding LM for sending money, Madame Germaine Thrull, son of Maurice Trivat, Anita

Box 1File 1LM.AR2.F1.14 5.4.40

has sent gifts; Olga, Suzanne, patiently awaiting victory for allies

Box 1File 1LM.AR2.F1.15 3.5.40

writes in English; speaks of Olga, Suzanne, and faithful Anunziata [?]; note from Olga on same sheet

Box 1File 1LM.AR2.F1.16 5.6.40

air raids; despite 9,000 francs paid to lawyer Gaston Bouthoul, Olga still without citizenship

Box 1File 1LM.AR2.F1.17 14.6.40

forced to leave Nice; Olga, Suzon, Félicie, and the new housekeeper sharing an apartment together in Le Vigan; blank postcard included

Box 1File 1LM.AR2.F1.18 17.7.40

all of France in mourning; Nice attacked by Italy; saved by a huge thunderstorm; Hugo and Lo; all basic foods rationed

Box 1File 1LM.AR2.F1.19 12.9.40

good weather only source of comfort; now surrounded by enemies; ration details; despite complaining, all is well

Box 1File 1LM.AR2.F1.20 30.9.40

situation with Bianca and Salva resolved; Olga moved to Cannes with Suzon, whom Félicie continues to curse

Box 1File 1LM.AR2.F1.21 12.10.40

"bastard" Suzon still stands between Félicie and Olga; Félicie borrowing money from a Dutch friend, sharing it with Olga, who then spends it on Suzon and her mother!

Box 1File 1LM.AR2.F1.22 5.11.40

Félicie still struggling to understand Olga's behaviour and the hold Suzon has on her; food very scarce; Hugo and Lo

Box 1File 1LM.AR2.F1.23 28.11.40

words of brave suffering; no heat; Suzon banned from the Seybert home; Hugo and Lo; Annunziata sends greetings

Box 1File 1LM.AR2.F1.24 ?.1.41

empty envelope

Box 1File 1LM.AR2.F1.25 18.2.41

empty envelope

Box 1File 1LM.AR2.F1.26 25.3.41

ecstatic to have received money from LM, which Félicie shared with Olga and Salva; U.S. sending flour to France

Box 1File 1LM.AR2.F1.27 27.3.41

continues to curse her ex-daughter [sic]; Salva, Lo, and Hugo; food supplies sent by other countries; U.S. families sending cash to French families

Box 1File 1LM.AR2.F1.28 7.4.41

U.S. is France's saviour; sending powdered milk and vitamins; Suzon and Olga still unwelcome; Lo and Hugo's apartment in Paris looted; Salva, Lucio; note from Lo

Box 1File 1LM.AR2.F1.29 5.7.41

hungry but still brave, Olga visits weekly - relations civil, speaks of her uncle, Salva and Bianca, Lo and Hugo

Box 1File 1LM.AR2.F1.30 17.9.41

fresh vegetables scarce and very expensive; music and concerts boosting morale; Germaine, Benziata, Lo, and Hugo

 LM.AR2.F2 to Lisette Model from Olga Seybert (1909-1989?); date range of correspondence: 1.9.1939 to 12.24.1982;

in French and English; from various locations

Box 1File 2LM.AR2.F2.1 1.9.39

empty envelope

Box 1File 2LM.AR2.F2.2 30.10.39

evening blackouts in Nice; Salva and Bianca low; Suzanne, Gaston; note on back from Suzanne - Salva and Bianca; diet; letter from Félicie also included

Box 1File 2LM.AR2.F2.3 13.6.40

sends new address in Le Vigan; Mussolini's entrance into war; Suzon

[Note: two letters from a war correspondent give information relating to Olga and Félicie during the war. See Correspondence/Other Photographers series, LM.AR2.PH28.1 and LM.AR2.PH28.2]

Box 1File 2LM.AR2.F2.4 24.5.65

empty envelope

Box 1File 2LM.AR2.F2.5 24.12.69

Fred Mayer, Kistler, Corabelle, Bob, Thomas, Renata, Suzanne, Dean; new apartment

Box 1File 2LM.AR2.F2.6 3.9.71

her book at printer; anxious about signature parties; Ivan Wilson's address; working for Meyer; photos for Brooklyn Museum

Box 1File 2LM.AR2.F2.7 19.7.77

business lunch with Bob and Barrante, Lama Rimpoche, and Gourijeff Group

Box 1File 2LM.AR2.F2.7a 19.7.77

torn bank form for opening an account at United Bank of Denver, originally enclosed with LM.AR2.F2.7

Box 1File 2LM.AR2.F2.8 22.3.78

David Vestal; fire alarm information business with Bob and Barrante going well; many seeking LM's book

Box 1File 2LM.AR2.F2.9 23.0.78

Eleanor and Dean to Paris; Marguerite; Jean Cadroas's address; nervous; Franziska, Elizabeth

Box 1File 2LM.AR2.F2.10 15.9.78

from Mazattan, Mexico; "where is Lisette? . . . What did authorise you to think I expected ANY such thing as another invitation?"

Box 1File 2LM.AR2.F2.11 10.11.78

birthday card signed by Olga, Eleanor, Rumi, Dean [?]; postcard with birthday greeting; teddybear ornament enclosed

Box 1File 2LM.AR2.F2.12 24.11.78

typed, Franziska Stein letterhead, sending East-West Journal; Gurdijeff, Richard Wagner, Lord Pentland, Nathalie, Rumi, Paul von Lobkowitz, Dr. Hausmann, Bruce, Margot Luftman, Dean

Box 1File 2LM.AR2.F2.13 18.12.78

short note regarding Renée LeJeune, Olga's favourite clairvoyant, being in New York and wanting to meet LM and Sonja

Box 1File 2LM.AR2.F2.14 20.12.78

New Year's card signed Olga, Zack, Renée [?]

Box 1File 2LM.AR2.F2.15 5.1.79

magazine clippings regarding Eleanor's son and Featherspring Corp.

Box 1File 2LM.AR2.F2.16 15.1.79

thanks for a cheque

Box 1File 2LM.AR2.F2.17 26.1.79

project with Fraziska

Box 1File 2LM.AR2.F2.18 2.2.79

Ann Macey; looking for a new lab; sending a book entitled Adventures with Ideas; "Rumi", Sanskrit poem in German, and magazine article "Miracle Fuzz" included

Box 1File 2LM.AR2.F2.19 7.4.79

recommending Dr. Edward Edwingen, Head of the Jungian [?] Association as a "wonderful" analyst and man

Box 1File 2LM.AR2.F2.20 12.4.79

note and clipping regarding how to make the most of social security benefits!

Box 1File 2LM.AR2.F2.21 16.4.79

note requesting name of Paris hotel

Box 1File 2LM.AR2.F2.22 10.5.79

more book recommendations, Rumi, Geo. Barrante, Elizabeth Bird

Box 1File 2LM.AR2.F2.23 10.2.81

sent "La Cotta" - writes directions for use; Renée, Rumi, working at Meyer's

Box 1File 2LM.AR2.F2.24 1.5.81

postcard with greetings

Box 1File 2LM.AR2.F2.25 2.6.81

thanks for another "enormous" cheque, house-sitting for Chayets

Box 1File 2LM.AR2.F2.26 25.8.81

rainbow peace sticker included; also list of telephone numbers and addresses for Paris; going to Salt Lake City and Montana

Box 1File 2LM.AR2.F2.27 12.11.81

typed list of addresses in Paris; envelope in LM's hand: "Olga Addresses in Paris"

Box 1File 2LM.AR2.F2.28 27.1.82

Dr. Crowe's address in Denver, where 2 cc of blood packed in dry ice should be sent!

Box 1File 2LM.AR2.F2.29 15.3.82

copy of letter to from A.W.G Stefenelli enclosed with Olga's letter: concerned about above, St. Patrick's Day parade, Chayet

Box 1File 2LM.AR2.F2.30 25.3.82

greetings, Anita

Box 1File 2LM.AR2.F2.31 20.4.82

asking about LM's trip to Europe, Anita, Rumi, Chayet

Box 1File 2LM.AR2.F2.32 20.4.82

copy of letter to Stefenelli signed Olga Seybert and LM

Box 1File 2LM.AR2.F2.33 18.6.82

note written on photocopy of newspaper article on South American herbal remedies

Box 1File 2LM.AR2.F2.34 22.6.82

note on photocopy of letter from security service to Olga

Box 1File 2LM.AR2.F2.35 17.11.82

a scribbled series of questions about insurance, receipt of a parcel, Zen [?] organization, clipping regarding a heater included

Box 1File 2LM.AR2.F2.36 18.11.82

tiny notecard, Meyer's retirement party, names and address for Zen organization

Box 1File 2LM.AR2.F2.37 24.12.82

Franziska, Rumi, Hazel, Marie Tilly, Denver buried by a blizzard, included magazine clippings of Sesame Street! recommends singing to cure LM's ills!

Box 1File 2LM.AR2.F2.38 n.d. (Monday)

Franziska Stein's letterhead; asks if LM sent blood sample and discusses possibility of LM's receiving medal in absentia in Paris

 LM.AR2.F3to Lisette (Seybert) Model from Evsa Model (1899-1976); date range of correspondence: 27.2.1936 to 16.8.1954;

in French, English, and Esperanto (as noted) from various locations

 Box 1File 3LM.AR2.F3.1 193?

Nice; to Lisette Seybert in Paris; Taverne Nicoise stationery

Box 1File 3LM.AR2.F3.2 27.2.36

Nice; to Lisette Seybert in Paris; Evsa Model showed a journalist Lisette's photographs and gave her address in Paris

Box 1File 3LM.AR2.F3.3 27.2.36

Nice; to Lisette Seybert in Paris; promises to go to Paris at end of month

Box 1File 3LM.AR2.F3.4 29.2.36

Nice; to Lisette Seybert in Paris; looking for a house; leaving Cote d'Azur

Box 1File 3LM.AR2.F3.5 ?.3.36

Nice; to Lisette Seybert in Paris; Friday evening; in Métropole envelope; promises to go to Paris soon

Box 1File 3LM.AR2.F3.6 ?.3.36

Nice; to Lisette Seybert in Paris; Sunday; leaves on Tuesday; saw Olga

Box 1File 3LM.AR2.F3.7 5.10.36

Paris; to Lisette Seybert in Milan; saw LM's agency

Box 1File 3LM.AR2.F3.8 5.10.36

Paris; to Lisette Seybert in Milan; Antivie; has not seen any friends in Paris

Box 1File 3LM.AR2.F3.9 7.10.36

Paris; to Lisette Seybert in Milan; Renée; Riemer

Box 1File 3LM.AR2.F3.10 9.10.36

Paris; to Lisette Seybert in Milan; received two letters from Lisette Seybert; arranging his paintings; Thursday

Box 1File 3LM.AR2.F3.11 n.d. (Friday)

Paris; waiting for Lisette Seybert to arrive; has put his room in order

Box 1File 3LM.AR2.F3.12 23.12.36

Paris; to Lisette Seybert in Trento, Italy [forwarded to Milan]; complains of being separated from Lisette

Box 1File 3LM.AR2.F3.13 24.12.36

Paris; to Lisette Seybert in Milan

Box 1File 3LM.AR2.F3.14 26.12.36

Paris; to Lisette Seybert in Milan

Box 1File 3LM.AR2.F3.15 27.12.36

Paris; to Lisette Seybert in Milan; went to le Dome and saw René [sic], Seuphor, Ageuce

Box 1File 3LM.AR2.F3.16 15.3.37

Paris; to Lisette Seybert in Nice; comments on her "electrically charged" letter which "pulverized" him [contents of LM letter?]

Box 1File 3LM.AR2.F3.17 17.3.37

Paris; to Lisette Seybert in Nice; complains of being lethargic, ill [?]

Box 1File 3LM.AR2.F3.18 17.3.37

Paris; to Lisette Seybert in Nice; enclosed letter from Seuphor

Box 1File 3LM.AR2.F3.19 ?.?.37

Nice; to Lisette Seybert in Milan but readdressed to Nice (27 avenue des Baumettes); love letter in combined languages [Esperanto, parts in Russian?]

Box 1File 3LM.AR2.F3.20 17.9.37

Paris; to Lisette Seybert in Nice; house in Montparnasse

Box 1File 3LM.AR2.F3.21 20.9.37

Paris; to Lisette Seybert in Nice; received 1,000 francs; plans to go to Nice to work; saw Riemer the "pessimiste"; René [sic]

Box 1File 3LM.AR2.F3.22 n.d. (Thursday)

probably from Paris [no envelope]; encourages Lisette Seybert to come soon, as the apartment is ready; saw Riemer, Grabowsky, Ramee [?], "pissimiste" [sic], Signori at the Dome

Box 1File 3LM.AR2.F3.23 7.10.37

Nice; to Lisette Seybert in Pamparato, Italy; written in Esperanto [?]

Box 1File 3LM.AR2.F3.24 10.10.37

Nice; to Lisette Seybert in Pamparato, Italy; written in Esperanto [?]; tries to explain Esperanto grammar

Box 1File 3LM.AR2.F3.25 11.10.37

Nice; to Lisette Seybert in Pamparato, Italy; written in Esperanto with more grammar instruction

Box 1File 3LM.AR2.F3.26 12.10.37

Nice; to Lisette Seybert in Pamparato, Italy; in Esperanto

Box 1File 3LM.AR2.F3.27 14.10.37

Nice; to Lisette Seybert in Pamparato, Italy; in Esperanto

Box 1File 3LM.AR2.F3.28 15.10.37

Nice; to Lisette Seybert in Pamparato, Italy; in Esperanto; Wednesday

Box 1File 3LM.AR2.F3.29 18.10.37

Nice; to Lisette Seybert in Trento, Italy; in Esperanto

Box 1File 3LM.AR2.F3.30 19.10.37

Nice; to Lisette Seybert in Trento, Italy; on stationery from la Brasserie au Palace; in Esperanto

Box 1File 3LM.AR2.F3.31 21.10.37

Nice; to Lisette Seybert in Trento, Italy, but rerouted to 27 avenue du Naumettes, Nice; in Esperanto

Box 1File 3LM.AR2.F3.32 21.10.37

Nice; to Lisette Seybert in Milan; frustration at slow progression of his painting; discussion of a friend of Lisette's ("Romeo") who will develop negatives in Milan; stopped taking Esperanto from Ollivaud; never sees Olga and "Vinternoze"

Box 1File 3LM.AR2.F3.33 22.10.37

Nice; to Lisette Seybert in Milan; advises Lisette to give negatives that have to be developed to "Romeo" only; saw Olga, who gave him the name of Marusia de Pary, an amateur photographer in Milan

Box 1File 3LM.AR2.F3.34 23.10.37

Nice; to Lisette Seybert in Milan; complains that his painting is going slowly; asks Lisette to tell "Panjo" that Olga and the whole family are doing marvelously; last page in Esperanto

Box 1File 3LM.AR2.F3.35 24.10.37

Nice; to Lisette Seybert in Milan; received her first letter from Milan; last page in Esperanto

Box 1File 3LM.AR2.F3.36 25.10.37

Nice; to Lisette Seybert in Milan; has the address of a photographer in Nice and asks Lisette to let him know if she wants it; asks after "Panjo"

Box 1File 3LM.AR2.F3.37 27.10.37

Nice; to Lisette Seybert in Milan; in Esperanto

Box 1File 3LM.AR2.F3.38 29.10.37

Nice; to Lisette Seybert in Milan; Evsa Model has found a new photographer to develop Lisette's negatives (better than "Romeo"); saw Olga

Box 1File 3LM.AR2.F3.39 27.11.37

Paris; to Lisette Seybert in Nice, avenue du Beaumettes; Le Dome envelope; in Esperanto

Box 1File 3LM.AR2.F3.40 n.d.

Paris on Le Dome stationery; (Sunday, probably to Lisette Seybert in 3 p.m.) Nice; Evsa Model continues with Esperanto; saw "Pessimiste"; ate at Jean's at noon

Box 1File 3LM.AR2.F3.41 31?.11.37

Nice; to Lisette Seybert in Milan; comforts Lisette, who is anxious; describes his current paintings; end of letter in Esperanto

Box 1File 3LM.AR2.F3.42 29.11.37

Paris; to Lisette Seybert in Nice

Box 1File 3LM.AR2.F3.43 29.11.37

Paris; to Lisette Seybert in Nice

Box 1File 3LM.AR2.F3.44 n.d.

probably from Paris to Lisette Seybert in Nice; on stationery from La Coupole 102 boulevard du Monparnasse [sic]; in Esperanto

Box 1File 3LM.AR2.F3.45 2.12.37

Nice; to Lisette Seybert in Milan; in Esperanto

 Box 1File 4LM.AR2.F3.46 22.7.38

Nice; to Lisette Seybert in Paris; on stationery from Café Modern, Nice; complains of Nice being old-fashioned ("prehistorique")

Box 1File 4LM.AR2.F3.47 2.8.38

Nice; to LM in Trento, Italy

Box 1File 4LM.AR2.F3.48 3.8.38

Nice; to LM in Trento, Italy

Box 1File 4LM.AR2.F3.49 5.8.38

Nice; to LM in Trento, Italy; discusses his work and discoveries in Nice

Box 1File 4LM.AR2.F3.50 9.8.38

Nice; to LM in Trento, Italy; complains of Lisette's staying in Italy so long

Box 1File 4LM.AR2.F3.51 15.8.38

Nice; to LM in Trento, Italy; writes Lisette's "horoscope"

Box 1File 4LM.AR2.F3.52 17.8.38

Nice; to LM in Trento, Italy

Box 1File 4LM.AR2.F3.53 19.8.38

Nice; to LM in Trento, Italy [letter forwarded to Milan]

Box 1File 4LM.AR2.F3.54 21.8.38

Nice; to LM in Milan [letter forwarded to avenue de Beaumettes, Nice]; tells Lisette that the Italian border is closed to the French; complains of progress of his painting

Box 1File 4LM.AR2.F3.55 n.d.

probably to LM travelling in Italy; Evsa Model says "Bravo, Vive il Duce"

Box 1File 4LM.AR2.F3.56 n.d. (Thursday)

probably to LM travelling in Italy; encourages Lisette to go to Sicily

Box 1File 4LM.AR2.F3.57 26.8.38

Paris; to LM in Nice; describes trip to Lyon looking for Madame Archiveque; visited with Walter

Box 1File 4LM.AR2.F3.58 8.4.43

55 Grove Street, New York; to LM in Washington, 1307 Clifton Street, c/o Betty Chamberlain; Evsa Model preparing for an exhibition; encloses a letter from the Art Institute of Chicago for LM; Harrari, Fax, and Lawrense [sic] at a party that ended with the "classic discussion" - American asking art to "vin the war"

Box 1File 4LM.AR2.F3.59 14.4.43

55 Grove Street, New York; to LM, 1307 Clifton Street, Washington; enclosed copy of his exhibition program, which is to be hung on Saturday

Box 1File 4LM.AR2.F3.60 19.6.53

247 West 13th Street, New York; to LM, c/o Taussig and Sons, 7 boulevard des Capucines, Paris; just received two letters describing LM's impressions of Paris; says the Rosenbergs "sont foutus"

Box 1File 4LM.AR2.F3.61 1.7.53

247 West 13th Street, New York; to LM c/o Taussig and Sons, 7 boulevard des Capucines, Paris [forwarded to Hotel Alexandria and then back to boulevard des Capucines]; LM had not received his earlier [rerouted] letter but sent a telegram

Box 1File 4LM.AR2.F3.62 2.7.53

247 West 13th Street, New York; to LM, Hotel Beau Soleil, Vernet-les-Bains, France; Evsa Model responds to an angry letter that just arrived from LM

Box 1File 4LM.AR2.F3.63 7.7.53

247 West 13th Street, New York; to LM c/o Tausig [sic] and Sons, 7 boulevard des Capucines, Paris; mentions Ida, Dorothy

Box 1File 4LM.AR2.F3.64 ?.7.53

247 West 13th Street, New York; to LM c/o Tausig [sic] and Sons, 7 boulevard des Capucines, Paris

Box 1File 4LM.AR2.F3.65 13.7.53

247 West 13th Street, New York; to LM c/o Tausig [sic] and Sons, 7 boulevard des Capucines, Paris

Box 1File 4LM.AR2.F3.66 24.7.53

247 West 13th Street, New York; to LM c/o Tausig [sic] and Sons, 7 boulevard des Capucines, Paris

Box 1File 4LM.AR2.F3.67 30.7.53

247 West 13th Street, New York; to LM c/o Rag. Ezio Oppio, Milan; Evsa Model says that LM must not have received the letter he wrote about money; mentions Ida

Box 1File 4LM.AR2.F3.68 6.8.53

247 West 13th Street, New York; to LM c/o Rag. Ezio Oppio, Milan; LM's traveller's cheques have been returned to Evsa Model

Box 1File 4LM.AR2.F3.69 9.8.53

247 West 13th Street, New York; to LM c/o Oppio, Milan [forwarded to Auberge Senato, Rome]; sends $190 in traveller's cheques; tells LM that going to other cities in Italy is a splendid idea; speaks of a problem with Oppio and the Bauers, and advises LM to stay on good terms with both parties

Box 1File 4LM.AR2.F3.70 13.8.53

247 West 13th Street, New York; to LM, Hotel Senato, Piazza Pantheon, Rome; received LM's letter from Rome; regarding the Bauers, advises LM to be aware that she and Olga are very direct

Box 1File 4LM.AR2.F3.71 19.8.53

247 West 13th Street, New York; to LM, Hotel Senato, Piazza Pantheon, Rome; "nothing new in this hemisphere"

Box 1File 4LM.AR2.F3.72 25.8.53

247 West 13th Street, New York; to LM, Rome [forwarded to Naples]; advises LM to come home; Oppio; mentions Henrietta, Cartier Bresson book, Putnam Publishing

Box 1File 4LM.AR2.F3.73 28.8.53

247 West 13th Street, New York; to LM, Rome [forwarded to Naples]; mentions Henrietta; Oppio; advice on LM's trip

Box 1File 4LM.AR2.F3.74 1.9.53

247 West 13th Street, New York; to LM, Rome [forwarded to Naples]

Box 1File 4LM.AR2.F3.75 4.9.53

247 West 13th Street, New York; to LM, Albergo Senato, Piazza del Pantheon, Rome; neighbour Downey and others asking after her; Evsa Model complains that no one comes to see him

Box 1File 4LM.AR2.F3.76 11.9.53

247 West 13th Street, New York; to LM, Albergo Senato, Piazza del Pantheon, Rome; New School wrote regarding LM's upcoming course

Box 1File 4LM.AR2.F3.77 16.9.53

247 West 13th Street, New York; to LM, Albergo Senato, Piazza del Pantheon, Rome; reference to her "battle" with Oppio; asks if she has seen the Picasso exhibition at the Musée d'art modern in Rome

Box 1File 4LM.AR2.F3.78 21.9.53

247 West 13th Street, New York; to LM, Albergo Senato, Piazza del Pantheon, Rome; asks about Oppio

Box 1File 4LM.AR2.F3.79 25.9.53

247 West 13th Street, New York; to LM c/o Rag. Oppio, Piazza Fontana, Milan; advises LM about making arrangements with Oppio without abandoning New School; Evsa Model will find a way to pay rent

Box 1File 4LM.AR2.F3.80 3.10.53

247 West 13th Street, New York; to LM c/o Rag. Oppio, Milan; advises "it is clear that the more you are in a hurry to sell the land, the more you are at the mercy of Bianca. Tell her: 'Merde'; asks again if she has seen Picasso exhibition

Box 1File 4LM.AR2.F3.81 10.10.53

247 West 13th Street, New York; to LM c/o Sing. [sic] Oppio, Milan; Evsa Model comments on how difficult it is to negotiate with Bianca, considering that she is an indirect relative; Olga telegrammed [telephoned] from Caracas; Evsa's painting class begins the following Monday

Box 1File 4LM.AR2.F3.82 15.10.53

247 West 13th Street, New York; to LM c/o Oppio, Milan; received LM's letter from Trento with the approximate date of her return; advises her to buy a sweater for the return; Evsa Model paid the rent and bank; his class started Monday

Box 1File 4LM.AR2.F3.83 26.10.53

247 West 13th Street, New York; to LM c/o Oppio, Milan; expects LM to return soon; letter arrived from Axelrod asking to meet LM regarding Martino's affairs [estate]

Box 1File 4LM.AR2.F3.84 3.11.53

247 West 13th Street, New York; to LM c/o Oppio, Milan; sends address of their bank, Manufacturers' Trust, New York

Box 1File 4LM.AR2.F3.85 16.8.54

29 Nickerson Street, Provincetown; to LM c/o Olga Seybert, Avenida Pantheon, Caracas, Venezuela; leaving that night for Provincetown; also two b/w photographs, one passport size photo of Lisette, one cropped photo of unidentified woman

Box 1File 4LM.AR2.F3.86 18.8.54

29 Nickerson Street, Provincetown; to LM c/o Olga Seybert, Avenida Pantheon, San Bernardino, Caracas, Venezuela; doesn't expect to stay long in Provincetown

Box 1File 4LM.AR2.F3.87 6.8.54

postcard from Paris; [Mary?] Torczyner

Box 1File 4LM.AR2.F3.88 1.9.54

[no envelope or address] to LM in Caracas possibly from Provincetown; mentions Provincetown

Box 1File 4LM.AR2.F3.89 6.9.?

[no envelope; letter says only "Sept. 6"]; Evsa Model is left with only $3 in the bank; comments on LM's idea of photographing "pour la Propagande"

Box 1File 4LM.AR2.F3.90 n.d.

[no date but same paper as .80 and .81]; mentions the ocean [Evsa Model is probably writing from Provincetown]

 LM.AR2.F4to Lisette Seybert from "Marini"; date of correspondence: 30.4.1927;

in German; from Trieste

Box 1File 5LM.AR2.F4.1 30.4.27

letter in German; from "Marini" in Trieste

 LM.AR2.F5to Lisette Seybert from L.[C.?] Veth; date of correspondence: 26.1.1926;

from Chicago

Box 1File 5LM.AR2.F5.1 26.1.26

empty envelope; return address: "L[C?] Veth 6239 Blackstone Ave/Chicago Ill" to LS at SVI rue de la Tour, Paris

 Correspondence - Personal LM.AR2.PEto/from Lisette Model to/from various people; date range of correspondence: 19.1.1942 to 17.1.1983 Box 1File 6LM.AR2.PE1.1 15.12.79

Lina Ballina; Christmas greetings

Box 1File 6LM.AR2.PE2.1 4.12.79

Ed Baynard; praise for LM's work

Box 1File 6LM.AR2.PE3.1 19.5.54

Willard E. Beecher; asks her not to pay a full $10 fee for consultations

Box 1File 6LM.AR2.PE3.2 24.1.55

Willard E. Beecher; referred Jack Cerf to join LM's class

Box 1File 6LM.AR2.PE3.3 3.2.55

Willard E. Beecher; saw Harper's Bazaar; tells her not to depend on anyone

Box 1File 6LM.AR2.PE3.4 10.8.55

Willard E. Beecher; regarding his own heart problem

Box 1File 6LM.AR2.PE3.5 30.12.57

Willard E Beecher; returning cheque LM and Evsa Model sent for couches

Box 1File 6LM.AR2.PE3.6 23.7.58

Willard E. Beecher; asks not to be paid

Box 1File 6LM.AR2.PE3.7 5.6.61

Willard E. Beecher; letter to both LM and Evsa Model; news of moving

Box 1File 6LM.AR2.PE3.8 17.6.61

Willard E. Beecher; mentions Pauline in Venice; offers free consultation before moving

Box 1File 6LM.AR2.PE3.9 n.d.

Willard E. Beecher; newsletter about Beechers' move to Miami and return to New York

Box 1File 6LM.AR2.PE3.10 26.1.62

Willard E. Beecher; mentions Mrs. Cowell [LM referred her to Willard and Marguerite Beecher?]

Box 1File 6LM.AR2.PE3.11 21.3.62

Willard E. Beecher; asks not to be paid

Box 1File 6LM.AR2.PE3.12 29.3.62

Willard E. Beecher; returns $5 LM overpaid him; reference to LM seeking counselling to get over problems photographing

Box 1File 6LM.AR2.PE3.13 30.6.62

letter to Willard and Marguerite Beecher from Sue Cowell

Box 1File 6LM.AR2.PE3.14 26.9.63

Willard E. Beecher; Beecher dog died

Box 1File 6LM.AR2.PE3.15 6.9.64

Willard E. Beecher; enclosed quotes from Isak Dinesen and Rinzai

Box 1File 6LM.AR2.PE3.16 6.2.65

Willard E. Beecher; originally enclosed article "Active vs Reactive"

Box 1File 6LM.AR2.PE3.17 n.d.

Willard E. Beecher

Box 1File 6LM.AR2.PE3.18 23.3.77

Willard and Marguerite Beecher; condolences card regarding Evsa Model's death

Box 1File 6LM.AR2.PE3.19 4.12.81

Willard and Marguerite Beecher Foundation, Dallas, Texas; form letter outlining the formation of the Beecher Foundation following deaths of Willard and Marguerite; asking for donations

Box 1File 6LM.AR2.PE3.20 1.4.82

Lou Smith Galbraith, Willard and Marguerite Beecher Foundation; thanking for donation [$50]; enclosed a membership card and the book Masculine and Feminine and Never the Twain Shall Meet

Box 1File 6LM.AR2.PE3.21 n.d.

The Myth of "The Unconscious" booklet by Willard E. Beecher

Box 1File 6LM.AR2.PE3.22 n.d.

"Cooperation: What Is It?" handout by Willard E. Beecher

 Box 1File 7LM.AR2.PE4.1 26.8.71

Helen W. Boigon, M.D.; handwritten letter to Marvin Israel telling him that Doone Arbus owes her $35; mentions Diane Arbus's suicide

Box 1File 7LM.AR2.PE5.1 9.10.54

Margot Boulton de Bottome, Caracas, Venezuela; included is a radiogram in Spanish from Merida de Valera and two blank sheets of paper with Tulla L. Gude's letterhead

Box 1File 7LM.AR2.PE6.1 n.d.

Hilde Braunthal; announcement of death of Lilly Elkan

Box 1File 7LM.AR2.PE7.1 24.9.53

signed "H" [Harper Brown?]; written to LM in Europe; mentions George, Pauline, Edna

Box 1File 7LM.AR2.PE7.2 18.2.59

Harper and Eve Brown; regarding negative strip with images of Lisette and Evsa

Box 1File 7LM.AR2.PE7.3 n.d.

Valentine card from Harper and Eve Brown with photographs of Evsa and Lisette; small drawing by Evsa enclosed

Box 1File 7LM.AR2.PE8.1 2.3.79

K. Robert Buck, Belmont, Massachussetts; congratulating LM on her lecture for the Photographic Resource Centre; discusses his depression

Box 1File 7LM.AR2.PE9.1 n.d.

Elinor Cahn; note attached to article on LM by Peggy Sealfon from PhotoGraphic March 1980

Box 1File 7LM.AR2.PE10.1 22.12.78

Wayne and Miriam Caravella; holiday greetings

Box 1File 7LM.AR2.PE11.1 31.3.67

Mrs. Henry Cowell; letter with excerpt from a speech by Arnold Schönberg, found "among Henry's misc. papers"

Box 1File 7LM.AR2.PE11.2 30.6.82

Mrs. Henry Cowell; admonishing LM for being out of touch with her

Box 1File 7LM.AR2.PE12.1 ?.12.78

"Dee"; Christmas greetings

Box 1File 7LM.AR2.PE13.1 11.12.78

Lesley Doyel; Christmas greetings

Box 1File 7LM.AR2.PE14.1 26.12.78

Erid Dubois; New Year's greeting

Box 1File 7LM.AR2.PE15.1 21.12.78

C. Dunbar; empty envelope

Box 1File 7LM.AR2.PE16.1 24.12.78

Pearl and Anton Eppy; Season's greetings

Box 1File 7LM.AR2.PE17.1 10.4.65

Donelta Fazakas; congratulations on Guggenheim

Box 1File 7LM.AR2.PE18.1 4.8.78

Franco Fontana; enclosed photograph of Fontana with LM; met in Arles

Box 1File 7LM.AR2.PE18.2 12.12.78

Franco Fontana; New Year's card

Box 1File 7LM.AR2.PE19.1 7.4.81

Kathleen Foster; enclosed article from The Tampa Tribune on LM

Box 1File 7LM.AR2.PE20.1 15.12.78

Bill Froelich; greetings from British Virgin Islands

 Box 1File 8LM.AR2.PE21.1 18.12.78

Allan and Norah Gettner; greetings

Box 1File 8LM.AR2.PE21.2 8.1.79

Allan and Norah Gettner; greetings

Box 1File 8LM.AR2.PE22.1 12.12.78

Liane Gibbons; Christmas greetings

Box 1File 8LM.AR2.PE23.1 16.4.80

Hans and Mia Heinz; enclosed a short biography for Hans Heinz

Box 1File 8LM.AR2.PE24.1 12.7.78

Per Hemmingsson; copy of letter originally addressed to Helmut Gernshein but with hand-written salutation to LM at top of letter; Hemmingsson discusses Strindberg and his book on Strindberg

Box 1File 8LM.AR2.PE24.2 31.10.78

copy of letter from LM to Per Hemmingsson, Stockholm; will send a lighter print to him for publication

Box 1File 8LM.AR2.PE24.3 19.12.78

Per Hemmingsson; list of three works he would like to have

Box 1File 8LM.AR2.PE24.4 18.10.79

Per Hemmingsson; reminding LM of agreement to exchange prints

Box 1File 8LM.AR2.PE24.5 22.7.80

Per Hemmingsson; again reminds LM that she owes him prints

Box 1File 8LM.AR2.PE25.1 n.d.

Chula and Lisa Hoffman; Christmas greetings

Box 1File 8LM.AR2.PE26.1 4.8.71

Marvin Israel; references to Diane Arbus's suicide

Box 1File 8LM.AR2.PE26.2 20.9.79

Marvin Israel; telegram; references to Aperture monograph

Box 1File 8LM.AR2.PE27.1 9.1.79

Eleanor Jacobs; opening a gallery

Box 1File 8LM.AR2.PE28.1 6.4.65

Dorothy Kamen-Kaye; congratulations on Guggenheim

Box 1File 8LM.AR2.PE28.2 11.7.66

Dorothy Kamen-Kaye; postcard

Box 1File 8LM.AR2.PE29.1 27.12.78

Jain and George Kelly; Holiday greetings

Box 1File 8LM.AR2.PE30.1 29.1.80

Eloise Kinnon; empty envelope

Box 1File 8LM.AR2.PE31.1 13.11.64

Celia Klieger; Lower East Side image is of her grandmother

Box 1File 8LM.AR2.PE31.2 20.1.65

Celia Klieger; thanks LM for photograph of her grandmother

Box 1File 8LM.AR2.PE32.1 4.2.66?

Hugh Laing; originally enclosed tickets to Tudor's ballet "Pillar of Fire"

Box 1File 8LM.AR2.PE32.2 21.3.66

Hugh Laing; regarding two new ballets by Tudor

Box 1File 8LM.AR2.PE33.1 8.11.78

Anita Lassance, France; received a letter from Olga; mentions Eric

Box 1File 8LM.AR2.PE33.2 27.11.78

Anita Lassance; mentions Eric

Box 1File 8LM.AR2.PE33.3 17.6.78

Anita Lassance; Olga tells her that LM is going to Paris; invites LM to stay at her home

Box 1File 8LM.AR2.PE33.4 17.10.78

Anita Lassance; references to LM's visit

Box 1File 8LM.AR2.PE33.5 5.3.82

Anita Lassance; waiting for LM to arrive in Paris

 Box 2File 1LM.AR2.PE34.1 11.3.79

Philip Lopate; empty envelope

Box 2File 1LM.AR2.PE35.1 n.d.

