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Gabriella De Ferrari papers, 1931-2011, bulk 1975-2011

Creator:
De Ferrari, Gabriella, 1941-  Search this
New School University  Search this
Subject:
Katz, Ada  Search this
Katz, Alex  Search this
Gund, Agnes  Search this
Gray, Francine du Plessix  Search this
Cuno, James B.  Search this
Castelli, Leo  Search this
Michael, Brenson  Search this
Sischy, Ingrid  Search this
Segal, Martin  Search this
Seator, Glen  Search this
LeWitt, Carol  Search this
LeWitt, Sol  Search this
Pan-American Society of New England  Search this
Wadsworth Atheneum  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Busch-Reisinger Museum  Search this
Type:
Diaries
Photographs
Interviews
Illustrated letters
Sound recordings
Video recordings
Scrapbooks
Topic:
Authors -- Massachusetts  Search this
Authors -- New York (State) -- New York  Search this
Arts administrators -- New York (State) -- New York  Search this
Art historians -- Massachusetts -- Boston  Search this
Art historians -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)16023
(DSI-AAA_SIRISBib)306634
AAA_collcode_defemari
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_306634
Online Media:

Gabriella De Ferrari papers

Creator:
De Ferrari, Gabriella  Search this
Source:
New School University  Search this
Names:
Busch-Reisinger Museum  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Pan-American Society of New England  Search this
Wadsworth Atheneum  Search this
Castelli, Leo  Search this
Cuno, James B.  Search this
Gray, Francine du Plessix  Search this
Gund, Agnes  Search this
Katz, Ada, 1928-  Search this
Katz, Alex, 1927-  Search this
LeWitt, Carol  Search this
LeWitt, Sol, 1928-2007  Search this
Michael, Brenson  Search this
Seator, Glen  Search this
Segal, Martin  Search this
Sischy, Ingrid  Search this
Former owner:
New School University  Search this
Extent:
7.7 Linear feet
0.012 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Diaries
Photographs
Interviews
Illustrated letters
Sound recordings
Video recordings
Scrapbooks
Date:
1931-2011
bulk 1975-2011
Summary:
The papers of art historian Gabriella De Ferrari measure 7.7 linear feet and 0.012 GB and date from 1931-2011, with the bulk of the collection dating from 1975-2011. The collection provides an overview of her activities as an arts administrator, writer, and philanthropist through biographical materials, correspondence, interviews, extensive writings and notes, subject files, printed and digital material, scrapbooks, and photographs.
Scope and Contents note:
The papers of art historian Gabriella De Ferrari measure 7.7 linear feet and 0.012 GB and date from 1931-2011, with the bulk of the collection dating from 1975-2011. The collection provides an overview of her activities as an arts administrator, writer, and a philanthropist through biographical materials, correspondence, interviews, extensive writings and notes, subject files, printed and digital material, scrapbooks, and photographs.

Correspondence with artists, academic administrators, museum directors, curators, literary agents, editors, and publishers is primarily of a social nature, e.g., thank you notes, invitations, and congratulatory letters. Letters include references to De Ferrari's professional activities from circa 1975-circa 2006. There are illustrated letters and handmade birthday cards by De Ferrari, family, and friends. Among the correspondents are Michael Brenson, James Cuno, Francine Du Plessix Gray, Agnes Gund, Alex and Ada Katz, Sol and Carol Lewitt, and Glen Seator.

Writings and notes primarily document Gabriella De Ferrari's career as an author and include numerous drafts and annotated versions of her novels, short stories, memoir, and articles. Subject files include materials chronicling De Ferrari's activities at the Busch-Reisinger Museum, the Institute of Contemporary Art in Boston, and the Pan-American Society of New England. Also documented is her service as a Board of Trustees member, consultant, and advisor to major educational, corporate, and cultural institutions, including the New School University, United Technologies, Inc., and the Wadsworth Atheneum, among others. Interviews of De Ferrari are found on six sound cassettes. Additional audio cassettes and one videocassette are found within her writings.

Photographs are of Gabriella De Ferrari, family members, friends, and colleagues, including Michael Brenson, Leo Castelli, Agnes Gund, Martin Segal, Ingrid Sischy, Sol Lewitt, among others.
Arrangement note:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1947-2003 (Boxes 1, 9; 0.3 linear feet, ER01; 0.001 GB)

Series 2: Correspondence, 1964-2011 (Boxes 1-2; 1.3 linear feet, ER02; 0.001 GB)

Series 3: Interviews, 1990-1996 (Box 2; 3 folders)

Series 4: Writings and Notes, 1950-2010 (Boxes 3-6; 3.6 linear feet, ER03-ER10; 0.011 GB)

Series 5: Subject Files, 1953-2008 (Boxes 6-7; 1 linear feet, ER11; 0.001 GB)

Series 6: Printed Material, 1961-2011 (Box 7; 0.8 linear feet)

Series 7: Scrapbooks, 1974-1981 (Box 9; 0.3 linear feet)

Series 8: Photographs, 1931-circa 2010 (Box 8, 0.4 linear feet)
Biographical/Historical note:
Art historian Gabriella De Ferrari (1941-) has lived and worked in Boston, Massachusetts and New York City.

