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The FUBA collection

Writer of added commentary:
Caro, Anthony 1924-2013  Search this
Koloane, David 1938-2019  Search this
Sepamla, Sydney Sipho 1932-  Search this
Summerfield, S.  Search this
Publisher:
FUBA (Federated Union of Black Artists),)  Search this
Subject:
FUBA (Federated Union of Black Artists) Art collections  Search this
FUBA (Federated Union of Black Artists) Art collections  Search this
FUBA Centre  Search this
Physical description:
8 unnumbered pages black and white illustrations 30 cm
Type:
Exhibitions
Catalogs
Exhibition catalogs
Date:
1983
20th century
Topic:
Art, South African  Search this
Art, South African--Exhibitions  Search this
Art museums  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1034625

Anthony Caro letter to Clement Greenberg

Creator:
Caro, Anthony, 1924-  Search this
Greenberg, Clement, 1909-1994  Search this
Caro, Anthony, 1924-  Search this
Type:
Correspondence
Date:
1963 June 21
Record number:
(DSI-AAA)9429
See more items in:
Clement Greenberg papers, 1937-1983
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_9429
Online Media:

Watson/de Nagy & Company gallery records

Creator:
Watson/de Nagy & Company (Gallery: Houston, Tex.)  Search this
Names:
Tibor de Nagy Gallery Texas Inc  Search this
Boxer, Stanley  Search this
Caro, Anthony, 1924-  Search this
Darby, Walter  Search this
De Nagy, Tibor, 1908-1993  Search this
Dzubas, Friedel, 1915-1994  Search this
Goodnough, Robert, 1917-  Search this
Greenleaf, Kenneth Lee, 1945-  Search this
Hughto, Darryl, 1943-  Search this
Moses, Forrest, 1934-  Search this
Motherwell, Robert  Search this
Staley, Earl, 1938-  Search this
Watson, Marvin  Search this
Watson, Marvin  Search this
Willour, Clint  Search this
Extent:
14 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1972-1984
Scope and Contents:
Correspondence; business records; photographs; and gallery files.
REELS 1437-1442: Correspondence and business records include priced lists for works of art, and tax records, 1972-1979. Correspondents include: Ken Greenleaf, Walter Darby, Robert Goodnough, Anthony Caro, and Forrest Moses.
REELS 1484-1488: Artists' files, 1972-1979, containing biographical information; business correspondence; priced lists of works of art; and printed matter.
Artists include Jane Allensworth, John Altoon, Walter Bannard, Nell Blaine, David Bolduc, Frank Bowling, Ken Bowman, Stanley Boxer, Lawrence Brown, Anthony Caro, Dan Christensen, Robert Cole, Stephanie K. Cole, Pat Colville, Rochella Cooper, E. E. Cummings,Bruce Cunningham, Gene Davis, Thomas Downing, Friedel Dzubas, Frank Faulkner, Chuck Forsman, Paul Fournier, Sherron L. Francis, Jane Freilicher, Erik Gamble, Maurice Golubov, Robert Goodnough, K. M. Graham, Ken Greenleaf, Red Grooms, David Hare, Tom Holland, Sandria Hu, Andrew Hudson, Darryl Hughto, Richard Johnson, Otis Jones, Wayne Kimball, Joyce Kozloff, Leonard Lehrer, Robert Levers, Mary McLeary, Vincent Mariani, Forrest Moses, Robert Motherwell, Stephen Mueller, Lowell Nesbitt, Kenneth Noland, Jules Olitski, Basilios Poulos, Janis Provisor, Archie Rand, Harold Reddicliffe, Peter Reginato, Dan Rizzie, Tony Robbin, Reginald Rowe, Laura Russell, Tom Sayre, Sam Scott, Paul Sloggett, Daniel Solomon, Michael Steiner, Robert Tiemann, Sidney Tillum, Horatio Torres, Robert Utterback, Neil Welliver, Mark Williams, Dadi Wirz, and Ben Woitena. Also included are ex-artists Wayne Amedee,David Budd, Rosemarie Castoro, Robert Dash, Carl Gliko, Jacqueline Gourevitch, Gilah Hirsch, Ian Hornak, Rafael Mahdavi, and Larry Poons.
REEL 1489: Photographs of artists and art work from the artists' files, 1972-1979.
REELS 3366-3367: Gallery files on artist Earl Staley containing correspondence, 1980-1984, of Marvin Watson and Clint Willour of Watson/de Nagy & Company with Staley, the Contemporary Arts Museum, Houston, Western States Arts Foundation, Santa Fe, and others; illustrated postcards, 1981-1983, from Staley to Watson; a checklist of Staley's exhibition FIVE TEXANS IN VENICE, 1984; lists of Staley's paintings; clippings and magazine articles; exhibition announcements and photocopies of catalogs; and newsletters and press releases. [Microfilm label: Earl Staley papers.]
Biographical / Historical:
Art gallery; Houston, Tex. Prior to ca. 1976, Watson/de Nagy & Company was known as Tibor de Nagy Gallery Texas, Inc. - a branch of Tibor de Nagy Gallery, New York. After 1985 it was known as the Watson Gallery.
Provenance:
Lent for microfilming 1979 & 1984 by Marvin Watson, owner of the gallery. Microfilmed as part of Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Function:
Art galleries, Commercial -- Texas
Identifier:
AAA.watsnagy
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-watsnagy