Maggie and Theo; congratulations for Guggenheim

Box 2File 1LM.AR2.PE36.1 18.12.78

Marcella; holiday greetings

Box 2File 1LM.AR2.PE37.1 27.4.82

Marilyn Martin and Richard Baron; invitation to wedding

Box 2File 1LM.AR2.PE38.1 19.1.42

Elizabeth McCausland; letter to U.S. District Attorney in support of LM's application for a work permit [?]

Box 2File 1LM.AR2.PE39.1 26.2.79

Sarah Moore; fan letter; heard LM speak in Boston at University

Box 2File 1LM.AR2.PE39.2 13.9.81

Sarah Moore; fan letter

Box 2File 1LM.AR2.PE40.1 1.1.82

John G. Morris; photocopied newsletter updating friends on events in his life since death of his wife [?] Midge; LM knew Morris from Ladies Home Journal

Box 2File 1LM.AR2.PE41.1 12.5.82

Joan C. Netherwood; thanks for taking her and Elinor to dinner; enclosed article from 1981 Photography Year with mention of LM's New Orleans exhibition

Box 2File 1LM.AR2.PE42.1 26.4.50

Nancy Newhall; mentions Minor White, Edward Steichen, "Dee"; LM back on Grove Street [after eviction]; LM showing Minor White's work around; heard that LM did well teaching in San Francisco

Box 2File 1LM.AR2.PE43.1 1.4.82

Lisa Obert, England; lengthy letter about travels in England

Box 2File 1LM.AR2.PE43.2 17.1.83

Lisa Obert, Hawaii; news of Hawaii trip; enclosed literature on volcanoes

Box 2File 1LM.AR2.PE43.3 21.2.83

Lisa Obert, Hawaii; regarding travels in Hawaii

Box 2File 1LM.AR2.PE44.1 18.10.72

Charles Pratt; will be giving LM $5,000

Box 2File 1LM.AR2.PE44.2 19.10.72

Charles Pratt; note originally enclosed with $5,000 cheque

Box 2File 1LM.AR2.PE44.3 17.1.75

Charles Pratt; regarding Harry's pictures

Box 2File 1LM.AR2.PE44.4 7.7.76

copy of Charles Pratt's will; LM to receive $15,000

Box 2File 1LM.AR2.PE44.5 9.2.77

note originally enclosed with $15,000 cheque from Charles Pratt's lawyers

 Box 2File 2LM.AR2.PE45.1 12.8.50

Fera[?] Reyher, Paris; news regarding travels; forwarded to LM in Provincetown

Box 2File 2LM.AR2.PE45.2 2.9.50

Fera[?] Reyher [? unsigned]; postcard

Box 2File 2LM.AR2.PE45.3 21.12.54

Fera[?] Reyher; holiday greetings

Box 2File 2LM.AR2.PE46.1 01.8.71

Hans Josef Sachs

Box 2File 2LM.AR2.PE46.2 n.d.

Felicia Sachs; note with newspaper clippings

Box 2File 2LM.AR2.PE46.3 n.d.

Felicia Sachs; Christmas greetings

Box 2File 2LM.AR2.PE46.4 9.4.79

Felicia Sachs; note typed on Limousine service flyer

Box 2File 2LM.AR2.PE46.5 n.d.

Felicia Sachs; note written on newspaper clipping on Schönberg

Box 2File 2LM.AR2.PE47.1 6.4.82

Hella Santarossa, Berlin; saw LM's work in Essen

Box 2File 2LM.AR2.PE48.1 30.5.78

Brian and Sheila Seed; new address card; see International Center for Photography

Box 2File 2LM.AR2.PE49.1 22.1.79

S. Snead, London; received cheque

Box 2File 2LM.AR2.PE50.1 26.12.76

H. Standievitch; holiday greetings

Box 2File 2LM.AR2.PE51.1 c. 12.78

Stanton, Kehaya [Dorothea and Mickey]; holiday greetings

Box 2File 2LM.AR2.PE52.1 31.10.78

copy of letter from LM to Pat Strachan; thanking her for book

Box 2File 2LM.AR2.PE53.1 ?.7.64

Trude Szilard; enclosed husband Leo's "10 Commandments"

Box 2File 2LM.AR2.PE54.1 14.6.68

John S. Thompson; greetings

Box 2File 2LM.AR2.PE55.1 29.10.78

Peter[?] Warfield, Berkeley, California; delivered copies of Camera to Pirkle Jones and Nata Piakowski

Box 2File 2LM.AR2.PE56.1 26.9.49

Dorothy Wheelock; telegram to LM in California regarding saving Evsa and LM's belongings after wrongful eviction

Box 2File 2LM.AR2.PE57.1 22.1.79

Via Wynroth; mentions Alan Cohen, Columbia College, Chicago

Box 2File 2LM.AR2.PE58.1 22.5.78

Anne Winkelman; met LM at a Rosalind Solomon opening at Gerd Sander's gallery; purchased one of "Running Legs"

Box 2File 2LM.AR2.PE59.1 18.12.78

Claire Yaffa; holiday greetings

Box 2File 2LM.AR2.PE59.2 04.1.80

Claire Yaffa; empty envelope

Box 2File 2LM.AR2.PE60.1 1981

unidentified; empty envelope sent from Paris

Box 2File 2LM.AR2.PE61.1 2.1.79

unidentified; empty envelope sent from NYC

 Correspondence - Students LM.AR2.ST1to Lisette Model from Diane Arbus; date range of correspondence: 1961 to 26.2.1970;

in English; from New York

RESTRICTED MATERIAL: Anyone wishing to consult this material must obtain written permission from the Diane Arbus Estate.

 Box 2File 3LM.AR2.ST1.1 1961

Diane Arbus; compliments on LM photograph at MoMA

Box 2File 3LM.AR2.ST1.2 18.5.62

Diane Arbus; "getting better," thanks

Box 2File 3LM.AR2.ST1.3 25.9.62

Diane Arbus; greetings; refers to Olga

Box 2File 3LM.AR2.ST1.4 c.1962

Diane Arbus; family news: children's school, split with Allan [Arbus]; asks LM to recommend her for Guggenheim

Box 2File 3LM.AR2.ST1.5 2.1.63

Diane Arbus; Guggenheim adjudication

Box 2File 3LM.AR2.ST1.6 22.4.63

Diane Arbus; greetings

Box 2File 3LM.AR2.ST1.7 3.8.67

Diane Arbus; letter in full reads "DEAR LISETTE . . . DIANE."

Box 2File 3LM.AR2.ST1.8 3.68

Diane Arbus; instructions on finding "Mother Brown" [112-year-old woman]

Box 2File 3LM.AR2.ST1.9 21.10.68

Diane Arbus; regarding negotiations with film producer

Box 2File 3LM.AR2.ST1.10 8.9.69

Diane Arbus; empty envelope

Box 2File 3LM.AR2.ST1.11 26.2.70

Diane Arbus; "I have been staring and staring at it [?]. Makes me feel good. . . ."

Box 2File 3LM.AR2.ST1.12 n.d.

Diane Arbus; card: "Be Happy!"

 LM.AR2.STto Lisette Model from various students (except Diane Arbus); date range of correspondence: 3.11.1954 to 9.3.1983 Box 2File 4LM.AR2.ST2.1 23.10.82

Brian Ashley White, New York; regarding Jill Lynn; wants to show portfolio "Inside Manhattan"

Box 2File 4LM.AR2.ST3.1 26.4.79

Lawrence Barns; note on notice for exhibition with Lawrence Daughters; student in 1976

Box 2File 4LM.AR2.ST4.1 27.12.78

Richard Bauer; New Year's greetings

Box 2File 4LM.AR2.ST5.1 6.5.63

David Bream; thanks for Monday evening class; offers to help with "Jersey project"

Box 2File 4LM.AR2.ST5.2 14.7.63

David Bream; thanks for note; invitation to visit him at Cape Cod

Box 2File 4LM.AR2.ST6.1 14.7.82

Hildegard Schulte Brock, Germany; introducing self to LM; wants to go to New York to meet with LM

Box 2File 4LM.AR2.ST7.1 29.3.81

Elinor Bonwit Cahn; asks to use LM's name ("... currently studying with LM.") in a resume included with her work in the East Baltimore Documentary Photography Project exhibition "Neighbourhoods: A State of Mind"

Box 2File 4LM.AR2.ST8.1 6.6.77

Michelle Campbell; questions about LM not titling work [in Center for Creative Photography issue]

Box 2File 4LM.AR2.ST9.1 23.2.63

Peter Campbell; enclosed clipping from New York Post; apologizes for brief visit with her

Box 2File 4LM.AR2.ST10.1 20.4.78

Blanche Cirker, Dover Publications; thanks LM for course; interested in LM's opinion of Harry Lapow's book

Box 2File 4LM.AR2.ST11.1 7.6.?

Alan Carey; mentions Marilyn [a student?]; originally enclosed a photograph

Box 2File 4LM.AR2.ST12.1 2.2.60?

Claudia; postcard from Thailand

Box 2File 4LM.AR2.ST13.1 16.2.82

Linda Coleman; compliments about course; thanks for introducing her to Felicia Sachs; mentions Ben Fernandez; enclosed is a memo to LM, signed by B. Fernandez, giving permission for Linda to attend LM's class

Box 2File 4LM.AR2.ST14.1 11.2.82

Bruce Cratsley; Valentine's card

Box 2File 4LM.AR2.ST15.1 28.12.78

Antonio Dayrell; met in Arles; mentions Allan Porter

Box 2File 4LM.AR2.ST16.1 10.6.81

Julie Dean; congratulations on honorary degree from New School

Box 2File 4LM.AR2.ST17.1 ?.5.78

Frank Decker; interested in enrolling in fall class

Box 2File 4LM.AR2.ST18.1 15.12.78

Irene Fay; Christmas card

Box 2File 4LM.AR2.ST18.2 9.3.83

Irene Fay; greetings

Box 2File 4LM.AR2.ST19.1 n.d.

Larry [Fink?]; "Now we should end the myth of the enemy and rejoin the truth of the freind [sic]. . . ."

Box 2File 4LM.AR2.ST20.1 21.1.63

Thelma Flink; quitting work to study photography

Box 2File 4LM.AR2.ST21.1 21.7.77

Lowell Handler, New Orleans; discusses his images in fall U.S. Camera; tells how he has spent his time

Box 2File 4LM.AR2.ST21.2 12.4.79

Lowell Handler; planning to return to school

Box 2File 4LM.AR2.ST22.1 15.10.80

Jean-Paul Hubin, Tihange-Huy, Belgium; a student at Venice workshop; mentions Ziva Kraus, Galerie Ikona, and Gerd Sander; interested in putting together an exhibition of her work in Belgium

Box 2File 4LM.AR2.ST22.2 26.10.80

Jean-Paul Hubin; letter in LM.AR2.ST20.1 but translated into English

Box 2File 4LM.AR2.ST23.1 4.1.82

Heidi Iain; student ca. 1979; written on a notice for her first exhibition at New Jersey State Museum, Newark

Box 2File 4LM.AR2.ST24.1 n.d.

Michel Imamura; "You have changed my life. Now, I see with the eyes of my heart."

Box 2File 4LM.AR2.ST24.2 3.1.83

M.Imamura; refers to note [LM.AR2.ST22.1] given to LM on last day of class, thanking her for class

 Box 2File 5LM.AR2.ST25.1 n.d.

Ingrid; note written on invitation to 6 February opening of Ingrid's exhibition at O'Neals

Box 2File 5LM.AR2.ST26.1 n.d.

Mandy Jahabzadeh; brief note, apparently enclosed originally with flowers

Box 2File 5LM.AR2.ST27.1 20.10.82

Jane [signed "Jane" but return address is "Jeannette the Cook"]; personal experiences working as a caterer, as well as personal concerns

Box 2File 5LM.AR2.ST28.1 22.12.60

Mimi Josell; thanking for course

Box 2File 5LM.AR2.ST29.1 8.6.82

E'Lois Kinnon, Chicago; interested in private classes in New York

Box 2File 5LM.AR2.ST30.1 n.d.

Rosie Knight, Brighton, England; 16 years old saw LM's work in Creative Camera

Box 2File 5LM.AR2.ST31.1 28.1.79

Andrea Kovacs; enclosed two articles on Kovacs's exhibitions; asks for advice about finances

Box 2File 5LM.AR2.ST32.1 29.12.71

Maxine Kravitz; asking for guidance from LM

Box 2File 5LM.AR2.ST33.1 13.2.63

Panos M. Kyrtsis, Naval Architect, Marine Engineer; regarding continuing classes and paying for classes

Box 2File 5LM.AR2.ST34.1 n.d.

Laurie; note on Ledel Gallery notice of an Edward S. Curtis exhibition

Box 2File 5LM.AR2.ST35.1 15.7.66

Nina Leake; interested in taking classes

Box 2File 5LM.AR2.ST36.1 2.11.78

Eileen Lewis, Aspen, Colorado; Bruce Cratsley recommended that she contact LM

Box 2File 5LM.AR2.ST36.2 29.11.78

Eileen Lewis; thanks for phone conversation

Box 2File 5LM.AR2.ST36.3 18.1.79

Eileen Lewis; thanks for reviewing prints; mentions Allan Porter

Box 2File 5LM.AR2.ST36.4 10.2.79

Eileen Lewis; thank you for showing her photographs to Allan Porter

Box 2File 5LM.AR2.ST36.5 15.3.79

Eileen Lewis; photographs enclosed

Box 2File 5LM.AR2.ST36.6 26.4.79

Eileen Lewis; photographs enclosed

Box 2File 5LM.AR2.ST36.7 10.6.79

Eileen Lewis; originally enclosed contact sheets of her recent works [see Box 33, Photo series]

Box 2File 5LM.AR2.ST36.7a 13.5.80

Eileen Lewis; going to New York and wants to see LM [second part of letter missing]

Box 2File 5LM.AR2.ST36.8 n.d.

Eileen Lewis; hoping to study with LM in New York

Box 2File 5LM.AR2.ST36.9 ?.3.81

Eileen Lewis; Allan Porter has published a few of her photographs, photocopies enclosed

 Box 2File 6LM.AR2.ST37.1 24.1.79

Jill Lynne; New Year's greetings

Box 2File 6LM.AR2.ST37.2 4.2.83

Jill Lynne; announcement for airing of Lynne's video Night People on Cable TV

Box 2File 6LM.AR2.ST38.1 24.4.79

Bobby Miller; asks to be LM's apprentice

Box 2File 6LM.AR2.ST39.1 23.4.82

Myra Nissim; offers medical advice

Box 2File 6LM.AR2.ST40.1 4.7.77

Jeff Nolte, Downsview, Ontario; invitation to York University to give a talk

Box 2File 6LM.AR2.ST41.1 1966

Eva Obermeyer; thanks for class; originally enclosed a greeting card with a photograph she made for an assignment

Box 2File 6LM.AR2.ST42.1 15.2.79

Sheila O'Hara; originally enclosed a letter of reference as agreed for LM to sign

Box 2File 6LM.AR2.ST43.1 6.4.65

Herman S. Paris; congratulations on Guggenheim

Box 2File 6LM.AR2.ST44.1 27.3.81

Noel A. Pensock; interested in studying with LM

Box 2File 6LM.AR2.ST45.1 5.6.80

Diane Pfister [student?]; invitation to visit her on Nantucket Island

Box 2File 6LM.AR2.ST46.1 25.1.82

Nata Piaskowski; greetings; update on her work

Box 2File 6LM.AR2.ST47.1 3.11.54

Samson Raphelson; thanks for praising his work

Box 2File 6LM.AR2.ST48.1 28.11.78

Lilo Raymond; typewritten proposal for Guggenheim Fellowship [LM's copy for making a recommendation]; see similar form for Rosalind Solomon [LM.AR2.ST57.1, originally in same envelope] sent by Guggenheim

Box 2File 6LM.AR2.ST49.1 4.10.81

Stephanie Regan; thanks for looking at photographs; gives name of a contact in France

Box 2File 6LM.AR2.ST50.1 18.6.82

Elisa Resegotti; news of trip to France

Box 2File 6LM.AR2.ST51.1 9.2.78

Mel Rosenthal, Empire State College, State University of New York; asks for recommendation to help with his tenure application

Box 2File 6LM.AR2.ST52.1 25.8.81

Dinah [Rubinoff, Rubinstein?], San Miguel, Mexico; greetings

Box 2File 6LM.AR2.ST53.1 8.2.82

Eva [Rubinstein?]; enclosed a clipping about a breathing aid

Box 2File 6LM.AR2.ST53.2 8.2.82

Eva Rubinstein; exhibition announcement from Neikrug Photographica

Box 2File 6LM.AR2.ST54.1 25.2.82

Nancy Rudolph, Nepal; news of trip to Asia

Box 2File 6LM.AR2.ST55.1 30.1.76

Bruno Scharfstein; enclosed notice to his second exhibition [at New York University]

 Box 2File 7LM.AR2.ST56.1 17.5.78

Kathy Shafer; asks for information about New School

Box 2File 7LM.AR2.ST57.1 20.2.78

Carol Sherman, Toronto; interested in taking her classes in New York

Box 2File 7LM.AR2.ST58.1 12.78

Hide Shibata, Tokyo; New Year's greetings

Box 2File 7LM.AR2.ST59.1 29.12.78

Jun Shiraoka, New York; season's greetings

Box 2File 7LM.AR2.ST59.2 11.6.80

Jun Shiraoka, Tokyo; saw Hide Shibata; February 1980 issue of Camera publishing his work; mentions Allan Porter; returning to Paris

Box 2File 7LM.AR2.ST59.3 14.3.81

Jun Shiraoka, Paris; thanks for looking at Keiichi Tahara's photographs; refers to LM's show at Viviane Esders

Box 2File 7LM.AR2.ST59.4 22.6.81

Jun Shiraoka, Paris; compliments on her Viviane Esders exhibition; encloses notice for his exhibition at Galerie Texbraun and reviews [in Le Figaro and Le Monde]

Box 2File 7LM.AR2.ST59.5 27.1.83

Jun Shiraoka, Paris; written on notice for his exhibition at Galerie Pennings, Eindhoven, Holland

Box 2File 7LM.AR2.ST59.6 n.d.

Jun Shiraoka, Paris; biographical statement

Box 2File 7LM.AR2.ST60.1 29.11.78

Rosalind Solomon; copy of Solomon's proposal for a Guggenheim grant, form on which LM to write a recommendation, and note from Guggenheim saying Rosalind Solomon is applying again; sent by Guggenheim; see also Lilo Raymond [LM.AR2.ST45.1, originally in same envelope]

Box 2File 7LM.AR2.ST60.2 2.4.79

Rosalind Solomon, Washington; awarded a Guggenheim; going to Guatemala

Box 2File 7LM.AR2.ST60.3 5.6.82

photocopy of Film in the Cities [Minneapolis] bulletin with reproductions of works by Rosalind Solomon and notice of an exhibition of her work, as well as that of Rik Sferra

Box 2File 7LM.AR2.ST60.4 23.7.82

Rosalind Solomon; originally enclosed her c.v. and some clippings about her work

Box 2File 7LM.AR2.ST60.5 5.12.82

Rosalind Solomon, New Delhi; news about travels; mentions Weston Naef

Box 2File 7LM.AR2.ST61.1 2.1.79

Louis J. Suckle; thanks for looking at work; paid LM $75

Box 2File 7LM.AR2.ST62.1 13.2.78

Joseph Szabo; interested in attending LM's classes; c.v. attached

Box 2File 7LM.AR2.ST63.1 28.3.82

Bobbie Wendel, San Francisco; news of travels

Box 2File 7LM.AR2.ST64.1 n.d.

unidentified; note on card, probably originally accompanied by flowers, the note stating, "Many thanks to an inspiring teacher from a Student"

 Correspondence - Other Photographers LM.AR2.PHto/from Lisette Model to/from various photographic colleagues; date range of correspondence: 20.1.1941 to 7.3.1983 Box 2File 8LM.AR2.PH1.1 19.1.42

Berenice Abbott; in support of LM's emigration to the United States

Box 2File 8LM.AR2.PH1.2 15.6.75

Berenice Abbott; typewritten essay on LM's work

Box 2File 8LM.AR2.PH1.3 n.d.

Berenice Abbott; card [reproduction of a Daumier]; "LOVE from your contemporary not to be confused - Berenice-Child of Maine"

Box 2File 8LM.AR2.PH1.4 n.d.

Berenice Abbott; card [reproduction of Abbott's NYC at Night 1833]; season's greetings

Box 2File 8LM.AR2.PH2.1 4.12.48

Ansel Adams, Yosemite; statement in support of LM's application for a Guggenheim fellowship

Box 2File 8LM.AR2.PH2.2 7.12.73

Ansel Adams, Carmel; defends himself against LM's complaints about use of her photographs exhibited at George Eastman House

Box 2File 8LM.AR2.PH2.3 25.2.74

Ansel Adams; happy that photo mix-up is resolved, wants to exhibit her work through Friends of Photography

Box 2File 8LM.AR2.PH2.4 26.12.76

Ansel Adams, Carmel; sympathy card following Evsa's death

Box 2File 8LM.AR2.PH3.1 20.10.64

Richard Avedon; "Of course I will do anything, everything within my power to help!" [recommending for Guggenheim?]

Box 2File 8LM.AR2.PH3.2 ?.12.71

Richard Avedon; request to photograph LM; she would be interviewed by Doon Arbus

Box 2File 8LM.AR2.PH3.3 20.11.79

Richard Avedon; congratulations on book [Aperture]; mentions Marvin [Israel]

Box 2File 8LM.AR2.PH4.1 15.12.78

Ruth-Marion Baruch and Pirkle Jones, Mill Valley, California; season's greetings; mentions Wright Morris, biographies of Dorothea Lange, of Minor White, and of Imogen Cunningham [edited by Judy Dater]

Box 2File 8LM.AR2.PH4.2 15.10.78

Ruth Baruch; mentions Nata Piakowski; compliments on issue of Camera

Box 2File 8LM.AR2.PH5.1 17.2.83

Janet Beller; originally enclosed an article; mentions Berenice Abbott; "sounds like your old friend, Bernice [sic], is up to her usual!"

Box 2File 8LM.AR2.PH6.1 n.d.

David Bream; congratulations on Guggenheim

Box 2File 8LM.AR2.PH7.1 n.d.

Harry Callahan, Providence, Rhode Island; congratulations on Guggenheim

Box 2File 8LM.AR2.PH8.1 16.10.46

Imogen Cunningham; disappointed that LM left San Francisco; mentions Ansel Adams, Jean Purcell, Dorothea Lange [who was ill at the time]

Box 2File 8LM.AR2.PH9.1 n.d.

Eric Colmet Daage, Paris; business card

Box 2File 8LM.AR2.PH10.1 2.4.74

Judy Dater; booklet from Witkin Berley Ltd.

Box 2File 8LM.AR2.PH11.1 16.11.78

Alain Desvergnes, 41 Rutherford Crescent, Kanata, Ontario; regarding his article ["Rencontre"] in Afterimage

Box 2File 8LM.AR2.PH12.1 31.8.74

Melchior DiGiacomo; interested in meeting LM; mentions Camera 35

Box 2File 8LM.AR2.PH13.1 28.7.80

Lisa Ebright; news of travels in Maine and Maritimes

Box 2File 8LM.AR2.PH13.2 1981

Lisa Ebright; card [with Elbright's own photograph reproduced??]

Box 2File 8LM.AR2.PH13.3 n.d.

Lisa Ebright; travelling in Europe; mentions Jean-Paul Hubin, Ingrid Dinter

Box 2File 8LM.AR2.PH14.1 c.1979

Mike Edelson [?], Ariosto Hotel, Milan;

Box 2File 8LM.AR2.PH15.1 20.1.41

Frank Elmer; mentions Promenade des Anglais images in PM's Weekly

Box 2File 8LM.AR2.PH16.1 8.23.81

Marty Forscher [sp.?]; thanking LM for giving him a Eugene Smith print in return for printing

Box 2File 8LM.AR2.PH17.1 8.7.78

X. Clergue, Arles; Gisele Freund would like to meet with LM if she travels through Paris

Box 2File 8LM.AR2.PH18.1 31.10.78

copy of letter from LM to Susan Geston, Malibu; missed Geston because she was in Europe

Box 2File 8LM.AR2.PH18.2 4.1.79

Susan Geston; many thanks; refers to work shooting stills for film Ringer

 Box 3File 1LM.AR2.PH19.1 5.7.82

Thom Harney, Chicago; introducing himself

Box 3File 1LM.AR2.PH19.2 9.9.82

Thom Harney; making appointment to see LM in New York

Box 3File 1LM.AR2.PH19.3 n.d. (ca. 10.82)

Thom Harney; note accompanying roses

Box 3File 1LM.AR2.PH19.4 11.1.83

Thom Harney; only spoke to her on phone in New York; sent her roses; in LM's hand on Harney's envelope: "answered"

Box 3File 1LM.AR2.PH19.5 n.d.

Empty envelope addressed to Thom Harvey [sic] with LM's return address on it

Box 3File 1LM.AR2.PH20.1 20.9.77

Patricia Starr Hay, Menlo Park, California; thanks for returning the negative; receipt in LM's handwriting also enclosed

Box 3File 1LM.AR2.PH21.1 8.2.80

copy of letter from Gerald Incandela; explains his photograph [fig. 54 in catalogue] of André James and Sam Wagstaff looking at LM feet image with Wagstaff on floor to demonstrate point of view

Box 3File 1LM.AR2.PH22.1 n.d.

Izis; gives his phone number in Paris

Box 3File 1LM.AR2.PH23.1 18.12.78

Sue Jafke [sp.?]; holiday greetings

Box 3File 1LM.AR2.PH24.1 n.d.

Marc Kazmarek; letter in praise of LM

Box 3File 1LM.AR2.PH25.1 19.8.82

Herlinde Koelbl; regarding upcoming LM exhibition

Box 3File 1LM.AR2.PH25.2 13.10.82

letter to Herlinde Koelbl from LM; would like to go to Munich for the opening of her exhibition, but cannot afford the full fare; perhaps if the expense were shared?

Box 3File 1LM.AR2.PH25.3 16.2.83

Herlinde Koelbl, Munich; originally enclosed new book Dienst am Volk [Serving the People]

Box 3File 1LM.AR2.PH26.1 6.12.78

Andrea Kovacs; note on an invitation to Kovacs's exhibition at Brooks Jackson Gallery Iolas

Box 3File 1LM.AR2.PH27.1 24.5.74

Maxine Kravitz; agrees to let LM pay for two prints

Box 3File 1LM.AR2.PH27.2 26.12.78

Maxine Kravitz; holiday greetings

Box 3File 1LM.AR2.PH27.3 5.4.80

Maxine Kravitz; hotel phone message to LM at The Olympic Hotel

Box 3File 1LM.AR2.PH28.1 16.10.44

Germaine Krull-Ivens; return address "War Correspondent"; message from Olga and Félicie Seybert that they are well, but that LM's brother and his wife were deported to Germany; asks if LM can send money to Olga and Félicie, as they need it; Félicie is in poor health; Krull-Ivens can pass on news to them if LM writes to her

Box 3File 1LM.AR2.PH28.2 3.11.44

Germaine Krull-Ivens; received news from Olga that Félicie died October 21, 1944 in Nice; she suffered from cancer; they have heard first news of her brother in six months

Box 3File 1LM.AR2.PH29.1 9.6.65

Dorothea Lange, Berkeley; congratulations on Guggenheim

Box 3File 1LM.AR2.PH30.1 25.5.81

W. Maywald, Paris; greetings; received her telegram

Box 3File 1LM.AR2.PH31.1 7.4.82

Phiz Mezley, San Francisco; hopes to see her in New York; greetings from Helen Johnston, Focus Gallery

Box 3File 1LM.AR2.PH32.1 6.4.65

Barbara Morgan; congratulations on Guggenheim

Box 3File 1LM.AR2.PH33.1 7.3.83

Dianora Niccolini; regarding interview for PWP Times

Box 3File 1LM.AR2.PH34.1 18.12.78

Barbara Pfeffer; regarding assignment for GEO

Box 3File 1LM.AR2.PH35.1 14.1.77

Bernard and Kathy Plossu, Paris; condolences on Evsa's death

Box 3File 1LM.AR2.PH35.2 5.6.78

Bernard and Kathy Plossu, Taos; expecting a baby; impressions of Taos

Box 3File 1LM.AR2.PH35.3 3.4.79

Bernard Plossu, Paris; coming to New York in April

 Box 3File 2LM.AR2.PH36.1 n.d.

Nancy Rexroth; requesting a recommendation; includes a statement about her own work

Box 3File 2LM.AR2.PH36.2 n.d.

Nancy Rexroth; mentions Felicia [Sachs]; exhibition at Light Gallery

Box 3File 2LM.AR2.PH37.1 6.7.77

Alan Rosenthal, Fort Lauderdale; response to an emotional conversation he had with LM over slides he had sent her

Box 3File 2LM.AR2.PH38.128.5.81

Lynn Russell; note on invitation to exhibition at Camera Club of New York

Box 3File 2LM.AR2.PH39.115.1.80

Charles Sawyer, Somerville, Massachusetts; encloses a review he wrote on book about Somerset Maugham; mentions Peggy Sealton

Box 3File 2LM.AR2.PH40.118.12.78

Jayne Baron Sherman; holiday greetings card with own photograph

Box 3File 2LM.AR2.PH41.1 14.12.64

letter from Edward Steichen; agreeing to recommend LM for a Guggenheim; also enclosed a statement about LM [prepared herself?] with top portion missing

Box 3File 2LM.AR2.PH42.1 3.12.62

Ralph Steiner; defends himself against her charge [revealed to him by David Vestal] that Steiner has been "talking against" LM and Miss Palfi; mentions David Vestal, Palfi, New School, Charles Pratt

Box 3File 2LM.AR2.PH42.2 11.11.66

Ralph Steiner; information on "latensifying" images

Box 3File 2LM.AR2.PH43.1 27.11.78

Irene Shwachman, Needham Heights, Massachusetts; regarding LM's upcoming lecture at Photographic Resource Center, Boston

Box 3File 2LM.AR2.PH44.1 7.7.78

B. Xavier Vailhen and J.M. Artmin, Nantes, France; met at Arles

Box 3File 2LM.AR2.PH44.2 10.12.78

B. Xavier Vailhen and J.M. Artmin; mentions Allan Porter, Camera

Box 3File 2LM.AR2.PH45.1 2.12.64

David Vestal; enclosed a copy of a recommendation for Ann Treer [written for LM]; mentions Diane Arbus, Helen Levitt; will write his recommendation for LM tomorrow

Box 3File 2LM.AR2.PH45.2 10.12.64

David Vestal; originally enclosed a copy of his recommendation of LM for Guggenheim; mentions Berenice Abbott [also asked to recommend]

Box 3File 2LM.AR2.PH45.3 12.78

David Vestal; enclosed a photograph, no note

Box 3File 2LM.AR2.PH46.1 14.11.77

Christian Vogt, Basel; mentions Allan Porter, International Center for Photography

Box 3File 2LM.AR2.PH46.2 7.9.77

Christian Vogt; gives a phone number in New York

Box 3File 2LM.AR2.PH46.3 16.10.77

Christian Vogt

Box 3File 2LM.AR2.PH46.4 18.2.78

Christian Vogt; enclosed a complimentary admission card to International Center for Photography

Box 3File 2LM.AR2.PH47.1 22.6.59

Minor White, Rochester; seeks lunch meeting with LM to discuss possible Aperture issue on documentary photography

Box 3File 2LM.AR2.PH47.2 20.3.61

Minor White, Rochester; regarding an assignment given to students

Box 3File 2LM.AR2.PH47.3 9.10.61

Minor White; asks LM to tell students about student rate for Aperture; Portland workshop

Box 3File 2PH.AR2.PH48.1 n.d.

Empty envelope addressed to William Klein in Paris with LM's return address on it

 Correspondence - Museums LM.AR2.Mto/from Lisette Model to/from various Museums; date range of correspondence: 5.4.1943 to 20.9.1982 LM.AR2.M1to Lisette Model from The Art Institute of Chicago Box 3File 3LM.AR2.M1.1 5.4.43

Carl O. Schniewind, Curator, Prints and Drawings; interested in an exhibition in fall 1943

 LM.AR2.M2to Lisette Model from Bibliothčque Nationale

in French

 Box 3File 4LM.AR2.M2.1 20.1.72

copy of letter from Jean-Claude Lemagny to Sherwood; interested in an LM exhibition

Box 3File 4LM.AR2.M2.2 25.2.72

Jean-Claude Lemagny to LM; negotiating to buy LM prints on a limited budget (does not exceed $500); promises to exhibit them in the gallery, possibly with works by Diane Arbus

Box 3File 4LM.AR2.M2.3 18.2.74

Jean-Claude Lemagny to LM; interested in purchasing works; invites LM to attend an exhibition of four young French photographers held in New York; mentions Bernard Plossu, Krishnamurti

Box 3File 4LM.AR2.M2.4 5.6.81

Jean-Claude Lemagny; praises LM exhibition at Viviane Esders; interested in buying one work of LM's choice

 LM.AR2.M3 regarding Lisette Model California Palace of the Legion of Honor August 1946 Box 3File 5LM.AR2.M3.1 8.46

brochure for exhibitions and special events during August 1946, including exhibition of works by LM opening 1.8.46

 LM.AR2.M4 to Lisette Model from Center for Creative Photography, University of ArizonaBox 3File 6LM.AR2.M4.1 17.2.76

Peter MacGill; preparing an exhibition based on the photographs LM gave Ansel Adams; MacGill asks for more specific information on the works; mentions Larry Fink and Harold Jones

Box 3File 6LM.AR2.M4.2 12.8.76

Harold Jones; enquires about reproducing LM's prints in Center for Creative Photography collection [from Ansel Adams] for their publication

Box 3File 6LM.AR2.M4.3 31.5.77

Harold Jones; 12 copies of Center for Creative Photography LM publication originally enclosed

Box 3File 6LM.AR2.M4.4 11.7.77

Harold Jones; enclosed a letter from Barry Goldwater praising LM's work

Box 3File 6LM.AR2.M4.5 31.7.79

Helen Gee to Gerd Sander; regarding Photography of the 50s exhibition [Gee was guest curator]

Box 3File 6LM.AR2.M4.6 n.d.

outline of Berenice Abbott interview with James McQuaid, Steven Lewis, and David Tait; unsigned permission form enclosed

 LM.AR2.M5 to Lisette Model from Corcoran Gallery of Art Box 3File 7LM.AR2.M5.1 9.12.77

Jane Livingston; form letter invitation to attend February 1978 conference on history of photography

Box 3File 7LM.AR2.M5.2 21.5.85

loan form; from Corcoran to Alexandra Truitt, New York

 LM.AR2.M6 to Lisette Model from George Eastman House Box 3File 8LM.AR2.M6.1 25.7.56

Minor White; White acting as Assistant to Beaumont Newhall, Curator; request to buy six prints

Box 3File 8LM.AR2.M6.2 12.6.57

Minor White; prints arrived safely

Box 3File 8LM.AR2.M6.3 29.7.77

Jim McQuaid; regarding interview with McQuaid and David Tait; published a chronology of LM's life, which she apparently did not want publicized [or changed her mind]; dispute seems to be over date of birth [McQuaid notes that it was listed as 1906]

Box 3File 8LM.AR2.M6.4 30.6.78

Susan Dodge Peters; enclosed a questionnaire for an anthology of Elizabeth McCausland's photographic criticism

Box 3File 8LM.AR2.M6.5 n.d.