Born in Tacna, Peru to Italian parents, De Ferrari graduated with a Bachelor of Arts from Saint Louis University in Missouri in 1963. She went on to receive a Master of Arts from the Fletcher School of Law and Diplomacy, Tufts University in 1966, and in 1981, she earned a Masters of Art in Fine Arts from Harvard University. De Ferrari has held administrative and curatorial positions at major museums and art organizations. At the Institute of Contemporary Art, Boston, she was curator of exhibitions before becoming the Director of the Institute in 1975. From 1978-1982, De Ferrari was Assistant Director of Curatorial Affairs and Programs at the Fogg Museum and the Busch-Reisinger Museum, where her responsibilities included exhibition programs for twentieth century art and coordinating programs for corporate and public fundraising. In 1989, De Ferrari moved to New York City, where she established herself as a freelance writer. In 1990, her novel, A Cloud on Sand received a Barnes and Noble Discover Award. Gringa Latina, De Ferrari's memoir about her experience living in two cultures was published in 1994.

She has served on the Boards of Trustees and on the advisory committees of many leading institutions, including Colby College, City University Graduate Center Foundation, Harvard University Museum, the New School, and the Wadsworth Atheneum. From 2000-2006, she was the philanthropic advisor to the chairman and CEO of United Technologies Corporation. In 1996, De Ferrari was awarded the New School Medal for Distinguished Service, and in 2008, she received an Honorary Doctorate in Letters from Colby College.

Gabriella De Ferrari continues to reside in New York City.
Provenance:
The papers were donated to the Archives of American Art by Gabriella De Ferrari, in 2011.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Gabriella De Ferrari papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Arts administrators -- Massachusetts -- Boston  Search this
Philanthropists -- Massachusetts -- Boston  Search this
Philanthropists -- New York (State) -- New York  Search this
Topic:
Authors -- Massachusetts  Search this
Authors -- New York (State) -- New York  Search this
Arts administrators -- New York (State) -- New York  Search this
Art historians -- Massachusetts -- Boston  Search this
Art historians -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Photographs
Interviews
Illustrated letters
Sound recordings
Video recordings
Scrapbooks
Citation:
Gabriella De Ferrari papers, 1931-2011, bulk 1975-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.defemari
See more items in:
Gabriella De Ferrari papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-defemari

W.G. Constable papers, 1905-1983, bulk 1920-1976

Creator:
Constable, W. G. (William George), 1887-1976  Search this
Subject:
Phillips, Duncan  Search this
Stout, George L. (George Leslie)  Search this
Canaletto  Search this
Perry, Ralph  Search this
Sachs, Paul J. (Paul Joseph)  Search this
Hencken, Hugh O'Neill  Search this
Vasalle, Rudolph  Search this
Brandt, Mortimer  Search this
Links, J. G.  Search this
Ivins, William Mills  Search this
Frick, Helen Clay  Search this
Gluck, Helen  Search this
National Gallery of Canada  Search this
Watts Gallery  Search this
Christie, Manson & Woods International Inc.  Search this
Fogg Art Museum  Search this
Museum of Fine Arts, Boston  Search this
American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas  Search this
Germany (Territory under Allied occupation, 1945-1955 : U.S. Zone)  Search this
Art Gallery of Toronto  Search this
United States  Search this
Allied Forces  Search this
Type:
Photographs
Place:
Germany (Territory under Allied occupation, 1945-1955)
Topic:
World War, 1939-1945 -- Destruction and pillage -- Germany  Search this
Art, European  Search this
Art -- Study and teaching  Search this
World war, 1939-1945 -- Destruction and pillage -- Italy  Search this
Museum curators -- Massachusetts -- Boston  Search this
Art, American  Search this
Art -- Collectors and collecting  Search this
Cultural property -- conservation and restoration -- Germany  Search this
Cultural property -- Conservation and restoration -- Italy  Search this
Art -- Conservation and restoration  Search this
Art historians -- Massachusetts -- Boston  Search this
Museum curators -- England  Search this
World War, 1939-1945 -- Art and the war  Search this
Art historians -- England  Search this
Record number:
(DSI-AAA_CollID)9387
(DSI-AAA_SIRISBib)211584
AAA_collcode_conswmgp
Theme:
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211584
Online Media:

Judith Wechsler papers, circa 1940-2003, bulk 1971-1994

Creator:
Wechsler, Judith, 1940-  Search this
Subject:
Adams, Ansel  Search this
Albers, Josef  Search this
Cage, John  Search this
Callahan, Harry M.  Search this
Cohen, John  Search this
Falkenberg  Search this
Hockney, David  Search this
Hopps, Walter  Search this
Johns, Jasper  Search this
Menil, Dominique de  Search this
Meyerowitz, Joel  Search this
Namuth, Hans  Search this
Pearlstein, Philip  Search this
Siskind, Aaron  Search this
Stella, Frank  Search this
Stieglitz, Alfred  Search this
Steichen, Edward  Search this
Museum at Large Ltd.  Search this
Universal Limited Art Editions (Firm)  Search this
Type:
Interviews
Motion pictures (visual works)
Sound recordings
Topic:
Art historians -- Massachusetts -- Boston  Search this
Art patronage  Search this
Art museums  Search this
Artists -- United States  Search this
Filmmakers--Massachusetts--Boston  Search this
Record number:
(DSI-AAA_CollID)15836
(DSI-AAA_SIRISBib)292401
AAA_collcode_wechjudi
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_292401

Sylvester Rosa Koehler papers, 1833-1904, bulk 1870-1890

Creator:
Koehler, S. R. (Sylvester Rosa), 1837-1900  Search this
Subject:
Falconer, John Mackie  Search this
Anderson, Alexander  Search this
Juengling, Frederick  Search this
Harfin, Jean F.  Search this
Smillie, James David  Search this
Topic:
American Art Review  Search this
Prints -- 19th century  Search this
Art historians -- Massachusetts -- Boston  Search this
Art literature  Search this
Museum curators -- Massachusetts -- Boston  Search this
Artists -- United States  Search this
Record number:
(DSI-AAA_CollID)7082
(DSI-AAA_SIRISBib)209215
AAA_collcode_koehsylv
Theme:
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209215
Online Media:

Charles Giuliano sound recordings

Creator:
Giuliano, Charles  Search this
Names:
Arthur, John, 1939-  Search this
Hyde, Andrew C. (Andrew Cornwall)  Search this
Moffett, Kenworth  Search this
Olitski, Jules, 1922-2007  Search this
Rosen, Phyllis  Search this
Siembab, Carl, 1926-  Search this
Westenberger, Theo  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1970-1977
Summary:
The sound recordings of art critic Charles Giuliano include 10 sound reels and date from 1970 to 1977. Within the collection are interviews and discussions conducted or taped by Giuliano relating to the Boston, Massachusetts art scene.
Scope and Contents:
The sound recordings of art critic Charles Giuliano measure 0.2 linear feet, include 10 sound reels, and date from 1970 to 1977. Within the collection are interviews and discussions conducted or taped by Giuliano relating to the Boston, Massachusetts art scene. Among the interviewees are John Arthur, Andrew C. Hyde, Kenworth Moffett, Carl Siembab, Phyllis Rosen, Theo Westenberger, and Jules Olitski. The John Arthur and Jules Olitski interviews are transcribed.
Arrangement:
The collection is arranged as 2 series.

Series 1: Interviews, 1970-1977 (Box 1; 8 sound tape reels)

Series 2: Lectures and Seminars, 1976 (Box 1; 2 sound tape reels)
Biographical / Historical:
Charles Giuliano (1940- ) is an art critic based in Boston, Massachusetts. He is a former teacher of art history and served as Director of Exhibitions for the New England School of Art and Design at Suffolk University, Boston.
Provenance:
Donated 1977-1984 by Charles Giuliano.
Restrictions:
John Arthur and Kenworth Moffett interviews are access restricted; written permission required. Contact References Services for more information.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
Baker, Belz, Chandler, Hyde interviews: Authorization to quote, reproduce or publish must be obtained from Charles Giuliano and interviewee.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- Massachusetts -- Boston  Search this
Educators -- Massachusetts -- Boston  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Charles Giuliano sound recordings, 1970-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.giulchar
See more items in:
Charles Giuliano sound recordings
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-giulchar

Judith Wechsler papers

Creator:
Wechsler, Judith  Search this
Names:
Museum at Large Ltd.  Search this
Universal Limited Art Editions (Firm)  Search this
Adams, Ansel, 1902-1984  Search this
Albers, Josef  Search this
Cage, John, 1912-1992  Search this
Callahan, Harry M.  Search this
Cohen, John, 1932-  Search this
Falkenberg, Paul  Search this
Hockney, David  Search this
Hopps, Walter  Search this
Johns, Jasper, 1930-  Search this
Menil, Dominique de  Search this
Meyerowitz, Joel, 1938-  Search this
Namuth, Hans  Search this
Pearlstein, Philip, 1924-  Search this
Siskind, Aaron  Search this
Steichen, Edward, 1879-1973  Search this
Stella, Frank  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
17.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Motion pictures (visual works)
Sound recordings
Date:
circa 1940-2003
bulk 1971-1994
Summary:
The papers of filmmaker and art historian Judith Wechsler measure 17.4 linear feet and consist of film production material from several of Wechsler's documentary films released between 1989 and 1994. Most of the collection consists of sound recordings and motion picture film. Notable content includes interviews with Jasper Johns, Frank Stella, David Hockney, Philip Pearlstein, Joel Meyerowitz, Jo Spence, Yolanda Sonnabend, Dominique de Menil, Walter Hopps, Aaron Siskind, and Harry Callahan, as well as footage of artists working in their studios. Production elements found include original sound recordings, original camera negative outtakes, work print picture and soundtrack, trims, various pre-print master material, and video copies of completed works.
Scope and Contents:
The papers of filmmaker and art historian Judith Wechsler measure 17.4 linear feet and consist of film production material from several of Wechsler's documentary films released between 1989 and 1994. Most of the collection consists of sound recordings and motion picture film. Notable content includes interviews with Jasper Johns, Frank Stella, David Hockney, Philip Pearlstein, Joel Meyerowitz, Jo Spence, Yolanda Sonnabend, Dominique de Menil, Walter Hopps, Aaron Siskind, and Harry Callahan, as well as footage of artists working in their studios. Production elements found include original sound recordings, original camera negative outtakes, work print picture and soundtrack, trims, various pre-print master material, and video copies of completed works.

Documentaries with production material in the collection include Jasper Johns: Take An Object, produced with Hans Namuth, Harry Callahan (1994), Aaron Siskind: Making Pictures (1991), and five episodes of The Painter's World: Changing Constants of Art from the Renaissance to the Present (1989), a six-part television series produced by WGBH in Boston. Episodes of the series for which records are found include "The Training of Painters," "The Arrested Moment," "Portraits," "Abstraction," and "Painting and the Public". Also found are two reels of soundtrack labeled "Two Photographers," a title for which no other documentation is found.

The Painter's World episodes "Abstraction," "The Arrested Moment," and "Portraits" address the evolution of painting style and traditions, and the "Painting and the Public" episode addresses the role of patronage and the evolution of art museums. Footage found for "The Training of Painters" consists of footage of Josef Albers teaching at Yale University shot around 1955, likely shot by John Cohen.