André Emmerich Gallery records

Creator:
André Emmerich Gallery  Search this
Names:
Galerie André Emmerich  Search this
Sotheby Parke Bernet & Co.  Search this
Sotheby's (Firm)  Search this
Caro, Anthony, 1924-  Search this
Emmerich, André  Search this
Francis, Sam, 1923-1994  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Hockney, David  Search this
Hofmann, Hans, 1880-1966  Search this
Louis, Morris, 1912-1962  Search this
Noland, Kenneth, 1924-2010  Search this
Olitski, Jules, 1922-2007  Search this
Pepper, Beverly  Search this
Extent:
311.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Visitors' books
Sound recordings
Video recordings
Scrapbooks
Etchings
Date:
circa 1929-2009
Summary:
The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich. TheA small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.
Scope and Content Note:
The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich.

The records document the gallery's daily business operations, exhibitions, and relationships with artists, dealers, clients, galleries, and museums. Artists particularly well-represented throughout the collection include Anthony Caro, Sam Francis, Helen Frankenthaler, David Hockney, Hans Hofmann, Morris Louis, Kenneth Noland, Jules Olitski, and Beverly Pepper.

Records pre-dating the gallery's establishment in 1954 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of artists, an original etching, and some of André Emmerich's personal records including biographical materials, correspondence, writings, and legal and financial records. Records post-dating the gallery's closure in 1998 are primarily residual business records related to the final disposition of artwork, clippings, photographs of André Emmerich and gallery staff, biographical materials, personal correspondence, writings, legal and financial records, and condolences received by Emmerich's wife upon his death in 2007.

Correspondence is primarily with galleries, museums and clients about business matters. Correspondence files also cover topics such as appraisals, authentications, offers of sale, artists seeking representation, image requests, job applications and recommendations. Also included are the New York gallery's copies of correspondence between the New York staff and the Zurich staff.

André Emmerich's appointment books document appointments, notes, and reminders about Emmerich's business and personal activities. Four appointment books relating to the birth of Emmerich's three sons and second marriage were kept by the family. The appointment books are access restricted and require written permission to use.

Administrative files include corporate records establishing the Andre Emmerich gallery's structure, records documenting the gallery's daily operations, advertising and publicity material, and records about the Sotheby's acquisition. There are also materials related to Top Gallant Farm, from its establishment to its closure. Travel records relate to André Emmerich's business trips and vacations along with some files on the travels of a several staff members at the gallery. Files about the operations of the Galerie André Emmerich in Zurich, Switzerland are included in the series as well.

Subject files relate to Emmerich's gallery business as well as personal and political interests, such as antiquities, art fairs and exhibitions, lecture research, art associations, and sculpture parks. There are several files on the art critic Clement Greenberg and former president of Gay Men's Health Crisis, Nathan Kolodner, who was also an art dealer and director of the Andre Emmerich Gallery.

Exhibition files contain numerous exhibition catalogs and printed materials related to exhibitions held or organized by the André Emmerich Gallery in Manhattan and Galerie André Emmerich in Zurich. The files contain materials ranging such as exhibition invitations, posters, printed materials, press releases, and guest books. Photographs of exhibitions can be found in the Photographic Materials series.

Artist files include biographical materials, clippings, correspondence, mailing lists, price lists, printed materials, and occasionally lectures, writings, and audiovisual materials for many of the artists represented or shown by André Emmerich Gallery. The General Correspondence files might contain duplicates or expanded versions of some of the correspondence. Photographs of artists can be found in the Photographic Materials series.

Artist accounts comprise account statements prepared periodically by the gallery documenting each artist's expenses and sales. Ledgers and general accounting files can be found in the Other Financial and Legal Records series.