Susan Dodge Peters; enclosed a questionnaire for George Eastman House's Biographical Resource File on photographers

 LM.AR2.M7 to Lisette Model from Hirshhorn Museum and Sculpture Garden, Smithsonian Institution Box 3File 9LM.AR2.M7.1 14.1.77

Mary Ann Tighe; enclosed Tighe's review of Sander exhibition in Art in America

 LM.AR2.M8 to Lisette Model from International Center of Photography (ICP) Box 3File 10LM.AR2.M8.1 30.8.76

Cornell Capa; asking LM to work on a video produced by Sheila Seed for ICP

Box 3File 10LM.AR2.M8.2 10.9.76

Cornell Capa; LM has agreed to work with Sheila Seed

Box 3File 10LM.AR2.M8.3 25.11.77

Cornell Capa; thanking LM for her talk at ICP; $125 honorarium; mentions Sheila Seed

Box 3File 10LM.AR2.M8.4 n.d.

Cornell Capa; wants to meet with (Friday) [Philip] Lopate, Sheila [Seed], and LM in late March or early April; wishes LM a good trip

Box 3File 10LM.AR2.M8.5 11.4.78

Anna Winand; regarding how to deal with income tax forms [LM donated her $125 fee]

Box 3File 10LM.AR2.M8.6 25.4.78

Cornell Capa; thanking LM for donation of her $125 speaker's fee

Box 3File 10LM.AR2.M8.7 17.8.78

Sheila Seed; progress of documentary film; encourages LM to be interviewed by Cornell Capa for the film

Box 3File 10LM.AR2.M8.8 21.12.78

Maria Teresa Rubin de Cervin; confirmation of September 10-15 workshop in Venice at UNESCO, organized through ICP; blank postcard of flooded Piazza San Marco, Venice

Box 3File 10LM.AR2.M8.9 15.11.78

list of instructors and lecturers at UNESCO/ICP workshops, Venice

Box 3File 10LM.AR2.M8.10 10.2.79

release form allowing permission to print contents from LM's workshop [not signed]

Box 3File 10LM.AR2.M8.11 16.2.79

Regina Fiorito, UNESCO/ICP, Venezia '79, with forms originally enclosed

Box 3File 10LM.AR2.M8.12 30.4.79

Cornell Capa; update on UNESCO/ICP preparation

Box 3File 10LM.AR2.M8.13 3.4.81

Joyce Menschel, Auction Chair; thanking LM for donating two photographs to ICP auction; receipt enclosed [membership card originally enclosed]

 LM.AR2.M9 to Lisette Model from Metropolitan Museum of Art Box 3File 11LM.AR2.M9.1 24.9.81

Joan Morgan, Research Assistant; thanking LM for her letter of August 28, 1981 to Weston Naef confirming dates of works; also enquires about dates of one- person show at MoMA and at Art Institute of Chicago; included is a copy of LM's letter to Weston Naef dated August 28, 1981

Box 3File 11LM.AR2.M9.2 18.8.82

invitation to preview of "Counterparts"

 LM.AR2.M10 to Lisette Model from Musée Reattu, Arles Box 3File 12LM.AR2.M10.1 2.4.78

empty envelope

 LM.AR2.M11 to Lisette Model from Musée Français de la Photographie

in French

 Box 3File 13LM.AR2.M11.1 6.4.82

A. Fage; regrets that he is unable to attend tribute to LM in Paris

 LM.AR2.M12 to Lisette Model from Museum of Fine Arts, Houston (MFAH) Box 3File 14LM.AR2.M12.1 21.12.76

Anne Tucker; enclosed information on Photo League project and release form for reproduction of Coney Island

Box 3File 14LM.AR2.M12.2 31.10.78

Anne Tucker; requesting documentation for LM portfolio recently purchased; forms enclosed

Box 3File 14LM.AR2.M12.3 31.8.82

Anne Tucker; requesting that LM waive reproduction fee for Fashion Show, Hotel Pierre for inclusion in a MFAH cookbook

 LM.AR2.M13 to Lisette Model from Museum of Modern Art (MoMA) Box 3File 15LM.AR2.M13.1 22.3. to 30.4.44

portion of a press release draft for exhibition New Workers I (MoMA, March 22 to April 30, 1944)

Box 3File 15LM.AR2.M13.2 14.12.48

envelope with torn clipping from New York Herald Tribune of Fashion Show, Hotel Pierre; written on envelope in LM's hand: "BERENICE/PEGGY"

Box 3File 15LM.AR2.M13.3 30.10.50

Edward Steichen; thanks LM for participation in conference; $25 fee originally enclosed; handwritten note at bottom: "You were wonderful and beautiful as always"

Box 3File 15LM.AR2.M13.4 10.11.50

Porter A. McCray; requests extension of loan for three of LM's prints for additional exhibition

Box 3File 15LM.AR2.M13.5 29.3.54

Porter A. McCray; originally enclosed a copy of the Japanese exhibition catalogue for Contemporary American Photography and summary of Japanese press reactions to the exhibition

Box 3File 15LM.AR2.M13.6 7.6.54

Edward Steichen; addressed "to whom it may concern"; states LM has made important contributions to MoMA exhibitions; one-man [sic] show has been touring for past two years; group of LM's prints have been acquired for the Print Collection at MoMA

Box 3File 15LM.AR2.M13.7 19.11.54

Edward Steichen; for Family of Man exhibition requests negatives of works selected so that MoMA can make enlargements; also requests biographical information

Box 3File 15LM.AR2.M13.8 10.5.57

Lisa Koningsberger [writing for Edward Steichen]; Domus magazine, Milan, requesting biographical information about LM

Box 3File 15LM.AR2.M13.9 4.11.60

Grace W. Mayer; Coney Island Bather on view in A Bid for Space exhibition

Box 3File 15LM.AR2.M13.10 16.4.62

Grace W. Mayer; Nice on exhibition

Box 3File 15LM.AR2.M13.11 13.4.64

Grace W. Mayer; thanks for replacements [prints?]

Box 3File 15LM.AR2.M13.12 20.4.64

Grace W. Mayer; congratulations on David's [Vestal] tribute in Infinity

Box 3File 15LM.AR2.M13.13 30.5.64

Grace W. Mayer; East Side Woman in Edward Steichen Center

Box 3File 15LM.AR2.M13.14 2.9.64

Patricia M. Walker; forwarded an article [no longer enclosed] at request of Gunther Lensch

Box 3File 15LM.AR2.M13.15 23.12.64

James Thrall Soby [Trustee]; thanks for making new prints

Box 3File 15LM.AR2.M13.16 19.6.65

Grace W. Mayer; thanks for new prints

Box 3File 15LM.AR2.M13.17 6.12.65

James Soby; acknowledges LM's donation of eight prints; signed certificate enclosed

Box 3File 15LM.AR2.M13.18 10.10.67

photocopy of letter from John Szarkowski to Professor G. Gatti, Director, Musei Capitolini, Campidoglio, Rome; letter of introduction; photocopy of a letter in Italian enclosed

Box 3File 15LM.AR2.M13.19 10.10.67

letter and photocopy from John Szarkowski to Professor G. Iacopi, Director, Museo Nazionale Romano, Rome; letter of introduction; Italian translation of letter enclosed; note in LM's hand of Iacopi's address and title enclosed [for letter from J. Mathias, Guggenheim Foundation to Professor Iacopi see LM.AR2.AW1.16]

Box 3File 15LM.AR2.M13.20 10.10.67

photocopy of letter from John Szarkowski to Dr. Mario Moretti, Director, Museo de Villa Giulia, Rome; letter of introduction; Italian translation enclosed

Box 3File 15LM.AR2.M13.21 10.10.67

copy of letter from John Szarkowski to Conte Dr. Paolo Dalla Torre di Sanginnetto, Direttore Generale dei Monumenti, dei Musei e delle Gallerie Vaticane, Vatican City, Rome; letter of introduction; photocopy of letter in Italian [for letter from J. Mathias, Guggenheim Foundation to Conte di Sianginnetto see LM.AR2.AW1.15]

Box 3File 15LM.AR2.M13.22 20.2.78

Peter Collins, Curatorial Intern; five LM works included in New Standpoints: Photography 1940-1955; copy of wall text enclosed

Box 3File 15LM.AR2.M13.23 2.1.79

Grace W. Mayer; message from Martin Magner, who "loves you. I love you, too."

Box 3File 15LM.AR2.M13.24 n.d.

MoMA press release for exhibition 12 Photographers

Box 3File 15LM.AR2.M13.25 n.d.

MoMA, Department of Photographs stationery with only the word "Please!" written on it [Grace Mayer's handwriting?]

Box 3File 15LM.AR2.M13.26 26.12.?

letter from Davis Pratt, Fogg Museum, Harvard; addressed to Grace Mayer praising LM's Aperture monograph [Grace Mayer has forwarded letter to LM with a brief hand-written salutation at the top of the letter]

Box 3File 15LM.AR2.M13.27 29.7.75

Peter Galassi; LM exhibition history

Box 3File 15LM.AR2.M13.28 n.d.

MoMA press releases for symposium "What is Modern Photography? [two different releases]

Box 3File 15LM.AR2.M13.29 18.09.82

Empty envelope

 LM.AR2.M14 to Lisette Model from New Orleans Museum of Art (NOMA) Box 3File 16LM.AR2.M14.1 31.10.78

copy of letter from LM to Tina Freeman; cannot speak at NOMA because she did not receive notification in time

Box 3File 16LM.AR2.M14.2 21.11.78

Tina Freeman; enjoyed meeting LM in Arles; invites her to give a lecture in spring 1979

Box 3File 16LM.AR2.M14.3 12.2.81

Tina Freeman; regarding two exhibitions, Lisette Model: Photographs and Recollections: 10 Women Photographers; exhibition space plan originally enclosed

Box 3File 16LM.AR2.M14.4 4.6.81

Tina Freeman; originally included colour swatches for exhibition

Box 3File 16LM.AR2.M14.5 1.7.81

invitation to Lisette Model: Photographs and Recollections: 10 Women Photographers

 LM.AR2.M15to Lisette Model from San Francisco Museum of Art (SFMA) Box 3File 17LM.AR2.M15.1 3.6.75

John Humphrey; success of SFMA exhibition, Women of Photography; greetings from Margery Mann and Anne Noggle; copy of exhibition catalogue originally enclosed

Box 3File 17LM.AR2.M15.2 12.8.75

copy of LM's three-page response to John Humphrey's letter (LM.AR2.G14.1) in which she criticizes the SFMoA's catalogue essay on her and requests that they "repair the damage"

Box 3File 17LM.AR2.M15.3 20.8.75

John Humphrey; responds to LM's letter (LM.AR2.G14.2); promises to speak to Margery Mann and Anne Noggle; cautions that it is probably too late for major changes; several copies made of this letter

Box 3File 17LM.AR2.M15.4 4.9.75

copy of letter sent to John Humphrey from LM in response to letter of August 20, 1975

Box 3File 17LM.AR2.M15.5 18.9.75

memo regarding schedule for Women of Photography exhibition

Box 3File 17LM.AR2.M15.6 19.9.75

John Humphrey; has spoken to Margery Mann; acknowledges that it is too late to change the statement, but proposes to alter it in second printing; in the meantime participating institutions will be sent a copy of the biography LM supplied

 LM.AR2.M16 to Lisette Model from Seattle Art Museum Box 3File 18LM.AR2.M16.1 30.11.78

Margery Aronson; confirming LM's lecture of May 3, 1979 in Seattle

Box 3File 18LM.AR2.M16.2 26.2.79

Margery Aronson; arranging details for LM's May 3, 1979 lecture in Seattle

 LM.AR2.M17 to Lisette Model from Smithsonian Institution Box 3File 19LM.AR2.M17.1 9.1.74

press release for exhibition American Masters; exhibition includes LM and Ansel Adams, Laszlo Moholy-Nagy, Minor White, Aaron Siskind, Harry Callahan, Jerry Uelsmann, Lee Friedlander, Wynn Bullock, Gyorgy Kepes, Paul Caponigro, Diane Arbus

 LM.AR2.M18 to Lisette Model from Australia National GalleryBox 3File 20LM.AR2.M18.1 20.9.82

Alan R. Dodge; requests permission to reproduce LM image; unsigned permission form enclosed

 Correspondence - Galleries LM.AR2.G1 to/from Lisette Model to/from Sander Gallery; date range of correspondence: 25.9.1976 to 22.2.1983 Box 4File 1LM.AR2.G1.1 25.9.76

LM price list with 30 16x20 inch prints; verso: in LM's hand in red ink, a list of 12 prints [copy of LM.AR2.G1.2]

Box 4File 1LM.AR2.G1.2 25.9.76

LM price list [copy of LM.AR2.G1.1]

Box 4File 1LM.AR2.G1.3 ?.9.76

press release for LM exhibition opening September 25, 1976; on verso in LM's hand in blue ink, "Sander/Release"

Box 4File 1LM.AR2.G1.4 5.3.77

Gerd Sander; list of eight prints from exhibition [using catalogue numbers only] to be reproduced in Aperture monograph; 25 prints will be sent to Nancy Hellebrand of Bucks County College for exhibition in conjunction with LM's lecture; cc: Carole Kismaric, Aperture

Box 4File 1LM.AR2.G1.5 10.3.77

Christine Sander; carbon copy of letter to Karen Sperling, Penthouse Photo World, with copy of LM catalogue

Box 4File 1LM.AR2.G1.6 15.3.77

Christine Sander; prints sent to Bucks County College; final selection made for Aperture; Stephen Wirtz Gallery, San Francisco, interested in an LM exhibition

Box 4File 1LM.AR2.G1.7 31.5.77

Gerd Sander; note written over carbon copy of letter to Lee Witkin; sent Witkin an 8x10 inch LM print for upcoming publication [Photographic Print Collector's Guide?]

Box 4File 1LM.AR2.G1.8 22.3.78

copy of letter from LM to Gerd Sander; criticizing Sander for not keeping her up-to-date on sales and other matters

Box 4File 1LM.AR2.G1.9 3.4.78

copy of accounting of print sales for 1978

Box 4File 1LM.AR2.G1.10 12.5.78

Joseph G. Blum; enclosing copy of letter [May 10, 1978] from Gerd Sander to Joseph G. Blum with inventory list of LM works at Sander Gallery

Box 4File 1LM.AR2.G1.11 28.3.79

Gerd Sander; receipt for two negatives

Box 4File 1LM.AR2.G1.12 9.7.79

copy of letter from Gerd Sander to Joseph G. Blum with LM inventory list

Box 4File 1LM.AR2.G1.13 13.11.79

handwritten receipt for 20 vintage prints received from LM

Box 4File 1LM.AR2.G1.14 3.12.79

contract with LM

Box 4File 1LM.AR2.G1.15 17.12.79

Gerd Sander; enclosed two sales statements with cheques, for $850 and $157.50, originally enclosed; sales to Folkwang Museum, Essen; Vision Gallery, Boston; and Donna Schneier

Box 4File 1LM.AR2.G1.16 19.12.79

copy of letter from Gerd Sander to Sandra Schwartz, Center for Creative Photography, Tuscon, Arizona, giving one-time reproduction rights for LM photos in Photography of the Fifties exhibition; cc: LM, Joseph G. Blum

Box 4File 1LM.AR2.G1.17 24.12.79

copy of letter from Michael E. Hoffman, Aperture, to Joseph G. Blum regarding update on limited edition of LM monograph with Gerd Sander's bill for printing enclosed

Box 4File 1LM.AR2.G1.18 26.12.79

copy of Gerd Sander's revisions to contract between LM and Gerd Sander; addressed to Joseph G. Blum

Box 4File 1LM.AR2.G1.19 15.1.80

handwritten receipt for 254 6x6-inch negatives, 11 35mm negatives, and 52 6x6-inch dog show negatives received from LM, signed by Gerd Sander

Box 4File 1LM.AR2.G1.20 26.1.80

Gerd Sander to Joseph G. Blum with enclosed photocopies of photographs by LM, the negatives stored with Sander

Box 4File 1LM.AR2.G1.21 29.5.80

handwritten receipt for 81 vintage prints, as well as other material

Box 4File 1LM.AR2.G1.22 18.7.80

copy of letter from Gerd Sander to Joseph G. Blum outlining activities; exhibition scheduled in Venice, Amsterdam, and Melbourne; Folkwang Museum, Essen, wants to produce a catalogue raisonné; a San Francisco gallery is interested in an exhibition; cc: LM, Michael Hoffman, Aperture, Ute Eskildsen, Folkwang Museum

Box 4File 1LM.AR2.G1.23 15.8.80

handwritten receipt for 22 vintage 16x20 inch prints

Box 4File 1LM.AR2.G1.24 23.8.80

two handwritten receipts signed by Charles Freedman, LM, and Gerd Sander [?] stating that there are 3151 individual images on 586 pieces of film

Box 4File 1LM.AR2.G1.25 7.8.80

photocopy of The Print Collector's Newsletter with review of LM/Aperture monograph by Peter Bunnell; in a Sander envelope labelled in LM's hand "Peter Bunnell"

Box 4File 1LM.AR2.G1.26 12.9.80

handwritten receipt for 129 6x6 inch negatives from LM, signed by Gerd Sander

Box 4File 1LM.AR2.G1.27 12.12.80

copy of invoice to Ikona Photo Gallery, Venice

Box 4File 1LM.AR2.G1.28 23.12.80

copy of letter from Michael Hoffman, Aperture, to Gerd Sander; invitation to lunch; ". . . I am sure we can work out a satisfactory arrangement for the Lisette Model catalogue"; blank postcard included

Box 4File 1LM.AR2.G1.29 25.2.81

handwritten receipt for 116 negatives received from LM signed by Gerd Sander

Box 4File 1LM.AR2.G1.30 31.5.81

Gerd Sander to Joseph G. Blum; handwritten note enclosed with draft of contract with G. Ray Hawkins Gallery [LM's West Coast representative]

Box 4File 1LM.AR2.G1.31 9.6.81

handwritten receipt for 12 6x6-inch negatives "for exh. printing"

Box 4File 1LM.AR2.G1.32 25.7.81

statement of payment to LM for $2,900

Box 4File 1LM.AR2.G1.33 8.8.81

copy of letter from Gerd Sander to Ben Raeburn, Horizon Press; originally enclosed an 8x10-inch print of Four Women, Nice 1937; copyright fees to LM directly; cc: Joseph G. Blum, LM

Box 4File 1LM.AR2.G1.34 18.8.81

Gerd Sander; enclosed copy of letter from Viviane Esders with news of the European exhibition

Box 4File 1LM.AR2.G1.35 3.9.81

handwritten receipt for portfolios and negatives [returned to LM?]

Box 4File 1LM.AR2.G1.36 9.81

October 1, 1980 - September 30, 1981 statement of LM sales [Sander is credited with $119]

 Box 4File 2LM.AR2.G1.37 4.11.82

handwritten receipt for print of French Gambler in Gerd Sander's hand

Box 4File 2LM.AR2.G1.38 17.11.81

copy of letter from Print Incorporated to Gerd Sander regarding cost of printing for LM; includes handwritten statements on individual negatives; cc: LM, David Ferber

Box 4File 2LM.AR2.G1.39 2.12.81

Time-Life Books Inc. contract to reproduce "Woman in black coat . . ." in Photography Year Book; signed by Gerd Sander; note attached for reproduction fee directly to LM

Box 4File 2LM.AR2.G1.40 7.1.82

Juliette Galant, Fotofolio, Inc.; two copies of [unsigned] contract with LM for postcard reproduction rights for as many as 15 images; included are six samples of the postcards

Box 4File 2LM.AR2.G1.4112.1.82

copy of letter from Gerd Sander to Joseph G. Blum; update on LM travelling exhibition organized by New Orleans Museum of Art; question regarding catalogue; needs Blum's help in raising money for exhibition; cc: LM

Box 4File 2LM.AR2.G1.42 22.1.82

copy of letter from Gerd Sander to C. Kismaric, Aperture, informing her that the New Orleans Museum of Art will be sending a catalogue; cc: LM, Joseph G. Blum

Box 4File 2LM.AR2.G1.43 9.2.82

copy of letter from Gerd Sander to Santini Brothers regarding building eight crates for the exhibition; cc: MoMA, Joseph G. Blum, LM

Box 4File 2LM.AR2.G1.44 4.3.82

copy of letter from Sutton Keany of Winthrop, Stimson, Putnam and Roberts [Aperture's legal counsel] to Gerd Sander; states that catalogue will be a violation of contract with Aperture; cc: LM, Joseph G. Blum, Arthur Bullowa

Box 4File 2LM.AR2.G1.45 8.3.82

Gerd Sander; enclosed letter from Michael Engler, film producer, Hamburg

Box 4File 2LM.AR2.G1.46 12.3.82

Gerd Kairat, Nordeutscher Rundfunk, Hamburg; requests LM to participate in a documentary by Michael Engler on American photography

Box 4File 2LM.AR2.G1.47 16.3.82

copy of letter from Gerd Sander to Sutton Keany of Winthrop, Stimson, Putnam & Roberts; explains Sander's position and advises that further correspondence be sent to Joseph G. Blum; cc: LM, Joseph G. Blum, A. Bullowa

Box 4File 2LM.AR2.G1.48 16.3.82

copy of letter from Gerd Sander to Joseph G. Blum; states that Folkwang Museum, Essen, is not interested in an LM exhibition unless there is an accompanying catalogue; encourages Blum to try to find a way to publish such a catalogue; cc: LM

Box 4File 2LM.AR2.G1.49 16.4.82

Gerd Sander; regarding trip to Paris; enclosed letter from Viviane Esders regarding a medal for LM from the city of Paris

Box 4File 2LM.AR2.G1.50 28.4.82

copy of letter from Tina Freeman, New Orleans, to Gerd Sander; Colin Ford of National Museum of Photography, Great Britain, expressed interest in the exhibition in 1984; mentions looking at Lee Miller collection

Box 4File 2LM.AR2.G1.51 14.5.82

copy of letter from John Szarkowski, MoMA, to Gerd Sander; unable to take LM exhibition; mentions Piersol

Box 4File 2LM.AR2.G1.52 18.5.82

copy of letter from Van Deren Coke, San Francisco Museum of Modern Art, to Gerd Sander; unable to take LM exhibition

Box 4File 2LM.AR2.G1.53 19.5.82

copy of letter from Jay M. Fisher, Baltimore Museum of Art, to Gerd Sander; unable to take LM exhibition

Box 4File 2LM.AR2.G1.54 19.5.82

copy of letter from Roy Flukinger, University of Texas, Photography Collection, to Gerd Sander; unable to take LM exhibition; will forward information to Huntington Art Gallery, Austin; mentions Tina Freeman

Box 4File 2LM.AR2.G1.55 21.5.82

copy of letter from Susan Ruff, Center for Creative Photography, University of Arizona, to Gerd Sander; unable to take LM exhibition; mentions Enyeart

Box 4File 2LM.AR2.G1.56 25.5.82

copy of letter from Gudmund Vigtel, High Museum of Art, to Gerd Sander; unable to take LM exhibition

Box 4File 2LM.AR2.G1.57 27.5.82

copy of letter from Kristin Spangenberg, Cincinnati Museum of Art, to Gerd Sander; unable to take LM exhibition; mentions Piersol; unable to propose any acquisitions before autumn 1982

Box 4File 2LM.AR2.G1.58 1.6.82

copy of letter from J.W. Borcoman, National Gallery of Canada, to Gerd Sander; unable to take LM exhibition

Box 4File 2LM.AR2.G1.59 1.6.82

copy of letter from Gerd Sander to Jean-Luc Monterosso, Direction des Affaires Culturelles, Service de la Photographie, Paris; thanks for reception and medal from City of Paris; invoice originally enclosed for 10 prints

Box 4File 2LM.AR2.G1.60 4.6.82

copy of letter from Evan Turner, Ackland Art Museum, University of North Carolina at Chapel Hill, to Gerd Sander; thanks for information about exhibition; interested in purchasing two or four works reproduced in catalogue

Box 4File 2LM.AR2.G1.61 15.6.82

copy of letter from Charles Millard, Hirshhorn Museum, to Gerd Sander; unable to take exhibition; sorry that Sander Gallery has left Washington

 Box 4File 3LM.AR2.G1.62 22.6.82

Gerd Sander to J.W. Borcoman, National Gallery of Canada; catalogue is unavailable in North America because of Aperture copyright agreement

Box 4File 3LM.AR2.G1.63 22.6.82

copy of letter from Gerd Sander to Joseph G. Blum; sending photocopies [includes letter from Gerhard von Richthofen to Murray Martin, Side Gallery, dated May 24, 1982] regarding European exhibition and Aperture copyright dispute

Box 4File 3LM.AR2.G1.64 22.6.82

copy of letter from Gerd Sander to Anna Auer, Vienna; enclosed exhibition catalogue; asks Auer's help in trying to secure a venue for the exhibition in Vienna; mentions Dr. Ronte

Box 4File 3LM.AR2.G1.65 30.6.82

copy of letter from Gerd Sander to T. Freeman, New Orleans Museum of Art, regarding cost of catalogue production

Box 4File 3LM.AR2.G1.66 27.7.82

Gerd Sander; attached accounting of sales October 1980 to September 1981; attached letter to Joseph G. Blum also summarizing sales; followed by handwritten accounting sheets

Box 4File 3LM.AR2.G1.67 27.7.82

Gerd Sander; letter with cheque for $1,000

Box 4File 3LM.AR2.G1.68 28.9.82

copy of letter from Gerd Sander to Allan Porter; gives permission to use images in Camera

Box 4File 3LM.AR2.G1.69 28.9.82

copy of letter from Gerd Sander to Carlos Freire, Paris; Freire interviewed LM during last Paris trip; Gerd Sander enquires about possibilities for an exhibition in Brazil

Box 4File 3LM.AR2.G1.70 19.10.82

copy of letter from Gerd Sander to Françoise Marquet, Musée d'art moderne de la ville de Paris, asking for a confirmation of interest in LM retrospective

Box 4File 3LM.AR2.G1.71 19.10.82

copy of letter from Gerd Sander to Anna Auer, Sammlung Fotografis, Vienna, asking for a confirmation of interest in LM retrospective

Box 4File 3LM.AR2.G1.72 22.10.82

copy of letter from Gerd Sander to Ake Sidwall, Curator, Fotografiska Museet, Stockholm; enclosed specifications about cost of LM retrospective

Box 4File 3LM.AR2.G1.73 22.2.83

Gerd Sander; enclosed two letters: Paris and Vienna; plans for a showing in Vienna have fallen through

Box 4File 3LM.AR2.G1.74 8.1.83

handwritten receipt for prints received

Box 4File 3LM.AR2.G1.75 4.2.83

copy of letter from Joseph G. Blum to Gerd Sander regarding $1,000

Box 4File 3LM.AR2.G1.76 17.2.83

invitation to Sander exhibition "Rare Vintage Photographs 1910-1950" [new New York location]

Box 4File 3LM.AR2.G1.77 n.d.

handwritten receipt [LM's hand] on envelope for 16x20-inch and 11x14-inch prints

Box 4File 3LM.AR2.G1.78 n.d.

handwritten list of prints [LM's hand] on one sheet of yellow lined paper

Box 4File 3LM.AR2.G1.79 n.d.

handwritten list of prints [LM's hand] labelled "Selections for exhibition sale"

Box 4File 3LM.AR2.G1.80 n.d.

handwritten list [LM's hand] of prints on unlined notepad

Box 4File 3LM.AR2.G1.81 n.d.

LM's artist's statement [half is missing]; two copies

 LM.AR2.G2 to/from Lisette Model to/from Harry H. Lunn, Jr. (Graphics International) and related agents; date range of correspondence: 23.5.1974 to 8.4.1982 Box 4File 4LM.AR2.G2.1 23.5.74

Harry H. Lunn, Jr.; mentions portfolio of 12 images, Richard [Benson?]; photocopy of contract enclosed

Box 4File 4LM.AR2.G2.2 24.11.75

Maurizia Grossman; originally enclosed a copy of Berenice Abbott's introduction to the LM portfolio

Box 4File 4LM.AR2.G2.3 1.12.75

LM to Harry Lunn; dissatisfied with quality of Richard Benson's work and with delays in the project of producing a portfolio; spoke to a copyright lawyer about adding copyright notice to back of each print

Box 4File 4LM.AR2.G2.4 12.15.75

Nancy F. Wechsler, Greenbaum, Wolff, and Ernst; enquiring what LM has heard from Harry Lunn; asks when LM would want a bill for their consulting

Box 4File 4LM.AR2.G2.5 n.d.

copy of letter from LM to Nancy F. Wechsler; asks for bill; would like to discuss Lunn and portfolio in 1976

Box 4File 4LM.AR2.G2.6 30.12.75

Nancy F. Wechsler; enclosed bill

Box 4File 4LM.AR2.G2.7 29.1.76

Nancy F. Wechsler; sorry to hear that Evsa is ill; thank you for cheque

Box 4File 4LM.AR2.G2.8 15.6.76

Nancy F. Wechsler to Harry Lunn; opinion that LM would be justified in terminating agreement with Graphics International because of delays; however, does not wish to and would like Lunn to provide a schedule for completing the project and an increase in fee to LM; blind copy also enclosed; cc: LM

Box 4File 4LM.AR2.G2.9 28.6.76

copy of letter from Maurizia Grossman, Graphics International, to Nancy F. Wechsler; Harry Lunn out of the country

Box 4File 4LM.AR2.G2.10 1.12.76

Nancy F. Wechsler; regarding Harry Lunn and Gerd Sander's visit to Nancy Wechsler to pick up prints; also picked up prints from Marlborough Gallery; was unable to discuss further financial negotiations with Harry Lunn

Box 4File 4LM.AR2.G2.11 13.12.76

Nancy F. Wechsler; enclosed copy of letter from Harry Lunn to Nancy F. Wechsler outlines various proposals for completion of project

Box 4File 4LM.AR2.G2.12 18.12.76

copy of letter from Harry Lunn to Nancy F. Wechsler; acknowledges Wechsler's letter of December 13, 1976; argues that some delays caused by mail service, not him; mentions Sander

Box 4File 4LM.AR2.G2.13 20.12.76

Nancy F. Wechsler; enclosed draft of letter to be sent to Harry Lunn; Wechsler is not optimistic about getting results; enclosed bill for $750; attached to back of page one of Wechsler draft is a colour commercial photographic print of an International Style building with sun behind it; her letter argues again that the project has been unduly delayed and that there are inconsistencies in Harry Lunn's financial statements; they are holding Graphics International responsible for all loss of revenue and time

Box 4File 4LM.AR2.G2.14 23.12.76

copy of letter from Nancy F. Wechsler to Harry Lunn; same letter as draft (LM.AR2.G2.12); cc: LM

Box 4File 4LM.AR2.G2.15 7.1.77

copy of letter from Nancy F. Wechsler to Harry Lunn; LM has no objection to combining prints by Benson with prints by Sander but wants to hold Graphics International to contract

Box 4File 4LM.AR2.G2.16 11.1.77

Nancy F. Wechsler; enclosed a copy of letter from Harry Lunn [January 4, 1977 letter LM.AR.2.G2.14?]; asks LM to note down differences from his telling of events

Box 4File 4LM.AR2.G2.17 4.1.77

copy of letter from Harry Lunn to Nancy F. Wechsler [in response to her letter LM.AR2.G2.13 and referred to in LM.AR2.G2.17]; wants to meet on February 3

Box 4File 4LM.AR2.G2.18 n.d.

LM's typewritten responses to Harry Lunn's letter of January 4, 1977 [LM.AR2.G2.17], apparently written for benefit of Nancy F. Wechsler as requested in LM.AR2.G2.16

Box 4File 4LM.AR2.G2.19 11.1.77

Nancy F. Wechsler; thanks for cheque

Box 4File 4LM.AR2.G2.20 18.1.77

copy of letter from Harry Lunn to Nancy F. Wechsler; authorized Gerd Sander to proceed with printing

Box 4File 4LM.AR2.G2.21 24.1.77

copy of letter from Nancy F. Wechsler to Harry Lunn; does not agree to a meeting; notes that Sander still does not appear to have started printing

Box 4File 4LM.AR2.G2.22 28.1.77

copy of letter from Harry Lunn to Nancy F. Wechsler; defends himself by noting that he told Gerd Sander to start printing and that he [Lunn] was also upset that printing had not begun immediately; cc: Gerd Sander

Box 4File 4LM.AR2.G2.23 8.2.77

Nancy F. Wechsler; enclosed draft of an amended contract with Graphics International

 Box 4File 5LM.AR2.G2.24 14.2.77

copy of letter from Nancy F. Wechsler to Harry Lunn; amended contract originally enclosed

Box 4File 5LM.AR2.G2.25 25.2.77

Nancy F. Wechsler; Harry Lunn signed amended contract and delivered a cheque for $1,600; Wechsler put $1,600 in trust against $2,210 LM owes to law firm; enclosed copy of signed agreement

Box 4File 5LM.AR2.G2.26 n.d.

copy of typed letter from LM to Nancy F. Wechsler; LM prefers to pay law firm directly rather than have Harry Lunn's payment kept in trust against the amount she owes

Box 4File 5LM.AR2.G2.27 25.3.77

Nancy F. Wechsler; explains that depositing a cheque in trust is customary procedure

Box 4File 5LM.AR2.G2.28 30.3.77

receipt for one portfolio (12 signed prints) to Marc Kazmarek; on Greenbaum, Wolff & Ernst [Nancy F. Wechsler's firm] stationery

Box 4File 5LM.AR2.G2.29 8.4.77

LM to Nancy F. Wechsler [copy?] and handwritten draft of letter; in stronger language LM continues to voice concern over law firm's deposit of cheque

Box 4File 5LM.AR2.G2.30 13.4.77

Nancy F. Wechsler; thanks for cheque; again states that depositing cheque is customary

Box 4File 5LM.AR2.G2.31 13.4.77

copy of letter from Nancy F. Wechsler to Harry Lunn; reminds him that Richard Benson must deliver works for destruction to law firm's office

Box 4File 5LM.AR2.G2.32 28.4.77

copy of letter from Nancy F. Wechsler to Harry Lunn; received prints from Richard Benson

Box 4File 5LM.AR2.G2.33 28.4.77

Nancy F. Wechsler; enclosed copy of letter from Harry Lunn: update on Richard Benson's sending reject prints to Wechsler's office

Box 4File 5LM.AR2.G2.34 5.5.77

handwritten copy of letter from LM to Nancy F. Wechsler; asks to wait until Richard Benson's return before destroying prints

Box 4File 5LM.AR2.G2.35 16.5.77

Harry Lunn; enclosed request from D.B. Cratsley, Witkin Gallery, Inc. to Graphics International; request to reproduce an image by LM in Photographic Print Collector's Handbook; enclosed a second letter mentioning co-authors Barbara Upton and John Upton; enclosed release form

Box 4File 5LM.AR2.G2.36 27.5.77

Nancy F. Wechsler; enclosed copy of letter from Maurizia Grossman, Graphics International, to Nancy F. Wechsler; shipping 12 copies of text with prints; mentions Mr. Hartnett [shipper?]

Box 4File 5LM.AR2.G2.37 9.6.77

Nancy F. Wechsler; eight boxes containing portfolios delivered to Wechsler's office; requests LM have them removed

Box 4File 5LM.AR2.G2.38 12.6.77

handwritten copy of letter to Nancy F. Wechsler; did not know portfolios would be delivered there; Gerd Sander will pick them up June 16, 1977

Box 4File 5LM.AR2.G2.39 14.6.77

Maurizia Grossman; enclosed two cheques of $8,200 each; Gerd Sander will meet LM to sign remaining portfolios to be returned to Graphics International 18 June 1977

Box 4File 5LM.AR2.G2.40 15.8.77

Harry Lunn; acknowledges that Graphics International has paid LM $22,000 to date [an overpayment]; return envelope originally enclosed

Box 4File 5LM.AR2.G2.41 24.8.77

copy of letter from Warren Trabant, Pentax Photography; request to reproduce Old French Lady, Paris for issue on women in photography; see also publications file

Box 4File 5LM.AR2.G2.42 1.9.77

Nancy F. Wechsler; Graphics International sent package of heavy white paper to Wechsler for LM

Box 4File 5LM.AR2.G2.43 n.d.

