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Part II of The Photographic Archives Collection

Part II – Our Introduction to the Photographs of John Albok (1894-1982)

Our first introduction to the photography of John Albok was a life changing experience. It was an unforgettable day twenty-six years ago. A well-dressed woman walked into our gallery on Lovers Lane in Dallas with an acid-free box full of black and white photographs. She gave us the impression of a woman from another era, and definitely not a Texan.

That box contained thirty or forty Depression era 8×10 photographs, a mixture of Central Park scenes, children playing in the streets, storefronts and immigrant street vendors, political themes and more, all dating to the 1930’s and ‘40’s in New York, and all in excellent vintage condition. They were historical gems. I immediately recognized museum quality work.

And that woman was John Albok’s sixty-five-year-old daughter, Ilona Albok Vitarius, who was in fact not a Texas native, but rather a transplant from New York City. Our photography gallery had been open for five years at that time and Ilona was looking for a local venue to exhibit her father’s work. Our reputation for photographic preservation and historical photography must have piqued her curiosity to pay us a visit.

Beckie and I immediately fell in love with the work and the opportunity to introduce Dallas to John Albok. That was the beginning of a beautiful friendship and working relationship for the next twenty years until Ilona’s death in 2013. Her passion for her father’s work and the desire to share his life and art with others never waned.

John Albok Merchant Tailor, 1938. 1391 Madison Avenue, NYC.

Ilona had so many stories to tell about her father. John Albok was a Hungarian immigrant who, in 1923, established himself on upper Madison Avenue as a master tailor. But his true passion and avocation was photographing his newly adopted city. Beckie remembers the countless evenings we spent in Ilona’s living room drinking Chambord or Tokaji and discussing her father’s photographs. She was extremely knowledgeable about the backstory of every image and she was very literate in photography. Every visit was different. She would surprise us with a new selection of prints that she wanted us to see. It ran the gamut from pictorial, soft focus work reminiscent of Alfred Steiglitz to gritty documentary scenes on the order of Farm Security Administration photography, and studio portraiture that her father turned to when the Depression struck.

Self-Portrait of Albok, 1938.

According to Ilona, a day in the life of John Albok would start with an early morning of greeting customers in his one-man shop, taking measurements for gentlemen’s suits and sitting behind the sewing machine. Lunch was spent hunting the streets and parks with his Rolleiflex twin lens reflex camera, then back to tailoring. At the end of the day he would draw the curtains, climb the stairs for supper with his family, then back downstairs to convert his small tailor shop into a darkroom to develop the days’ film and print photographs. Other evenings Albok would invite musicians, artists and writers to gather and discuss art and culture, and on occasion to view his latest self-made 16mm film documentaries.

The Culture Club, 1932. Musicians, artists, and writers would gather in John Albok’s tailor shop for regular screenings of his 16mm films.

Albok rotated a photography display in his storefront window, and that is how he caught the attention of Grace Mayer who curated his first one-man exhibit of photographs at the Museum of the City of New York in 1938. Gordon Hyatt, a CBS television writer and producer, also discovered John Albok in the mid-1960’s after seeing his tailor shop photo gallery. That relationship turned into an hour-long Emmy nominated documentary film entitled ‘John Albok’s New York’, which essentially exposed the world to John Albok photography. Art galleries and museums took notice and began to collect and exhibit his work.

Albok’s Store Front Gallery, 1942.
John Albok with Gordon Hyatt (left), producer and Richard Stone (right), cinematographer at the CBS studio during the production of John Albok’s New York, 1965.

Highlights of working with the Albok collection were co-curating with Ilona two major exhibits for our gallery, John Albok, An American Legacy in 1994, and For The Children in 1995. American Legacy featured sixty-five photographs and four original artworks by Albok. We enlisted Tom Southall, Curator of Photographs of the Amon Carter Museum to deliver a gallery talk after the opening. And on a subsequent evening we converted the gallery into a theater for a screening of “John Albok’s New York”.

Working with Ilona on the exhibition catalogue ‘For the Children’ was a special treat. It took months of editing and re-design because she would continually surprise me with new items that I found irresistible to include in the catalogue. Items such as hand-written diary entries, a speech he made to the New York Camera Club at Rockefeller Center in 1939, letters from museum directors and curators as well as news clips and international reviews and publications of his photography which were all invaluable in assembling his curriculum vitae.

Albok with camera outside of his shop, 1970. 1391 Madison Avenue, NYC.

Over the years, we assembled a collection of John Albok photographs representing the major themes that concerned him. Our private collection includes 100 large scale, exhibition quality photographs taken between the years 1919-1977, plus an equal number of smaller uncatalogued prints; color photographs made in Albok’s later years; the twin lens reflex camera that he used during the New York World’s Fair in 1939-40; a pair of hand-made kid skin gloves; some of his sketches and artwork; and a small clutch of original negatives gifted to us by Ilona.

Albok in the Tailor Shop, 1952.

What was even more remarkable about the first encounter with John Albok photography, and his daughter Ilona, was the fact that we lived just three blocks away from her home in north Dallas for eight years and we never knew it! What a time we would have had if the introduction was made earlier. Had we been aware of such a vast historical treasure in the neighborhood we very well may have launched our gallery years earlier than we did.