Inventory records include inventory cards describing artwork entering and leaving the gallery and files containing various gallery inventories. Artist inventory cards, representing artists from both the New York and Zurich galleries, list the artist, title, date, media and measurements of an artwork. The cards also indicate whether the work was ultimately sold, returned to the artist, consigned, etc., and divided into categories accordingly. Inventory files show various gallery inventories.

Sales records document gallery sales and include paid invoices, records relating to Zurich sales, general sales records such as price lists and canceled sales, and Sotheby's Parke-Bernet auction reports. There are gaps in sales invoices in 1961-1964 and 1969-1971.

Purchase records include correspondence and invoices related to purchases and offers; annotated invoices for works of art bought by the gallery; André Emmerich, Inc. related purchase records; "Non-Modern" art related purchase records.

Consignment records include correspondence and consignment agreements documenting consignments to and from the André Emmerich Gallery; consignments from other galleries to André Emmerich, Inc.; and general consignment records.

Chronological files include copies of invoices or cover letters documenting the movement of artwork into and out of the gallery through sales, consignments, loans, and approvals. Records dating January through August 1968, January through March 1969, and September 1969 through July 1971 are missing.

Financial and legal records include client and partner account statements, resale and exempt organization certificates, accounting ledgers, and legal files related to disputes involving or of interest to the gallery.

Printed materials include auction catalogs and reports, books, and clippings describing André Emmerich, the galleries in New York and Zurich, Top Gallant Farm, and the art world. Also included is a large scrapbook created by the gallery containing clippings and gallery announcements dated 1955-1958. Clippings relating to particular artists can be found in the Artists Files series.

There are two pieces of original artwork in the collection. One is a 1974 print of a 1933 composite etching by Esther Dick Gottlieb, Adolphe Gottlieb, Edgar Levy, Lucille Corcos Levy, David Smith, and Dorothy Dehner Smith. The second is a 1998 lithograph by Louise Bourgeoise, called The Face of the Critic. The artist gave the lithograph as a gift in honor of Robert Hughes and the Archives of American Art and is numbered 61 out of a series of 300.

Photographic materials include prints, slides, negatives, and transparencies. Subjects include artists, André Emmerich, gallery installations, Top Gallant Farm, events, artists' studios, gallery staff, gallery space, and artwork. Photographs which show André Emmerich are indicated as such in the finding aid.

Audiovisual materials includes videocassettes and one audiocassette related to the art world. Videocassettes related to specific artists can be found in the Artists Files series. Videocassettes related to André Emmerich can be found in the André Emmerich Personal Papers and Records series. Videocassettes related to Top Gallant Farm and Sotheby's can be found in the Administrative Files series.

Personal papers and records relating to André Emmerich include biographical materials, personal correspondence, writings and lectures, and legal and financial records. The biographical materials include an address book, interviews and identifying documents. Writings include articles, edits, dissertations, lectures, etc. There are also some miscellaneous correspondence which is organized chronologically.

The small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.
Arrangement:
The collection is arranged as 19 series:

Missing Title

Series 1: General Correspondence Files, 1958-2006 (boxes 1-18, OV 314-315; 18.2 linear feet)

Series 2: André Emmerich Appointment Books, 1954-2007 (boxes 19, 325, 326; 1.7 linear feet)

Series 3: Administrative Files, 1954-2003 (boxes 20-31, 306, OV 314, OV 316-319; 11 linear feet)

Series 4: Subject Files, 1958-1967, 1971-2000 (boxes 31-32, 306, OV 318, OV 320; 2 linear feet)

Series 5: Exhibition Files, circa 1954-1998 (boxes 32-40, 306, 307, OV 318-322; 8.5 linear feet)

Series 6: Artists Files, 1929-1932, 1938-2007 (boxes 40-68, 307, 308, OV 320-323; 28 linear feet)

Series 7: Artist Accounts, 1958-1998 (boxes 68-81; 13.5 linear feet)

Series 8: Inventory Records, circa 1954-2000(boxes 82-128; 46.5 linear feet)

Series 9: Sales Records, 1959-1998 (boxes 128-168; 40 linear feet)

Series 10: Purchase Records, 1961-1966, 1972-1994 (boxes 168-170; 2 linear feet)

Series 11: Consignment Records, 1961-2002 (boxes 170-177; 7.7 linear feet)

Series 12: Chronological File of Incoming and Outgoing Artwork, 1968-1998 (boxes 178-185; 8 linear feet)

Series 13: Other Financial and Legal Records, 1956-1999 (boxes 186-202; 16.5 linear feet)

Series 14: Printed Materials, 1955-1960, 1965-2008 (boxes 202-204, 308, 309; 3 linear feet)

Series 15: Original Artwork, 1933, 1974, 1998 (box 205, 310; 0.7 linear feet (2 folders))