Empty envelope addressed to Nancy F. Wechsler, Linden and Deutsch, New York, with LM's return address on it

[Note: for other legal correspondence between LM and Joseph G. Blum, see Correspondence/Other Professional series]

Box 4File 5LM.AR2.G2.44 8.4.82

invitation to exhibition of paintings by Kevin MacDonald at Lunn Gallery

 LM.AR2.G3 to/from Lisette Model to/from various galleries; date range of correspondence: 29.11.1954 to 18.2.1983 Box 4File 6LM.AR2.G3.1 6.11.78

one postcard or notice each for exhibitions of Neal Rantoul and Jerry Burchard [November 3 to December 3, 1978] at Addison Gallery of American Art

Box 4File 6LM.AR2.G3.2 20.4.79

invitation to reception on May 2, 1979 by private dealers Eleanor and Raymond Jacobs at Appreciation

Box 4File 6LM.AR2.G3.3 29.6.81

Lee Marks, Association of International Photography; request for LM's participation in honouring Berenice Abbott

Box 4File 6LM.AR2.G3.4 12.8.81

Lee Marks; confirming LM's participation at award ceremony on November 6, 1981 honouring Berenice Abbott; Leslie Katz, Hilton Kramer also participating; asks LM to reconsider her "adamant" request not to speak at the event

Box 4File 6LM.AR2.G3.5 28.4.79

Norma B. Marin, Cape Split Place Inc.; encouraged by Berenice Abbott to contact LM regarding a possible exhibition

Box 4File 6LM.AR2.G3.6 12.1.82

Leslie Urbach, Center Galleries; request to jury regional photography exhibition; previous judges: Ralph Gibson, Neal Slavin, Nathan Lyons; $500 honorarium

Box 4File 6LM.AR2.G3.7 18.2.83

Comfort Gallery, Haverford, Pennsylvania; announcement for Arbus, Model, and Weegee exhibition, as well as Jerry Thompson exhibition

Box 4File 6LM.AR2.G3.8 12.1.77

Andrew Berler, Creative Artists Public Service Program (CAPS); arrangements for framing works created during fellowship year for CAPS photography exhibition

Box 4File 6LM.AR2.G3.9 26.8.78

J.C. Fosse, Maison de la Culture,Creteil, France; attempts to arrange an exhibition of LM's work

Box 4File 6LM.AR2.G3.10 4.12.78

copy of letter to Fosse from LM; unable to do exhibition

Box 4File 6LM.AR2.G3.11 13.4.80

Marcia Reid, Deja Vue Galleries Ltd.; requests an appointment for herself and Saundray Ball on May 28 or 29 in New York

Box 4File 6LM.AR2.G3.12 5.8.80

Marcia Reid; apologizes that she and Saundray Ball missed LM in New York; mentions Vishniac

Box 4File 6LM.AR2.G3.13 16.9.78

Sid Deutsch, Sid Deutsch Art Gallery Inc.; familiar with Evsa Model's work; wants to set up an appointment with LM

Box 4File 6LM.AR2.G3.14 28.9.81

Viviane Esders; City of Paris to present LM with gold medal; enquires when LM will be in France next; Esders is working on a series of books on the masters of contemporary photography and proposes publishing one on LM; Vivian Esders has been in touch with a Belgian gallery about an LM exhibition; has just written to Gerd Sander

Box 4File 6LM.AR2.G3.15 27.1.82

copy of letter from Viviane Esders to Gerd Sander; progress on medal for LM; City of Paris wants to purchase some works but is waiting for a donation; Bibliothčque Nationale is interested in receiving 15 prints, but can only buy four and is asking for remaining 11 to be donated; will give Brussels information later

Box 4File 6LM.AR2.G3.16 10.6.82

Viviane Esders; progress of negotiations with City of Paris; mentions Gerd Sander; enclosed book proposal from Jean Claude Gautrand [dated June 7, 1982, translated into English] to include reproductions of two LM images

Box 4File 6LM.AR2.G3.17 1.9.82?

Viviane Esders; apologizes for missing LM during August; negotiations continuing

Box 4File 6LM.AR2.G3.18 n.d.

Viviane Esders; postcard regarding trip to United States. Will be in New York in September

Box 4File 6LM.AR2.G3.19 10.7.78

Ger and Maruke Fiolet, Galerie Fiolet; interested in purchasing or exhibiting LM's work in Amsterdam

Box 4File 6LM.AR2.G3.20 2.11.78

Focus Gallery, Helen [Gee?]; exhibition of LM student Harry Lapow; exhibition statement enclosed; Philippe Halsman invitation enclosed; mentions Ken Heyman's gallery, Gerd Sander

Box 4File 6LM.AR2.G3.21 6.6.79

Ansel Adams and James Alinder, The Friends of Photography; request for donation of three works to Friends of Photography auction; copy of Friends of Photography statement of purpose and summary of activities enclosed

Box 4File 6LM.AR2.G3.22 26.1.79

Mike Goldwater, Half Moon Photography Workshop and Camerawork; request for donation of a print for auction in support of new gallery space; blank reply card enclosed

Box 4File 6LM.AR2.G3.23 17.12.82

Ziva Krauss, Ikona Photo Gallery, Milan; hopes to see LM in New York

Box 4File 6LM.AR2.G3.24n.d.

exhibition statement by Italo Zannier on LM [in Italian]

Box 4File 6LM.AR2.G3.25 1.11.75

Sidney Janis Gallery; regarding "Women of Photography" exhibition

Box 4File 6LM.AR2.G3.26 23.2.76

Sidney Janis Gallery; form letter to photographers enquiring whether he can get reproductions of their work for the book entitled The Photographer and the Artist; two blank approval forms included

Box 4File 6LM.AR2.G3.27 26.8.76

Sidney Janis; interested in an LM exhibition

Box 4File 6LM.AR2.G3.28 8.10.76

Sidney Janis; form letter/invitation to Duane Michals exhibition, opening 16 October 1976

Box 4File 6LM.AR2.G3.29 10.6.80

Ronald Caplain, Jeb Gallery; interested in selling LM's work

Box 4File 6LM.AR2.G3.30 15.11.78

Dr. Erika Billeter, Kunsthaus Zurich; request for about 10 prints to be used in America between the Wars exhibition at Kunsthalle in Dusseldorf and at Kunsthaus Zurich; already receiving six LM works from George Eastman House

Box 4File 6LM.AR2.G3.31 n.d.

E. Billeter; enquiry about an American edition of America between the Wars

Box 4File 7LM.AR2.G3.32 16.4.82

Sidsel Ramson, Lefebre Gallery; greetings and a catalogue of Carl-Henning Pedersen exhibition at Lefebre Gallery in 1982; photocopy of a review of Pedersen show from the New York Times [March 2, 1979]

Box 4File 7LM.AR2.G3.33 29.11.54

Limelight; postcard/notice of Christmas photography exhibition [addressed to Mr. John H.N. Potter]; photographers include LM and Berenice Abbott, Ansel Adams, Edouard Boubat, Bill Brandt, Brassai, and others

Box 4File 7LM.AR2.G3.34 21.1.82

Frank Marino Gallery; press releases and postcard/notices of exhibitions by Julie Thayer, Edward Meneeley, Charles Hovland, and Jake Grossberg

Box 4File 7LM.AR2.G3.35 7.11.79

Parsons School of Design, Photographer's Forum and Exhibition

Box 4File 7LM.AR2.G3.36 21.10.80

Elaine Yaker, Pierce Street Gallery; enjoyed meeting LM and looks forward to possible exhibition of her work at the gallery

Box 4File 7LM.AR2.G3.37 27.5.81

Marcia Boxman; enjoyed LM's visit to gallery, hopes she visits Cranbrook

Box 4File 7LM.AR2.G3.38 15.9.81

Nanette, sold 25 books plus two limited editions [Aperature monograph?]

Box 4File 7LM.AR2.G3.39 12.9.78

William Heimerman, Photographers' Gallery and Workshop; discusses possible exhibition of LM's work

Box 4File 7LM.AR2.G3.40 9.1.79

William Heimerman, sending LM another copy of letter dated September 12, 1978 regarding possible exhibition

Box 4File 7LM.AR2.G3.41 31.10.78

Chris Enos, The Photographic Resource Center; confirming LM's lecture in Boston on February 16, 1979; other lecturers include A.D. Coleman, Russel Lee, Gordon Parks, Lucas Samaras, and Pete Turner; two unsigned copies of contract enclosed

Box 4File 7LM.AR2.G3.42 5.12.78

Phoebe Schmidt; enclosed newsletter and announcement of lecture

Box 4File 7LM.AR2.G3.43 7.12.78

Phoebe Schmidt; enclosed new copy of contract

Box 4File 7LM.AR2.G3.44 8.12.78

Chris Enos; requests slides of her work for A.D. Coleman's talk

Box 4File 7LM.AR2.G3.45 2.9.81

Robert Samuel Gallery, Ltd.; notice of group exhibition, including Betty Hahn, Robert Mapplethorpe, Duane Michals, Joel-Peter Witkin, Bea Nettles, William Parker

Box 4File 7LM.AR2.G3.46 ca. 1959

Carl Siembab Gallery; notice of upcoming exhibition, including LM in May 1960

Box 4File 7LM.AR2.G3.47 20.4.65

Carl and Marie Siembab; note of congratulations for winning Guggenheim

Box 4File 7LM.AR2.G3.48 14.12.77

Vuk-Dieter Karadzic, Trockenpresse, fotogalerie und verlag; interested in an exhibition of LM's work; refers to a letter from LM promising to go to Berlin in the spring

Box 4File 7LM.AR2.G3.49 14.5.78

Vuk-Dieter Karadzic; still interested in exhibition; found the paper LM requested

Box 4File 7LM.AR2.G3.50 9.2.77

Beth Urdang, Zabriskie Gallery; enclosed copy of Summer 1977 newsletter, including New York and Paris galleries, as well as postcard exhibition notice for "10 Photographes Contemporains"

Box 4File 7LM.AR2.G3.51 3.6.77

Beth Urdang; enclosed reviews of exhibition [no longer attached]; second copy of Summer 1977 newsletter included

Box 4File 7LM.AR2.G3.52 ?.1.79

November 1978-January 1979 Zabriskie Gallery newsletter

Box 4File 7LM.AR2.G3.53 25.5.79

The Floating Foundation of Photography; two exhibition notices for Phantoms of the Camera III exhibition

Box 4File 7LM.AR2.G3.54 3.12.78

The Witkin Gallery, Inc.; empty envelope

 Correspondence - Publications LM.AR2.PU to/from Lisette Model to/from various publishers; date range of correspondence: 22.2.1942 to 3.9.1982 LM.AR2.PU1 to Lisette Model from Aperture Box 5File 1LM.AR2.PU1.1 25.4.59

Minor White, Rochester; to LM 137-7th Avenue; White left Eastman House 2 years earlier, is now teaching at Rochester Institute of Technology, and has an exhibition ("Sequence 13") at Eastman House; talks of planning a special Aperture issue on documentary; plans to be in New York on July 1 to see LM

Box 5File 1LM.AR2.PU1.2 1.7.59

Minor White, Rochester; apologizes for not seeing LM; talks about Aperture documentary issue

Box 5File 1LM.AR2.PU1.3 1.4.65

Carole and Millard Kismaric; congratulations on Guggenheim

Box 5File 1LM.AR2.PU1.4 19.7.73

Michael E. Hoffman, Millerton; possibility of an Aperture book; LM told him she plans to print 250 photos in 1973

Box 5File 1LM.AR2.PU1.5 28.2.74

Michael E. Hoffman, Millerton; regarding Richard Benson; Jonathan Green new associate editor of Aperture; encloses Diane Arbus and Edward Weston monographs

Box 5File 1LM.AR2.PU1.6 18.6.74

Michael E. Hoffman, Millerton; thanking LM for Snapshot statement

Box 5File 1LM.AR2.PU1.7 18.1.75-76

Jonathan Green, Millerton; memo recommending R. Levin, L. Robinfine, Z. Naczula, and S. Kaplan as printers

Box 5File 1LM.AR2.PU1.8 24.l.75

Ann Kennedy; originally enclosed cheque for $100 for works reproduced in Snapshot

Box 5File 1LM.AR2.PU1.9 21.1.76

Jonathan Green, Millerton; memo recommending Kloss Moser as a printer

Box 5File 1LM.AR2.PU1.10 5.8.77

Michael E. Hoffman, Millerton; proposes doing an Aperture publication on LM; mentions Philadelphia Museum exhibition of LM, Gerd Sander, Harry Lunn

Box 5File 1LM.AR2.PU1.10a ?.11.77

unsigned contractual agreement between Aperture and LM for monograph

Box 5File 1LM.AR2.PU1.11 23.10.78

Michael E. Hoffman and William E. Parker; requesting a statement for Aperture's Minor White memorial issue; note from Hoffman enclosed

Box 5File 1LM.AR2.PU1.12 26.10.78

Carole Kismaric; receipt for 57 slides received from LM; handwritten receipt for the slides enclosed from Rocco Alberico

Box 5File 1LM.AR2.PU1.13 12.12.78

Michael E. Hoffman; thanking LM for slides for upcoming monograph; mentions Carole [Kismaric] and Marvin [Israel?]

Box 5File 1LM.AR2.PU1.14 27.2.79

Carole Kismaric; receipt for 55 prints for dummy

Box 5File 1LM.AR2.PU1.15 23.3.79

Carole Kismaric; receipt for two LM prints of Billie Holiday

 Box 5File 2LM.AR2.PU1.16 16.5.79

Carole Kismaric; note attached to enclosed copy of Phillip Lopate's manuscript for LM monograph; cc: Joseph Blum [104 pages]

Box 5File 2LM.AR2.PU1.16a n.d.

Type-written text of LM's responses to Phillip Lopate's manuscript [hand-written comments in right-hand column of page appear to be responses to LM's comments]; [a copy of this text on acid-free paper precedes the original on fax paper] [27 pages]

 Box 5File 3LM.AR2.PU1.17 22.6.79

Carole Kismaric; receipt for reprinting for monograph.

Box 5File 3LM.AR2.PU1.17a 30.6.79

Carole Kismaric; receipt for printing by Gerd Sander

Box 5File 3LM.AR2.PU1.18 20.7.79

copy of "Catalogue Copy Lisette Model spread" [press release?], including editor's notations and typographical errors

Box 5File 3LM.AR2.PU1.19 26.10.79

Carole Kismaric; promotional events for the monograph: November 28 and December 1 for Rizzoli, 5 December at International Center for Photography, Jan at B. Dalton's, Aperture dinner

Box 5File 3LM.AR2.PU1.20 5.11.79

Carole Kismaric; Aperture cocktail party to celebrate monograph; guest list enclosed

Box 5File 3LM.AR2.PU1.21 n.d.

November-December 1979 royalty statement; $1,666.77 due

Box 5File 3LM.AR2.PU1.22 25.11.79

November 25, 1979 New York Times (p.13) review by Hilton Kramer of LM/Aperture monograph and photocopy of review

Box 5File 3LM.AR2.PU1.23 ?.12.79

December 1979 Art Direction review of LM/Aperture monograph [photocopy]

Box 5File 3LM.AR2.PU1.24 8.12.79

December 8, 1979 New Republic review of LM/Aperture monograph [photocopy]

Box 5File 3LM.AR2.PU1.25 10.12.79

December 10, 1979 Village Voice review of LM/Aperture monograph [photocopy]

Box 5File 3LM.AR2.PU1.26 17.12.79

Paul Dramond, photographer; copy of letter to Carole Kismaric praising LM/Aperture monograph [photocopy, probably sent to LM from Carole Kismaric]

Box 5File 3LM.AR2.PU1.27 20.12.79

Carole Kismaric; receipt indicating prints used for reproduction being returned; 16 items listed [begins with "Hand Reflection"]

Box 5File 3LM.AR2.PU1.28 20.12.79

Carole Kismaric; receipt for prints used for reproduction; four items listed [begins with "Blind Man, Paris"]

Box 5File 3LM.AR2.PU1.29 20.12.79

Carole Kismaric; receipt for prints used for reproduction; six items listed [begins with "Lady with Bag"]

Box 5File 3LM.AR2.PU1.30 20.12.79

Carole Kismaric; receipt for prints used for reproduction; 17 items listed [begins with Promenade des Anglais]

Box 5File 3LM.AR2.PU1.31 20.12.79

Carole Kismaric; receipt for prints used for reproduction; two items listed [begins with "Sailor and Girl"]

Box 5File 3LM.AR2.PU1.32 20.12.79

Carole Kismaric; receipt for prints ["not used in book"]; 10 items listed [begins with "Bus Reflection"]

Box 5File 3LM.AR2.PU1.33 8.1.80

receipt for seven author's copies of monograph

Box 5File 3LM.AR2.PU1.34 5.2.80

Lillian Maisel, of Joseph G. Blum firm; note to LM; enclosed photocopy of letter from Tim Hill, Co-Publisher, Aperture, to Joseph G. Blum regarding publishing excerpts of monograph in Camera 35 and Popular Photography, with a $300 fee to LM

Box 5File 3LM.AR2.PU1.35 10.2.80

February 10, 1980 New York Daily News article about LM [a copy of this article on acid-free paper precedes the original on newspaper print]

Box 5File 3LM.AR2.PU1.36 22.4.80

copy of letter from Carole Kismaric to Joseph Blum, in response to Blum and LM's questions: up to April 1, monograph regular edition sold 3,292 copies and limited edition 26 orders; also lists places in Paris where book is available [photocopy of letter with handwritten salutation to LM at bottom]

Box 5File 3LM.AR2.PU1.37 15.5.80

Amy J. Sall, Aperture, New York; enclosed May/June issue of Artforum with a review of LM/Aperture monograph [enclosure missing] and a list of 36 newspapers and publications with which Women's Wear Daily has a syndication service

Box 5File 3LM.AR2.PU1.38 7.7.80

Michael E. Hoffman; responds to LM's concern over low sales of the monograph and suggests that an exhibition would increase public familiarity and sales; also states that images not published in the book will appear in the periodical Aperture; cc: Gerd Sander, Joseph Blum, Carole Kismaric

Box 5File 3LM.AR2.PU1.39 28.8.80?

American Institute of Graphic Arts Certificate of Excellence, Book Show 1979; sent to LM by Amy Sall

Box 5File 3LM.AR2.PU1.40 22.9.80

September 22, 1980 Panorama [Italy] review of LM/Aperture monograph [photocopy]

Box 5File 3LM.AR2.PU1.41 4.9.80

invoice for copy of monograph for Per Hemmingsson

Box 5File 3LM.AR2.PU1.42 ?.11/12.80

November/December 1980 copy of American Book Review [a copy of the article on acid-free paper precedes the original on newspaper print]

Box 5File 3LM.AR2.PU1.43 1.12.80

invoice for $41.26

Box 5File 3LM.AR2.PU1.44 19.2.81

1099-MISC income tax form from Aperture to LM; lists 1980 royalties at $2,690

Box 5File 3LM.AR2.PU1.45 18.3.81

Lauretta C. Burgess, Accounts Manager, Aperture; states that as LM requests, a copy of royalty statement is being sent to Joseph Blum; cc: Joseph Blum; enclosed copy of royalty statement for July-December 1980 and invoice crediting $41.26

Box 5File 3LM.AR2.PU1.46 8.9.81

royalty statement [January 1, 1981 to June 30, 1981] $1,030.40

Box 5File 3LM.AR2.PU1.47 8.3.82

royalty statement July 7, 1981 to December 31, 1981] $1016.87

Box 5File 3LM.AR2.PU1.48 27.1.82

copy of letter from Carole Kismaric to Gerd Sander; responds to Sander's letter of January 22, 1982 regarding publishing a book of LM's work; Kismaric tells Sander that this would be in violation of LM's contract with Aperture; cc: LM, Joseph Blum, John Bullard, Arthur Bullowa

Box 5File 3LM.AR2.PU1.49 26.8.82

royalty statement [no time period listed] $619.50; a deposit listing $619.50 and $531

Box 5File 3LM.AR2.PU1.50 28.11.?

Rizzoli International Bookstore; invitation to reception for monograph publication

Box 5File 3LM.AR2.PU1.51 n.d.

LM to Amy Sall; receipt [?] for four photographs, written on a purchase order form in LM's hand [same hand writing and forms as LM.AR2.PU1.45]

Box 5File 3LM.AR2.PU1.52 n.d.

receipt to LM [in LM's own hand] for 10 [?] prints written on Aperture purchase order form [same hand writing and forms as LM.AR2.PU1.44]

Box 5File 3LM.AR2.PU1.53 n.d.

photocopy of press release for LM/Aperture monograph; author: Fred Schruers, editor: Henke

Box 5File 3LM.AR2.PU1.54 n.d.

list of "forthcoming reviews" of LM/Aperture monograph

Box 5File 3LM.AR2.PU1.55 n.d.

press release: quote from John Szarkowski for use on dust jacket.

Box 5File 3LM.AR2.PU1.56 n.d.

press release from Amy Sall with quotation on LM from John Szarkowski, MoMA

Box 5File 3LM.AR2.PU1.57 n.d.

advertising for LM monograph with reproductions of photographs

Box 5File 3LM.AR2.PU1.58 n.d.

photocopied clipping from M. Magazine with mention of LM/Aperture monograph and reproduction of one image

 LM.AR2.PU2 to/from Lisette Model to/from Camera Box 5File 4LM.AR2.PU2.1 11.3.77

Thomas Cooper; asking permission for him and Paul Hill to interview LM for Camera

Box 5File 4LM.AR2.PU2.2 2.6.77

P. Thurig; asking for subscription to Camera [LM had been receiving it free]; subscription renewal form is enclosed

Box 5File 4LM.AR2.PU2.3 27.7.77

Allan Porter; a copy of Cooper and Hill interview transcript for LM's final comments is enclosed; Porter met with Harry Lunn regarding corrected Berenice Abbott manuscript [a copy of this text on acid-free paper precedes the original on fax paper]

Box 5File 4LM.AR2.PU2.4 11.8.77

Allan Porter; accepting LM's proposal to go to Lucerne herself to help work on the monograph issue; included is a business card with Allan Porter's work and home phone numbers written on it

Box 5File 4LM.AR2.PU2.5 10.10.77

Allan Porter; his notice to the issue manuscript enclosed

Box 5File 4LM.AR2.PU2.6 29.10.77

Paul Hill; asking LM's permission to use her interview in a Farrar, Straus & Giroux Inc. publication of the various Camera interviews; contract with publisher enclosed

Box 5File 4LM.AR2.PU2.6a 23.11.77

Allan Porter; photos from LM's trip to Lucerne enclosed; new text at printer [followed by a page of colour prints of LM in Lucerne]

Box 5File 4LM.AR2.PU2.8 n.d.

Allan Porter; 50 special edition and 25 issues of Camera sent; copy of a letter from Niki Brodovitch dated December 7, 1977 saying hello to LM enclosed

Box 5File 4LM.AR2.PU2.7 5.12.77

H. Narvesen; congratulations on work in Camera.

Box 5File 4LM.AR2.PU2.9 21.12.77

Allan Porter; responds to LM's phone call praising issue; two envelopes included: (1) postmarked January 23, 1977, with "Dec 23, 77" in LM's hand; (2) postmarked October 7, 1977, with "Guggenheim 7X77" in LM's hand

Box 5File 4LM.AR2.PU2.10 30.12.77

Allan Porter; Happy New Year greetings; originally included a special edition of LM issue which he asks her to inscribe to him

Box 5File 4LM.AR2.PU2.11 n.d.

photostat copy of Allan Porter's application to Guggenheim

Box 5File 4LM.AR2.PU2.12 16.1.78

Allan Porter; asking for a contribution to the September 1978 issue of Camera, "Auto Portraits . . ."

Box 5File 4LM.AR2.PU2.13 10.3.78

Allan Porter; apologizes for misunderstanding over Modern Age photographs [?]; enclosed letter from Porter, dated March 13, 1978, mentions Christian Vogt and Rossalima Burre [sp.?], questions Christian's honesty, and is critical of new Aperture issue

Box 5File 4LM.AR2.PU2.14 21.6.78

C.J. Bucher AG, Camera; airmail/registered mail shipping invoice for reproduction positives

Box 5File 4LM.AR2.PU2.15 30.4.79

LM; confirmation copy of LM's mailgram with birthday greeting to Allan Porter

Box 5File 4LM.AR2.PU2.16 15.4.82

Allan Porter; plans to be in New York during summer

Box 5File 4LM.AR2.PU2.17 3.9.82

Allan Porter; empty envelope

 LM.AR2.PU3 to Lisette Model from Harper's Bazaar Box 5File 5LM.AR2.PU3.1 3.9.43

Carmel Snow; mentions Brodovitch; praises LM's images of rehearsals

Box 5File 5LM.AR2.PU3.2 24.5.44

Priscilla S. Grant, Executive Director, The New York Association for the Blind, The Lighthouse; praising image of The Lighthouse from Harper's Bazaar

Box 5File 5LM.AR2.PU3.3 26.5.44

Carmel Snow; praises images of the blind

Box 5File 5LM.AR2.PU3.4 5.6.44

Andrew A. Freeman, United Seamen's Service; thanking LM for allowing United Seamen's Service to use photographs of rest centre in Gladstone, New Jersey

Box 5File 5LM.AR2.PU3.5 28.6.45

Carmel Snow; agreement guaranteeing LM 24 pages in Harper's Bazaar in the upcoming year, paying $150 per page [payments of $300 per month]

Box 5File 5LM.AR2.PU3.6 24.5.46

Carmel Snow; LM soon to leave for California; offers to extend present contract to end of September; "loves" LM's work but is hesitant to commit herself to a longer contract until she sees proof of publishable work

Box 5File 5LM.AR2.PU3.7 10.6.46

Carmel Snow; Dorothy Wheelock reported that letter of May 24, 1946 [LM.AR2.PU2.5] upset LM; Snow repeats that she would like to have a two-month trial before signing another one-year contract

Box 5File 5LM.AR2.PU3.8 17.6.46

Carmel Snow; Frances says that LM does not want to renew contract; asks LM to send work from California for Snow to review

Box 5File 5LM.AR2.PU3.9 l7.7.46

Carmel Snow; Western Union telegram; "delighted" to have LM shoot San Francisco personalities but not interested in her going to Los Angeles

Box 5File 5LM.AR2.PU3.10 19.1.48

Carmel Snow; sending cheque for $100 for fashion work which "wasn't quite right" but tells LM not to be discouraged; mentions "Miss McFadden"

Box 5File 5LM.AR2.PU3.11 n.d. (Friday)

Dorothy Wheelock; telling LM [1949] and Evsa Model of their unlawful eviction; mentions people who helped save Models' possessions and contributed to rent: Miss Berger, Adelaie Werner, Berenice Abbott, Elizabeth McCausland, Peggy Lewis, representative from Sidney Janis Gallery, representative from Ladies Home Journal, Axelrod, Mr. Berkowitz, Jackie Embree, John Morris

Box 5File 5LM.AR2.PU3.12 24.3.54

Dorothy Wheelock; sent out "attached" letter [no longer with documents] to Nelson A. Rockefeller, Roger L. Stevens, James Johnson Sweeney, and the Carnegie Foundation; enclosed stationery so that LM can send letters in Wheelock's name; note at bottom in Wheelock's hand asking to purchase a painting by Evsa; verso in LM's hand with address in New Hampshire [?]

Box 5File 5LM.AR2.PU3.13 10.6.54

Alexey Brodovitch; letter of reference

Box 5File 5LM.AR2.PU3.14 16.11.54

Dorothy Wheelock; Brodovitch asks LM to bring in Venezuelan and Italian images; LM hasn't shown Harper's anything in several years; handwritten note at bottom telling LM to call Brodovitch and asking for Dr. Beecher's phone number

Box 5File 5LM.AR2.PU3.15 ?.2.55

Harper's Bazaar Editor's guest book, February 1955; note about Roman images

Box 5File 5LM.AR2.PU3.16 1956

1956 U.S. Treasury Department Form 1099 from Hearst Magazines Division [Harper's Bazaar] for $700 [photocopy of form also enclosed]

Box 5File 5LM.AR2.PU3.17 2.5.56

Dorothy Wheelock; letter of reference stating LM is a Harper's Bazaar photographer

Box 5File 5LM.AR2.PU3.18 11.6.57

Dorothy Wheelock; letter of reference

Box 5File 5LM.AR2.PU3.19 21.2.67

Sally Kovalchick, Random House, Inc.; regarding permission to reproduce an LM photograph in 100 Years of Harper's Bazaar

Box 5File 5LM.AR2.PU3.20 14.10.67

Ruth Ansel; addresses for LM in Rome: Irene Brin, Bill Pepper, Eugene Berman

Box 5File 5LM.AR2.PU3.21 ?.10.67

Ruth Ansel; English letter of introduction and reference for use in Rome [two copies]

Box 5File 5LM.AR2.PU3.22 ?.10.67

Ruth Ansel; Italian letter of introduction and reference for use in Rome

Box 5File 5LM.AR2.PU3.23 ?.10.67

Ruth Ansel letter of introduction and reference in Italian

Box 5File 5LM.AR2.PU3.24 18.12.67

Frances Nicolia, Random House, Inc.; returning photograph "Fat Lady" [Coney Island Bather], which was used for reproduction in 100 Years of Harper's Bazaar

Box 5File 5LM.AR2.PU3.25 8.1.68

Sally Kovalchick, Random House, Inc., to R.P. Peterson, MoMA; at LM's request, print of Coney Island Bather is being sent to MoMA [for conservation?]

Box 5File 5LM.AR2.PU3.26 28.11.79

Leo Lerman telegram wishing LM good luck at Rizzoli book launching

 LM.AR2.PU4 to Lisette Model from PM Box 5File 6LM.AR2.PU4.1 22.2.42

Ralph Steiner; asking to see all of LM's recent work for possible publication in PM; offers a letter on PM stationary stating that she works for them in case anyone asks why she is photographing

Box 5File 6LM.AR2.PU4.2 27.2.42

Ralph Steiner; interested in seeing LM's images of New Yorkers

Box 5File 6LM.AR2.PU4.3 9.3.42

Ralph Steiner; suggesting, as a possible source for LM, an August 19 or 29 New York Journal article on refugees

Box 5File 6LM.AR2.PU4.4 1.4.42

Ralph Steiner; thanks for pictures; suggestions for improved film sensitivity

Box 5File 6LM.AR2.PU4.5 n.d.

Holly Blye; enclosed letter and photograph from a soldier who admired LM's work and is interested in a woman in one image [with soldier]; included are original and photocopy of article with LM's picture

Box 5File 6LM.AR2.PU4.6 28.8.44

Holly Blye; has contacted "Nick's" about getting name of woman for the soldier; people at Nick's admire LM's work

 LM.AR2.PU5 to Lisette Model from U.S. Camera Box 5File 7LM.AR2.PU5.1 5.8.42

Edna R. Bennett; "Mr. Maloney" enthusiastic about LM's work; Coney Island Bather selected for annual, other photographs wanted for October issue; requests data for image in annual; got address from Berenice Abbott

Box 5File 7LM.AR2.PU5.2 23.5.44

Edna R. Bennett; Tom Maloney "crazy" about images; will use three pages of "Nick's" in next issue

Box 5File 7LM.AR2.PU5.3 5.10.44

Edna R. Bennett; excerpts of a letter from W. Eugene Smith complimenting LM's works and commenting on them in an article in U.S. Camera, "Music by Lisette Model"

Box 5File 7LM.AR2.PU5.4 n.d.

Bill Clark; memo confirming that LM is photographing jazz clubs for U.S. Camera

 LM.AR2.PU6 to/from Lisette Model to/from various publishers Box 5File 8LM.AR2.PU6.1 12.9.49

John Morris, Ladies Home Journal; regarding Reno article; mentions Olga Druce; financial negotiations

Box 5File 8LM.AR2.PU6.2 16.10.49

Beaumont Newhall; regarding LM's dissatisfaction with reproduction of her work in Newhall's History of Photography

Box 5File 8LM.AR2.PU6.3 9.11.50

Oscar Dystel, Flair; spoke with Mrs. Cowles - no possibility of work for LM; Earl Stanley Gardner

Box 5File 8LM.AR2.PU6.4 14.2.66

Virginia Hilu, Harper & Row, Publishers; interest in publishing a book of LM's current work

Box 5File 8LM.AR2.PU6.5 23.8.76

David B. Tait, Photography: source & resource; Tait and Jim McQuaid request interview with LM; Tait and McQuaid had interviewed LM for Berenice Abbott oral history

Box 5File 8LM.AR2.PU6.6 23.11.76

copy of letter from Debbie Kegges, Chanticleer Press; originally enclosed $100 cheque for reproduction of work in Faces

Box 5File 8LM.AR2.PU6.7 29.12.76

Debbie Kegges, Chanticleer Press; asks again for LM to sign a release form for Faces; form from Metropolitan Museum of Art enclosed

Box 5File 8LM.AR2.PU6.8 15.1.77

Dr. Richard D. Zakia, Rochester Institute of Technology; asking permission to reproduce Gambler Type, French Riviera; includes two copies of permission form [unsigned]

Box 5File 8LM.AR2.PU6.9 18.1.77

Ernest Kay, International Biographical Centre, Cambridge, England; regarding the World Who's Who of Women in Education

Box 5File 8LM.AR2.PU6.10 31.1.77

Alfred Appel, Northwestern University; asks permission to reproduce "Fat Woman on Beach" [Coney Island Bather]

Box 5File 8LM.AR2.PU6.11 14.2.77

David B. Tait, Photography: source & resource; thanks LM for participating in interview [see also Centre for Creative Photography under Correspondence/Museums series]; includes three-page text entitled "Oral History Project Newsletter, January 1977"

Box 5File 8LM.AR2.PU6.12 25.10.77

Sue Davies, The Photographers' Gallery, London, England; Pantheon books interested in publishing The Photographers' Gallery's latest catalogue; $100 to $150 per photograph; just waiting to hear from LM and Lewis Baltz

Box 5File 8LM.AR2.PU6.13 17.11.77

Jo Brauerhock, JOB Concept, Munich; asking permission to reproduce "Fat Woman on Beach" [Coney Island Bather] [letter in German]

Box 5File 8LM.AR2.PU6.14 1.9.78

Jo Brauerhock, JOB Concept, Munich; thanks LM for letter; encloses proof reproduction of image

Box 5File 8LM.AR2.PU6.15 7.12.77

W. Trabant, Pentax Photography; release form, left unsigned by LM, for Old French Lady, Paris to be used in Pentax Photography issue no. 2 on history of women in photography

Box 5File 8LM.AR2.PU6.16 14.2.78

Sue Davies, The Photographers' Gallery, London, England; responds to LM's letter, apparently disapproving of the reproduction of her image in the catalogue and asking that Pantheon not reproduce it

Box 5File 8LM.AR2.PU6.17 24.2.78

Phyllis Benjamin, Pantheon Books; regarding LM's wishes not to reproduce image; cc: Sue Davies, The Photographers' Gallery

Box 5File 8LM.AR2.PU6.18 ?.5.78

Bill Chevalier and Warren Trabant, Pentax Photography; returning photograph used for Pentax Photography issue no.2 [see LM.AR2.PU6.7] but have not yet received release

Box 5File 8LM.AR2.PU6.19 11.9.78

Eric Fischl; asks for LM's participation for a book on teaching art; self-addressed stamped envelope enclosed

Box 5File 8LM.AR2.PU6.20 31.10.78

copy of signed letter from LM to Joseph R. Einhaus, Photographic Society of America Journal, Philadelphia; asks which image of the Gambler he wants and the fee

Box 5File 8LM.AR2.PU6.21 10.11.78

Philip Katcher, Photographic Society of America; PSA cannot afford to pay fee for reproducing Gambler on the French Riveria [sic]

Box 5File 8LM.AR2.PU6.22 8.1.79

Angelo Schwarz, Il Diaframma: Fotografia Italiana, Milan; regarding interview with LM conducted in Arles; copy enclosed

Box 5File 8LM.AR2.PU6.23 21.?.79

copy of an unsigned letter from LM to Angelo Schwarz, Il Diaframma; does not give permission to reproduce interview

Box 5File 8LM.AR2.PU6.24 5.3.79

Sandy Gregg, Arete; a Dutch publisher with offices in New Jersey, now preparing the Academic American Encyclopedia; interested in reproducing MoMA print of Gambler Type, French Riviera

Box 5File 8LM.AR2.PU6.25 31.3.80

Sean Callahan, American Photographer; requesting permission to use a "drastically edited" version of Philip Lopate's manuscript, which LM originally rejected, in July 1980 issue of American Photographer

Box 5File 8LM.AR2.PU6.26 12.11.80

Avis Berman; thanks for interview regarding Berenice Abbott for Art News; includes copy of one page of article with LM's quote

Box 5File 8LM.AR2.PU6.27 27.4.81

Turner Browne and Elaine Partnow, The Complete Book of Photographers, Macmillan; contract [unsigned receipt] for inclusion in Photographic Artists and Innovators, Spring 1982 publication

Box 5File 8LM.AR2.PU6.28 24.7.81

Pat Booth; photographer commissioned by Macmillan to publish interviews and examples of work on 20 photographers

Box 5File 8LM.AR2.PU6.29 29.7.81

George Walsh, St. James Press; preparing the text Contemporary Photographers; enclosed a questionnaire form

Box 5File 8LM.AR2.PU6.30 14.8.81

Tony Garrett, New Society; unable to ask permission to reproduce LM image; offers apologies and suggests fee

Box 5File 8LM.AR2.PU6.31 3.9.81

copy of unsigned letter from LM to George Walsh, St. James Press; LM needs three to four more months to complete questionnaire and does not want an entry with "inadequate information"

Box 5File 8LM.AR2.PU6.32 23.9.81

Paul Barker, New Society; responds to LM's letter of 3 September in which she apparently criticizes the reproduction of one of her images on the cover of New Society

Box 5File 8LM.AR2.PU6.33 23.10.81

George Walsh, St. James Press; wants more detailed information for LM's entry in Contemporary Photographers

Box 5File 8LM.AR2.PU6.34 11.11.81

Nancy Novogrod, Clarkson N. Potter, Inc., Publisher; enclosed a copy of Richard Whelan's Double Take: A Comparative Look at Photographs; requesting LM to write comments for use in promotion

Box 5File 8LM.AR2.PU6.35 14.1.82

Liz Perle, Harper & Row, Publishers, Inc.; originally included copy of "Jill's" [?] book

Box 5File 8LM.AR2.PU6.36 21.7.82

Biergit Mayer, Schirmer/Mosel Verlag GMBH, Munich; second request for reprint of LM's New York Times commentary, dated December 9, 1951, for use in Theorie der Fotografie III, 1945-1980; enclosed copy of first request, dated March 29, 1982

Box 5File 8LM.AR2.PU6.37 2.8.82

copy of LM's response to B. Mayer, Schirmer Mosel Verlag [LM.AR2.PU6.22]

Box 5File 8LM.AR2.PU6.38 n.d.

copy of Lustrum Press book contract [not signed by LM]

Box 5File 8LM.AR2.PU6.39 n.d.