Ilona Albok Vitarius, Photographic Archives Gallery, 1995.

 

Andy Reisberg
Wimberley, TX

 

Works from The Photographic Archives Gallery Collection are available on FAE here.  Follow us on Facebook, Instagram, or Twitter to stay updated about FAE and new blog posts.

Learn more about FAE’s Collections Blog here, and visit FAE’s Design Blog here.

The Photographic Archives Collection

Part I in the Photographic Archives Blog Series:

FAE is now representing the photography collection of Andy and Beckie Reisberg, whose Photographic Archives Gallery was a fixture in Dallas, Texas from its opening in 1989 through 2006.  In their time as art dealers, Andy and Beckie befriended many of the artists they exhibited and promoted, often acquiring hundreds of an artist’s photographs for their personal collection.

The Reisbergs graciously granted an interview with us to discuss their memories of these artists, who are the focus of this blog series.  In this first installment of four, the Reisbergs share with us their background as art dealers and gallery owners.  The following three posts will focus on the friendships they had with the photographers John Albok, Myron Wood, and Andy Hanson.

Left: John Albok (1894-1982) Right: Untitled
The Darkroom

Before they were art dealers the Reisbergs spent most of their time in their darkroom on Lovers Lane in North Dallas, building a specialty photographic negative printing and print restoration service.  As the quality of their work became known and their reputation grew, they established ongoing relationships with Southern Methodist University, The University of Texas at Arlington, The Dallas Historical Society, and the Dallas Public Library.

“We were darkroom subcontractors for the main library for over 25 years.  At that same time the DeGolyer Library was fulfilling orders from the public, from their permanent collection,” Andy explains.  “I would be the one to make a copy negative of a historical print, or printing from the historical negative.  That was a wonderful relationship for about 20 years.”  When the Reisbergs decided to expand their location to open an exhibition space, their ties with these institutions provided a vast resource to draw from.

The Gallery

The Reisbergs decided to begin hosting exhibits in 1989, “for the sheer joy of photography.  Our livelihood was still in the restoration and conservation of photographs, but the gallery became a gathering place for photographers in the Dallas/Fort Worth area, in particular, photography classes from high school to college level.”  In an effort to share their excitement about everything photographic, the Reisbergs “hosted many group shows for area educators and their classes.  Our calling card for the gallery read, ‘Specializing in Regional and Historical Photograph Collections.’”

“In 1991 we occupied the remainder of our 3,000 square foot building and formalized the gallery.  From 1991 to 2006 it was a regular feature in Dallas: The Photographic Archives Gallery.  I curated over 200 shows and brought together photographers, focusing on the Southwest from Texas, New Mexico and Colorado.”

Left: “Patio In Sunlight, Abiquiu, New Mexico,” 1980 Right: Myron Wood (1921-1999)

When asked about any particularly memorable exhibitions, Andy’s first thought was an exhibition he co-curated with a friend on contemporary pinhole photography they called Gleaning Light.  He recalls, “We organized a group show, with a call for entries around the country and the world.  We had artists from Mexico and Canada participate.  It turned out to be over 100 photographs from nearly 75 photographers.  This was the first time I’d been involved in organizing such a show.  It took about a year to put that show together.”

The Reisbergs coordinated gallery talks and workshops, as well as hosting travelling shows by the Texas Photographic Society.  They often produced catalogues to accompany their exhibitions, some of which are included on FAE’s artist pages, such as Andy Hanson: Another Side and John Albok’s For the Children.

Left: Andy Hanson (1932-2008) Right: “Cab Calloway,” 1978

Works from The Photographic Archives Gallery Collection are available on FAE here.  Check back for our next blog post in the series, about the Hungarian-American photographer John Albok.  Follow us on Facebook, Instagram, or Twitter to stay updated about FAE and new blog posts.

Learn more about FAE’s Collections Blog here, and FAE’s Artists’ Estates Blog here.

The Dorothy and Mat Garland Collection

AN INTERVIEW WITH LIFELONG COLLECTOR DOROTHY GARLAND

FineArtEstates.com is pleased to present artworks from the Dorothy and Mat Garland Collection. While Moving into a smaller space to enjoy retirement, Mrs. Garland realized she had reached the juncture faced by many a Collector: She now needed to de-access works from her collection.  To accompany the 2015 exhibit of works from Garland’s collection at Valley House Gallery, Garland wrote the essay for the catalogue “A Collector’s Story of Collecting Early Texas Art,” in which she gave an account of her lifetime of art collecting and shared some lessons she learned along the way. With some of the remaining pieces now listed on FAE, Garland graciously expounded on her perspective on collecting in an interview.

Dorothy with her late husband, Mat Garland
The Early Texas Art Collector’s Organization

Dorothy Garland has been a member of the Dallas based Texas Art Collector’s Organization (TACO), since 1990 and most recently a board member. She described the sense of community that is fostered by members’ shared love of Early Texas Art. The board meets twice a year to plan their Spring and Fall schedule. They arrange viewings of Early Texas Art in a fellow collectors’ home, museums, galleries, or artists’ studios.