Series 16: Photographic Materials, circa 1930-1935, 1941-1998, circa 2005 (Boxes 205-296, 311-313, OV 324; 92.8 linear feet)

Series 17: General Audio and Video Recordings, 1985, 1990-1995 (Boxes 297-298; 1.3 linear feet)

Series 18: André Emmerich Personal Papers and Records, 1937-1940, 1946-2008 (Boxes 298-305, OV 321, OV 323; 7.7 linear feet)

Series 19: Addition to the The André Emmerich Gallery records and André Emmerich papers, 1956-2009 (Boxes 328-329, OV 330; 2.1 linear feet)
Historical Note:
André Emmerich (1924-2007) was one of America's most noted contemporary art dealers and opened the André Emmerich Gallery in New York in 1954. The gallery showcased contemporary art, particularly Color Field painting and monumental sculpture.

André Emmerich was born on October 11, 1924 in Frankfurt, Germany. From age 7 he was raised in Amsterdam before emigrating with his family to New York City in 1940. He studied at Oberlin College and developed an interest in pre-Columbian art and antiquities. After graduation, he spent ten years in Paris working as a writer and editor before returning to New York. He married Constance Emmerich and the couple had three sons, Adam, Noah, and Toby.

In 1954 Emmerich opened the André Emmerich Gallery at 18 East 77th Street and initially specialized in contemporary American and European art and pre-Columbian antiquities. In 1956, the gallery moved to 17 East 64th Street, and in 1959 to the Fuller Building at 41 East 57th Street. Emmerich wrote two books about pre-Columbian art, Art Before Columbus in 1963 and Sweat of the Sun, Tears of the Moon: Gold and Silver in Pre-Columbian Art in 1965.

In 1961, Emmerich learned that French and Company, a gallery advised by art critic Clement Greenberg, was closing its department of contemporary art. French and Company had represented Color Field painters Morris Louis, Kenneth Noland, and Jules Olitski. Emmerich immediately invited Louis and Noland to be represented by his gallery. In 1966 he extended the invitation to Olitski as well, and Helen Frankenthaler joined soon after. The gallery's reputation as one of the earliest and most important promoters of Color Field painters was launched.

In addition to Color Field painters, the gallery represented, among others, Pierre Alechinsky, Karel Appel, Milton Avery, Herbert Ferber, Sam Francis, John Graham, Al Held, David Hockney, Hans Hofmann, John Hoyland, Judy Pfaff, Miriam Schapiro, and Anne Truitt.

Until January 1983, sales of pre-Columbian art primarily went through an entity called André Emmerich Inc. (AE Inc.), while sales of contemporary went through the André Emmerich Gallery Inc. (AEG). In 1983, the two entities were merged and operated under the name André Emmerich Gallery Inc.

In 1971, Emmerich began operating a downtown gallery at 420 West Broadway, in SoHo, in space shared with Leo Castelli, Virginia Dwan, and Ileana Sonnabend. In 1972, Emmerich opened a branch of his gallery in Zurich. He incorporated the Galerie André Emmerich Gmbh primarily for the purpose of leasing gallery space in Zurich. Until February 1974, sales of Pre-Columbian art in Zurich were made by an entity called André Emmerich Gallery Inc., New York Filiale Zurich. The Galerie André Emmerich Gmbh was officially liquidated in May 1982. The Filiale was formally closed in October 1996. Galerie André Emmerich also enjoyed a short-lived joint venture with Gimpel & Hanover.

André Emmerich served as president of the Art Dealers Association of America from 1972-1974 and again from 1991-1994.

Emmerich opened a private 150 acre sculpture park, Top Gallant Farm, on his estate in Pawling, New York, in 1982, where he stored and exhibited monumental sculptures by artists his gallery represented including Anthony Caro, Beverly Pepper, Alexander Liberman, Alexander Calder, Mark di Suvero, George Rickey, and Keith Haring. David Hockney painted waves onto floor of the property's swimming pool in 1986. Emmerich operated the sculpture park until 1996.

Emmerich sold his gallery to Sotheby's in 1996. He continued to be affiliated with the gallery until Sotheby's closed the gallery in 1998. Emmerich then began work on his memoir, My Life With Art, excerpts of which have been published in Art News, the Wall Street Journal, and The New Criterion.