Jasper Johns: Take An Object was a collaborative project between Wechsler, Hans Namuth, and Paul Falkenberg, who worked together under the corporate name of Museum at Large. Footage consists of multiple interviews with Johns, a 1971 session of Johns working in his Houston Street studio, and a 1989 session of Johns working at Universal Limited Art Editions, as well as additional material of John Cage and others speaking about Johns' work.

In Harry Callahan, Callahan discusses the inspiration behind his work and recollects about his time with Ansel Adams, Alfred Stieglitz, Edward Steichen, and Aaron Siskind. For Aaron Siskind: Making Pictures, Siskind covers the beginning of his career, and the inspiration and methods behind his work. The "Two Photographers" content and relationship to the collection is unknown.
Arrangement:
The collection is arranged as 5 series.

Series 1: -- The Painters World: Changing Constants of Art from the Renaissance to the Present -- Production Records, 1985-1989 (5.5 linear feet; Boxes 1, 3-6, 15, 20)

Series 2: -- Jasper Johns: Take an Object -- Production Records, 1971-1972, 1989-1990 (5.9 linear feet, Boxes 2, 7-11, 20-24)

Series 3: -- Aaron Siskind: Making Pictures -- Production Records, 1990-2003 (2.5 linear feet; Boxes 2, 11-12, 16-18, 21)

Series 4: -- Harry Callahan -- Production Records, 1992-1994 (3.3 linear feet; Boxes 2, 12-14, 18-19, 21)

Series 5: Unidentified Program Material, circa 1940-1994 (0.3 linear feet; Boxes 2, 14, FC 147)
Biographical / Historical:
Judith Wechsler is an art historian, professor, and filmmaker. Wechsler studied at Brandeis University, Columbia University, and earned her Ph.D. at Univeristy of California, Los Angeles in 1972. She published On Aesthetics in Science in 1978 and A Human Comedy: Physiognomy and Human Caricature in 19th Century Paris, focusing on the work of Honoré Daumier, in 1982. She edited the memoirs of her father, literary scholar Nahum N. Glatzer, published in 1998, and has published dozens of articles, reviews, and catalog essays for American and European institutions and publications.

She has taught at Brown University, Harvard University, Massachusetts Institute of Technology, Hebrew University, and Rhode Island School of Design and joined the faculty at Tufts University in 1989, where she remained until her retirement in 2011.

Wechsler first worked on films with designer Charles Eames, co-directing films on her early scholarly subjects, Daumier and CĂ©zanne. In the mid-1980s, she wrote and directed a series of art documentaries for television with the series title The Painter's World: Changing Constants of Art from the Renaissance to the Present. Since that time, Wechsler has directed dozens of films, primarily on artists and photographers, and in recent years has focused on the history of ideas in early twentieth century Europe, with films on Nahum Glatzer, Walter Benjamin, Aby Warburg, and Svetlana Boym.

Wechsler received a Chevalier dans l'Ordre des Arts et des Lettres from the French government in 2007, and became professor emerita at Tufts in 2011. She lives and works in Massachusetts.
Related Materials:
Release prints of each of the titles represented in the collection are held by the Harvard Film Archive. Digital video copies of edited films are available on Judith Wechsler's website (http://www.judithwechsler.com/films, accessed 2017).
Provenance:
Donated 2008, 2017, and 2019 by Judith Wechsler.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate copy requires advance notice.
Rights:
The Judith Wechsler papers are owned by the Archives of American Art, Smithsonian Institution. They may be used for research, study, and scholarship. Authorization to quote, publish or reproduce requires written permission from Judith Wechsler, Tufts University Art History Department. The Painter's World Copyright retained by Judith Wechsler.
Topic:
Art historians -- Massachusetts -- Boston  Search this
Art patronage  Search this
Art museums  Search this
Artists -- United States  Search this
Filmmakers--Massachusetts--Boston  Search this
Genre/Form:
Interviews
Motion pictures (visual works)
Sound recordings
Citation:
Judith Wechsler papers, 1940-2003, bulk 1971-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wechjudi
See more items in:
Judith Wechsler papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wechjudi

Paul Tucker papers

Creator:
Tucker, Paul Hayes, 1950-  Search this
Extent:
27 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1965-2010
Scope and Contents:
Letters, teaching files, loans and exhibition files, and printed material documenting the career of teacher and art historian Paul Tucker.
Biographical / Historical:
Paul Hayes Tucker (1950- ) is a teacher and art historian in Boston, Massachusetts. Tucker taught at the University of Massachusetts, Boston.
Provenance:
Donated 2015 by Paul Hayes Tucker.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Art historians -- Massachusetts -- Boston  Search this
Educators -- Massachusetts -- Boston  Search this
Identifier:
AAA.tuckpaul
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tuckpaul

Stephen Robeson Miller research material on Kay Sage

Creator:
Miller, Stephen Robeson  Search this
Names:
Sage, Kay  Search this
Tanguy, Yves, 1900-1955  Search this
Extent:
3 microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1898-1983
Scope and Contents:
A circa 100 p. chronology of Sage's life (published as a book, along with Sage's unpublished one-act Surrealist Plays in 1995 and 2011); her medical history; an exhibition record; circa 40 letters from Sage to her father, her stepmother, and her half-sister, Cornelia Sage Walcott Mackin; letters to Miller from Sage's friends, family and colleagues; and correspondence, 1973-1983, related to Sage's work; transcripts of interviews conducted by Miller with people who knew Sage; Sage's cancelled checks; bibliographic references assembled by Miller; Miller's master's thesis, "The Art of Kay Sage," Boston University, l982; a catalog raisonne by Miller (to be published as a book by Prestel Verlag, New York, in 2018) including ca. 200 photos of Sage's works; photos of Christmas cards by Sage and Yves Tanguy; and 42 photos, 1898-ca. 1960, of Sage, her family and friends, and 12 photos of Sage's residence, 1957.
Biographical / Historical:
Art historian; Boston, Mass. Extensively researched Surrealist painter Kay Sage.
Provenance:
Lent for microfilming by Stephen Robeson Miller, 1983.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art historians -- Massachusetts -- Boston  Search this
Topic:
Surrealism  Search this
Women artists  Search this
Identifier:
AAA.millstep
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-millstep