Donnybrook Report; soliciting subscription for a photographers' newsletter

 Correspondence - Other ProfessionalLM.AR2.PR to/from Lisette Model to/from various sources; date range of correspondence: 22.3.1956 to 25.2.1983Box 5File 9LM.AR2.PR.1 19.10.77

Advertising Publicité, Paris; empty envelope with the following written on back: "Malcolm Grear . . . Rhode Island School of Design . . . New England Document Conservation Center"

Box 5File 9LM.AR2.PR.2 01.04.79

Artist-Craftsmen of New York; announcement for talk by Albertje Koopman

Box 5File 9LM.AR2.PR.3 03.05.78

Joseph G. Blum, of Blum, Haimoff, Gersen, Lipson, Slavin & Szabad; copy of letter to Gerd Sander

Box 5File 9LM.AR2.PR.4 05.05.78

Joseph G. Blum; enclosed typed agreement with Aperture; mentions Arthur M. Bullowa, Aperture's lawyer

Box 5File 9LM.AR2.PR.5 16.06.78

Joseph G. Blum; enclosed copy of letter from Arthur M. Bullowa to Blum; regarding limited edition of Aperture monograph; copy to Michael Hoffman, Aperture

Box 5File 9LM.AR2.PR.6 27.09.79

Joseph G. Blum; office memo to file regarding negotiations with Gerd Sander

Box 5File 9LM.AR2.PR.7 19.11.79

Joseph G. Blum; enclosed copy of letter from Carole Kismaric, Aperture, regarding limited edition

Box 5File 9LM.AR2.PR.8 03.12.79

Joseph G. Blum; originally enclosed letter agreement [Aperture? Sander?]

Box 5File 9LM.AR2.PR.9 08.01.80

Joseph G. Blum; enclosed bill for $3,500

Box 5File 9LM.AR2.PR.10 17.10.80

Joseph G. Blum; originally enclosed cheque from Gerd Sander for $2,000

Box 5File 9LM.AR2.PR.11 12.01.81

Joseph G. Blum; enclosed material from Sander and Aperture

Box 5File 9LM.AR2.PR.12 06.02.81

Joseph G. Blum; enclosed bill for $1,032.12

Box 5File 9LM.AR2.PR.13 01.04.81

invoice for $1,032.12, second notice

[Note: for other legal correspondence between LM and Nancy F. Wechsler, see Correspondence/Galleries series]

Box 5File 9LM.AR2.PR.14 01.12.82

copy of information from New York University honouring Joseph G. Blum

Box 5File 9LM.AR2.PR.15 26.09.78

Patricia Bosworth; introductory letter for initial research on Diane Arbus biography

Box 5File 9LM.AR2.PR.16 03.01.79

Patricia Bosworth; second introductory letter; will phone LM

Box 5File 9LM.AR2.PR.17 08.04.80

Patricia Bosworth; urging LM to speak to her about Diane Arbus

Box 5File 9LM.AR2.PR.18 27.09.67

Henrietta Brackman, Henrietta Brackman Associates, photographers' representative; setting up assignments in Europe for LM; includes copy in Italian

Box 5File 9LM.AR2.PR.19 20.07.71

Henrietta Brackman; enclosed letter to Robert L. Pennock, Jr., Honeywell Corp, regarding replacement of LM's Pentax camera

Box 5File 9LM.AR2.PR.20 08.05.62

Alexey Brodovitch; organizing a meeting of photographers and students; mentions R.E. Martinez (editor of Camera), Cartier-Bresson, Irving Penn, and Richard Avedon

Box 5File 9LM.AR2.PR.21 26.01.82

Noelle Hoeppe; regarding Alexey Brodovitch celebration at Arles; organizers: Georges Tourdjman, Alain Devergnes, Harvey Lloyd, and Benedict Fernandez

Box 5File 9LM.AR2.PR.22 17.05.79

Judith Haber, Chez des Amis, an organization sending North American tourists to France; Félicie Sachs gave LM's name

Box 5File 9LM.AR2.PR.23 04.12.78

copy of letter to Lucilla Clerici, Milan, from LM; met in Arles

Box 5File 9LM.AR2.PR.24 04.12.78

copy of letter to Lanfranco Colombo, Milan, from LM; responding to an invitation to go to Milan in March

Box 5File 9LM.AR2.PR.25 28.04.77

Lawrence Ellman; purchased a copy of LM's portfolio; draft of response from LM enclosed [asks for $1,500]

Box 6File 1LM.AR2.PR.26 31.10.78

copy of letter to Helmut and Ilene Gernsheim from LM; agrees to sell 12 16x20-inch prints to Gernsheim Collection at the University of Texas

Box 6File 1LM.AR2.PR.27 24.11.78

Helmut Gernsheim; negotiating for purchase of work by LM

Box 6File 1LM.AR2.PR.28 08.02.78

Judith Goldman; regarding panel at Pratt including Bruce Davidson, Susan Sontag, Clement Greenberg, and Joel Snyder

Box 6File 1LM.AR2.PR.29 06.01.81

Diana Hulick; signed statement promising not to use in dissertation any part of conversation with LM without her approval

Box 6File 1LM.AR2.PR.30 20.02.81

copy of letter from Barbara Kasten to Miles Barth, International Centre for Photography; regarding video project about women and photography; Deborah Irmas to collaborate; interested in interviewing Berenice Abbott

Box 6File 1LM.AR2.PR.31 06.05.81

Barbara Kasten and Deborah Irmas; regarding LM's participation in project about American women in photography

Box 6File 1LM.AR2.PR.32 25.03.82

Barbara Kasten, Ingelwood, California; wants to see LM in New York; will have video equipment with her

Box 6File 1LM.AR2.PR.33 24.07.82

Barbara Kasten, Ingelwood, California; regarding progress of video

Box 6File 1LM.AR2.PR.34 n.d.

Harry Lapow Associates; empty envelope with "Writeups" in LM's hand on front

Box 6File 1LM.AR2.PR.35 25.02.83

Larry Molloy, National Access Center; letter about and copy of NAC's proposal to Polaroid for funding of "Photography & Handicapped Americans"; asking LM for a letter of endorsement

Box 6File 1LM.AR2.PR.36 n.d.

Larry Molloy; enclosed information about National Access Center

Box 6File 1LM.AR2.PR.37 22.03.56

Clarence Derwent, National Council on the Arts and Government; asking LM to give permission to add her name in support of a public statement endorsing bills before the House and Senate to establish a Federal Advisory Commission on the Arts

Box 6File 1LM.AR2.PR.38 09.04.57

Clarence Derwent; asking LM to lend her name once again in support of a Federal Advisory Council on the Arts

Box 6File 1LM.AR2.PR.39 17.10.82

Frank-Manuel Peter, Berlin; writing for photographs and other information on Valeska Gert; is developing a Valeska Gert archive for Akademie der Kunste; mentions Eric Kocher

Box 6File 1LM.AR2.PR.40 02.10.80

Sandra S. Phillips; asks to interview LM for her dissertation on André Kertész

Box 6File 1LM.AR2.PR.41 19.02.79

Barbara Hitchcock, Polaroid Corporation; regarding Polaroid 195 camera lent to LM; asks to have the camera back to loan to Peter Turner

Box 6File 1LM.AR2.PR.42 10.04.79

Barbara Hitchcock; responding to LM's letter saying that she is currently using the Polaroid 195 and cannot return it; mentions Venezia 1979 and Allan Porter

Box 6File 1LM.AR2.PR.43 04.11.80

Michel Pommier, Radio France, Paris; regarding interview; contract originally enclosed

Box 6File 1LM.AR2.PR.44 17.12.80

Michel Pommier, Radio France, Paris; attached release to be signed for release of an interview with Brigitte Legars and Jean-Francois Chevrier

Box 6File 1LM.AR2.PR.45 10.04.81

M.C. Matichard, Radio France; attached another copy of release form for interview

Box 6File 1LM.AR2.PR.46 18.01.77

Peter C. Bunnell, Society for Photographic Education; invitation to speak at SPE National Conference

Box 6File 1LM.AR2.PR.47 01.02.83

copy of letter to John Waddell from LM certifying that the print he owns is one of two of the gambler from the Promenade des Anglais (Aperture, p.10)

Box 6File 1LM.AR2.PR.48 01.11.77

Samuel Wagstaff; encloses a release form allowing him to publish some of her photographs; thanks her for showing him work by Jun Shiraoka, to be included in book, too

Box 6File 1LM.AR2.PR.49 10.02.78

"We Do the Rest", Athens, Ohio; regarding "image-making machine" sent to LM

Box 6File 1LM.AR2.PR.50 14.06.65

White House; invitation to reception for Festival of the Arts

Box 6File 1LM.AR2.PR.51 02.07.65

Letter from Bess Abell, Social Secretary, White House; program of White House Festival of the Arts included

Box 6File 1LM.AR2.PR.52 26.09.80

Institute for Expressive Analysis, New York; Invitation to attend meeting.

Box 6File LM.AR2.PR.53 27.02.82

Letter to LM from Michael Englier, Filmproduktion; regarding filming of LM

Box 6File 1LM.AR2.PR.54 15.10.81

Société des Gens de Lettres de France

Box 6File 1LM.AR2.PR.55 12.11.76

J. Mathias, Guggenheim Foundation; requests annual appraisals of candidates from LM

Box 6File 1LM.AR2.PR.56 n.d.

John Grimes, Institute of Design, Chicago; lecturing on the history of photography and would like to do more research on her work

 Correspondence - AwardsLM.AR2.AW to/from Lisette Model to/from various granting/funding agencies; date range of correspondence: 21.9.1964 to 18.9.1980LM.AR2.AW1 to Lisette Model and others from John Simon Guggenheim Foundation

[Note: This file only includes information on Lisette Model's application for a Guggenheim fellowship; for Model's recommendations for other photographers, such as Diane Arbus, Rosalind Solomon, and Raymond Lillo, see: Correspondence/Students; letters congratulating Model on receiving a grant are listed separately under name of sender; see: Correspondence/Personal, Correspondence/Students series.]

Box 6File 2LM.AR2.AW1.1 21.9.64

Gordon N. Ray, President, John Simon Guggenheim Foundation; note originally accompanying fellowship application package; referred by Diane Arbus

Box 6File 2LM.AR2.AW1.2 n.d.

typewritten letter with hand-written note by LM; thanking potential providers of references and giving them guidelines for their letters of recommendation; also includes a hand-written version of this letter by LM

Box 6File 2LM.AR2.AW1.3 26.10.64

Mark Schubart, Executive Director, Lincoln Center Fund; agrees to recommend LM for a Guggenheim fellowship

Box 6File 2LM.AR2.AW1.4 9.2.65

Gordon N. Ray; request and proposed budget form; booklet by Internal Revenue Service included; also hand-written budget notes by LM and completed copy of budget form

Box 6File 2LM.AR2.AW1.5 17.3.65

Susan Firestone, Guggenheim Foundation; official notice that LM was granted a fellowship; "Memorandum for Fellows - 1965" by Gordon N. Ray, President, also included

Box 6File 2LM.AR2.AW1.6 26.3.65

official guide to 1965 fellowship recipients

Box 6File 2LM.AR2.AW1.7 29.3.65

Gordon N. Ray; received LM's acknowledgement of award

Box 6File 2LM.AR2.AW1.8 30.3.65

James Mathias, Guggenheim Foundation; information on taxes and payment of fellowship

Box 6File 2LM.AR2.AW1.9 n.d.

newspaper clipping mentioning LM's Guggenheim fellowship [a copy of this article on acid-free paper precedes the original on newspaper print]

Box 6File 2LM.AR2.AW1.10 25.5.65

James Mathias; agrees to let LM delay starting date of her fellowship activities; outlines payment periods

Box 6File 2LM.AR2.AW1.11 15.7.65

James Mathias; official letter acknowledging LM as a Guggenheim fellowship recipient

Box 6File 2LM.AR2.AW1.12 23.7.65

James Mathias; acknowledging her letter

Box 6File 2LM.AR2.AW1.13 28.10.65

Mary E. Woodring, Guggenheim Foundation; revised LM's biographical statement [date and place of birth omitted]

Box 6File 2LM.AR2.AW1.14 n.d.

official guide to 1966 fellowship recipients

Box 6File 2LM.AR2.AW1.15 5.10.67

James Mathias; copy of a signed official letter to Conte Dr. Paolo dalla Torre di Sanguinetto, Director General of the Pontifical Monuments, Museums and Galleries, Vatican City Museum; acknowledges LM as a Guggenheim recipient; copy in Italian [unsigned]

Box 6File 2LM.AR2.AW1.16 5.10.67

James Mathias; copy of a signed official letter to Professor Guilio Iacopi, Director, Museo nazionale Romano, Rome; acknowledges LM as a Guggenheim recipient; copy in Italian [unsigned]

Box 6File 2LM.AR2.AW1.17 5.10.67

James Mathias; copy of official letter to Dr. Mario Moretti, Director, Museo di Villa Giulia, Rome; acknowledges LM as a Guggenheim recipient; copy in Italian

Box 6File 2LM.AR2.AW1.18 5.10.67

James Mathias; copy of official letter to Professor G. Gatti, Director, Musei Capitolini, Campidglio, Rome; copy in Italian

Box 6File 2LM.AR2.AW1.19 4.66

invitation to an exhibition of Guggenheim Fellows in Photography at the Philadelphia College of Art

 LM.AR2.AW2to Lisette Model from American Society of Magazine PhotographersBox 6File 3LM.AR2.AW2.1 16.4.68

Regina Benedict, American Society of Magazine Photographers; announcing LM elected to honorary membership

Box 6File 3LM.AR2.AW2.2 5.5.68

American Society of Magazine Photographers press release announcing awards; awards also given to David Douglas Duncan, Cornell Capa, Dr. Homer E. Newell, Leopold Godowski, Leopold Mannes, Dr. Alexander Smakula, Beaumont Newhall, and Grace Mayer

Box 6File 3LM.AR2.AW2.3 18.9.80

Harvey Lloyd, Image Makers; copy of letter nominating LM for American Society of Magazine Photographers lifetime achievement award

LM.AR2.AW3 to Lisette Model from Creative Artists Public Service ProgramBox 6File 4LM.AR2.AW3.1 23.2.73

Isabelle Fernandez, Creative Artists Public Service (CAPS) Program; notifying LM that she has been awarded $2,500; copy of contract attached; 1973 income tax receipt for $2,000 from CAPS also included

Box 6File 4LM.AR2.AW3.2 n.d.

Creative Artists Public Service Program; two sheets outlining biographies of 18 photographers who received CAPS fellowships; price list for works by 18 photographers also included

 LM.AR2.AW4 to Lisette Model from Ingram Merrill FoundationBox 6File 5LM.AR2.AW4.1 19.1.70

Ingram Merrill Foundation; completed application form for scholarship or fellowship

Box 6File 5LM.AR2.AW4.2 6.8.70

Harry Ford, Chairman, Ingram Merrill Foundation; notification that LM has been awarded $2,000

Box 6File 5LM.AR2.AW4.3 28.8.70

Harry Ford, Chairman, Ingram Merrill Foundation; letter originally enclosed with cheque for $2,000

 Correspondence - Education and TeachingLM.AR2.ED1 Lisette Model regarding New School for Social Research

[see also: Teaching Notebooks (LM.AR6.Note) and New School Bulletins (LM.AR7.AC)];

date range of correspondence: 12.2.1951 to 2.8.1983Box 6File 6LM.AR2.ED1.1 12.2.51

New School Bulletin; lists LM's course "The Function of the Small Camera in Photography Today"; grading system instructions enclosed

Box 6File 6LM.AR2.ED1.2 1959-60

certificate appointing LM faculty member in School of Philosophy and Liberal Arts

Box 6File 6LM.AR2.ED1.3 1960-61

certificate appointing LM faculty member in School of Philosophy and Liberal Arts

Box 6File 6LM.AR2.ED1.4 1963-64

certificate appointing LM faculty member in School of Philosophy and Liberal Arts

Box 6File 6LM.AR2.ED1.5 20.6.64

Gloria Hoffman; article describing a visit to LM's Advanced Photography course

Box 6File 6LM.AR2.ED1.6 4.9.64

Allen Austill, Acting Dean; confirming that LM will be teaching in spring 1965; "will be missed" this semester

Box 6File 6LM.AR2.ED1.7 14.5.65

New School Bulletin

Box 6File 6LM.AR2.ED1.8 1.7.69

photocopy of New School Bulletin, Art Workshops, 1969-1970

Box 6File 6LM.AR2.ED1.9 1970

clippings from spring 1970 New School Bulletin; clippings include cover and course descriptions for LM's Advanced Photography course and a brief biography of LM

Box 6File 6LM.AR2.ED1.10 1.76

identification slips for each student registered for LM's current course; enclosed instruction sheet for using these slips from New School for Social Research; students: Bernadski, Bevolzheimer, Braswell, Cramer, Delcostello, Dickerson, Druck, Helland, Howard, Jensen, Kaplan, Lee, Metter, Scheffels, Schneider, Schreibman, Sherman, Smith

Box 6File 6LM.AR2.ED1.11 2.2.76

grading sheet for Workshop for Advanced Photographers; students: Braswell, Cramer, Druck; enclosed blank faculty evaluation form

Box 6File 6LM.AR2.ED1.12 4.2.76

credit summary for Workshop for Advanced Photographers; students: Bernadski, Meisler, Ota; enclosed faculty evaluation form

Box 6File 6LM.AR2.ED1.13 ?.2.76

identification slips for each student registered for LM's current course; enclosed instruction sheet for using these slips from the New School for Social Research; students: Blanch, Boretz, Boxer, Chann, Count, DiBona, Doble, Gordon, Haft, Korman, Kowaloff, Meisler, Mlyn, Opton, Ota, Schacter; interdepartmental envelope with "2nd course, Spring 76" written in LM's hand

Box 6File 6LM.AR2.ED1.13a ?.6.76

identification slips for each student registered for LM's current course; enclosed instruction sheet for using these slips from the New School for Social Research; students: Avril, Campbell, Chait, Cohen, Cohn, Frederick, Glazer, Ledzian, LeShay, Lovell-Wood, Lundy, Morley, Rothstein, Rowland, Schwab, Scharfstein, Schwartz, Schwarzenberg, Shaw, Vris; interdepartmental envelope with "Summer 76" written in LM's hand

Box 6File 6LM.AR2.ED1.14 15.6.76

copy of credit summary for Workshop for Advanced Photographers; students: Frederick, Glazer, Ledzian, Morley, Schwab, Schwartz, Shaw; enclosed sheet listing four students [Schwartz, Shaw, Frederick, Morley, and Glazer] with comments in LM's hand; enclosed letter from Jeannie Morley; written on envelope in LM's hand: "Credits Summary/Jeannie's letter"

Box 6File 6LM.AR2.ED1.15 1976

grading system outline in envelope labelled "Summer 76"

Box 6File 6LM.AR2.ED1.16 ?.9.76

identification slips for each student registered for LM's current class; enclosed instruction sheet for using these slips from New School for Social Research; students: Astor, Benedex, Bivona, Bognovitz, Browning, Chung, Clemens, Cramer, Friedland, D'Anna, Fitzhugh, Handler, Hischberger, Jaffe, Jain, Jensen, Kilss, Kaufman, Killary, Lambrecht, Lerrigo, Livingston, Londa, Molho, Obee, O'Grady, Orlofsky, Peterson, Pozarik, Raskin, Rosen, Rowe, Sandrow, Schreibman, Weinstein; envelope labelled "Fall 76/7063 [Advanced Photography]"

Box 6File 6LM.AR2.ED1.17 1976

instruction sheet for using identification slips; envelope labelled "Fall 76/7063 [Advanced Photography]"

Box 6File 6LM.AR2.ED1.18 24.10.76

class lists for Advanced Photography: Antmann, Astor, Birvona, Chung, Clemens Cramer, Danna, Hischberger, Jaffe, Kaufman, Killary, Kilss, Lambrecht, Lerrigo, Livingston, Obee, Orlofsky, Pozarik; and Intro to Photo Darkroom: Bender, Chepley, Corban, Dingott, Eisdorfer, Feilich, Fellner, Finnie, Forman, Freedman, Garber, Green Heal, Kaplon, Katz, Kolitch, McCall, McKernan, Mullany Netkin, Petchesky, Potuin, Raburn, Ramoy, Rids, Rothstein, Schwartz, Shorter, Soloway, Spoto, Stern, Sussman, Waitzman, Waldman; enclosed envelope labelled "7063 [Advanced Photography]"

Box 6File 7LM.AR2.ED1.19 13.12.76

class list for Advanced Photography: Browning, Friedland, Handler, Rowe, Sandrow; evaluation form enclosed

Box 6File 7LM.AR2.ED1.20 26.9.77

class list for Advanced Photography: Abdelnour, Albaugh, Ball, Barcellona, Della Russo, Guarino, Hillman, Ifrah, Kopet, Lindsay, Nissim, Rosenthal, Samuels, Weber, F.S., Weinstock, Yaffa, Zenkel; envelope labelled "Fall 77"; instruction sheet enclosed

Box 6File 7LM.AR2.ED1.21 29.9.77

class lists for Advanced Photography Section 1: Allen, Brown, Budne, Carver, Dunbar, Granger, Kornblum, Martin, Milberg, Ohara, Pearce, Prince, Reich, Rosenberg, G., Rosenberg, S., Talbert, Weinstein, Young; Section 2: same as list in LM.AR2.ED1.20; in envelope labelled "Fall 77"

Box 6File 7LM.AR2.ED1.22 16.12.77

class lists for Advanced Photography: Ball Guarino; enclosed grading instruction sheet

Box 6File 7LM.AR2.ED1.22a 16.12.77

Class lists for Advanced Photography: Brown, Carver, Granger; enclosed grading instruction sheet

Box 6File 7LM.AR2.ED1.23 18.4.78

John Blanchard, Registration; letter requesting a grade for Everett Granger, Fall 1977; on envelope in LM's hand: "6160 . . . /April 14/Grades Spring 78/both classes/Grade given"

Box 6File 7LM.AR2.ED1.24 5.5.78

signed copy of contract to teach two classes during Fall 1978 for a total of $4,000

Box 6File 7LM.AR2.ED1.25 18.5.78

Robert Cautin, Photography Department Secretary; clarifies that $100 noted on contract is included in $1,000 fee

Box 6File 7LM.AR2.ED1.26 20.5.78

copy of handwritten receipt in LM's hand for $200 of expenses for two classes

Box 6File 7LM.AR2.ED1.27 20.9.78

class lists for Photography Workshop: Decker, Draud, Fought, Fruitman, Genkin, Greenbaum, Lubman, Silverstein

Box 6File 7LM.AR2.ED1.28 21.9.78

class lists for Advanced Photography: Acker, Altongy Bhalla, Gonzalez, Hertler, Horowitz, Kasowitz, Moskin, Noya, Petersen, Rodriguez, White

Box 6File 7LM.AR2.ED1.29 4.10.78

class lists for Photography Workshop Section 1: Baratz, Burrier, Colmer, Decker, Draud, Fought Fruitman, Gelwla, Genkin, Ginnever, Greenbaum, Lubamn, Schair, Silverstein, Sternbach; Section 2: Acker, Altongy, Bhalla, Blachman, Demonte-Bayard, Goldner, Gonzalez, Hertler, Horowitz, Kasowitz, Krantz, Mariani, Moskin, Noya, Petersen Rodriguez, Watanabe, White; instruction sheets enclosed

Box 6File 7LM.AR2.ED1.30 20.10.78

class lists for Photography Workshop: [same as LM.AR2.ED1.29 but Cashin added to Section 2]

Box 6File 7LM.AR2.ED1.31 5.12.78

notice of lecture by George C. Stoney, New York University, "Video in the Documentary Tradition"

Box 6File 7LM.AR2.ED1.32 13.12.78

President John R. Everett, New School for Social Research; form letter; Holiday card

Box 6File 7LM.AR2.ED1.33 1980

New School for Social Research Photography Bulletin, Spring 1980

Box 6File 7LM.AR2.ED1.34 1982

Handwritten list of credit students: Samra, Patchen, Green, Gonzalez, Avakian

Box 6File 7LM.AR2.ED1.35 1982

Daniel J. Giannini, Records Department; reminder to send in fall grades

Box 6File 7LM.AR2.ED1.36 2.8.83

list of grades for fall 82; Monday class: Alavi, Christ, David, Giordano, Yates; Tuesday class: Greiner, Imamura, Lang, Morey

Box 6File 7LM.AR2.ED1.37 n.d.

copy for Photography classes

Box 6File 7LM.AR2.ED1.38 n.d.

page on LM from New School for Social Research Bulletin

Box 6File 7LM.AR2.ED1.39 n.d.

three copies of LM's statement/course description ["The camera is an instrument of detection. . . ."]; one copy has amendments in LM's hand

Box 6File 7LM.AR2.ED1.40 n.d.

pages 19 and 20 of a typed essay; handwritten on verso "Eric Hausman - credit student"

Box 6File 7LM.AR2.ED1.41 n.d.

handwritten [LM's hand] class list [private classes or New School for Social Research?]: Bellfort, Decicco, Barema, Green [Albert], Weber [James], Cochran, Leff,Jetter, Schwartz, Maturri, Boguslav, Turner, Seid, Kaplan, Young, Weber [Bruce], Spanery, Rutstein, Block

Box 6File 7LM.AR2.ED1.42 n.d.

handwritten class list with "CREDIT/MONDAY NIGHT" at top and #6162" [New School for Social Research course number] at bottom: Chung, Gorton, Lopez, Karmer, Margulies, Duka

Box 6File 7LM.AR2.ED1.43 n.d.

handwritten class list [private classes or New School for Social Research?]: Kelner, Mendez, Warshaw, Lothigius, Corless

Box 6File 7LM.AR2.ED1.44 n.d.

First page of a typewritten syllabus for "fundamental of media concepts" course

Box 6File 7LM.AR2.ED1.45 n.d.

handwritten class list: Battaglio, Corless, and others [handwriting illegible]

Box 6File 7LM.AR2.ED1.46 n.d.

handwritten class list [private classes or New School for Social Research]: Delong, Cammaratta, Petruzzi, Waxman, Mizel, Saren, Furst Guillaume, Katz, Meyer, Busto, Cohen, Dinter, Miller, Schleisner, Azcarate

Box 6File 7LM.AR2.ED1.47 n.d.

handwritten class list, for credit 61-62: Krantz, Acker, Cashin, Rodrigues; letter to administrators on same paper

 LM.AR2.ED2 Lisette Model re: Private Classes (in her own studio); ca. 1971Box 6File 8LM.AR2.ED2.1 20.3.71

copy of letter from LM to Bernard Gladstone, New York Times, asking him to announce a course; in pen: at bottom, A.D. Coleman's address; in pen on verso: "Times/Gladstone/Voice/Coleman . . . /. . . Henry Boil"

Box 6File 8LM.AR2.ED2.2 n.d.

four copies of announcement [referred to in LM.AR2.ED2.1] for classes beginning Thursday, April 15

Box 6File 8LM.AR2.ED2.3 n.d.

three handwritten announcements [in marker] on heavy paper of classes offered starting Thursday, May 11

Box 6File 8LM.AR2.ED2.4 n.d.

three handwritten announcements on onion skin for classes beginning Wednesday, November 17; envelope with LM's handwriting on it

Box 6File 8LM.AR2.ED2.5 n.d.

handwritten note from LM to "Mr. Gladstone" asking him to announce a workshop in her studio starting Thursday, May 4

 LM.AR2.ED3 Lisette Model re: Arles Workshop, Rencontres Internationales de la Photographie (in French); date range of correspondence: 11.3.1977 to 7.3.1979Box 6File 9LM.AR2.ED3.1 11.3.77

Lucien Clergue; Grace Mayer [MoMA] had introduced him to LM; thanks for introduction to Marc Kaczmarek; hopes that she will be involved in the program next year

Box 6File 9LM.AR2.ED3.2 10.10.77

J. Manachem; Lucien Clergue sent her letter to Manachem; invitation to participate in 1978 Rencontres Internationales from July 2, 1978 to July 14, 1978; LM would offer a portfolio review, have an exhibition at Musée Reattu, and give a slide lecture; on envelope in LM's hand: "repondu Nov. 5-77"

Box 6File 9LM.AR2.ED3.3 2.12.77

J. Manachem; confirming that LM will be the guest of honour at "Rencontres. . ."; confirms her responsibilities to exhibition at Musée Reattu, a slide lecture, and either a three-day class for about 30 participants or a full eight-hour workshop with about 15 participants; she will stay at Hotel Arlatan; hotel and transportation will be at their charge, her remuneration is 2,500 francs plus 50 francs per day; asks LM to send a note confirming her involvement

Box 6File 9LM.AR2.ED3.4 3.1.78

J. Manachem; Allan Porter

Box 6File 9LM.AR2.ED3.5 31.1.78

J. Manachem; further travel details

Box 6File 9LM.AR2.ED3.6 21.2.78

J. Manachem; asks for a confirmation

Box 6File 9LM.AR2.ED3.7 7.3.78

J. Manachem; thanks for confirmation

Box 6File 9LM.AR2.ED3.8 20.4.78

Michele Moutashar, Assistant Curator, Arles Museums;

Box 6File 9LM.AR2.ED3.9 27.4.78

J. Manachem; still waiting for c.v.

Box 6File 9LM.AR2.ED3.10 3.5.78

handwritten copy of letter from Lisette Model to Manachem

Box 6File 9LM.AR2.ED3.11 7.6.78

J. Manachem;

Box 6File 9LM.AR2.ED3.12 28.6.78

Rencontres Internationales d'Arles; official guide to activities on July 7-8; works by William Klein also shown at Musée Reattu

Box 6File 9LM.AR2.ED3.13 7.7.82

best wishes telegram from "Edie Shelia via Cornell" [Cornell Capa];

Box 6File 9LM.AR2.ED3.14 10.7.78

M. and Mme. Luc Hoffmann; invitation to their home at Tour du Valat [outside Arles]; map on reverse; enclosed card: "Avec les compliments du 'Provencal des RIP de l'APPPA"

Box 6File 9LM.AR2.ED3.15 n.d.

tear sheet from unidentified article in Spanish by Jorge Rueda entitled "Arles '78"

Box 6File 9LM.AR2.ED3.16 ?.9.78

tear sheet from La Vie en Images article by Jean-Claude Gautrand, "Arles 1978: Festival des rencontres," pp. 28-30

Box 6File 9LM.AR2.ED3.17 ?.9.78

tear sheet from Le Photographe article by Guy Mandery, "Arles: l'art et la ville," pp. 154-58

Box 6File 9LM.AR2.ED3.18 11.10.78

M. Moutashar; LM's 31 photographs being returned to her

Box 6File 9LM.AR2.ED3.19 7.3.79

Maryse Cordesse, President of l'Association des Rencontres Internationales de la Photographie; regarding 10th anniversary of "Rencontres . . ."

Box 6File 9LM.AR2.ED3.20 n.d.

M. Cordesse; courtesy card welcoming LM to Arles; in envelope addressed to LM at Hotel d'Arlaban; also enclosed note with name "Giovana [sic] Calvenzi/Fotografo (Milan)"

Box 6File 9LM.AR2.ED3.21 n.d.

J. Manachem; re: critique of photographers' portfolios

Box 6File 9LM.AR2.ED3.22 n.d.

Director of "Rencontres . . ."; list of various "Rencontres . . ." phone numbers

Box 6File 9LM.AR2.ED3.23 n.d.

M. and Mme. Antoine Cordesse; photocopy of invitation to lunch on Sunday 9 July at 1:00 p.m.; includes map to their home

Box 6File 9LM.AR2.ED3.24 n.d.