Andre Emmerich died in New York 2007 and is survived by his second wife, Susanne Emmerich.
Related Material:
Among the holdings of the Archives of American Art is an oral history interview with André Emmerich conducted by Mona Hadler on January 18, 1993.
Provenance:
The André Emmerich Gallery records and André Emmerich papers were donated to the Archives of American Art by André Emmerich in eight accretions between 1999 and 2002. Two additional accretions were donated by Emmerich's wife Susanne in 2008 and 2009; and by James Yohe, Emmerich's former business partner, in 2009 and 2014.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.
Rights:
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.
Topic:
Sculpture, Abstract  Search this
Color-field painting  Search this
Art -- Economic aspects  Search this
Artists' studios -- Photographs  Search this
Function:
Art galleries, Commercial -- New York (State)
Art galleries, Commercial -- Switzerland
Genre/Form:
Photographs
Visitors' books
Sound recordings
Video recordings
Scrapbooks
Etchings
Citation:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.andremmg
See more items in:
André Emmerich Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-andremmg
Online Media:

Oral history interview with Rockne Krebs

Interviewee:
Krebs, Rockne, 1938-2011  Search this
Interviewer:
Forgey, Benjamin  Search this
Names:
Caro, Anthony, 1924-  Search this
Noland, Kenneth, 1924-2010  Search this
Olitski, Jules, 1922-2007  Search this
Extent:
164 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1990 Jan. 27-Feb. 3
Scope and Contents:
An interview of Rockne Krebs conducted 1990 Jan. 27-Feb.3, by Benjamin Forgey, for the Archives of American Art.
Krebs discusses growing up in Kansas City; his early interest in art; childhood art classes at Nelson-Atkins Museum of Art; his family and their home; studying sculpture at the University of Kansas; influential teachers; attending Naval Officer's Training School; his U.S. Navy service and art education while in the Navy; working in Washington, D.C. as the Public Affairs Officer for Vice-Admiral Frost in the 1960s; his wife Denise and their daughter Heather; meeting Anthony Caro, Kenneth Noland, and Jules Olitski; his "Chevron" series; his interest in planes, light, space, and "dematerializing" sculpture; the influence of Walter Hopps; working with laser specialists and Hewlett Packard equipment; his outdoor city-scale laser sculpture; and his early principal patrons Mr. and Mrs. Philip M. Stern and works created for them. Krebs also describes in detail his laser sculptures for the New Orleans Museum of Art (1971) and St. Petersburg (1975-1976) and comments on economic, political and social aspects of the art world.
Biographical / Historical:
Rockne Krebs (1938-2011) was a sculptor from Washington, D.C.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 14 digital wav files. Duration is 7 hrs., 27 min.
Provenance:
These interviews are 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 others. Funding for these interviews provided by the Lannan Foundation.
Topic:
Art, American  Search this
Sculpture -- Technique  Search this
Sculptors -- Washington (D.C.) -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.krebs90
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-krebs90
Online Media:

George Cohen papers

Creator:
Cohen, George, 1913-1980  Search this
Names:
Aronson, David, 1923-2015  Search this
Caro, Anthony, 1924-  Search this
Chaet, Bernard  Search this
Hodgson, Joseph  Search this
Kupferman, Lawrence Edward, 1909-1982  Search this
Extent:
1.8 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1943-1980
Summary:
The papers of George Cohen measure 1.8 linear feet and date between 1943 and 1980. The papers document his career as a painter and educator through correspondence; lectures, course outlines and notes, four audio reel interviews on teaching art, and other teaching files; a resume, financial records, exhibition documents with galleries, and other professional activity; clippings, exhibition catalogs, magazine contributions, and other printed material; and photographs of artwork, Cohen in his studio, and Cohen teaching.
Scope and Contents:
The papers of George Cohen measure 1.8 linear feet and date between 1943 and 1980. Materials include a resume; correspondence with Anthony Caro and others; manuscripts for radio broadcast series, "This is Jazz, A People's Music"; price lists for works of art; financial material; subject files of exhibition material, gallery correspondence and his teaching materials for classes on film and art; exhibition catalogs and announcements; press releases; clippings; photographs and slides of Cohen and his art; three 16mm motion pictures including an interview with Cohen, "Richard Hunt--Welding Sculpture" and "Artist and Fabricator"; and taped interviews with David Aronson, Lawrence Kupferman, Joseph Hodgson and Bernard Chaet.
Arrangement:
The collection is arranged into five series.