Sylvester Rosa Koehler papers

Topic:
American Art Review
Creator:
Koehler, S. R. (Sylvester Rosa), 1837-1900  Search this
Names:
Anderson, Alexander, 1775-1870  Search this
Falconer, John Mackie, 1820-1903  Search this
Harfin, Jean F.  Search this
Juengling, Frederick, 1846-1889  Search this
Smillie, James David, 1833-1909  Search this
Extent:
5.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1833-1904
bulk 1870-1890
Summary:
The Sylvester Rosa Koehler papers measure 5.4 linear feet and date from 1833 to 1904, with the bulk of the material dating from 1870 to 1890. The collection consists primarily of Koehler's extensive correspondence to and from many notable artists and printmakers such as Jean F. Harfin, John M. Falconer, Frederick Juengling, and James D. Smillie, as well as friends, and family members and professional correspondence concerning Koehler's activities as a writer, curator, and editor of the American Art Review. The collection also contains financial records and other miscellaneous items.
Scope and Content Note:
The Sylvester Rosa Koehler papers measure 5.4 linear feet and date from 1833 to 1904, with the bulk of the material dating from 1870 to 1890. The collection consists primarily of Koehler's extensive correspondence to and from many notable artists and printmakers such as Jean F. Harfin, John M. Falconer, Frederick Juengling, and James D. Smillie, as well as friends, and family members and professional correspondence concerning Koehler's activities as a writer, curator, and editor of the American Art Review. The collection also contains financial records and other miscellaneous items.

Correspondence includes hundreds of letters to and from Koehler. Correspondents include many prominent artists, engravers, architects, art critics, curators, historians, journalists, authors, educators, publishers, and others during the late 1800s. Also found is correspondence with family, most of which is in German. Much of the correspondence concerns Koehler's role as editor of the publication American Art Review, and his work promoting American graphic arts.

Financial Records include Koehler's receipts, primarily from 1885, and a handwritten estimate of costs for publishing the American Art Review.

Miscellany includes biographical information on the wood engraver, Alexander Anderson, various notes by unidentified authors, news clippings, programs and handwritten song texts for music performances.
Arrangement:
The collection is arranged into 3 series:

Series 1: Correspondence, circa 1833- circa 1904 (Box 1-6; 5.1 linear feet)

Series 2: Financial Records, circa 1870-circa 1890 (Box 6; 14 folders)

Series 3: Miscellany, circa 1859-circa 1896 (Box 6; 11 folders)
Biographical Note:
Art historian and curator Sylvester Rosa Koehler was born in Leipsic, Germany in 1837. He came to the United States with his family in 1849 and settled in Roxbury, Massachusetts. In 1868 he became the Technical Manager of Louis Prang and Company, a lithograph publisher. Koehler was the founding editor of the American Art Review, which commissioned artists for original etchings, and ran from 1879-1881. Through this publication, as well as his work as writer and exhibition curator, Koehler encouraged an American etching revival in the 1880s. Koehler also published many books on American art and was the first Curator of Prints at the Museum of Fine Arts, Boston. From 1886 to 1900 he served as the first Curator of Graphic Arts at the United States National Museum, part of the Smithsonian Institution. While there, he created a permanent and traveling exhibition of graphic arts. His knowlege of the art world and his extensive personal contacts brought many important collections to the museum. Koehler died in Littleton, New Hampshire in 1900.
Related Material:
Additional correspondence can be found at the Library of Congress, which houses the Papers of S. R. Koehler, 1868-1904, and includes approximately 3,500 letters. Syracuse University Library houses S. R. Koehler Correspondence, 1879-1896, and includes 107 items.
Provenance:
The collection was purchased from Argosy Book Stores, Inc, in 1959. A letter from John Sartain and eleven letters from William Merritt Chase were donated by Charles E. Feinberg, 1955-1962. Two postcards were donated in 2009 by William A. Turnbaugh, an autograph collector. In 2017, John F. McGuigan Jr. and Mary K. McGuigan donated sixty-nine letters from A. Barry, Truman Howe Bartlett, William Merritt Chase, Timothy Cole, Edward Henry Clement, Cyrus Edwin Dallin, Robert Swain Gifford, George Inness, Anna Lea Merritt, Stephen Parrish, John Sartain, Francis Hopkinson Smith, and Frederic Porter Vinton.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Sylvester Rosa Koehler papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Prints -- 19th century  Search this
Art historians -- Massachusetts -- Boston  Search this
Art literature  Search this
Museum curators -- Massachusetts -- Boston  Search this
Artists -- United States  Search this
Citation:
Sylvester Rosa Koehler papers, 1833-1904, bulk 1870-1890. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.koehsylv
See more items in:
Sylvester Rosa Koehler papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-koehsylv
Online Media:

W.G. Constable papers

Creator:
Constable, W. G. (William George), 1887-1976  Search this
Correspondent:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Art Gallery of Toronto  Search this
Germany (Territory under Allied occupation, 1945-1955 : U.S. Zone). Office of Military Government  Search this
National Gallery of Canada  Search this
Watts Gallery  Search this
Brandt, Mortimer  Search this
Frick, Helen Clay, 1888-1984  Search this
Gluck, Helen  Search this
Hencken, Hugh O'Neill  Search this
Ivins, William Mills, 1881-1961  Search this
Links, J. G.  Search this
Perry, Ralph  Search this
Phillips, Duncan, 1886-1966  Search this
Sachs, Paul J. (Paul Joseph), 1878-1965  Search this
Stout, George L. (George Leslie)  Search this
Vasalle, Rudolph  Search this
Names:
American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas  Search this
Christie, Manson & Woods International Inc.  Search this
Fogg Art Museum  Search this
Museum of Fine Arts, Boston  Search this
United States. Internal Revenue Service  Search this
Canaletto, 1697-1768  Search this
Extent:
25.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Place:
Germany (Territory under Allied occupation, 1945-1955)
Date:
1905-1983
bulk 1920-1976
Summary:
The papers of art historian and museum curator W.G. (William George) Constable measure 25.7 linear feet and date from 1905 to 1981, with the bulk of the material from 1920 to 1976. The papers include biographical material; professional and personal correspondence; extensive lectures, writings, and notes; exhibition and book research files; printed materials; and photographs, glass plate negatives, and slides. There is substantive correspondence related to Constable's participation in the American Defense Harvard Group and about the formation of the Roberts Commission, including correspondence with Ralph Perry, Hugh Hencken, Paul Sachs and George L. Stout. There are numerous official reports prepared by Constable after World War II for the U. S. Office of Military Government for Germany.
Scope and Contents:
The papers of art historian and museum curator W.G. (William George) Constable measure 25.7 linear feet and date from 1905 to 1981, with the bulk of the material from 1920 to 1976. The papers include biographical material; professional and personal correspondence; extensive lectures, writings, and notes; exhibition and book research files; printed materials; and photographs, glass plate negatives, and slides. There is substantive correspondence related to Constable's participation in the American Defense Harvard Group and about the formation of the Roberts Commission, including correspondence with Ralph Perry, Hugh Hencken, Paul Sachs and George L. Stout. There are numerous official reports prepared by Constable after World War II for the U. S. Office of Military Government for Germany.

Biographical material includes W.G. Constable's curriculum vitae; club memberships; personal, educational, and military records; three memorial essays and obituaries; five address books; appointment books dating from 1930-1968; and financial records related to personal business travels.

Correspondence is mostly professional and arranged into General, Committee, Condolences, and J.G. Links. General correspondence is with friends, business associates, auction houses, galleries, and museums. The letters cover a wide variety of professional work, such as research projects, letters of inquiry and recommendation, and work done for Christie's and the Internal Revenue Service. Correspondents include Mortimer Brandt, Helen Frick, Helen Gluck, William Ivins, Duncan Phillips, Paul Sachs, and Rudolph Vasalle, among many others.

Committee related correspondence includes letters, memoranda, and reports related to ongoing committee objectives, projects, and routine activities. There is correspondence related to Constable's advisory work with the Art Gallery of Toronto, the National Gallery of Canada, and the Watts Gallery, among other projects. Condolences consists of letters and cards received by Constable's wife, Olivia, after Constable's death. Correspondence with J.G. Links is primarily about the second edition revision of Constable's book Canaletto.

There are over 170 drafts of Constable's notes and outlines for lectures. Topics range from 13th-20th century European and American art to museum conservation, ethics, art education, and art collecting. The series also includes lecture notes from organized touring trips to Canada, Northern Europe, Scandanavia, and Poland.

Writings consist of Constable's published and unpublished articles, articles submitted for the Encyclopedia of World Art, essays, notes, exhibition catalogs, translations, and drafts and research material related to Art Collecting in the United States, Art History and Connoisseurship, and The Painter's Workshop.

Files specifically documenting Constable's advisory role in the World War II American Defense Harvard Group drafting and organizing lists of men with curatorial, museum conservation, or library/archives backgrounds to aid in the protection European most valued cultural artifacts, artwork, and architecture. There are letters documenting the formation of the Harvard Group and its goals and objections. The files also include many of the original lists that were forwarded to the Commission for the Protection and Salvage of Artistic and Historic Monuments in Europe, also known as the Roberts Commission, eventually leading to the formation of the U.S. Army's Monuments, Fine Arts, and Archives division. The series also includes the Harvard Group's manual Safeguarding and Conserving Cultural Materials in the Field, committee minutes, and clippings related to their work. Correspondents include Ralph Perry, Paul Sachs, George L. Stout, and Hugh Hencken.

Constable's work after the war for the U.S. Office of Military Government for Germany is documented through numerous reports, memoranda, letters, and other official documents from the U. S. Army to Constable about surveying the state of German and Italian art institutions after World War II. The series also includes Constable's notebook "Visits in Germany" (1949), and a copy of his report Art and Reorientation: Status and Future of Museums and the Teaching of Art in Western Germany.

Exhibition files contain correspondence, notes, lists, research material, and reports related to exhibitions that Constable organized prior to his employment by and after his retirement from the Boston Museum of Art.

Research files contain materials relevant to Constable's interests and include notes, lists, correspondence, and printed and photographic reference material. These subject areas cover artists, including extensive files on Canaletto and other vedute painters, museum conservation, museums and galleries, private and public art collections, and schools of art.

Printed materials include clippings, programs, book excerpts and other miscellaneous printed materials.