As she described the organization, she remarked on the kind of kinship that occurs between members. During one TACO visit to a collector’s home, the man showed her where he had displayed two paintings purchased from her collection. He kindly offered that she could come visit the paintings whenever she wanted. This is the bond that can form over a shared love for art.

That enthusiasm and open exchange of ideas between TACO members is not dissimilar to the setting which fostered the very artistic movement they study. She described the artist meetups that would take place in a Dallas couple’s home during the Great Depression. “They hosted weekly meetups for artists to enjoy a homecooked meal and engage in discourse.” She said Speakers such as Herbert Marcus (of Nieman Marcus) and O’Neil Ford were invited, and any information that could help these artists was shared. With no jobs to be had, any money earned from selling an artwork could go a long way. “They were able to pursue what they loved, and although they may have been competitors they gathered as friends in their shared passion.”

“White Cliffs,” 1964, by Charles Taylor Bowling

One of these artists was Jerry Bywaters, who went on to become the Director of the Dallas Museum of Art. The watercolor “White Cliffs,” was created by a friend of Bywaters from the same circle, Charles T. Bowling. Created in 1964, this piece beautifully exemplifies Bowling’s preferred palette of grey, ochre, rust, and cool blue-green. It was likely inspired by one of his lithographs from the 1930s. Twenty-six of Bowling’s lithographs were donated by his family to the Jerry Bywaters Collection of Art of the Southwest at Southern Methodist University. An exhibition of his work, The Lithographs of Charles T. Bowling (1891–1985), was organized in 1991 at the Meadows Museum in Dallas.

“Red Barn with Wagon,” by Olin Herman Travis

Bowling also studied with Olin Herman Travis at the Dallas Art Institute, who frequently lead painting trips to the Ozarks in the 1920s. The plein air painting “Red Barn with Wagon” is a rare example of a rural Texas subject, a departure from the Ozarks landscapes that Travis tended toward.

Art is Personal

Perhaps the most important lesson expressed in her essay and in her interview, is finding out as much as possible about the artists. Her belief is that “personal details can only enhance the enjoyment of an artwork.”

“Basket of Yellows,” 2002, by Donald S. Vogel

Whenever she acquires a new artwork, Garland makes a practice of contacting the artist if possible, or their remaining family. She explained that to learn more about the artist’s life, she will ask the spouse or children about their experience of living with an artist. She recalled a visit with the daughter of Texas artist Everett Spruce, who shared an intimate memory of her father’s habits in the studio. She said that he would always paint with classical music playing. “When he was working in the studio with the door closed and the music playing, the children knew that they were not to disturb him under any circumstance.” To Garland, these kinds of stories about the artist as a spouse or parent make the painting more personal and valuable.

It was during a visit to Paris with her husband Mat, that Garland said she first got the idea to visit artists in their homes. She recalled visiting Sacre-Coeur and purchasing a painting from one of the artists there. The artist offered to pack up the piece for shipment, and so they followed him to his apartment. She found it fascinating to see where he worked and lived, and now advises any collector to make a home visit if ever possible.

“Waterlilies, Giverny,” c. 1987, by Claude Cambour

Another painting acquired in France, “Waterlilies, Giverny,” involves a personal interaction with the artist Claude Cambour. Garland and her husband encountered the artist while exploring Giverny, the gardens made immortalized by Cambour’s favorite painter Monet. Cambour started giving workshops in Giverny in 1985, and at the time of this encounter was preparing for an exhibition of his paintings in California. Needing American dollars to take with him to California, the Garlands worked out a cash deal for the painting. It hung over their fireplace for many years. To Garland, this kind of participation in an artist’s career enhances her enjoyment of the artwork.

Decisions of a Collector

The Garlands’ entry into art collecting started out of necessity, as she described their home with “a large wall that needed a large painting to fill it.”  She explained that there really is no guiding theme to the collection, simply artworks that she and her husband liked.

“Blaine’s Fallen Bloom,” 1997, by Bob Stuth-Wade

The decision to purchase an artwork is fairly simple, by Garland’s metric. She has found that like herself, many collectors’ deciding factor in acquiring an artwork is purely that they like it and can afford it. Once the purchase has been made, she advises, “forget what you paid and just enjoy the artwork.” She explained that while an investment in the stock market could leave you with nothing, a piece of art that you love will always provide enjoyment. “There will be a market if the time comes to sell the piece,” she remarked, “and FAE is way to make that possible.”

Garland gave her thoughts on the scarcity of Early Texas Art in the current art market, noting that most of it is currently in the hands of collectors. The decision to part with some pieces is a bittersweet one, but she looks forward to the next chapter of these artworks’ stories in the homes of other collectors at heart. Garland hopes that her story will inspire new collectors to continue in this shared love of art.

Dorothy and Mat Garland have been collecting art seriously and have been a fixture in the Dallas art community for over 25 years. Dorothy says that in general their taste is eclectic, but they focused primarily on Early Texas Art. Although Mat is no longer with us, Dorothy, even while living in a retirement home, still adds a work to their collection now and then.