J. Manachem; envelope with Manachem's card enclosed hoping that LM had a good trip

Box 6File 9LM.AR2.ED3.25 n.d.

envelope addressed to J. Manachem, sent by LM; enclosed flyers from Polaroid and on Exposure Value System

 LM.AR2.ED4 to/from Lisette Model to/from various educational institutions; date range of correspondence: 20.9.1949 to 12.11.1982Box 6File 10LM.AR2.ED4.1 20.9.49

Douglas MacAgy, Director California School of Fine Arts, San Francisco; letter certifying that LM is attached to CSFA

Box 6File 10LM.AR2.ED4.2 14.9.64

Fred Schmidt, Milwaukee Photo Discussion Group, University of Wisconsin at Milwaukee regarding exhibition

Box 6File 10LM.AR2.ED4.2a 23.10.64

John N. Colt, Milwaukee Photo Discussion Group; copy of his letter to Diane Arbus inviting her to exhibit her work, at Lisette Model's suggestion, in an exhibition organized by The School of Fine Arts, University of Wisconsin at Milwaukee and the Milwaukee Photo Discussion Group

Box 6File 10LM.AR2.ED4.3 5.4.65

John N. Colt, Milwaukee Photo Discussion Group, University of Wisconsin at Milwaukee; exhibition was a success; originally enclosed catalogues

Box 6File 10LM.AR2.ED4.4 10.12.65

Sol Mednick, Philadelphia College of Art; regarding exhibition of Guggenheim photography fellows

Box 6File 10LM.AR2.ED4.5 2.8.73

Rhode Island School of Design, Adjunct Professor; photography contract; two paycheque stubs for $500 each

Box 6File 10LM.AR2.ED4.6 20.2.73

H. Thomas Baird, Program Coordinator, Photography; copy of course description for Photographic Workshop, July 30 - August 3, 1973, at University of California Extension Center, San Francisco

Box 6File 10LM.AR2.ED4.6a 1973

income tax receipt for 1973, $600, from Berkeley Campus, University of California

Box 6File 10LM.AR2.ED4.7 13.3.73

Macy W. Lawrence, Imageworks; invitation to LM to conduct a summer workshop at Imageworks, Cambridge, Massachusetts

Box 6File 10LM.AR2.ED4.8 30.1.74

Macy W. Lawrence, Imageworks; letter addressed "To whom it may concern" regarding LM's rescheduling of workshop because of injury and complications in giving workshop

Box 6File 10LM.AR2.ED4.9 11.5.73

Jack Fulton, San Francisco Art Institute; arrangements for LM to guest lecture at San Francisco Art Institute; two paycheque stubs

Box 6File 10LM.AR2.ED4.10 12.3.74

to Robert H. Gray, Department of Art, Pennsylvania State University; LM thanks him for his letter of March 6; she and her students enjoyed time spent with him [as a class or workshop guest?]; encloses a copy of her statement to be used in Envisions portfolio

Box 6File 10LM.AR2.ED4.11 28.11.77

Ms. Isidore, Art Section; note originally attached to form [teaching/workshop contract?]

Box 6File 10LM.AR2.ED4.12 31.1.78

Barbara Runnette and Robert C. Cornelius, Silver Eye Photographic Workshop; offer to teach a workshop

Box 6File 10LM.AR2.ED4.13 4.5.78

Starr Ockenga, Director, Creative Photography Lab, Massachusetts Institute of Technology; regarding invitation for LM to speak at MIT

Box 6File 10LM.AR2.ED4.14 30.10.78

Alain Desvergnes, Faculty of Arts, Social Communications; refers to meeting LM during "Rencontres Internationales. . ." at Arles; attaches article on Arles meetings from Afterimage; had hoped to see her in person at Galerie Optica in Montreal and was sorry to hear that she was ill and could not come

Box 6File 10LM.AR2.ED4.15 28.11.77

copy of letter from LM to Amy Stromston, Rutgers State University; invitation to conduct a workshop arrived too late

Box 6File 10LM.AR2.ED4.16 12.11.82

Neil L. Rappaport; offer to teach a two-day workshop in May 1983 as a visiting artist

Box 6File 10LM.AR2.ED4.17 n.d.

Maryland Institute; paycheque for $100, guest lecturer, photography

Box 6File 10LM.AR2.ED4.18 7.2.67

School of Visual Arts, New York and American Society of Magazine Photographers; Alexey Brodovitch's Design Laboratory, poster announcing experimental workshop and conference [LM participated]

Box 6File 10LM.AR2.ED4.19 5.3.79

Cornell Capa, International Center of Photography; information package enclosed regarding Venezia 1979, [LM gave a workshop entitled "Personal Encounters"]

Box 6File 10LM.AR2.ED4.20 10.10.78

Lanfranco Colombo, 8 salone internazionale cine foto ottica e audiovisivi; inviting LM to participate in an exhibition as well as a workshop and round table discussion, [LM gave workshop and exhibited 15 works]

 Series 3 - Official Documents LM.AR3.OD1 Lisette Model: various official documents; date range of items: 7.9.1937 to 31.3.1983 Box 6File 11LM.AR3.OD1.1 5.9.58

LM's birth certificate: "Elise Amelie Felicie Seybert"

Box 6File 11LM.AR3.OD1.2 7.9.37

Marriage certificate of Lisette and Evsa; City of Paris, "Livret de Famille"

Box 6File 11LM.AR3.OD1.3 20.4.53

LM's U.S. passport

Box 6File 11LM.AR3.OD1.4 22.9.67

LM's U.S. passport

Box 6File 11LM.AR3.OD1.5 n.d.

detachable receipt portion of Social Security card, no. 091-26-8077

Box 6File 11LM.AR3.OD1.6 11.10.50

copy of LM's will; bequeaths all to Evsa Model and appoints him executor; witnessed by Harry Torczyner and Marie Denoux

Box 6File 11LM.AR3.OD1.7 16.9.80

unsigned copy of LM's updated will; appoints Olga Seybert and Joseph G. Blum executors

Box 6File 11LM.AR3.OD1.8 31.3.83

photocopy of LM's death certificate

 LM.AR3.OD2 Evsa Model: various official documents; date range of items: 19.7.1921 to 20.10.1976Box 6File 12LM.AR3.OD2.1 19.7.21

certificate verifying Evsa Model's birth, 25 September 1899, at Nicolas. . . -sur-Amour; issued by Russian Consulate General in Paris

Box 6File 12LM.AR3.OD2.2 21.7.20

Evsa Model's passport issued by the Russian Consulate in Rome

Box 6File 12LM.AR3.OD2.3 22.7.37

document certifying Evsa Model an official Russian refugee

Box 6File 12LM.AR3.OD2.4 24.3.38

Republic of France certificate of identity for Evsa Model

Box 6File 12LM.AR3.OD2.5 15.2.42

U.S. Registration certificate for Evsa Model

Box 6File 12LM.AR3.OD2.6 25.7.44

U.S. naturalization certificate for Evsa Model

Box 6File 12LM.AR3.OD2.7 n.d.

U.S. Social Security card, no. 073-42-5928 and Health Insurance Card for Evsa Model

Box 6File 12LM.AR3.OD2.8 20.10.76

five copies of Evsa Model's death certificate

 Series 4 - Personal PapersPersonal Papers - General LM.AR4.PP1 Lisette Model: Calendars, Appointment Books, Address Books, Telephone Books, Memo Pads, and Notebooks; date range of items: 1976 to 1982 Box 7LM.AR4.PP1.1 1976

Calendar. Amsterdam, New York: Amsterdam Co., 1975. [Annotated in LM's handwriting.]

Box 7LM.AR4.PP1.2 1977

Calendar. Amsterdam, New York: Amsterdam Printing and Litho Corp., 1976. [Annotated in LM's handwriting.]

Box 7LM.AR4.PP1.3 1978

Calendar. [Annotated in LM's handwriting.]

Box 7LM.AR4.PP1.4 1979

Calendar. National Refill 55-875, Made in U.S.A. [Annotated in LM's handwriting.]

Box 7LM.AR4.PP1.5

"New York City 1979 Diary" spiral-bound notebook. [Annotated in LM's handwriting.]

Box 7LM.AR4.PP1.6 1980

Calendar. [Annotated in LM's handwriting.]

Box 7LM.AR4.PP1.7

A New York Album: 1980 Appointment Calendar. Brooklyn, New York: Brooklyn Museum in association with Manufacturers Hanover, 1979. [Calendar is blank.]

Box 7LM.AR4.PP1.8

A calendar for 1981, New York Remembered. Greenwich, Connecticut: Sormani Calendars, Inc. [Annotated in LM's handwriting.]

Box 7LM.AR4.PP1.9 1982

Calendar. Manassas, Virginia: Payne Publishers Inc. [Annotated in LM's handwriting.]

Box 7LM.AR4.PP1.10

"Clipper" spiral-bound notebook. n.d., New York: Morilla. [First three pages contain February and March entries; writing and doodles appear on a few remaining pages.]

Box 7LM.AR4.PP1.11

National Blank Book Company, college ruled spiral-bound notebook (blue). [On cover LM has written "I".]

Box 7LM.AR4.PP1.12

Harvard Square, spiral-bound notebook, blue. [On cover LM has written "II".]

Box 7LM.AR4.PP1.13

Harvard Square, spiral-bound notebook, yellow. [On cover LM has written "III, Time 936 1616".]

Box 7LM.AR4.PP1.14

Harvard Square, spiral-bound notebook, red. [On cover LM has written "IV, 582-2000".]

Box 7LM.AR4.PP1.15

Harvard Square, spiral-bound notebook, green. [On cover LM has written "Addresses, 79-80".]

Box 7LM.AR4.PP1.16

Paper King Memo Book, spiral-bound notebook, yellow. [On cover LM has written "Addresses".]

Box 7LM.AR4.PP1.17

Composition book, bound with black-and-white marbled cover. [On cover LM has written "France, Addresses".]

Box 7LM.AR4.PP1.18

Orange cover spiral-bound notebook. [On cover LM has written "Lisette Model, FRANCE".]

Box 7LM.AR4.PP1.19

Memo book, orange, Camp Manufacturing.

Box 7LM.AR4.PP1.20

Pocket memo, No. 5629, bound with red-and-white marbled cover. [Contains only Marvin Israel's address and phone number on inside cover.]

 Box 8File 1LM.AR4.PP1.21

Loose sheets from an address book, front and back cover included but not attached.

Box 8File 2LM.AR4.PP1.22

Loose sheets from an address book, front and back covers not included.

Box 8File 3LM.AR4.PP1.23

Loose sheets of paper with addresses and phone numbers.

Box 8File 4LM.AR4.PP1.24

Envelope containing numerous business cards.

 Personal Papers - Medical and HealthLM.AR4.PP2 Lisette Model: Medical and Health; date range of items: 18.7.1966 to 29.10.1982 Box 8File 5LM.AR4.PP2.1 18.7.66

pharmacy receipt for drugs

Box 8File 5LM.AR4.PP2.2 18.9.67

International Certificate of Vaccination

Box 8File 5LM.AR4.PP2.3 1976

pharmacy receipts for seven drugs; envelope with LM's handwriting "Drugs 76, Lisette without Evsa"

Box 8File 5LM.AR4.PP2.4 13.6.78

Schmutter, Strull, Fleisch, Inc.; information pamphlet for hospital insurance plan with blank application form and return envelope enclosed

Box 8File 5LM.AR4.PP2.5 12.7.78

Docteur Edouard Gilles, Arles, France; physician's prescription sheet

Box 8File 5LM.AR4.PP2.6 9.8.78

Docteur François Jarricot, Paris, France; letter to LM; please call upon her arrival in Paris for an appointment

Box 8File 5LM.AR4.PP2.7 8.9.78

Docteur François Jarricot, Paris, France; letter to LM discussing her visit to him regarding her rheumatism and hip; enclosed is a sheet suggesting diet and mineral intake

Box 8File 5LM.AR4.PP2.8 28.9.78

Docteur Philippe Jourdain, Paris, France; physician's prescription sheet

Box 8File 5LM.AR4.PP2.9 6.10.78

Docteur M. Etevenaux, Paris, France; physician's prescription sheet

Box 8File 5LM.AR4.PP2.10 25.10.78

Isadore Rosenfeld, M.D. and Michael J. Wolk, M.D.; LM's test results

Box 8File 5LM.AR4.PP2.11 11.4.79

letter from LM to Dr. S. Getlen, Trenton, New Jersey; asking for an appointment for treatment of arthritis in her hands [at bottom of letter doctor's reply]

Box 8File 5LM.AR4.PP2.12 21.12.79

Benjamin B. Rubinstein, M.D.; note to LM and copy of a paper he delivered at the New School for Social Research, which she had requested, entitled "On the Psychoanalytic Theory of Unconscious Motivation and the Problem of Its Confirmation." [26 pages]

Box 8File 5LM.AR4.PP2.13 15.2.80

empty envelope from R.A. Rees Pritchett, M.D.

Box 8File 5LM.AR4.PP2.14 27.12.80

Henry Lax, M.D., New York; bill for visit

Box 8File 5LM.AR4.PP2.15 17.3.81

Henry Lax, M.D., New York; bill for visit

Box 8File 5LM.AR4.PP2.16 30.9.81

David L. Podell, Jr., M.D., New York; eyeglass prescription sheet

Box 8File 5LM.AR4.PP2.17 23.4.82

R.A. Rees Pritchett, M.D., New York; prescription directions

Box 8File 5LM.AR4.PP2.18 14.10.82

R.A. Rees Pritchett, M.D., New York; Physician's prescription sheet

Box 8File 5LM.AR4.PP2.19 29.10.82

Sixty Six Street Laboratory Inc., New York; invoice

Box 8File 5LM.AR4.PP2.20 n.d.

handwritten sheet in LM's hand listing nine drugs

Box 8File 5LM.AR4.PP2.21 n.d.

Gail S. Reich, R.P.T., chest physical therapy; index card with handwritten exercise instructions

Box 8File 5LM.AR4.PP2.22 n.d.

Gail S. Reich, R.P.T., typewritten page giving instructions and guidelines on walking exercise

Box 8File 5LM.AR4.PP2.23 n.d.

two sheets of handwritten instructions for breathing exercises

Box 8File 5LM.AR4.PP2.24 n.d.

four sheets of LM's handwritten notes for exercises

Box 8File 5LM.AR4.PP2.25 n.d.

James Hawley Stephenson, M.D., New York; four information sheets regarding natural treatment centre

Box 8File 5LM.AR4.PP2.26 n.d.

Murray Koringold; sheet with handwritten instructions for herbal medicinal tonics [copy of item on acid-free paper precedes original, which is torn into three pieces]

Box 8File 5LM.AR4.PP2.27 n.d.

Kevin P. O'Flaherty, Ph.D., C.C.C., New York; sheet with typewritten instructions for using a hearing aid

Box 8File 5LM.AR4.PP2.28 n.d.

handwritten sheet listing number of visits to Dr. Novick

Box 8File 5LM.AR4.PP2.29 n.d.

information pamphlet entitled "What is Acupuncture? Is it for me?"

Box 8File 5LM.AR4.PP2.30 n.d.

newspaper clipping regarding Verapamil drug for treating potential heart attack victims

Box 8File 5LM.AR4.PP2.31 n.d.

handwritten sheet listing various drugs with corresponding lab names

Box 8File 5LM.AR4.PP2.32 n.d.

handwritten sheet listing exercise instructions, written on Felicia Sachs's letterhead

 LM.AR4.PP3Evsa Model: Medical and Health; date range of items:22.2.1976 to 14.5?.1976Box 8File 6LM.AR4.PP3.1 22.2.76

James L. Januzzi, M.D., New York; bill for visits and treatments; typewritten note asking for Medicare Form originally enclosed, along with the remittance

Box 8File 6LM.AR4.PP3.2 14.5?.76

pharmacy receipt for drugs

 Personal Papers - ApartmentLM.AR4.PP4 Lisette Model: Apartment; date range of items: 27.1.1976 to 9.12.1980Box 8File 7LM.AR4.PP4.1 27.1.76

letter from Rockville Management Corp. requesting an increase in rent

Box 8File 7LM.AR4.PP4.2 28.1.76

Standard Form of Office Lease for 200 Waverly Place, Manhatten, New York [not signed by LM]

Box 8File 7LM.AR4.PP4.3 12.1.78

letter from Rockville Management Corp. offering new rates for lease

Box 8File 7LM.AR4.PP4.4 18.7.78

notice from Rockville Management Corp. requesting payment of rent in amount of $278.75

Box 8File 7LM.AR4.PP4.5 9.12.80

letter from Rockville Management offering new rates for lease

 Personal Papers - MiscellaneousLM.AR4.PP5 Lisette Model: Miscellaneous; date range of items: July-August 1967 to 28.3.1982Box 8File 8LM.AR4.PP5.1 ?.8.77-?.11.78

handwritten psychic and astrological monthly predictions for LM

Box 8File 8LM.AR4.PP5.2 ?.11.78-?.11.79

handwritten psychic and astrological monthly predictions for LM, as well as general predictions for 1979 and list of planetary positions; also included are a book reference and a health spa reference

Box 8File 8LM.AR4.PP5.3 ?.11.80-?.11.81

handwritten psychic and astrological monthly predictions for LM

Box 8File 8LM.AR4.PP5.4 28.3.82

New York Times article on Krishnamurti at Carnegie Hall; included is a promotional pamphlet entitled "Krishnamurti and the Art of Listening" [copy of New York Times article on acid-free paper precedes original on newspaper print]

Box 8File 8LM.AR4.PP5.5 n.d.

loose sheets of paper with maxim-like writings [copies on acid-free paper precede originals, which are on very acidic, fragile paper]

Box 8File 8LM.AR4.PP5.6 n.d.

"Conversations of Goethe with Eckerman 1826, pages 125 and 126" [five copies of text variously annotated by LM]

Box 8File 8LM.AR4.PP5.7 n.d.

copy of text entitled "Speech Written By Arnold Schönberg and Delivered for him by Henry Cowell on the Occasion of an Award at the National Institute of Arts and Letters"

Box 8File 8LM.AR4.PP5.8 n.d.

copies of pages 300-304 taken from Experimental Mysticism, author not identified [copy of text on acid-free paper precedes original which is on fax paper]

 Box 8File 9LM.AR4.PP5.9 20.10.76

Munger Funeral Home Inc., customer invoice; burial expenses for Evza [sic] Model; included are Statement of Death and Statement of Burial Expenses, both signed by Funeral Director

Box 8File 9LM.AR4.PP5.10 n.d.

typewritten text on dude ranches in Reno, probably the article for Ladies' Home Journal assignment LM did in 1949 [for correspondence from Ladies' Home Journal regarding assignment see LM.AR2.PU6.1]

Box 8File 9LM.AR4.PP5.11 n.d.

handwritten draft of a letter in French from LM saying she hopes she can accept the kind offer to participate in the Arles workshop/exhibition when the time arrives [probably sent to J. Manachem, see Correspondence/Education and Teaching LM.AR2.ED3]

Box 8File 9LM.AR4.PP5.12 n.d.

torn sheet of paper with LM's handwriting on it [appears to be a complimentary close to a letter in English to J. Manachem]

Box 8File 9LM.AR4.PP5.13 3.5.78

loose sheet of paper dated May 3, 1978 with "Chére Monsier" [sic] written on it in LM's hand

Box 8File 9LM.AR4.PP5.14 n.d.

handwritten notes in French that appear to be a draft for a letter by LM discussing slides of her work being sent for consideration for an exhibition

Box 8File 9LM.AR4.PP5.15 n.d.

torn sheet from a German magazine: article discussing collectors and collecting; three typewritten sheets in German discussing poster collecting, with Hans Sach's address at bottom

Box 8File 9LM.AR4.PP5.16 n.d.

pamphlet in German with same article as in LM.AR4.PPR.15

Box 8File 9LM.AR4.PP5.17 July-Aug. 1967

Evergreen Program, theater program for the play America Hurrah by Jean-Claude van Itallie

Box 8File 9LM.AR4.PP5.18 n.d.

sheet music entitled "From the Art of The Canon, Book I by Moondog"; also sheet music featuring couplets by Moondog

Box 8File 9LM.AR4.PP5.19 n.d.

plasticized map for the Paris métro system; also a Michelin road map of France

Box 8File 9LM.AR4.PP5.20 n.d.

four blank postcards from Arles

Box 8File 9LM.AR4.PP5.21 n.d.

two blank postcards from MoMA, [Malevich and Mondrian]; also three blank note cards from MoMA featuring Kandinsky woodcuts; paper bag from MoMA with LM's handwriting on it: "Christmas cards Evsa Elgy"[?]

Box 8File 9LM.AR4.PP5.22 n.d.

hand-made sign welcoming LM in Spanish "Bienvenida a Mde Lisette, sig. Elisa . . ."

Box 8File 9LM.AR4.PP5.23 n.d.

sheet with handwritten poem under the heading of "10 Years Old David Barrie of Pittsburgh"; envelope with "Picasso, little boy" written on it

Box 8File 9LM.AR4.PP5.24 30.6.76

savings account statement from Colorado State Bank

Box 8File 9LM.AR4.PP5.25 25.4.73

cheque stub made out to LM for $100 for lab fee expense

Box 8File 9LM.AR4.PP5.26 n.d.

cheque stub from New York NYM Corporation for $100

Box 8File 9LM.AR4.PP5.27 n.d.

cheque stub from the Art Institute of Chicago for $200

Box 8File 9LM.AR4.PP5.28 12.3.81

deposit slips from Manufacturers Hanover Trust Company for LM's account

Box 8File 9LM.AR4.PP5.29 31.3.81

deposit slip from Manufacturers Hanover Trust Company for LM's account

Box 8File 9LM.AR4.PP5.30 29.12.81

deposit slip from Manufacturers Hanover Trust Company for LM's account; envelope postmarked December 16, 1981, with return address "Pratt" and, in LM's handwriting, "July"

Box 8File 9LM.AR4.PP5.31 6.4.76

cheque-stub book with LM's handwriting on nos. 123, 124, and 125

Box 8File 9LM.AR4.PP5.32 9.11.45

Ray Lev poster for piano recital at Carnegie Hall; photograph by Lisette Model

Box 8File 9LM.AR4.PP5.33 n.d.

lyrics in German and in English for Johannes Brahms "Requiem"

Box 8File 9LM.AR4.PP5.34 10.9.54

exhibition invitation for contemporary art exhibition in Caracas

Box 8File 9LM.AR4.PP5.35 n.d.

Chants du Silence, booklet with illustrations

Box 8File 9LM.AR4.PP5.36 n.d.

four sheets torn from a notebook with numbers and letters written in column form [perhaps a listing of radio stations?]

 LM.AR4.PP6 Evsa Model: Miscellaneous; date range of items:1945 to 4.2.1974Box 8File 10LM.AR4.PP6.1 1945

Museum of Modern Art Courtesy Annual Pass

Box 8File 10LM.AR4.PP6.2 n.d.

wallet personal identification card, [lists Lisette Model as person to call in an emergency; also gives the names of Felicia Sachs and Harry Lapow]; included is a sheet of paper with Evsa's health insurance number and initials written on it; also a handwritten card with Evsa's name, address, and telephone number on it

Box 8File 10LM.AR4.PP6.3 4.2.74

Chemical Bank checking account deposit slip, for $2,000

 Series 5 - Professional PapersProfessional Papers - Awards and CertificatesLM.AR5.PRP.01 Lisette Model: Awards and Certificates; date range of items: ?.10.1952 to 5.4.1982Box 9File 1LM.AR5.PRP.01.1 ?.10.52

World Exhibition of Photography Lucerne 1952, Diploma

Box 9File 1LM.AR5.PRP.01.2 29.5.68

The American Society of Magazine Photographers, Honorary Member Certificate; "in recognition of the great and lasting contribution she has made to photography as both a photographer and a teacher"; [for correspondence relating to the awarding of this honour see Correspondence/Awards series, LM.AR2.AW2.1 and LM.AR2.AW2.2]

Box 9File 1LM.AR5.PRP.01.3 ?.1.80

Photographers Forum Annual Award 1980; "honors Lisette Model for significant contribution as photographer and educator" [one mock-up copy and two more rendered copies]

Box 9File 1LM.AR5.PRP.01.4 4.6.81

LM's honorary Doctor of Fine Arts from the New School for Social Research

Box 9File 1LM.AR5.PRP.01.5 4.6.81

Forty-fifth Commencement Exercises, New School for Social Research [commencement programme lists LM and Berenice Abbott as recipients of Doctor of Fine Arts, honoris causa]

Box 9File 1LM.AR5.PRP.01.6 4.6.81

telegram from Ronald Reagan, President, congratulating LM and Berenice Abbott on their honorary degrees from the New School for Social Research

Box 9File 1LM.AR5.PRP.01.7 5.4.82

La Médaille de la Ville de Paris [for correspondence relating to the awarding of this honour see Correspondence/Galleries series, LM.AR2.G13.1 - LM.AR2.G13.4]

 Professional Papers - Camera and PhotographyLM.AR5.PRP.02 Lisette Model: Camera and Photography; date range of items: 9.26.1967 to 1979Box 8File 11LM.AR5.PRP.02.1 n.d.

two sheets in LM's handwriting listing camera models and numbers

Box 8File 11LM.AR5.PRP.02.2 n.d.

operating manual, Honeywell Pentax Spotmatic

Box 8File 11LM.AR5.PRP.02.3 n.d.

owner's manual, Konica C35

Box 8File 11LM.AR5.PRP.02.4 n.d.

Olympus pen instructions [owner's manual]

Box 8File 11LM.AR5.PRP.02.5 n.d.

Zeiss Hologen f/8, 15mm [promotional pamphlet]

Box 8File 11LM.AR5.PRP.02.6 n.d.

Spiratone Instant Power Pack for Spiralite Monopak [promotional pamphlet]

Box 8File 11LM.AR5.PRP.02.7 n.d.

Minolta Technical Bulletin No. 1, "Discussion of Macrophotography with the Minolta SR System"

Box 8File 11LM.AR5.PRP.02.8 n.d.

"How to Make and Use a Pinhole Camera," Teacher's Edition, Eastman Kodak Company, Rochester, N.Y. [photocopy of booklet]

Box 8File 11LM.AR5.PRP.02.9 n.d.

"Spotone, The Drop Control Method of Retouching," Retouch Methods Co. Inc. [sheet]

Box 8File 11LM.AR5.PRP.02.10 n.d.

LM's hand-written notes on various developing and printing techniques [one sheet, double-sided]

Box 8File 11LM.AR5.PRP.02.11 n.d.

film Rating Conversion Table and Filter Table [card, double-sided]

Box 8File 11LM.AR5.PRP.02.11a n.d.

LM's handwritten notes on developing process, Chromium Kodak Intensifyer [?]

Box 8File 11LM.AR5.PRP.02.12 n.d.

LM's hand-written instructions for URAB Developer [index card, double-sided]

Box 8File 11LM.AR5.PRP.02.13 n.d.

typewritten instructions for Beutler Developer [index card, one side only]

Box 8File 11LM.AR5.PRP.02.14 n.d.

Ansel Adams Photography Course, Museum of Modern Art; typewritten sheet giving instructions for stock solutions of a developer

Box 8File 11LM.AR5.PRP.02.15 n.d.

piece of cardboard with a graduated tone scale (black to mid-white) adhered to it; "Isopan D-23, 17 min." written beside scale

Box 8File 11LM.AR5.PRP.02.16 9.26.67

Fotoshop Inc., purchase receipt for photographic supplies

Box 8File 11LM.AR5.PRP.02.17 10.2.69

Holz Associates Inc., insurance brokers statement, camera floater $58 due

 Box 10File 1LM.AR5.PRP.02.18 7.6.70

Marine Office of America Underwriters Renewal Certificate

Box 10File 1LM.AR5.PRP.02.19 8.3.70

Holz Associates Inc. Insurance Brokers Invoice No. 8380, camera floater, $60

Box 10File 1LM.AR5.PRP.02.20 4.17.71

Honeywell Pentax warranty registration card for Spotmatic; originally for body no. 2843277, replaced by no. 2880790

Box 10File 1LM.AR5.PRP.02.21 4.19.71

Holz Associates Inc., Insurance Brokers Binder/Endorsement Order, adding two cameras and a lens to policy

Box 10File 1LM.AR5.PRP.02.22 4.27.71

Holz Associates Inc., Insurance Brokers Endorsement No. 1, adding two cameras and a lens to policy

Box 10File 1LM.AR5.PRP.02.23 5.10.71

customer's receipt for repair of Honeywell Pentax Spotmatic no. 2843277 from Peerless Camera

Box 10File 1LM.AR5.PRP.02.24 5.18.71

carbon copy letter from LM to Honeywell Inc., Denver, Colorado; regarding problems with Spotmatic Pentax no. 284377 [sic], asking for a replacement

Box 10File 1LM.AR5.PRP.02.25 6.14.71

response from Honeywell Inc.; still waiting for her camera to be delivered to them for servicing

Box 10File 1LM.AR5.PRP.02.26 6.23.71

letter from Honeywell Inc.; cannot offer LM a replacement without inspecting camera first

Box 10File 1LM.AR5.PRP.02.27 7.23.71

notice of repairs completed on Pentax Body by Peerless Camera

Box 10File 1LM.AR5.PRP.02.28 8.4.71

customer's copy of invoice from Peerless Camera for Spotmatic Body no. 2880790 in exchange for Spotmatic Body no. 280274 [?]

Box 10File 1LM.AR5.PRP.02.29 n.d.

repair receipt no. 94953 for Pentax from Professional Camera Repair Service Inc.

Box 10File 1LM.AR5.PRP.02.30 7.13.77

AARP Insurance Plan Statement notice

Box 10File 1LM.AR5.PRP.02.31 6.20.78?

Shipping invoice from Polaroid Corporation to LM

Box 10File 1LM.AR5.PRP.02.32 8.79

"Leica Tests, 8/79", series of contact prints, adhered to cardboard, using 35mm, 40mm, and 50mm lenses

Box 10File 1LM.AR5.PRP.02.33 1978

American Society of Magazine Photographers; Professional Practices Committee Report "Photographers and the New Copyright Law"

Box 10File 1LM.AR5.PRP.02.34 1979

American Society of Magazine Photographers; "Assigning Photography: The Basic Considerations"

Box 10File 1LM.AR5.PRP.02.35 n.d.

loose sheet with LM's handwriting on it listing various cameras and lenses

 Professional Papers - Artist's StatementsLM.AR5.PRP.03 Lisette Model: Artist's Statements; date range of items: 7.12.1951 to ca. 1964Box 10File 2LM.AR5.PRP.03.1 7.12.51

typewritten text entitled "Pictures As Art - Instructor Defines Creative Photography As Scientific Eye That Captures Life" [text was published]

Box 10File 2LM.AR5.PRP.03.2 n.d.(ca.1964)

typewritten text entitled "The Image of our Image," [accompanied LM's 1964 Guggenheim application]

Box 10File 2LM.AR5.PRP.03.3 n.d.(ca.1964)

typewritten text with LM's handwritten annotations, apparently entitled "glamour a mirror of our civilization"

Box 10File 2LM.AR5.PRP.03.4 n.d.(ca.1964)

handwritten text by LM entitled "Project," regarding Guggenheim "glamour" project

Box 10File 2LM.AR5.PRP.03.5 n.d.(ca.1964)

handwritten notes by LM giving various dictionary definitions of the word glamour

Box 10File 2LM.AR5.PRP.03.6 n.d.(ca.1964)

handwritten notes giving various definitions of the word glamour under "glamour (also glamer 1720)" heading; not in LM's handwriting

Box 10File 2LM.AR5.PRP.03.7 n.d.

typewritten text by LM: "Two tendencies dominate the field of photography to-day. . . ." [cited in "What is Modern Photography, "American Photography, vol. 45, no. 3, 1951, p. 153]

Box 10File 2LM.AR5.PRP.03.8 n.d.

typewritten text by LM; slightly different version of LM.AR5.PRP.04.5

Box 10File 2LM.AR5.PRP.03.9 n.d.

second copy of LM.AR4.PRP.04.6 with pencil annotations by LM and "Symposium, Museum of Modern Art" written in LM's hand in red at bottom of page

Box 10File 2LM.AR5.PRP.03.10 n.d.

handwritten excerpt of LM.AR4.PRP.04.6

Box 10File 2LM.AR5.PRP.03.11 n.d.

typewritten text by LM for Invisions Portfolio Statement

 Professional Papers - Writings about Model's Life and WorkLM.AR5.PRP.04 Lisette Model: Writings about Model's Life and Work; date range of items: 1942 to post-1981Box 10File 3LM.AR5.PRP.04.1 n.d.

"Biographical Sketch" in LM's handwriting

Box 10File 3LM.AR5.PRP.04.2 n.d.

"Professional Achievements and Educational Background" in LM's handwriting [Note: on back of page is a financial budget for the CAPS Fellowship in LM's handwriting]

Box 10File 3LM.AR5.PRP.04.3 n.d.

page 3 of a typewritten curriculum vitae for LM [annotations and doodles by LM]

Box 10File 3LM.AR5.PRP.04.4 n.d.

biographical outline and checklist of works, in LM's handwriting; "Catalogue S I" is written at bottom of page

Box 10File 3LM.AR5.PRP.04.5 n.d. [post-1981]

typewritten biographical sketch of LM; at bottom of page LM has written additional information regarding her awards, memberships, and present activities

Box 10File 3LM.AR5.PRP.04.6 n.d. [ca.1967]

typewritten chronology of LM

Box 10File 3LM.AR5.PRP.04.7 n.d.

five-page typewritten summary of LM's life and work by Charles R. Reynolds, Jr.; includes three pages of handwritten notes related to text

Box 10File 3LM.AR5.PRP.04.8 n.d.

five pages of handwritten notes on LM's life and work by Charles R. Reynolds, Jr.

Box 10File 3LM.AR5.PRP.04.9 22.3.44

Nancy Newhall, MoMA; press release with write-up on "New Workers I" exhibition, 1944; includes section entitled "Lisette Model: 2 Nightclubs"

Box 10File 3LM.AR5.PRP.04.10 22.3.44

Nancy Newhall, MoMA; press release on "New Workers I" exhibition; only portion on LM included; LM's handwriting on both copies citing source

Box 10File 3LM.AR5.PRP.04.11 n.d.

page with LM's handwriting listing citations about her and personal references

Box 10File 3LM.AR5.PRP.04.12 n.d.

typewritten excerpts on LM by various people including Steichen, Szarkowski, Nancy Newhall, et al.; "Write ups" at top of page in LM's hand

Box 10File 3LM.AR5.PRP.04.13 n.d.

same format as LM.AR4.PRP.04.12, except statement by Berenice Abbott added

Box 10File 3LM.AR5.PRP.04.14 n.d.

same format as LM.AR4.PRP.04.12, except information relating to her American Society of Magazine Photographers Honorary Membership is not included

Box 10File 3LM.AR5.PRP.04.15 n.d.

typewritten excerpt on LM by Steichen; LM has written "Museum of Modern Art, Edward Steichen" under text

Box 10File 3LM.AR5.PRP.04.16 n.d.

LM's handwritten copy of quotes by Steichen, Szarkowski, Nancy Newhall, et al.; on back of page she lists her awards and teaching experience

Box 10File 3LM.AR5.PRP.04.17 n.d.

typewritten excerpts by Steichen and McCausland; LM has written author's name on each, respectively

Box 10File 3LM.AR5.PRP.04.18 1942

Photo League bulletin announcing that LM has a series of photographs in Minicam, with accompanying text by Elizabeth McCausland [see LM.AR4.PRP.04.17]

Box 10File 3LM.AR5.PRP.04.19 n.d.

Elizabeth McCausland; three-page typewritten text entitled "Photography Today," discussing "Contemporary Photography" exhibition at A.C.A. Gallery, 31 July-31 August 1944 [in which LM participated]

Box 10File 3LM.AR5.PRP.04.20 n.d.

typewritten text entitled "Lisette Model" with reference notation on top of page "Cravens: Model/1st drft" [most likely a transcription from an interview with LM]

Box 10File 3LM.AR5.PRP.04.21 11.69

Page cut-out of Camera [England] with short biography of LM

 Box 10File 4LM.AR5.PRP.04.21a n.d.

Elizabeth McCausland; nine page typewritten text entitled "Lisette Model"; five-page type-written text entitled "Feet, Photographs by Lisette Model, Text by Elizabeth McCausland" [appeared in Minicam, vol. 5, no. 5, January 1942, pp. 14-17; copy of text on acid-free paper precedes the original in Mylar]

Box 9LM.AR5.PRP.04.22 1979

Aperture Monograph galleys

 Professional Papers - MiscellaneousLM.AR5.PRP.05 Lisette Model: Miscellaneous Professional Papers; date range of items: 7.4.1983Box 10File 5LM.AR5.PRP.05.1 7.4.83

A Tribute to Lisette Model (1906-1983), New School of Social Research; memorial service program for LM

Box 10File 5LM.AR5.PRP.05.2 7.4.83

typewritten text with handwritten annotations entitled "Lisette and Evsa" and dated April 7, 1983 [perhaps by David Vestal?]