Series 1: Correspondence, 1943-1980 (0.1 linear feet; Box 1)

Series 2: Teaching Files, 1948-1979 (0.3 linear feet; Box 1)

Series 3: Professional Activity, 1957-1976 (0.5 linear feet; Box 1, FC 4-6)

Series 4: Printed Material, 1945-1980 (0.6 linear feet; Boxes 1-2)

Series 5: Photographs, 1947-1977 (0.3 linear feet; Box 2, OV 3)
Biographical / Historical:
H. George Cohen (1913-1980) was a painter and educator in Massachusetts. Cohen was born in Worcester, Massachusetts in 1913. He attended the Worcester Art Museum School and the Institute of Design, Chicago, Illinois. Cohen taught art and film classes at Smith College between 1942 and 1980. Cohen participated in numerous exhibition in the New England area from the late 1940s through the 1970s.
Provenance:
The George Cohen papers were donated to the archives in 1982 by Lois Jean Cohen, widow of George Cohen.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
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:
Educators -- Massachusetts  Search this
Painters -- Massachusetts  Search this
Genre/Form:
Interviews
Citation:
George Cohen papers, 1943-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cohegeor
See more items in:
George Cohen papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cohegeor

Clement Greenberg papers

Creator:
Greenberg, Clement, 1909-1994  Search this
Names:
American Committee for Cultural Freedom  Search this
Avedisian, Edward, 1936-2007  Search this
Bannard, Walter Darby, 1934-  Search this
Baziotes, Ethel  Search this
Bush, Jack, 1909-  Search this
Caro, Anthony, 1924-  Search this
Connolly, Cyril, 1903-1974  Search this
Davis, Gene, 1920-1985  Search this
Diebenkorn, Richard, 1922-1993  Search this
Dorazio, Piero, 1927-  Search this
Dzubas, Friedel, 1915-  Search this
Emmerich, André  Search this
Feeley, Paul, 1910-1966  Search this
Francis, Sam, 1923-1994  Search this
Frankenthaler, Helen, 1928-2011  Search this
Fuller, Peter, 1947-1990  Search this
Goodnough, Robert, 1917-  Search this
Gottlieb, Adolph, 1903-1974  Search this
Hofmann, Hans, 1880-1966  Search this
Hosaisson, Philippe  Search this
Kainen, Jacob  Search this
Krauss, Rosalind E.  Search this
Moffett, Kenworth  Search this
Motherwell, Robert  Search this
Newman, Barnett, 1905-1970  Search this
Noland, Kenneth, 1924-  Search this
O'Faolin, Nuala  Search this
Olitski, Jules, 1922-2007  Search this
Pepper, Beverly  Search this
Rothko, Mark, 1903-1970  Search this
Sander, Ludwig, 1906-  Search this
Smith, David, 1906-1965  Search this
Smith, Kimber, 1922-1981  Search this
Solomon, Deborah  Search this
Still, Clyfford, 1904-  Search this
Truitt, Anne, 1921-2004  Search this
Waddington, Leslie  Search this
Wisenski, Kurt  Search this
Extent:
8.6 Linear feet
Type:
Collection descriptions
Archival materials
Transcripts
Interviews
Etchings
Photographs
Reports
Date:
1937-1983
Summary:
The papers of art critic, author, and lecturer Clement Greenberg measure 8.6 linear feet and date from 1937 to 1983. The bulk of the collection consists of letters from art critics, artists, family, friends, galleries, and museums. Notable correspondents include Jack Bush, Anthony Caro, Richard Diebenkorn, Friedel Dzubas, Helen Frankenthaler, Adolph Gottlieb, Hans Hofmann, Morris Louis, Robert Motherwell, Charles Pollock, Jules Olitski, David Smith, and Anne Truitt among others. Also found are biograpical materials, personal business and financial records, an etching by Kurt Wisneski, printed materials, and two reports by Greenberg concerning his travels.
Scope and Content Note:
The papers of influential New York art critic Clement Greenberg measure 8.6 linear feet and date from 1937 to 1983. The bulk of the papers (7 feet) consists of letters from art critics, artists, family, friends, galleries, and museums, with some letters from Greenberg. Correspondents include Edward Avedisian, Darby Bannard, Ethel Baziotes, Jack Bush, Anthony Caro, Gene Davis, Richard Diebenkorn, Piero Dorazio, Friedel Dzubas, Andre Emmerich, Paul Feeley, Sam Francis, Helen Frankenthaler, Robert Goodnough, Adolf Gottleib, Hans Hofmann, Philippe Hosiasson, Jacob Kainen, Rosalind Krauss, Robert Motherwell, Ken Moffett, Barnett Newman, Kenneth Noland, Jules Olitski, Beverly Pepper, Ludwig Sander, David Smith, Kimber Smith, Clyfford Still, Anne Truitt, and Leslie Waddington.

Biographical materials include a transcript of an interview with Greenberg conducted by Deborah Solomon in 1983. Greenberg's personal business and financial records include correspondence regarding his lectures and seminars, requests for his writings, student queries, documents regarding his television and radio appearances, royalty statements, and receipts for gifts of works of art. Also found within business records are documents relating to Greenberg's testimony at the Mark Rothko Trial in 1974.