Photographic materials include prints of Constable with friends and family, as well as prints, glass negatives and slides of artwork. There are also prints of the Fogg Art Museum's interiors and exterior and interior shots of Tennessee Valley Authority dam projects.
Arrangement:
The collection is arranged as 10 series.

Series 1: Biographical Materials, 1905-1983 (1.2 linear feet; Box 1-2, OV 28)

Series 2: Correspondence, 1906-1981 (6.2 linear feet; Box 2-8, OV 28-29)

Series 3: Lectures, 1909-1963 (4.6 linear feet; Box 8-12)

Series 4: Writings and Notes, 1910-1974 (2 linear feet; Box 13-14)

Series 5: American Defense Harvard Group, 1942-1946 (0.6 linear feet; Box 15)

Series 6: Office of Military Government for Germany, 1947-1952 (0.3 linear feet; Box 15)

Series 7: Exhibition Files, 1930-1969 (1 linear foot; Box 15-16, OV 29)

Series 8: Research Files, 1922-1976 (7.5 linear feet; Box 16-24, OV 28-29)

Series 9: Printed Material, 1921-1977 (0.5 linear feet; Box 24)

Series 10: Photographic Materials, circa 1940-1960 (1.4 linear feet; Box 24-27, OV 28-29)
Biographical / Historical:
W. G. (William George) Constable (1887-1976) was a museum curator and art historian who worked in England and Boston.

Born in Derby, England, Constable studied for the bar at Cambridge University, but was encouraged to pursue art over law by the Lord Chancellor who told him that law would be too strenuous after a two year convalescence from gassing during World War I. For three years, he studied at the Slade School and the Bartlett School of Architecture. In 1923, he joined the National Gallery of London where he became the Assistant Director in 1929. In 1930, he accepted the first Director's position at the newly formed Courtauld Institute, where he worked to develop one of the first programs on art history. In 1938, Constable became Curator of Paintings at the Boston Museum of Fine Arts and worked there until his retirement in 1957.

Throughout his career as an arts administrator, Constable remained an accomplished lecturer and held appointments as the Slade Professor of Art at Cambridge (1933-1936), Ryerson Lecturer at Yale University (1940), and the Lowell Lecturer at the Lowell Insitute (1958). As a researcher and art historian, he published a steady stream of essays on European and American art connoisseurship, and authored over ten scholarly books, including The Painter's Workshop (1953), Richard Wilson (1953), and Canaletto (1962), the definitive work on the Venetian master.

Constable was a trusted arts advisor and, in this capacity, worked for the Wadsworth Atheneum from 1943-1945. He also worked closely with Lord Beaverbrook to establish the National Gallery of Canada and later consulted for Sotheby's and the U. S. Internal Revenue Service.

In the years leading to World War II, Constable served as an advisor to the American Defense Harvard Group and was later appointed to the Commission for the Protection of Artistic and Historic Monuments in Europe (the Roberts Commission) by President Roosevelt. The Roberts Commission was responsible for the establishment of the U. S. Army's Monuments, Fine Arts, and Archives section. After the war, Constable served the U.S. government as a member of a commission responsible for the recovery of looted art work and the evaluation of the state of the arts in Germany and Italy.

After his retirement from the Boston Museum, Constable continued to research and write, and also served as president of the International Institute of Conservation (1958-1960) and the Renaissance Society of America (1959-1961). From 1957 to 1966, he worked on behalf of Christie's auction house, where he met with prospective clients and provided preliminary valuations of private art works and collections.

On February 4, 1976, Constable died in Cambridge, Massachusetts from natural causes.
Related Materials:
The Archives also holds additional materials related to W.G. Constable, including an oral history interview with Constable conducted by Robert Brown in 1972-1973, and a photograph and clipping of Constable donated by Eleanor Barton in 1982.

Additional W.G. Constable papers are located at archival materials are also located at St. Johns College in Cambridge,England; the Warburg Institute in London, England; the National Gallery in London, England; and the Society for the Protection of Science and Learning in London, England. Photographs of works art collected by Constable are found at the British Studies Center at Yale University. Records relating to his tenure at the Museum of Fine Arts, Boston are housed there.
Provenance:
The papers of W.G. Constable were donated in multiple gifts from 1978 to 1979 and in 1987 to 1988 by his son Giles Constable. Additional material regarding Constable's research on Canaletto was donated by researcher J.G. Links in 1985.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Rights:
The W.G. Constable papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters  Search this
Topic:
World War, 1939-1945 -- Destruction and pillage -- Germany  Search this
Art, European  Search this
Art -- Study and teaching  Search this
World War, 1939-1945 -- Destruction and pillage -- Italy  Search this
Museum curators -- Massachusetts -- Boston  Search this
Art, American  Search this
Art -- Collectors and collecting  Search this
Cultural property -- Conservation and restoration -- Germany  Search this
Cultural property -- Conservation and restoration -- Italy  Search this
Art -- Conservation and restoration  Search this
Art historians -- Massachusetts -- Boston  Search this
Museum curators -- England  Search this
World War, 1939-1945 -- Art and the war  Search this
Art historians -- England  Search this
Genre/Form:
Photographs
Citation:
W.G. Constable papers, 1905-1983, bulk 1920-1976. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.conswmgp
See more items in:
W.G. Constable papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-conswmgp
Online Media:

Patricia Hills papers

Creator:
Hills, Patricia  Search this
Names:
Women's Caucus for Art  Search this
Lawrence, Jacob, 1917-2000  Search this
Neel, Alice, 1900-1984  Search this
Sargent, John Singer, 1856-1925  Search this
Stevens, May  Search this
Extent:
23.1 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1900-2015
bulk 1968-2009
Summary:
The papers of art historian, curator, and educator Patricia Hills measure 23.1 linear feet and date from circa 1900-2015, bulk 1968-2009. Central to this collection are project files documenting professional work that resulted in lectures, publications, exhibitions, art history courses on numerous artists including Alice Neel, Jacob Lawrence, May Stevens, Rudolf Baranik, and John Singer Sargent. These files and files documenting Hills's tenure at the Whitney Museum of American Art include planning documents, research files, correspondence, manuscripts and accompanying publications, as well as other printed materials. The collection also contains correspondence with art historians, artists, curators, and others, notably Lawrence Alloway, Lowery Stokes Sims, Lucy R. Lippard, T.J. Clark, Leon Golub, and Donald Kuspit; professional files documenting grants and residencies awarded and consulting work; artist and subject files; other writings; and printed material. Membership and affiliation records document Hills' service to the profession, including Women's Caucus for Art and the Visual Culture/Art History Caucus of the American Studies Association.
Scope and Contents:
The papers of art historian, curator, and educator Patricia Hills measure 23.1 linear feet and date from circa 1900-2015, bulk 1968-2009. Central to this collection are project files documenting professional work that resulted in lectures, publications, exhibitions, art history courses on numerous artists including Alice Neel, Jacob Lawrence, May Stevens, Rudolf Baranik, and John Singer Sargent. These files and files documenting Hills's tenure at the Whitney Museum of American Art include planning documents, research files, correspondence, manuscripts and accompanying publications, as well as other printed materials. The collection also contains correspondence with art historians, artists, curators, and others, notably Lawrence Alloway, Lowery Stokes Sims, Lucy R. Lippard, T.J. Clark, Leon Golub, and Donald Kuspit; professional files documenting grants and residencies awarded and consulting work; artist and subject files; other writings; and printed material. Membership and affiliation records document Hills' service to the profession, including Women's Caucus for Art and the Visual Culture/Art History Caucus of the American Studies Association.
Arrangement:
The collection is arranged as 9 series.

Series 1: Correspondence, circa 1968-2015 (2 Linear Feet; Boxes 1-2)

Series 2: Project Files, circa 1900-2011 (10.5 Linear Feet; Boxes 3-13, OV24)

Series 3: Whitney Museum Files, circa 1900-2015, bulk 1973-1987 (3.6 Linear Feet; Boxes 13-16)

Series 4: Professional Files, circa 1962-2012 (1.9 Linear Feet; Boxes 17-18)

Series 5: Membership and Affiliation Records, circa 1970-2013 (1.8 Linear Feet; Boxes 18-20)

Series 6: Writings, circa 1966-2011 (0.4 Linear Feet; Boxes 20-21)

Series 7: Artist Files, circa 1958-2014 (0.9 Linear Feet; Box 21)

Series 8: Subject Files, circa 1961-2007 (1 Linear Feet; Box 22)

Series 9: Printed Material, circa 1970-2010 (1 Linear Feet; Box 23)
Biographical / Historical:
Patricia Hills (1936-) is an art historian, curator, and Professor Emerita of American Art and African American Art at Boston University. Hills obtained a B.A. from Stanford University in Modern European Literature, an M.A. from Hunter College in 1968, where she was advised by Leo Steinberg, and her PhD. from New York University's Institute of Fine Arts. Hills worked as Associate and later Adjunct Curator of 18th and 19th Century American Art at the Whitney Museum of American Art from 1972 until 1987. During that time she organized exhibitions including John Singer Sargent (1986) while progressively becoming more invested as an educator, with teaching positions at Hunter College and the Institute of Fine Arts. In February 2011 she received the Distinguished Teaching of Art History award from the College Art Association.

Hills served as the Director of the Boston University Art Gallery from 1980-1989, and began her tenure in the art history department as Associate Professor in 1978. She was co-founder of the Boston Chapter of the Women's Caucus for Art and was highly active in the College Art Association and American Studies Association. She has held fellowships at numerous institutions including the W.E.B. DuBois Institute for African and African American Research at Harvard University, the Smithsonian American Art Museum, the Georgia O'Keeffe Museum Research Center, and the Gilder Lehrman Institute of American History.

As a principal author she is responsible for organizing a number of monograph and exhibition catalog publishing efforts including Painting Harlem Modern: The Art of Jacob Lawrence (2010), May Stevens (2005), Eastman Johnson: Painting America (co-authored, 1999), John Singer Sargent (1986), Alice Neel (1983), Social Concern and Urban Realism: American Painting of the 1930s (1983), Turn-of-the-Century America: Paintings, Graphics, Photographs, 1890-1910 (1977), The Painters' America: Rural and Urban Life, 1810-1910 (1974), and The American Frontier: Images and Myths (1973). In addition, Patricia Hills has authored numerous articles for art publications, served as reviewer for College Art Association's CAA Reviews, and has contributed greatly as a peer reviewer and editor. From 1990 to 1999, she served as series editor for six books in the Cambridge Studies in American Visual Culture series, published by Cambridge University Press.
Provenance:
Donated in 2018 by Patricia Hills.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copy requires advance notice.
Rights:
The Patricia Hills papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Museum curators -- New York (State) -- New York  Search this
Educators -- Massachusetts  Search this
Art historians -- Massachusetts -- Boston  Search this
Topic:
Women artists  Search this
Art -- Political aspects  Search this
Art, American -- 19th century  Search this
African American artists  Search this
Citation:
Patricia Hills Papers, circa 1950s-2015, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hillspat
See more items in:
Patricia Hills papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hillspat

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