 Series 6 - Teaching Notebooks

The teaching notebooks have not been transcribed verbatim. In some instances Model's main points have been summarized; in others, a fuller account is provided. Because Model includes a variety of styles in the notebooks (full sentences, point form, fragments, lists, unrelated words), we have used the dash as the main form of punctuation (as she did herself). Spelling errors have been corrected and spelling has been standardized to reflect current Canadian usage.

LM.AR6.NOTE Lisette Model: Teaching Notebooks Box 14LM.AR6.NOTE1 Notebook 1. - no date. - no front or back covers; spiral bound; 10 x 8 inches; 36 sheets; 19 sheets used.

1: lenses - pinhole - dispersion - refraction, focal length

1b: infinity - aperture

2: focal length - focal length divided by diameter of lens

2b-3: circle of confusion - depth of field

3b: refraction - dispersion

4: prism - diagrams - lenses

4b: diagram of refraction

5-6: defective lenses

6b: [blank]

7: [page divided into columns] lenses

7b: [blank]

8: here today to study subject called photography - drawing with light - only 140 years old - where do we see them? - newspapers, magazines, books, advertising, fashion, movies, television

8b: medicine, surgery, psychology, astronomy, anthropology - photography is a mass medium, millions of cameras from $2.50 to thousands - a giant industry - find photography in museums, galleries, exhibitions, and art books - with all this is has the reputation to be easy - a world without these images seems inconceivable - let's see how it came into existence - history of photography - camera obscura - the darkroom - in one roll one sees an image upside down - left and right - red projected by light coming through a small window or hole of the opposite wall

9: discussion of the camera obscura continued - mid 1600 - portable camera obscura - used by painters - easy to copy nature and perspective - so difficult to draw until then in spite of the eye image which has perspective too - 1725 Heinrich Schulze - observes that silver salts (. . . of a metal and one acid on different metals) are sensitive to light - now there is camera obscura - and silver salts sensitive to light - both separate

9b: 1761 Dr. La Roche - French physician and a bad science fiction writer - wrote a book entitled Symphony or the Description of the Earth - in book he invents, in writing, something which is invented only 80 years later - photography - 1802 - Wedgwood and Davy - invents procedure through which it is possible to copy on paper or leather some transparent material - he has the idea that this way it might be possible to retain images of the camera obscura - Davy picks up the idea, works with iodine silver, and searches for a way to fix the image - ammonia has been discovered as a fixer

10: 1820 - Niépce - produces the first photograph - he also invents heliography and a ship motor - accidents - Niépce has a nephew - asks him to buy a new camera obscura for him - asks his optician Mr. Chevalier - Chevalier tells him about Daguerre

10b: founding of Niépce and Daguerre - Daguerre discovers developing copper plates with mercury - 1839 French government buys photography

11: invention belongs to the government - Daguerre gets English patent for the daguerreotypes - sells it there to Talbot - camera of the time costs three times more than today - exposures 3-10 minutes - one develops with mercury - fixes with cooking salt - daguerreotype is a very thin positive on a silver plate - sides reversed - there was only one picture of one photograph - a positive - no negative

11b: 1840 - Morse the inventor of the telegraph - now photography becomes a profession - 1866 - Stueuber constructs a planar or combination of two achromats - astigmatic - the lens is free from aberrations - F8 lens the speed is reduced - 1871 - the English physician and amateur Maddox invents procedure for exposing the plate - 1873 H.W. Vogel in Berlin discovers dyes

12: bromic silver particles are dyed - Mr. Eastman has anidea - for great industry and business - with plates this is difficult but with celluloid it was soon possible - had a small camera constructed

12b: the first roll film camera - lacking international publicity - a word, a name, easy to pronounce in all languages - easy to write and easy to remember - two syllables KO - DAK - Mr. Eastman was the father of amateur photography

13: Mr. Eastman killed himself at 77 - "My work is done, why wait" - camera gets smaller, lens larger, or more precise - light longer - 1924 the smallest handiest camera was made: the Leica, by Oskar Barnack - 1929 another principle of construction - the Rolleiflex by Heidecke - the industry will never dictate - the amateur will - he is the creator of this new industry

13b-14: [blank]

14b: the camera and its lens . . . is a replica of the human eye [diagram of the human eye] - description of vision

15: description of vision - box camera [diagram]

15b-16b: comparisons between the eye and the camera

17: the rangefinder focuses

17b: [blank]

18: emulsion - emulsion consists of gelatin physical, chemical - silver chlorides

18b: film backing

19: exposed to light for a long time - exposed to light for a short time - sensitivity - when light his a crystal

19b: panchromatic film - sensitive to all colours, also red - more sensitive to blue green - ultra violet than to yellow orange [diagram of a room]

 Box 14LM.AR6.NOTE2 Notebook 2. - no date. - no front or back covers; spiral bound; 10 x 8 inches; 40 sheets; 40 sheets used.

1: composition

1b: in photography we deal with a rectangle and a surface - we also deal with an image of life projected into the camera - central composition, parallel composition

2: diagonal composition, circular composition

2b: the limitations of rectangle and surface

3: infinity - photography should give you an understanding of yourself in relation to nature and human society

3b: not to construct but to make an object or subject live

4: third course, first session - photography has existed for only 120 years - in this short time it has penetrated almost all fields of social and cultural activity

4b: we must recognize and admit that the camera is a monster - mechanical aspects of photography

5: the study of photography starts with the study of the camera and its tool

5b: talent

6: the most objective image comes from the most personal approach

6b: [blank]

7: the third dimension

7b: through our eyes we see the world where each object is placed in space - perspective

8: three dimensions in painting - perspective

8b: the . . . of perspective is that when the eye looks at the middle of a picture - lines radiating from this point run to the edge of the picture [diagram]

9: on our planet the main source of light is the sun, which rises and stays and goes down - this phenomenon of light and dark was from the beginning of time a vital way to . . . and life . . . and . . . get up move and live during the day - sleep during the dark - light became the symbol of life, spirit, God, and the good - night, dark, evil, and death - I have not made our extensive study of light further isolated from the point of view of being seen, felt, and used differently in this civilization. I . . . our photography is made by light. When I take a picture of a

9b: person sitting on a chair what we get is the reflected light of every part of this chair, this person - the wall behind is shown on the emulsion produces spots, big dark spots from blue to white - the . . . of these spots = the picture and the object we photographed - we must . . . that everything we see is nothing but light and shade - and objects revealed only by the light falling on it - and what . . . it is

10: [diagram of optics/vision]

10b: [blank]

11: whenever we pick up the camera and look we force composition - composition is not used only in photography - used in P. Scl. Music - it means to put together - combine in certain order, organize - organization not new . . . nature, culture or . . . comes back to photography; we deal with rectangle and surface physical contour - many possibilities - horizontal, vertical, diagonal composition but with an image of life

11b: one opinion - five lectures

12: aesthetics versus craft or technique

12b: argues for studying aesthetics rather than mechanics of photography

13: the endurance of images in culture and our memory of them

13b: the expressive power of images and "magic" inherent in images

14: physical properties of a photograph and illusion of third dimension

14b: images as "analogies" of the real world - receptive to the spiritual side of objects

15: argues that photographs are "analogies" and not replicas of the objects depicted

15b: photographs as "abstracted" images detached from the physical world

16: photographs have an independent life and project their own magic

16b: explains that her lectures will be based on a series of photographic problems which she will explore - assumes class is familiar with photography

17: introduction to the study of a certain problem

17b: the phenomenon of the image "lumičre dans la foto pas lumičre d'un objet"

18: photographs represent relationships between object and approach

18b: through the photograph one can detect the sensitivity of the photographer

19: explains that problems in photography will be identified and discussed

19b: often technical side of photography disconnects the photographer from his medium

20: the spiritual quality invested in images - death, fecundity

20b: image has a life of its own and project certain thoughts unexpectedly on to the viewer

21: photograph as an abstraction

21b: what is striking about photography is likeness mechanics play lesser role than nature

22: argues against pictorialism

22b: tools of different artists and mechanics following the laws of nature

23: pictorialism makes photography artificial

23b: [doodles]

24: beginnings of photography

24b: camera obscura

25: development of a mechanical image

25b: five lectures - third session - perfection in both the negative and the print

26: difficult transition from the image to the final print

26b: the decisions a photographer must make before taking the photograph

27: one has to master technique in order to be free

28: printing on different types of paper, playing with distortion

28b: playing with all the technical aspects

29: the need to be curious

29b: the changeability of photography through its tools

30: variety = more sensitivity

30b: the ever - changing image is what photography is all about

31: if you sterilize by formalizing a photograph it dies

31b: by understanding the nature of the image a photographer becomes oriented

32: fourth lecture - subjectivity versus objectivity

32b: we are the subject, object is the world around us - how to comment

33: everyone sees differently

33b: fourth session

34: camera obscura - light making an image rather than the hand

34b: people today use a camera to express their feelings and emotion

35: five problems: exposure, development, printing, enlarging, composition

35b: the image

36: the instant - elements which belong uniquely to the photographic medium

36b: exposure and time

37: image is produced all at once in a fraction of time

37b: photographer has the instant at his disposal

38: the mechanical and the "selected" instant

38b: photography is the art of the split second

39: the ready-made image - many people take pictures

39b: unlike other arts photography is easy for the beginner

40: for the beginning photographer the image is put together instantly

40b: photography as visual Esperanto

 Box 14LM.AR6.NOTE3 Notebook 3. - date?. - front and back covers detached; front and back covers buff - coloured; spiral bound; 10 x 8 inches; 49 ruled sheets; 29 ruled sheets used; six unruled sheets inserted at front of book.

Inserted unruled sheets:

1: development of news photography

1b: development of news magazine and the "mind guided camera"

2: development of chronicle photography

2b: development of the small camera enlarges the possibilities of photography

3: style - relationship between style and social conditions

3b: [blank]

4: photojournalism - beginnings of news photography

4b: history of news chroniclers

5: development of news photography

5b: early problems of news photographs

6: the ready-made image becomes the universal language

6b: authenticity of vision

Attached ruled sheets:

1: about the image - just the title no other words

1b: mechanics of vision [diagram of the eye]

2: mechanics of the camera

2b: physical elements of the eye

3: focusing with the camera [it seems as though a page has been torn out]

3b: physical elements of the eye

4: camera duplicating the elements of the eye

4b: lenses in both the eye and the camera

5: the camera shutter and rangefinder

5b: the image - light creates an authentic image - history of image-making

6: images were never meant to imitate nature

6b: images are interpreted differently by everyone

7: physical and mental images are quite different

7b: cameras sees in two dimensions and will produce identical images under identical situations

8: eye is an organism and the camera is a mechanism

8b: difference and similarity between eye image and camera image

9: the instantaneous photograph

9b: Gernsheim, the outstanding historiographer of Victorian photography

10-10b: [blank]

11: title of the course is advanced photography - explains what this means

11b: expression and aesthetics is the aim of the course

12: there should be no fixed ideas of what a photograph should look like

12b: history of image making

13: the ubiquity of photographs

13b: the need to unlearn preconceived ideas about photography

14: perspective

14b: seeing things we know not to be true - e.g., converging railroad tracks

15: the theory of perspective

15b: three-dimensional vision of the eye versus two-dimensional vision of camera

16: the problem of resolving this translation of three dimensions to two dimensions

16b: eye compensates for perspective - camera does not

17: one must be aware of the differences when looking through the camera

17b: [blank]

18: the eye as an instrument of perception

18b: [blank]

19: effects of light on the eye

19b: [blank]

20: evolution of the eye

20b: [blank]

21: development of sight

21b: [blank]

22-22b: physical components of the eye

23: eyes of primates - small diagram

23b: function of the cones

24: mechanics of vision for humans, fish, insects

24b: compound eyes (e.g., the fly or bee), vertical and horizontal pupils

25: photographs come into existence through sight, we see through the eyes

25b: [blank]

26: how to look at photographs

26b-27: [blank]

27b: how picture is formed - three brief statements

28-46b: [blank]

47: both the beginner and the most advanced photographer must learn how to see - talent cannot be acquired

47b: an artist must have talent - craft is one thing, art is another

48: development of the camera obscura

48b: need to experiment and not be afraid to make mistakes - train the senses to record photographers effect and expression

49-49b: [blank]

 Box 14LM.AR6.NOTE4 Notebook 4. - date 1962?. - front and back covers intact; front and back covers buff-coloured; spiral bound; 10 x 8 inches; 54 ruled sheets; 33 ruled sheets used; three unruled sheets inserted after page 10b.

Attached ruled sheets:

1: history of the camera obscura [diagram of an artist] using camera obscura

1b: early photography - Pliny to Wedgwood and Davy

2: discovery of fixing agent - Niépce

2b: Daguerre

3: Daguerre's process

3b: later history of the daguerreotype introduction to America

4: Henry Fox Talbot, 1800-1877 - [rest of page blank]

4b: [blank]

5: light

5b: science and light - light waves and luminosity

6: light

6b: refraction

7: dispersion

7b: dispersion [small doodles]

8: composition

8b: dealing with a rectangle and a square and the infinite possibilities

9: composition possibilities, e.g., Coney Island

9b: photographer does not compose; the picture makes itself

10: certain patterns say more

10b: [blank]

Inserted unruled sheets:

1: the photographic essay

1b: Salomon, Saffranski and Korff, (Ullstein), Flechtheim, Munkácsi, Eisenstaedt, and photojournalism

2: top left corner is torn - fashion magazines - Vogue, Vanity Fair

2b: photo-essay

3-3b: history of printing photographs

Attached ruled sheets:

11: photojournalism - history of printing photographs

11b: history of news photography

12: halftone process - the press photographer

12b: history of news photography - Life magazine photo essay

13: photojournalism - how photos are chosen

13b: two kinds of photographers: pictorialsts and chroniclers

14: light - most important tools in photography: light and shadow

14b: science - the properties of light

15: dispersion, refraction, source of light

15b: light and darkness

16: different kinds of light for photography

16b: the attitude of the photographer towards light and shadow makes photography a creative medium

17-17b: photojournalism - a brief history

18: Life magazine - photo essay

18b: pictorialists and chroniclers

19: halftone process - news photography

19b: Salomon, Ullstein, Munkácsi, Eisenstaedt, Life magazine

20: photojournalism - pictures and words

20b: writer, photographer, and editor

21-28b: [blank]

29: history of photography - Talbot, Holmes, Muybridge, Marey

29b: photography and motion - instant

30: first official photograph

30b: [blank]

31: the instant, action, speed, history of photography

31b: being able to see motion - Muybridge

32: Muybridge experiments, Marey experiments

32b: Marey experiments

33: Muybridge experiments, criticisms

33b: invention of fast gelatin emulsion - Harold Edgerton

34: camera goes beyond seeing - the instant

34b: speed in photography

35: photography as the art of the split second

35b: the ready-made image

36: workshop for advanced photographers - introduction to picture making

36b: history of photography

37: photography as an art

37b: doing away with preconceptions about photographs

38: photography as a mass medium

38b-52b: [blank]

53: [doodles] art is never an imitation of nature

53b: photographer doesn't work in studio but in life

54: photography as a link to a deeper understanding of life

54b: [blank]

 Box 14LM.AR6.NOTE5 Notebook 5. - date?. - front and back covers intact; front and back covers buff-coloured; spiral bound; 10 x 8 inches; 109 sheets; 108 sheets used.

1: the eye - its evolution

1b: the photographic camera - recording images visible to the eye [diagram of eye]

2: the amoeba is all eye - periodicity or change from light to dark - its effect

2b: transparent lenses - retina - object, eyeball, mechanics of vision

3: in beginning special areas were pigmented - heat sensitive

3b: [diagram of a box camera]

4: development of the internal eye - reproducing light

4b: [diagram of simple form of a box camera]

5: complex system of nerve endings - sight an instrument came into existence

5b: similarities between the eye and the camera

6: two focusing devices - one for air - one for water (in fish)

6b: similarities between the eye and the camera

7: flies, moths have two compound eyes - vertebrates - eyes which approach our own

7b: camera shutter corresponds to eyelid

8: the properties of the eye: cornea, membrane, iris, diaphragm, pupil

8b: eye construction [rest of page blank]

9: crystalline lens, retina

10: changing size of pupil - eyesight in wild or domestic birds - vertical pupils

10b: eye focuses by changing the convexity of the lenses - shutter in camera controls the duration of light

11: rangefinder measures distance from the object

11b: the image - through light we perceive the physical world - light transfers image onto emulsion

12: vertical pupils: tigers, cats; horizontal pupils: horses, deer

12b: [at no stage in evolution of man was the] purpose of a picture to reproduce or imitate nature - always to express the actual state of human understanding of the world and life - images are the only thermometers or measure to understand disappeared cultures and generations

13: primates - man and monkey - exercise of convergence - central fixation area

13b: human eyes are lenses

14: differences between primates and lower animals

14b: nerve endings lead to the brain and the image is then interpreted differently by each person

15: periphery areas sensitive to light, rods - cones sensitive to form

15b: images have very different meanings to different people

16: animals below monkeys have divergence of eyes - colour vision seems more developed in man - in man colouring matter is purple

16b: physical image is immediately translated into mental image

17: bleaching action is common to all eyes

17b: 30 cameras set up identically will produce identical image - without selection, without understanding or intelligence the image is mechanical

18: analogy between the eye and the camera

18b: eye is an organ and the camera is a mechanism - image is mechanical until nerve endings lead it to the brain and make it a mental image

19: until the arrival of the modern camera with its electronic diaphragm, the eye was unique because of its self-adjusting pupillary opening - the eye is a neat little instrument

19b: we have mental image of the eye, mechanical image of the camera and we have to produce a photographic image using the tools of the medium

20: only one difference between the camera and the eye - the camera is focused by moving the lens forward and away from viewfinder

20b: photographer works with all the tools of the medium to bring the mental image together with the mechanical image creating the third image which is the photograph

21: biological research has discovered more and more similarity between the process of photography and vision

21b: eye image and camera image used in making a picture

22: retina, rods, and cones act like sensitive film in camera

22b: [blank]

23: rods receptive to dim light and neutral colour - cones to moderate light

23b: [blank]

24: cones connected to the brain by a muscle fibre - only the eye is based on the use of the concave mirror - pigment is a colouring matter in plants and animals

24b: [blank]

25: photography is the art of producing images by the action of light - diagram of cones and rods, retina, light source

25b: [blank]

26: the instant - speed, action, in the beginning of photography action was not recorded - emulsion was too slow - Fox Talbot, electric flash

26b-27b: [blank]

28: first photographs where action was stopped were stereoscopic views - 1863, Oliver Wendell Holmes, "On How Man Walks"

28b: [blank]

29: a foot in midair had never been seen before - people found it [action] ugly

29b: [blank]

30: 1873, Muybridge - horse galloping

30b: diagram of Muybridge experiment

31: description of Muybridge experiment

31b: [blank]

32: continued description of Muybridge experiment

32b: [blank]

33: photos looked ridiculous, ugly - people did not believe it - Muybridge put photos on outside of a disk

33b: [blank]

34: anticipated the moving picture with his zoopraxiscope - Étienne-Jules Marey

34b: [blank]

35: made several exposures on the same plate

35b: [blank]

36: three dimensions versus two dimensions - camera and the eye - revolution in 1839 when photography could be massed-produced

36b: [blank]

37: the ways the camera and the eye differ - perspective

37b: [blank]

38: da Vinci's study of the camera obscura - three-dimensional space projected on two-dimensional space

38b: [blank]

39: perspective - phenomenon of appearance - we see what we does not exist - e.g., railroad tracks converging

39b: [blank]

40: axiom of perspective - the apparent decrease of an object as it recedes from the eye

40b: [blank]

41: parallel lines seem to approach at one point called the vanishing point

41b: we live, see, and feel in space

42: with our eyes we see in space and time - focus in individual objects see in different planes separated by different distances

42b: [blank]

43: three dimensions projected on two dimensions - third dimension becomes an illusion, not a reality

43b: [blank]

44: eyes wander from one thing to another - on surface whole image is projected in a fraction of time

44b: [blank]

45: in painting there were many ways to show depth - - seventeenth-century perspective took over - all other means of showing depth abandoned

45b: [blank]

46: photographers limited by perspective - often try to escape it by making abstract photographs - in photography the third dimension on a surface is resolved by the tools of the medium - light, tones, sharpness, unsharpness, camera angle, distortion, depth of field

46b: [blank]

47: use of different lenses, etc. - everything in space is flattened on the surface

47b-48b: [blank]

49: light is the number one tool in photography - light and shadow in black and white photography - form image on emulsion

49b: [blank]

50: have you ever watched a tree or house in changing light over 24 hours? - properties of light

50b: [blank]

51: the visible spectrum - light passing through a prism divided into rays of different colours

51b: infrared and ultraviolet filters

52: the visible spectrum - infrared and ultraviolet are at opposite ends of the spectrum and are invisible - dispersion: separation of white ray of light

52b: [blank]

53: refraction [diagram]

53b: [blank]

54: another way of looking at light - the sun

54b: [blank]

55: change of light important in man's evolution and productivity - sun gods and forces of the dark - light identified with life and spirit - darkness with death

55b: [blank]

56: with camera a powerful instrument to express light and shadow - photographers use light and shadow in different ways - Cartier and Abbot, etc.

56b: [blank]

57: next page [rest of page is blank]

57b: [blank]

58: outdoor light is easily overlooked - a formula often used for portraiture

58b: [blank]

59: light bouncing from the wall for portraiture

59b: [blank]

60: shadows are created by adding light or a general illumination

60b: light sources - catch light in the eye, eye glass reflection, long nose, strong chin, hollow cheeks, puffy cheeks - placement of light sources

61: not the placement of light but the attitude of the photographer which gives expression to a photograph - ultraviolet rays and infrared rays

61b: [blank]

62: continuation - instant - Muybridge perfected his experiments

62b: [blank]

63: Muybridge, horses, nude models, intention to create an atlas for artists - if you photograph an object in motion the object stands still

63b: [blank]

64: painters tried to copy motion - photographers advised to photograph only aspect that came close to rest, to show only what the eye can see

64b: [blank]

65: Maddox - gelatin soaked in cadmium bromide in solution plus silver nitrate - development of the Kodak camera

65b: [blank]

66: Kodak - "you push the button, we do the rest" Driffield and Hurter - 1884 Otto Schott makes lenses with Crown glass

66b: [blank]

67: 1929 - flash photography, synchronized flash

67b: [blank]

68: 1931 Harold Edgerton designed an electronic flashlamp

68b: [blank]

69: light is so intense that a drop of milk or flying bullet can be photographed

69b: [blank]

70: camera has gone beyond seeing - brought a world of life from the unseen

70b: [blank]

71: movement and expression unseen yet is stopped

71b: [blank]

72: from there on in the amount of speed is merely a matter of perfection

72b: [blank]

73: where and how is speed manifested in photography - speed of shutter, speed of lens, speed of emulsion, speed of chemicals, speed of photographer - develops sixth sense - i.e., Weege, newsreel

73b: [blank]

74: mechanical speed and selective instant of the photographer

74b: [blank]

75: instant is new in the history of photography

75b: [blank]

76: movement and expression unseen are stopped - anticipate action - ready-made image

76b: [blank]

77: ready-made image is also the reason that photography has become an international visual expression

77b: [blank]

78: photojournalism - photography and the printing press were connected from the beginning

78b: [blank]

79: history of photojournalism

79b: [blank]

80: process of reproducing photographs

80b: [blank]

81: halftone process or plates

81b: [blank]

82: great illustrated weeklies used them from time to time

82b: [blank]

83: Fenton's Crimean War, Brady's Civil War appeared

83b: [blank]

84: halftone process 1850 - took years to be believed

84b-85b: [blank]

86: agencies came into existence - picture stories appear

86b: [blank]

87: picture stories - London Illustrated News, Brady, Nadar's son, etc.

87b: [blank]

88: in 1892 the Illustrated American - later writing reduced to captions

88b: [blank]

89: idea revived by Henry Luce in 1936 - Life and Time magazines

89b: [blank]

90: the photo essay - written and photographed to order

90b: [blank]

91: pictures became more informal, less posed - during the war Life had a school for army photographers - photojournalism introduced into fashion magazines

91b: [blank]

92: photojournalism traced back to the penny magazine - painters had a big interest

92b: [blank]

93: pictorialism flourished - also other motivations - the chroniclers

93b: [blank]

94: news photography 1840 - Morse: first group picture - Matter in Vienna took a picture of a crowd and of mounted police - Reisner, Flaubert, and Maxime Du Camp

94b: [blank]

95: the first writer and photographer team

95b: [blank]

96: editors could not understand the photographs - preferred pictorialism not the chronicle photograph

96b: [blank]

97: 1914 New York Times added a photogravure section - chronicle photography had become journalistic photography

97b: [blank]

98: postwar world of mass culture - 1925 the Leica - the small camera stopped action, is more fluid

98b: [blank]

99: in 1928 comes a great photographer, Salomon - then Ullstein, a great German publication - Salomon with Korff and Saffranski, understood the importance of photography as a means of communication

99b: [blank]

100: Munkácsi, Eisenstaedt, Life, photojournalism

100b: [blank]

101: journalism - visual representation of spoken words - experience of two senses increases the reality - coming together of the verbal and the visual medium to photojournalism

101b: [blank]

102: awareness of communicative result

102b: [blank]

103: elements of photojournalism

103b: [blank]

104: photojournalism requires that the photographer be detached - camera not only a reporter but a means of communication

104b: [blank]

105: developing solutions need four kinds of chemicals

105b: accelerators and preservatives

106: rinses

106b: acid fixing bath, hardening agent

107: hardening agent continued, lenses

107b: focal point, focal length, high key

108: Steichen - my quotation - "I have been asked. . . ." "The camera is an instrument of detection. . . ."

108b: questions and answers - "In the field of what is called the arts there is no proof . . . intangible, therefore so much more precise."

109-109b [blank]

back cover: the hidden face, the eye and the camera, the instant, three dimensions versus two dimensions, light, photojournalism, the enlarger, subject matter, chemicals for development, high key, question under my exhibition (Steichen)

Box 14LM.AR6.NOTE6 Notebook 6. - date? (after 1969: reference to moon landing). - front and back covers intact; front cover bright green; back cover buff-coloured; spiral bound; 11 x 8 1/2 inches; 53 sheets; 53 sheets used.

1: introduction - took a thousand years for photography to be invented - huge industry which depends on mass production

1b: used as a weapon for ideologies - immensity of this medium - as an art form - humans beings understanding their connection with life

2: photography deals with optics, chemistry, physics, mechanics, basic and advanced courses

2b: expression - the differences from painting and drawing - an advanced course - technique is not neglected but intensified - images not new

3: the Egyptians, the Greeks, the Renaissance, modern painting and sculpture

3b: 1820 - first official photograph produced - now an instrument to make an image - the camera - Leonardo da Vinci gave the first scientific attention

4: as an art form - no rules or regulations, no routine or taboo - it is our task to do away with the presumption that we know or can dictate what to reveal or what to conceal, to dictate, or to do - human activity free and open does not mean anything goes - there is false and there is true - reality versus phoniness, an idea or belief that technique can be learned

4b: talent is a God-given gift, given to one in a million - seems to me this is not possible - everybody has talent; it may depend on amount of interest, love and work, perseverance and patience - desire for fast results, success, money, glamour, stardom, are disasters - e.g., Schönberg, Picasso

5: exploration of the image of life, not application of accumulated knowledge of thousands of pictures we have seen and imitate, will give results

5b: [blank]

6: the eye [little stick men drawings - man with bow and arrow and a fish, man lassoing a another person, blob] the eye developed as an instrument of perception [another stick drawing with a man and a lasso and a caricature of a face with the word "moor" in between] evolution of the eye - starts with the amoeba

6b: periodicity change from light to dark, day and night - eye became more sensitive to light

7: light images produced by receptor cells not just sensations of light - an actual lens systems developed - sight comes into existence - each creature develops an eye best suited for the life it was leading

7b: fish developed two focusing devices - insects develop two kinds of eyes

8: the vertebrates (animals with backbone) have eyes which approach ours - membrane, pupils, crystalline lens, retina

8b: muscles developed in the eye - different eyes - birds, vertical pupils, horizontal pupils

9: primates - man and monkey: eyes placed at an angle - exercise of convergence, a central fixation area, sensitivity to light and movement; lower animals sensitive only to light and movement

9b: the cones, colour sensitivity

10: analogy between the eye and the camera - highly polished transparent lens, adjustable multi - focus lens - emulsion usurped by the retina and cones

10b: the eye from lens to darkroom - there is one difference

11: the camera is focused by moving the lens forward and backward, away from the film plane; the eye is focused by changing the convexity of the lens; no advance in photography was made by the way the eye functions but biological research has discovered more and more similarities

11b: the cones - the rods

12: photography is the art of reproducing images by the action of light

12b-13: [blank]

13b: [blank]

pink divider: [blank]

14: three dimensions versus two dimensions - camera and eye have differences - perspective

14b: phenomenon of appearance - we see what we know does not exist, e.g., railroad tracks - theory of perspective has many axioms

15: the apparent decrease of an object receding into space - lines converge - meet a point called the vanishing point - planes converge meet at a line called the vanishing line

15b: we see with two eyes the camera sees with one - we see in space and time - we see in different planes separated by different distances - we see and feel and live in space, e.g., three dimensional slide drawing

16: paper, emulsion, the situation changes to incorporate three dimensions in two dimensions in painting as well as in photography - a great problem

16b: before discovery of perspective there were many ways to show depth - in photography depth is inherent - in photography the third dimension of a surface is resolved by using every tool of the medium - light tones, contrast, sharpness and unsharpness, distortion, distance, angle and depth of field

17: everything seen in space and time is flattened on a surface, the third dimension being an illusion

17b: [blank]

18: three dimensions versus two dimensions - camera visions almost a mechanical replica of eye vision

18b: railroad tracks converge - axioms of perspective

19: seen in space and time - on paper third dimension is there on outline

19b: everything seen in space and time is flattened in one fraction of time on a surface and viewed as a unit

20: speed in photography = the consequence

20b: [blank]

21: subject matter - the world is our stage - the photographic image comes almost to what and how the eye sees - in the beginning of photography this aspect was considered miraculous, our enormous achievement - but soon, mainly thanks to the painter's point of view, it was declared unartistic, unaesthetical, mechanical, inferior - what specific importance does subject matter have for the photographer

21b: it differs with the photographer - I select what I am attracted to - I don't hesitate, question, analyze, just follow - other photographers think, plan, research and only then go to work - also that in different ways (Cartier, Diane, Lange, Palfi, Evans, Duane Michals, photojournalism) we have pointed out, we use photography to illustrate, to document, or as an instrument of investigation or a weapon - to fight for better conditions, propaganda against war, movie screen - protest, etc. - love, hate, truth, lies - direct - beauty, glamour, disease, etc. - search; to know oneself

22: the photographic image comes closest to the image that we see through the eye

22b: what does subject matter mean? it's different for different photographers - some react to certain subjects more that others - some to very few - improve social conditions, fight against prejudices - poetry, exploration of anything - self

23: [page full of doodles]

23b: subject matter - when we photograph through a lens we inevitably force subject matter

24: rent $326.14 [rest of the page is blank]

24b: [blank]

25: telephone [$524.20 is totalled in the middle of the page]

25b: [blank]

26: Con Edison [$539.93 is totalled in the middle of the page]

26b: [blank]

27: lawyer, modern accounting, lawyer, taxis, photo equipment, massage, restaurants, magazines, books

27b: [blank]

28: drugs

28b: [blank]

29: assistants

29b: [blank]

30: doctors, income, aperture, tokio [Tokyo?]

30b-31b: [blank]

32: it took hundreds of years to find and invent photography - a tremendous technological achievement - - without photography no astrology, no computers, no space exploration, no moon landing,

32b: but we see also in museums, galleries, books, portfolios, art form - human beings expressing their relation, understanding, connection with themselves and other human beings through the camera - photography deals with optics, physics, and chemistry

33: images not new - around for thousands of years - Egypt, Greeks, Renaissance, - modern photographers abandoning eye vision and perspective for abstract

33b: [diagrams - perspective?]

34: [diagrams - perspective?]

34b: 1820 - first photograph

35: there are no rules or regulations - no routine or preconceived attitudes, neurotic fantasies - reality - only there is no thermometer - all we have to use: sensing, intelligence, awareness, intuition

35b: talent God - given - I don't believe sensitivity can be forced - depending how much interest, love, persistence and courage - success, money, glamour - stardom = disaster - Schönberg: love proof of talent - Picasso: of all the above, success worst - vengeance of God against artist - imitation = lack of confidence in oneself - professional, conditioning

36: life image, eye, camera

36b-40b: [blank]

pink divider: [blank]

41: three dimensions versus two dimensions - revolution when in 1839 photographs could be mass-produced

41b: [blank]

42: we have seen in perspective for millions of years but no awareness of it - Leonardo and camera obscura - third dimension is an illusion

42b: [blank]

43: perspective deals with phenomenon of illusion - railroad tracks

43b: [blank]

44: with our eyes we see in space and time

44b: [blank]

45: our eyes wander from one object to another - focusing and refocusing

45b: [blank]

46: only 30-40 years ago painting rejected - perspective

46b: [blank]

47: through inventiveness of Daguerre and Niépce, mass production came into existence - see in space and time

47b: [blank]

48: three dimensions versus two dimensions - the eye image and the lens image - that is why in 1839 could be mass produced - a miracle - Victor Hugo, etc. - lens system developed in the human eye

48b: [blank]

49: we see in what is called perspective - camera obscura

49b: [blank]

50: camera obscura - perspective

50b: [blank]

51: perspective deals with phenomenon of appearance

51b: we see in different planes

52: let [rest of page is blank]

52b: [blank]

53: let [rest of page is blank]

53b: three dimensions

inside back cover: introduction - the eye - sequences - subjective, objective - abstract painting versus abstract photography - subject matter

Box 14LM.AR6.NOTE7 Notebook 7. - date?. - front and back covers intact; front cover mottled green; back cover buff-coloured; spiral bound; 11 x 8 1/2 inches; 158 sheets; 17 sheets used.

1: composition - word used in photography, painting, sculpture, music

1b: [blank]

2: in our civilization and work there is organization or order - in photography we inevitably deal with a rectangle or square and a surface - we also deal with our image of life coming through the lens

2b: [blank]

3: the rectangle, the square, and the surface are merely physical containers - they have names such as central, parallel, diagonal, and circular composition - the image of life

3b: [blank]

4: on the one hand the photographer faces the small rectangle and the square and struggles with its limitation - on the other side, he gets lost in the infinite aspects of what we called the image of life - how is he going to select in this ocean of images?

4b: [blank]

5: we can also photograph one object - part of it - any part of it or the sky or the ocean

5b: [blank]

6: we can photograph infinity or a microbe by sensing, understanding, feeling the meaning of life around - its significance, order, rhythm to connect with it

6b: [blank]

7: he will have to use all the tools of the medium - and let its subject fall into place instead of organizing it - and by doing so another image will come into life - very different from the image of the eye - the photograph

7b-8b: [blank]

9: composing is not shifting subject matter around to make it look better or more effective - we let subject matter coordinate itself - fall into place - the picture makes itself - Tudor

9b: [blank]

10: composition is the result of all tools, including the photographer - understanding attitude brings it about - - it is what you feel about - and say it in terms of photography - no rules, no preconceived ideas, no applied formulas - only what says more

10b: no computer, no astronomy, no underwater exploration no space exploration, no moon landing without photography

11: introduction - it took man thousands of years to discover, to invent photography - a giant industry -

11b: today photography an important tool for the exploration of E.S.P.

12: you realize the immensity of this medium - photography as an art, which means: human beings expressing their understanding and their connection with life and with themselves through a new instrument, a new vision - the camera, a small but important aspect of photography

12b: photography deals with optics, chemistry, physics, mechanics - the photographer needs special training

13: the study of the image in photography - understanding its entirely different structure and existence - be aware of its new aspect and expression - that it has brought a new world, a new understanding of life to man

13b: it is not just a good print, but depending on what is needed, the print for what is intended to be conveyed, etc.

