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Bruno, Phillip A., 1930-  Search this
McElhinney, James, 1952-  Search this
Calder, Alexander  Search this
Brown, Joan  Search this
Clews, Henry  Search this
Katz, Alex  Search this
Park, David  Search this
Nevelson, Louise  Search this
Crawford, Ralston  Search this
Baskin, Leonard  Search this
Bacon, Francis  Search this
Staempfli, George W.  Search this
Koenig, Fritz  Search this
Avery, Milton  Search this
Cuevas, José Luis  Search this
Kubach, Wolfgang  Search this
Matisse, Henri  Search this
Peterdi, Gabor  Search this
Bravo, Claudio  Search this
Bertoia, Arieto  Search this
Willard, Charlotte  Search this
Nagare, Masayuki  Search this
Neuberger, Roy R. (Roy Rothschild)  Search this
Rothko, Mark  Search this
Giacometti, Alberto  Search this
Morgan, Randall  Search this
Hefner, Hugh M. (Hugh Marston),  Search this
Kubach-Wilmsen, Anna Maria  Search this
Ernst, Max  Search this
Estes, Richard  Search this
Hirshhorn, Joseph H.  Search this
Schapiro, Meyer  Search this
Grace Borgenicht Gallery  Search this
Weyhe Gallery  Search this
World House Galleries  Search this
La Napoule Art Foundation, Henry Clews Memorial  Search this
Barnes Foundation  Search this
Columbia University  Search this
Marlborough Gallery  Search this
Widgeon Point Charitable Foundation  Search this
Exposition universelle et internationale  Search this
Sound recordings
Place of publication, production, or execution:
New York (State)
Physical Description:
Transcript: 46 pages
General Note:
Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr., 45 min.
An interview of Phillip A. Bruno conducted 2009 January 13-21, by James McElhinney, for the Archives of American Art, at the Archives of American Art, in New York, New York.
Bruno speaks of some his earliest impressions of art while growing up in New York and Paris; attending Columbia University, where he majored in the history of painting and architecture and studied under Meyer Schapiro; his first job at the Weyhe Gallery as a gallery assistant; helping create the Grace Borgenicht Gallery, where he served as director for five years; traveling to Mexico, meeting Jose Cuevas and exhibiting his work at the Edward Loeb Gallery in Paris; traveling to Brazil and meeting a family of naturalist painters who emphasized the importance of painting outdoors, unlike many painters from the New York school; working with Henry Clews and the La Napoule Art Foundation; selling a piece of Salvador Dali jewelry made by Carlos Alamanni to Hugh Hefner, founder of Playboy Magazine; working as director of The World House Gallery and selling works by Fancis Bacon and Max Ernst to clients such as Joseph Hirshhorn and Roy Neuberger; organizing a exhibition of artists shown at the Brussels World Fair in 1958 at World House and meeting George Staempfli through the artist Joan Brown; moving from World House to the Staempfli Gallery in 1960 to work as co-director; the Staempfli Gallery's role in the international art world; an original drawing by Leonard Baskin inscribed to Phillip in 1954; selling the work of artists such as Harry Bertoia, Fritz Koening, and David Park; meeting Henri Matisse in Paris at the age of 21; visiting the studios of Alexander Calder and Mark Rothko; the difference between galleries that can spot new talent and galleries that sell certain artists well; the art market becoming less idealistic and more commercial; the rising importance of auction houses and the possibility of their taking the place of traditional art galleries; the move of the Staempfli Gallery to the SoHo neighborhood and soon after, leaving Staempfli for Marlborough, where he was one of the New York directors for 18 years; his appreciation for the creativity of others, retirement and current plans to write his memoirs. Bruno also recalls Milton Avery, Gabor Peterdi, Hans Muller, Ralston Crawford, Randall Morgan, Charlotte Willard, Dorthy Satterlee, Masayuki Nagare, Claude Bemardin, Kubach-Wilmsen, Louise Nevelson, Cladio Bravo, Lopez Garcia, Alberto Giacometti, The Barnes Foundation, Richard Estes, Alex Katz, and Neil Wlliver.
Quotes and excerpts must be cited as follows: Oral history interview with Phillip A. Bruno, 2009 January 13-21. Archives of American Art, Smithsonian Institution.
Funding for this interview was provided by the Widgeon Point Charitable Foundation. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
Biography Note:
Phillip A. Bruno (1930- ) is an art collector and director of Marlborough Gallery, New York, New York.
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Location Note:
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001
Collectors and collecting  Search this
Record number:
Data Source:
Archives of American Art