14: images not new - prehistoric, Egyptians, Greeks, the Renaissance

14b: discovering perspective - modern painting and sculpture - discarding subject matter completely - dealing with surface shapes and forms in connection with space and time

15: Leonardo - camera obscura

15b: when it comes to any art form it is important to realize that there are no rules and regulations, outdated laws, or preconceived ideas - that is our task: to do away with presumption that we know or can dictate what can be revealed or what has to be conceived

16: the field of human activity is free - with all this freedom there is one hitch - not everything goes - there is the true and there is the false - to be free does not mean to be sloppy

16b: art comes through one's heart - or something coming into existence - it is generally believed that technique can be learned or acquired by anybody - but talent is God-given - you have it or not - I rather believe that awareness, sensitivity, which is talent, can be trained and it can grow and be trained not by accumulation of

17: knowledge or acceptance of philosophies but in a different way one can be sensitized - let us try - the picture makes itself - talent: Schönberg; success: Picasso; imitations: photographing what and how one has seen it photographed, not inspired by life and its direct image

17b: too much admiration for others leads to lack of self-respect

inside back cover: (1) composition (2) introduction

Box 14LM.AR6.NOTE8 Notebook 8. - date?. - front and back covers intact; front and back covers mottled blue-green; spiral bound; 11 x 8 1/2 inches; 18 sheets; 18 sheets used.

1: [page full of doodles]

1b: [doodles]

2: [doodles] 136 Houston Street - Cr 72650 - Soltanoff [?] - Delitza 30.75.2

2b: [blank]

3: Name: Lisette ModelAddress: 137 7th Avenue South, New York, N.Y. 10014I. Personal history Present occupation: Freelance Photographer, Instructor of Photography at the New School and private at my studioPlace of Birth: Vienna, AustriaDate of Birth: November 10, 190[?]Are you an American citizen?If you are naturalized give date and place of naturalization: July 20th, 1944, Southern District of New YorkNumber of dependants other than yourself: one, my husbandWhat is your estimated income from other sources in the year or years in which you will be working on your project? about $4,000 earned from photography assignments, teaching, and selling photographs to museums and collectors

3b: II. Academic and Occupational BackgroundSummarize your academic background listing colleges, universities, or other institutions of learning attended with degrees, diplomas, and certificates: private tutoring: . . . eight years including Latin, Greek, higher mathematics, etc. trained musician: Studied composition with Arnold Schönberg - the piano with late pianist Eduard Steuermann (late professor, Julliard School of Music) and singing - continued studies in Paris with Marya Freund and speak and write four languagesSummarize your occupational background indicating your position held and dates of tenure: Photographer - worked for Harper's Bazaar from 1941 to 1954 - freelancing for Look magazine, Ladies Home Journal, Vogue, U.S. Camera, Popular Photography, Modern Photography, Saturday Evening Post, Creative Camera London, Infinity, Camera (Switzerland), Instructor in Photography - San Francisco School of Fine Arts - New School (1951-1970) - and in my studio - visual arts, Pratt, Washington, Baltimore, Providence, Chicago, and San FranciscoList of fellowships and scholarships: John Simon Guggenheim Memorial Foundation Fellowship - awarded March 17, 1965 - Project: photographic studies of the social and artistic history of our time

4: The Boscop Foundation Grant $500 for the continuation of the project - Merril FoundationList your publications giving title, publishers, and date of publication of each: Harper's Bazaar, all magazines; photographs appeared in the following books: Photographs of the World, Poet's Camera, 20th Century Photography, Encyclopedia of Photography, two U.S. Camera annuals, Harper's 100 Years of Fashion, Museum of Modern Art Calendars, The Family of Man, History of Photography Beaumont Newhall; citation: Society of Magazine Photographers; Honorary member: for her great and lasting contribution "as a photographer as well as a teacher" April 1968

4b: Exhibitions: Museum of Modern Art - 30 Photographs - 40 Photographs 15 Photographs - One-Man Traveling Show - In and Out of Focus - The Family of Man - Seventy Photographers Look at New York - represented in the Steichen Art Center, Rochester, George Eastman House, Smithsonian Institution, White House Festival 65 - Forum Gallery, The John Simon Guggenheim Memorial Foundation Fellow in Photography, Philadelphia College of Art, University of Wisconsin, Milwaukee, The Fifteen Most Important Photographers; One - man shows: Chicago Art Center, California Palace of the Legion of Honor, Carl Siembab Gallery, Boston; collections: Museum of Modern Art, Smithsonian; private collections: Abbott . . . Sherwood, Davies, Ansel AdamsRepresented in books: U.S. Camera Annuals; Photographs of the World; Poet's Camera - American Studio Books; Photographs of the 20th Century - George Eastman House; The Family of Man; 100 Years of the American Female - Harper's Bazaar Calendars (collection of the Museum of Modern Art 1963, 1967

5: need information - Cartier, Diane, Marion, Lange, Evans, Duane Michals: death - sex, photojournalism - like everything else can say the truth, reveal or lie, conceal

5b: how much is true and original - how much conditioned, imitated - subject matter has its fashion in different areas - abstract, portraits, landscapes, scientific photographs, self-knowledge - selection of subject matter important - often reveals the photographer

6: the problem of privacy and the law - quote: I have been often asked etc. - photographing new subject matter opens sometimes a new world - unaware of

6b: [blank]

7: the instant - 1851 Fox Talbot - Oliver Wendell Holmes - the instantaneous photograph - demonstrate human walking motion

7b: [blank]

8: positions and aspects were very different from what people were used to seeing in drawings and in paintings - a foot in mid-air - people shocked and found it ugly - Muybridge showed a horse galloping

8b: [blank]

9: Muybridge made experiments - silhouettes of galloping horses

9b: [blank]

10: Muybridge experiment

10b: [blank]

11: photos looked ridiculous - people did not believe it - Étienne - Jules Marey - used only one camera

11b: [blank]

12: moved against a black background

12b: [blank]

13: painters tried to copy but everything seemed frozen - 1884 Otto Schott makes lenses with Crown glass - open flash photography -

13b: [blank]

14: synchronized flash - Harold Edgerton

14b: [blank]

15: camera has gone beyond seeing - photography is the art of the split second

15b: [blank]

16: the amount of speed is only a matter of perfection - - photographer develops a sixth sense

16b-18: [blank]

18b: [upside down] the camera is basically a device for recording images visible to the human eye - this organ eye is undoubtedly the basis of photography - the similarity becomes evident by making a direct comparison - lens, iris, pupil

Box 14LM.AR6.NOTE9 Notebook 9. - date?. - front and back covers intact; front cover yellow, pink, green, and blue striped pattern; back cover white; spiral bound; 10 1/2 x 8 inches; 40 sheets; 34 sheets used.

1: book - the eye developed originally as a tool of perception for the purpose of survival - evolution of the eye - pigmented eye spots

1b: with time the spots lost their sensitivity - internal structure of the eye - lens system came into existence - complex system of nerve endings - sight - -

2: each creature developed an eye best for the life it was leading - fish, fly, vertebrates - the cornea - the iris

2b: pupil, crystalline lens, retina - as evolution proceeded, muscles were developed both inside and outside the eye chamber - horizontal and vertical pupils - small eyes for slow - moving animals - -

3: muscles, blood vessels, and nerves - primates - - convergence of eyes

3b: animals below monkeys and men - divergence of eyes - colour vision more developed in man - development of cone vision

4: analogy between the eye and the camera

4b: the eye from lens to dark room

5: these similarities go beyond optics and involve chemistry and physics

5b: cones, rods, membrane - photography is the art of producing images by the action of light

6: light - the number one tool in photography

6b: when the camera came into existence we had a powerful instrument to use light and shadow in a creative way - -

7: every photographer has a special light condition - Cartier, Abbott, etc.

7b: [blank]

8: three dimensions versus two - see in perspective

8b: perspective - deals with the phenomenon of appearance

9: seeing with two eyes - see in space and time

9b: three dimensions projected on two dimensions

10: in painting before the event of perspective and after there are many different ways of showing depth

10b: everything seen in space is flattened on a surface

11-11b: [blank]

12: photojournalism - from the beginning photographs and the printing press were linked

12b: 1880 the halftone process - at the same time a technological revolution in photography took place - -

13: news photography - the press photographer thinks in terms of one photograph - 1936 Henry Luce - The Showbook of the World: Life

13b: [blank]

14: these pictures are brilliant material for cultural class and economic history of the last 30 years - all images are projected to show the grander behaviour and social conditions of the time when they were taken - the individual aspect of man was not important in the structure of states in the strive for power and to the aspect that each country wanted to appear to the human race - and it is still going on - art at any time was associated to emphasize size, the glory, beauty, power, of established function of the state - it is related to the influence of social power and religious power - - martyrs, saints - misery today still is connected to the ideological concept of Christ - that is injustice toward human beings

14b: since then injustice, too, is glorified as necessary for human beings to overcome - misery goes on and punishment goes on - Egypt: pharaohs . . . of slaves, most of all glorification of odalisque, slaves . . . chains [doodles]

15: composition

15b: we face the image of life projected through the camera

16: we can show infinite space or a microbe

16b: we let subject matter coordinate itself - fall into place - understanding and attitude bring composition about - composition is not the best effect or decoration or a pleasant pattern one composes this way because it looks better - only because it says more

17: sensitivity or speed of emulsion - with any emulsion it is the time of exposure and the intensity of light we must consider

17b: density and emulsions [diagrams and example]

18: [diagram of a print] we have three tones which correspond visually and emotionally in black and white to the eye image in colour

18b: correct exposure: the negative reproduces the tone values of the subject matter as closely as possible

19: let us give an exposure of 1/2 [diagrams]

19b: for any emulsion there is a minimum and or maximum exposure which will produce or print - in which the relationship of tones corresponds to those of the subject - distortions caused by under- or over-exposure - concerns not highlights and shadows only, but every tone in the print

20: the idea of a purely photographic magazine was revived in 1936 by Henry Luce - Life - Time; a show book of the world - life content - spot news, feature stories - both written and photographed to order - out of this comes the photo essay; a story is decided - everybody becomes an idea man - photographer does not know what he will find

20b: laboratories are processing film and printing - the printed words are visual representations of the spoken word - hearing is related to reading - photojournalism makes use of both words and pictures - the experience of senses increases reality - the picture is seen in one fraction of time, the whole in one glance - pictures and words are read in different time and different ways

21: photojournalism says: the fusion occurs in the readers mind, not on the page - association eye, ear, and mind - photojournalist is not alone

21b: the photograph sees more than the eye - sees everything - eye is selective - the photographer can express only the emotions of what he photographs, not his own

22: composition

22b: the rectangle, square, and surface

23: the image of life

23b: we can photograph one house, several houses, or one whole city - Coney Island

24: we can photograph the ocean, the sky, outer space - how are we to compose, organize? - I think it is by feeling, sensing, relating, and understanding consciously and unconsciously the significance

24b: the meaning - in order to come to our expression we will need every tool in photography

25: another order of life has to be created through using three dimensions in two so that photography is created

25b: we do not fabricate composition - composition is what you feel about a subject matter - understanding and attitude bring the organization about - Abbott

26: the story of light is the story of life - light is the physical cause of our sensation of sight

26b: light

27: refraction, the spectrum

27b: dispersion, visible spectrum, another way of looking at light - half our life is spent in light

28: when camera came into existence man had a powerful instrument

28b: in nature we cannot create light but nature itself is created through light - it is not merely the existence of light and shadow that makes a photograph - rather the attitude and understanding of light that makes photography a creative medium

29: it took humanity thousands of years to produce, to understand, and to want to come to this specific image making

29b: [blank]

30: [signature of Lisette Model 22 times]

30b: [blank]

31: Leonardo da Vinci - principles of the camera obscura

31b: it is important to realize that when it comes to any art form, there are no rules and regulations - nobody can tell what a photograph ought to look like - it will be our task to do away with preconceived ideas, approved conceptions, rules, and established methods - but not anything goes

32: there is such a thing as truth or reality - lies . . . and phony - difficult sometimes to discern but in photography as in art, expression is what art is

32b: existence through the human connection of the photographer and the medium [?]

33: wherever we point camera at subject or object, or look through viewfinder problem arises - not only used in photography but in M.P.S.E, design, architecture . . . [?] - it means organize, put together, combine, put in an order - when we look through viewfinder, we never truly face rectangle, square, and surface - this recognition comes whenever we point the lens [at] let's call [them] the images of life

33b: on the one hand we have limitation of rectangle - but on the other - the infinity of what life brings into lens - I walk closer

34: composition is the result of all tools of the medium used in photography

34b: it is what you feel about and say it in terms of photography

35-40: [blank]

 Box 15LM.AR6.NOTE10 Notebook 10. - date?. - front and back covers intact; front cover hot pink; back cover buff-coloured; spiral bound; 10 1/2 x 8 inches; 28 sheets; 12 sheets used.

1: light - every tool is a physical vehicle to express ourselves and the world through the medium of photography - light is the number one tool in photography

1b: scientific explanation of the properties of light - dispersion

2: refraction

2b: there is another way of looking at light - light symbolizing spirit and life - darkness = evil and death

3: see how differently they use light - Cartier, Abbott, Levinstein

3b: it is not only light and shadow that created photography, but the selection of light and shadow that makes photography a creative medium

4: photojournalism (Goethe) - history of photography - had to be combined with type

4b: from the beginning there were two kinds of photographers: the painters and the chroniclers - the beginning of news photography in 1840

5: the inventor Henry Horgan - art director of the New York Herald

5b: but until and after World War I the word was dominant - the picture disappeared more and more - the event of the Leica, Rollei, Small Camera in 1925

6: in January 1928 Salomon photographs political events - politicians' meeting - he brings high prestige to the medium - Ullstein, a great publication or, later, publishing house, whose chief editors Korff and Saffranski were the first to understand the importance of the photo as a means of communication - they realized that many photographs can make a story

6b: Luce with Life magazine - creates photojournalism - or better, the photo essay

7: haphazard taking of pictures was replaced by the misguided camera - of this comes the photo essay - procedure of the photo essay - team of writer, photographer, and editor

7b: philosophy of photojournalism - the printed words are a visual representation of the spoken word

8: the picture is seen in a fraction of time - words are read in different times and in different ways - the fusion takes place in the mind of the reader - eye + ear + mind

8b: the photographs sees: indiscriminately everything

9: the word is important - where, when, who - but mostly captions and text tell the story

9b: [blank]

10: the world is our stage - everything can be photographed - is there such a thing as subjective and objective?

10b: subject matter has its fashions - through photography to know oneself

11: selection of subject matter can reveal the photographer - we work consciously, subconsciously, with intuition, sensitivity, and intelligence - Duane Michals - all one should photograph is nothing

11b: photography direct (eye view) and yet revealing other dimensions - Cartier - concentration, commitment, dedication

12: subject matter

12b-28: [blank]

28b: [doodles]

Box 15LM.AR6.NOTE11 Notebook 11. - date?. - no front or back covers; 10 x 7 1/2 inches; 54 sheets; 54 sheets used.

1: the image - second session advanced - it is through light that our eye perceives the physical world and it is light that traces the image on the emulsion history of picture making

1b: history of image making

2: today a new medium has come up - photography - the human being sees with two eyes - the camera sees with one eye

2b: the physical picture of the eye is immediately transformed into a mental image the eye sees in three dimensions - the camera sees in two dimensions but without selection, without understanding or feeling or intelligence - it is a mechanical image

3: in no time and in no civilization are images concerned with imitation of nature

3b: every image is the result of an impression and the thought, the understanding, of the artist

4: what makes the photographic image different from others? authenticity, inherent perspective, speed, contrast, image of light and silver, sharpness and unsharpness, mass production

4b: the emulsion and silver chloride

5: our emulsion consists in finely divided insoluble silver salts suspended in gelatin - when this emulsion is exposed to light the action of this light results in a change known as latent image, invisible to the eye until we develop the image chemically

5b: refinements, gelatin

6: chemically, colloid, albumen

6b: silver chlorides - light-sensitive salts of silver

7: double coating, film backing

7b: anti-halation backing applied to the back for film support

8: sensitive emulsion - film consists of a supporting base, glass, celluloid, paper on which is spread an emulsion (a mixture in which one component is distributed or dispersed so that separation does not occur) - silver halides

8b: silver chloride - action of light - metallic silver

9: gelatin (same as previous), sensitivity

9b: exposure - in any exposure the amount of crystals which become developable depends on the length of exposure and the intensity of light falling on the emulsion - time and intensity of exposure

10: exposure

10b: physical and chemical description

11-12: exposure examples, intensity of light, reflected light

12b-13b: underexposure - overexposure

14: [blank]

14b-15b: chemistry and physics of film

16-16b: three dimensions versus two - image of the camera lens - perspective

17: perspective - appearance and reality

17b: illusion

18: binocular vision

18b: three dimensions versus two dimensions

19: time, depth

19b-20b: light, tones, focus, angle,

21: high key - intensity and development of negatives - distance

21b: solarization

22: the instant/speed/action (Newhall page 103) Fox Talbot - Oliver Wendell Holmes - human locomotion

22b: Muybridge

23: movement

23b: Marey

24: Maddox - human and animal locomotion

24b: different kinds of cameras - see page 111 History Newhall about gelatin - kodak camera, roll film

25: 1884 Otto Schott - Crown glass developed lenses page 117 - flash - development of technology

25b: the instant

26: time - instant - emulsion

26b: revolution of picture-making through photography

27: different kinds of flash - Edgerton

27b: the anticipation of action

28: composition - definition - in nature

28b: photography and composition/viewfinder as container

29: subject matter and composition

29b: quantity i.e., house, city - Weegee - Model - Coney Island

30: tonality, light, camera angle - how to order these elements

30b: stages of photographic composition - composition is the result of the use of all photographic tools including the photographer - understanding and attitude brings the organization about [quote Abbott?]

31: abstract photography - Coburn,

31b: Schad - Man Ray - light - rayograms

32: Moholy-Nagy - Kepes - solarization

32b: manipulation of the negative i.e., reticulation, distortion

33: scientific photography has made visible the unseen - - Talbot, electron microscope, astronomy

33b: telescope, aerial photography

34: [blank]

34b: aerial, solarization

35: painting on canvas, representationalism, abstraction, non-objective

35b-36: [blank]

36b: painters as photographers, Cezanne, surrealism,

37-39: Moholy-Nagy, Man Ray "photography is not an art" - - Siskind from introduction to book - reference to Aperture 7:2 1959 Anton Ehrenzweig "Psychoanalysis of artistic vision and learning" quoted extensively

39b: abstraction

40-40b: introduction to photography

41: introduction to photography continued, naive photography, development of art

41b: camera as machine

42: uses of photography, fashion, education, etc.

42b: history of photography, da Vinci

43: scientific knowledge in the prehistory of photography

43b: scientific knowledge in the prehistory of photography - - Wedgwood

44: Daguerre

44b: scientific knowledge in the prehistory of photography - and process

45: scientific knowledge in the prehistory of photography - - to explain process and impact of daguerreotype

45b: spread of photography and professional roots

46: evolution of technology

46b: Eastman Kodak technology

47: Leica invention

47b: the amateur in photography technique versus expression

48: the camera and the eye

48b: light - number one tool in photography - science - - radiant energy

49: light waves - wavelengths

49b: prism - refraction

50: source of light for our planet - cosmic understanding of light

50b: learning to perceive light

51: continuation of discussion of light - nuances of light and shadow - reflections

51b: indirect light - light and printing - effects of light on different surfaces, eg., glass, metal

52: daguerreotype

52b: exposure

53-53b: [blank]

54: introduction to advanced photography - always being compared to other visual arts - emphasize that this image is produced by very specific medium made possible through science and technology - brings new seeing, feeling, and understanding of life

54b: telephone number and address of Seymour Jacobs - telephone number of Joyce Jaffe insert 1: composition - definitioninsert 1b: [blank]insert 2: composition - determined by the viewfinderinsert 2b: [blank]insert 3: composition - the image of life projected through the lens on the emulsioninsert 3b: [blank]insert 4: selection of subject and limitation of rectangle and squareinsert 4b: [blank]insert 5: one house, many houses, cityinsert 6: how is the photographer to select his image? - by connecting by sensing, by feeling, by understanding, the meaning and significance of life around, its order and rhythminsert 6b: [blank]insert 7: use all the tools of the medium - let subject matter fall into placeinsert 7b: [blank]insert 8: composing is not shifting subject matter around to make it look better - the picture makes itselfinsert 8b: [blank]insert 9: composition the result of all the tools of the medium including the photographer - understanding and attitude brings it aboutinsert 9b: [blank]

Box 15LM.AR6.NOTE12 Notebook 12. - date?. - front cover detached; back cover intact; front and back covers brown; spiral bound; 8 1/2 x 7 inches; 35 sheets; 31 sheets used.

1-1b: composition of paper emulsion, contact paper, enlarging paper

2: filters, chemicals for processing paper

2b: optics - description of how image is formed on film, light

3: refraction

3b: prism - description of refracted light [diagrams]

4: lenses and light [written partly in French]

4b: lens and focal length [additional material in French]

5: lenses: concave, convex

5b: light sensitivity of emulsion - paper

6: light sensitivity of emulsion - paper ["German" explanation]

6b: how an enlarger works [diagram]

7: cross-section of physical composition of film - light-sensitive nature of film

7b: developing film

8: terminology of over- and under-exposed film

8b: light, how light travels

9: how light travels through a lens and how we focus

9b: [diagram of focusing] light waves

10: [blank]

10b-11: developing chemicals

11b: process of developing film or paper

12: hardening agent

12b: enlarger and how it works - steps involved in enlarging

13: inserted page - 12 sessions on photography - evolution of image making - defence of photography

13b: [diagrams] people, trucks, spiral - the importance of the image and the capacity to see

14: sensitivity of emulsion

14b: action of light on the emulsion

15: philosophy about learning to read a photograph - tools of photography - light, emulsion, exposure, development, printing, composition, camera angle, intelligence, perception, emotion, and speed

15b: this means: mechanics, optics, physics, chemistry - - technique and expression - argues for a holistic point of view technique and expression

16: camera as first machine used in art

16b: enlarging is not just to make a larger picture - composition is not standardized rules but camera angle, etc.

17: enlarging - different formats and proportions - active enlarging is an act of contemplation for photographer: "he can change not only what he missed but what the taking of the picture cannot produce for instance action"

17b: why photography is a powerful form of expression - enlarger

18: selective capacity of the enlarger - use enlarger to show you how to photograph with the camera - enlarger stimulates understanding

18b: construction of the enlarger

19: what it means to see - relationship between the medium and the eye - education - emotional reactions - character structure - limitation to freedom of creativity

19b: conventions in photography - importance of photographer's character - convention dictated by who we are

20: nature of photography - break out of familiar and explore what we do not know - example of photographing a clock - the object - how does a child see? how do we get corrupted?

20b: individualism in photography - camera is not at all objective - relationship of camera and photographer

21: human vision - perception - human hands just a tripod - personal imprint of our gestures onto the camera image - even with most imperceptible personal characteristic - everybody produces something different - sensitivity of photographer - most photographs display conventional prejudices

21: human vision - perception - human hands just a tripod - personal imprint of our gestures onto the camera image - even with most imperceptible personal characteristic - everybody produces something different - sensitivity of photographer - most photographs display conventional prejudices

21b: most photographs are driven by routine - this tells us something about our civilization - tells us about the way we are educated and influenced - this convention stops us to see the means to react with our body and mind

22: sensitivity of the photographer is not only philosophical but is also concrete because it influences everything - it is the number one tool for anyone intending to be a photographer - it comes before anything else

22b: introduction to seeing in photography - what is photography about and what it means to see

23: pervasiveness of photographs - demands of commercialism - physical condition of the eye - surroundings, taste, aesthetics - style of beauty

23b: subject matter is nature and man-made objects - do we photograph what we know or what we don't know? symposium drawings - [doodles] - musical staff head of a woman - to deeply [understand] oneself means to be part of the whole - when to be

24: oneself does not mean to be part of the whole means to be sick in [French] - where the eyes perceive the senses function too

24b: what choices do photographers have? lens/angle, position of the camera

25: free choice - light - we choose film, paper, chemicals, diaphragm, the instant sharpness and unsharpness

25b: movement, mood, choice of how we will deal with background light - the mood is the right moment of movement - relationship of things to each other - composition - choice comes by sensing

26: fine-grain developers - different kinds of developers - use of flash

26b: origins of the flash bulb - Ostermeier

27: to express technique is to produce the photographic image - you can't be a photographer by learning technique alone

27b: the photographer is what is important - the photo league - 15 years ago I came the photo league - talking, analysis, discussion - has advantages - but be careful with it because it will not make you produce as an action in itself

28: the most important thing is to train to see - seeing is the result of working not talking - working in photography means train your eye, nerves, body - I have one more way to train myself - against fear, against routine

28b: questions: why is the picture reversed - 12 important questions regarding technique and equipment that Model attempted to answer in this course

29: enlarging important for seeing detail - part of negative - technical information on enlarging

29b: tilting

30: qualities of light - how to maintain your negatives - different kinds of paper

30b-35: [blank]

35b: Chicago Photochemical Products

Box 15LM.AR6.NOTE13 Notebook 13. - date?. - front and back covers intact; front and back covers mottled blue; spiral bound; 9 x 6 1/4 inches; 80 sheets; 14 sheets used.

1: perspective - camera obscura - history

1b: [blank]

2: perspective - camera obscura

2b-3b: [blank]

4: perspective - phenomenon of appearance - train track - a cube

4b: [blank]

5: perspective - illusionism

5b: [blank]

6: binocular vision - personal perception of space - - illusionism of three-dimensional object projected onto a two-dimensional surface - projection of the object on the surface occurs in a fraction of time

6b: [blank]

7: painting and photography share problem of three dimensions

7b: [blank]

8: 1981-1982 [financial breakdown]

8b-9b: [blank]

10: [financial breakdown]

10b: [blank]

11: [financial breakdown]

11b: [blank]

12: [financial breakdown]

12b: [blank]

13: [financial breakdown, including private teaching]

13b-80: [blank]

80b: 1954/00

Box 15LM.AR6.NOTE14 Notebook 14. - date?. - front and back covers intact; front and back covers mottled red; spiral bound; 9 x 6 1/4 inches; 67 sheets; 67 sheets used.

1: subject matter - either man-made or natural - no limit "the world is our stage" - photography comes closest to the eye image

1b-2: [blank]

2b: painting and photography

3: invention of photography - inventions related to photography - fields using photography

3b: photography as propaganda - in the school, home, advertising, movies, television, and E.S.P.

4: continuation of its usage - also form of expression of human understanding and connection with life between themselves and other human beings - camera plays a small but very important part

4b: photography deals with optics, chemistry, physics - - training and experiences required - basic course - be acquainted with the camera - study of the image

5: study of the image - in the beginning getting acquainted with craft - prehistoric and Egyptian times

5b: Roman, Greek, Renaissance periods

6: important to realize that there are no rules and regulations - outdated laws, taboos - routine - no preconceived ideas - there is the true and the false

6b: to be free is not to be sloppy - labour versus talent

7: imitation is a disrespect

7b: [blank]

8: history of image-making

8b: illustration, documentation, communication - E.S.P. - basic image of movies and television - human beings expressing their understanding and connection

9: basic requirements for photography

9b-10b: study of photography - history of image-making

11: sources for originality - difficult because no thermometers

11b: [blank]

12: millions of years to discover photography - nothing without it

12b-13: difference between basic and advanced courses

13b: [blank]

14: strong personalities - intensification [doodles] photograph makes itself strongest types - glamour

14b: [blank]

15: slide lecture introduction [?]

15b: see: subject matter

16: lecture - five points - (1) what do I know; (2) subject matter differs; (3) how I became a photographer; (4) massive forms - intensification magnification; (5) excessive subject matter - Riis, Palfi, photojournalism, Eliot Porter, Walker Evans - half-conscious, half not conscious - people, window reflections, running legs, glamour

16b: [blank]

17: people, windows, glamour - nothing is planned it works by attraction - glamour project

17b-18: [blank]

18b: slide lecture

19: lecture - introduction again - difficult to describe oneself

19b: physically, not psychologically - the subconscious

20: slide lecture - nothing that hasn't been photographed - photography as ideological weapon

20b: continuation of lecture

21-21b: [blank]

22-23b: photojournalism

24-25: photography and printing press - photojournalism

25b: photojournalism - photo essay

26: three dimensions versus two dimensions

26b: camera-eye relationship - differences between camera and eye - perspective

27: perspective - Leonardo - railroads

27b: perspective

28: binocular vision

28b: binocular vision - effect of light on paper and film

29: in photography the third dimension is resolved with every tool [doodles]

29b: [doodles]

30: eye and camera similarity - differences

30b: perspective - cube - illusionism

31: how we see in space and time - planes separated by distance

31b: depth is illusion

32: camera versus eye - perception of depth

32b: three dimensions - all tools come into play

33: light, shadow, and object

33b-35: perception of objects in changing light - light as radiant energy - physics of light

35b: photography and light differ - compare Abbott, Brandt, Levinstein, and myself

36: portraiture lighting conditions

36b-37b: [blank]

38: [list of cameras and light meters belonging to her?] in Manufacturing Bank, 6th Avenue

38b: [blank]

39: [list of cameras in Chase Manhatten Bank, 23rd Street at 5th Avenue]

39b: [contents of] wallet: birth certificate, marriage [?], old passport - Guggenheim awards - invitation to White House

40: introduction - first semester October 16th - evolution of the photographic image

40b: uses of photography

41: basic components of photographic medium - study of photography - basic, semi-advanced, and advanced

41b: photography as medium of individual expression - [doodles]

42: early image-making - leading up to photography -

42b: principle of camera obscura

43: art free, open to constant change - doing away with outdated concepts - no rules - -

43b: free = not sloppy - importance of working from life - developing own vision

44: subject matter - photographic image and the image of the eye - early response to photography - being both factual and miraculous

44b: thanks to painters, photographic image was declared unartistic, unaesthetical, mechanical, and inferior to other images

45: subject matter - selection - dependence on photographer - select through attraction or contemplation - other photographers think about it, plan and then start to work - projects - Diane, Cartier, Marion Palfi, Duane Michals, Riis, poverty, Dorothea Lange, farm administration, Evans, American photojournalism

45b: [blank]

46: photography as investigative and illustrational medium, propaganda, publicity

46b: relationship between photographer and subject - photographers identification with subject - how to distinguish between work that is good and original and work that isn't - glamour, beauty, sex - "in focus years of out

47: of focus" (Brodovitch) - pictorialism - imitation, therefore destructive - be true to yourself

47b: privacy - the loner - what is photographed - social conditions, wars, pro- contra-discrimination for or against, advertising, lying, truth - ideas put into use and misuse - photography as propaganda

48: portraits are the likeness, essence of a person - - scientific photography leads into exploration - selection of subject matter can reveal the photographer - Duane Michals - all you can photograph is nothing

48b: [blank]

49: three dimensions versus two dimensions - camera image versus image of the eye - perspective

49b: Leonardo and the camera obscura

50: three-dimensional space projected onto two-dimensional space - railroad tracks, the cube

50b: perspective and illusion

51: binocular vision - reflected light

51b: [blank]

52: illusion - living space - eyes wander - every tool is used incorporating two dimensions into three dimensions - always a problem in painting and photography

52b: [blank]

53: number one tool in black-and-white photograph is light and shadow - reflected light

53b: see house in changing light

54: other ways to look at light - main source of light is sun

54b: lighting for portraits?

55: number one tool - light - changes of light - mood

55b: dispersion - source of light

56: introduction - evolution of image-making

56b: uses of photography

57: connecting with life, self, and others through camera - - great experience to perform - photography needs special training

57b: light is the number one tool in photography - watch a tree or a house in changing light - light as radiant energy

58: visible spectrum - white light

58b: dispersion - light ray going through medium of different density changes direction - importance of light - forces of darkness

59: light identified with life spirit - dark with evil and death - incident light

59b: light creating form - ultraviolet light

60-65: [blank]

65b-67b: [written upside down - starting on 67b, reading back to 65b] - three dimensions versus two dimensions

67: three dimensions versus two dimensions - optical perception - focus - -

66b: three dimensions versus two dimensions - phenomenon of appearance - cube and railroad - perspective

66: the reversal of the image in the camera

65b: the eye image and the image of the camera - close but differences

Box 15LM.AR6.NOTE15 Notebook 15. - date ?. - front and back covers intact; front and back covers mottled green; spiral bound; 9 x 6 1/4 inches; 104 sheets; 104 sheets used.

on recto of blue flyleaf: "Evsa Model" [in Lisette's handwriting]

1: what is the origin of the image? - Evsa Model - votive images - history of art

1b-2: [blank]

2b: photography - eye image - fantasy versus reality - - fashion conditioning - uses of photography

3: categories of photography

3b: privacy - perception - problems of fear and the unknown - art encompasses an audience

4: Schönberg: (1) sequences - assignment; (2) print quality - Ansel's letter; (3) field trip; (4) in and out of focus; (5) abstract photography; (6) objective, subjective Goethe, Nancy, S.F. photography [doodles]

4b: [blank]

5: different kinds of 19th century photo-engraving methods

5b: halftone

6: Crimean War photography - history of photojournalism

6b: Luce

7: photography influenced by painting - photojournalism

7b: news photography - photojournalism - Salomon - Life magazine

8: subject matter

8b: realism of photography versus art

9: subject matter in photography - LM selects by attraction - like by a magnet - and then I don't question or hesitate - others think in advance what subject matter they want - study them and decide upon, research, and go to work, for example: Diane, Cartier, Palfi - civil rights

9b: Riis: poetry, Dorothea Lange, farmers' condition, Walker Evans - photography as social documentary - photographer's obsession, for example Capa, war, Diane, but it is always the photographer's relationship to the subject - what it takes is interest and passion and endless patience - not ambition to succeed fast

10: photography as mass media - mass production of photographers - difficulty of making a living through photography - photography as a way of life - photography as a way of understanding ourselves and life on this conflicting planet on which we are living

10b: the evolution of the photographic image

11: photography as mass industry - the pervasiveness of the photographic image

11b: the immensity of the medium - appearance in museums, galleries - photography as an art form - humans expressing, understanding, and connecting with life

12: photography deals with optics, physics, chemistry, mechanics - basic versus elementary and advanced courses

12b: difference between painting and photography is advanced - study of photography starts with the camera - photography starts with the projection of the photographer into the image

13: importance of technique - images are not new - history of image-making

13b: history of photographic image from camera obscura - no rules or regulations

14: no laws, etc. - there is a true and a false - no thermometer - only instinct, intuition, and awareness

14b: talent can be learned - just as technique can be - - fast success, fast results, money, glamour, stardom, lead to emotional disaster - Schönberg, Picasso imitate other people's vision because it is successful

15: more advanced = more basic and more elemental - often we find this quality in children - and then again but very rarely in the same innocence in real artists - exploration, stumbling, versus accumulation of information

15b: [blank]

16: three dimensions versus two dimensions - camera eye versus the eye - perspective

16b: perspective and the camera obscura - appearance versus reality

17: railroad and cube - illusion and perspective

17b: perspective and space

18: two-dimensional and three-dimensional perceptions

18b: illusionism

19: composition of emulsion

19b: emulsion

20: description of speed of emulsion

20b: description of physical make-up of film

21: exposure and chemical development

21b: exposure and relationship to light and time

22: physical and chemical reactions on film relative to the subject

22b: light and exposure

23: light is the number one tool in photography - image formed by light and shadow

23b: science says light is radiant energy

24: the visible spectrum

24b: illustrated description of how light travels

25: light, symbolically and physically

25b: spirit, darkness, evil, death - different kinds of light conditions personal choice of photographer

26: artificial light - there is a difference between being free and being sloppy

26b: promotes encountering new subject matter as enriching