Artwork consists of one etching by Kurt Wisenski entitled "Spring." The papers contain very few of Greenberg's writings about art. Found are lists of artists, and reports written by Greenberg on the state of art in Japan and India in 1967, likely related to his membership in the American Committee for Cultural Freedom. Printed material includes scattered clippings concerning art and exhibition announcements.

One series of ACCESS RESTRICTED papers contains documents relating to Greenberg's role as a trustee in the David Smith estate; correspondence between Greenberg with Andre Emmerich and Peter Fuller, Nuala O'Faolain, and the Greenberg family; and some financial materials regarding the sale and loan of Greenberg's art collection.
Arrangement:
The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Information, circa 1950s-1983 (Box 1; 2 folders)

Series 2: Business and Financial Records, 1940-1983 (Box 1; 12 folders)

Series 3: Correspondence, 1937-1983 (Boxes 1-8; 7 linear feet)

Series 4: Artwork, 1973 (Box 8; 1 folder)

Series 5: Writings and Notes, 1967-1983 (Box 8; 3 folders)

Series 6: Printed Material, 1950-1982 (Box 8; 2 folders)

Series 7: Restricted Material, 1963-1983 (Boxes 9-11; 1.2 linear feet)
Biographical Note:
Clement Greenberg was a highly influential art critic working in New York City from the 1940s through the 1960s. He was an advocate of modern art, particulary the abstract expressionist movement, and one of the first critics to recognize the significance of Jackson Pollock's work.

Greenberg was born in 1909 to Russian immigrants in Bronx, New York. After graduating from Syracuse University in 1930, he married and had a child, David. He settled in New York City while working at the United States Customs Department as an appraiser.

In the late 1930s, Clement Greenberg attended a meeting of the U.S. Works Progress Administration and heard Hans Hofmann speak of avant-garde art. In 1939, he wrote one of his first important critical pieces "Avant-Garde and Kitsch" for the Partisan Review. Greenberg argued that the avant-garde art movement rose out of the need to defend and maintain high art standards against the decline in taste brought about by America's consumerism and capitalist culture.

In 1940, Greenberg joined Partisan Review as an editor. He became art critic for the Nation in 1942, and was associate editor of Commentary from 1945 until 1957. In December 1950, he joined the CIA-fronted American Committee for Cultural Freedom.

Throughout the 1940s through the 1960s Greenberg continued to write and, in his essays and articles, he promoted the work of Abstract Expressionists, among them Jackson Pollock, Willem de Kooning, Hans Hofmann, Barnett Newman, and Clyfford Still. He particularly championed Jackson Pollock. Greenberg wrote several seminal essays that defined his views on art history in the 20th century. "Greenberg on Collage" was one one of his most important.

Greenberg's views on pop art were mixed. He also became less enamored with Abstract Impressionism, particularly the second generation. However, he became very interested in the Color-Field and Hard-Edge painters.

Through the 1960s Greenberg's views informed a younger generation of art critics including Michael Fried and Rosalind E. Krauss. Some writers maintain that Greenberg's views were so well-respected that he had too much of an influence on the world of art. In time, Greenberg's antagonism to Postmodernist theories and other modern art movements caused him to lose much of his credibility among both artists and art critics.

Greenberg died at the age of eighty-five in 1994.

Since his death, letters edited by his widow, Janice Van Horne and a re-evaluation of his writings have helped to restore his reputation within the art world.
Related Material:
The Portland Art Museum holds Clement Greenberg's private art collection as well as a library of exhibition catalogs.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels N69-91, N70-7, and N737). Most, but not all, of these papers were later donated by Greenberg. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Provenance:
Clement Greenberg initally lent material for microfilming in 1968-1969. He donated most of this material with additional papers in several accretions between 1984 to 1991.
Restrictions:
Use of original papers requires an appointment. Some of the collection is ACCESS RESTRICTED: documents relating to the estate of David Smith; some correspondence with Peter Fuller, Nuala O'Faolain, and the Greenberg family; and sale and loan agreements. Contact the reference staff for more information about permission to use this portion of the collection.
Rights:
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 critics -- New York (State) -- New York  Search this
Topic:
Art criticism -- New York (State) -- New York  Search this
Art -- Japan  Search this
Art -- India  Search this
Modernism (Art)  Search this
Art -- Economic aspects  Search this
Genre/Form:
Transcripts
Interviews
Etchings
Photographs
Reports
Citation:
The Clement Greenberg papers, 1937-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.greeclep
See more items in:
Clement Greenberg papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-greeclep
Online Media:

Nathan Halper business records

Creator:
Halper, Nathan  Search this
Names:
H.C. Gallery (Provincetown, Mass.)  Search this
H.C.E. Gallery (Provincetown, Mass.)  Search this
Kootz Gallery (N.Y.)  Search this
National Association of Women Artists (U.S.)  Search this
Sun Gallery (Provincetown, Mass.)  Search this
Avery, Milton, 1885-1965  Search this
Botkin, Henry, 1896-1983  Search this
Brodie, Gandy, 1925-1975  Search this
Caro, Anthony, 1924-  Search this
Cuddihy, John Murray  Search this
Gottlieb, Adolph, 1903-1974  Search this
Hartley, Marsden, 1877-1943  Search this
Hofmann, Hans, 1880-1966  Search this
Kootz, Samuel Melvin, 1898-1982  Search this
Motherwell, Robert  Search this
Smith, David, 1906-1965  Search this
Stankiewicz, Richard, 1922-1983  Search this
Extent:
4.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Gallery records
Visitors' books
Date:
1952-1979
Summary:
Records of four of Nathan Halper's Provincetown galleries measure 4.2 linear feet and date from 1952-1979. The records relate to Kootz Gallery, H-C Gallery, HCE Gallery, and Sun Gallery - all based in Provincetown. The bulk of the collection consists of correspondence with artists, estate executors, collectors, galleries, and museums. There are also scattered business and financial records documenting operations and sales, photographs and slides, printed materials, and one poem. Correspondents include Milton Avery, Anthony Caro, John Murray Cuddihy, Marsden Hartley, Hans Hoffman, Samuel Kootz, Robert Motherwell, David Smith, Richard Stankeiwicz, and many others.
Scope and Contents note:
Records of four of Nathan Halper's Provincetown galleries measure 4.2 linear feet and date from 1952-1979. The records relate to Kootz Gallery, H-C Gallery, HCE Gallery, and Sun Gallery - all based in Provincetown. The bulk of the collection consists of correspondence with artists, estate executors, collectors, galleries, and museums. There are also scattered business and financial records documenting operations and sales, photographs and slides, printed materials, and one poem. Correspondents include Milton Avery, Anthony Caro, John Murray Cuddihy, Marsden Hartley, Hans Hoffman, Samuel Kootz, Robert Motherwell, David Smith, Richard Stankeiwicz, and many others.

Biographical material consists of one literary poem.

The bulk of the collection consists of correspondence with many artists, estate executors, gallery partners, collectors, galleries, and museums regarding works of art, sales, account balances, requests for information, and general updates.

Scattered business records are found for all four galleries and include a Kootz Gallery guest register, address books, corporation and partnership agreements for the Kootz, H-C, HCE, and Sun galleries, insurance policies, and a Kootz Gallery employee file. Both the guest register and address books were also used as general business related notebooks.

Financial material consists of inventory stock books, price lists and sales, checkbook registers, and general expense invoices/receipts for the four galleries. The undated stock books list artists' names, general artwork identification information, and prices. Additional sales information is found in price lists, correspondence, sales notebooks, and checkbook registers. Invoices and receipts also document general operating expenses.

Printed material includes newspaper clippings on the Provincetown art scene and major artists represented by Halper, three exhibition catalogs, and an event calendar from the National Association of Women Artists.

Photographic material consists of prints and slides of the Kootz, H-C, and HCE galleries; black and white and color prints of exhibitions by Harry Botkin, Adolph Gottlieb, Robert Motherwell, and Hans Hofmann; and black and white prints, color slides, and transparencies of select works of art shown at the galleries.
Arrangement note:
The collection is arranged as 6 series:

Series 1: Biographical Material, circa 1953-1970 (Box 1; 1 folder)

Series 2: Correspondence, 1952-1979 (Boxes 1-2; 1.3 linear feet)

Series 3: Business Records, 1953-1970 (Box 2; .7 linear feet)

Series 4: Financial Material, 1953-1970 (Boxes 3-4; 2 linear feet)

Series 5: Printed Material, 1952-1976 (Box 5; 3 folders)

Series 6: Photographic Material, 1953-1969 (Box 5; 11 folders)
Biographical/Historical note:
Nathan Halper (1907-1983) worked in Provincetown, Massachusetts as a contemporary American art dealer, writer, and James Joyce scholar.

Nathan Halper first moved to Provincetown, Massachusetts in 1936 where he met and eventually married his wife, Helen Marjorie Windust Halper. During the late 1940s and early 1950s, their circle of friends included artists, writers, and academics drawn to the Provincetown art colony. Through friendships with Adolph Gottlieb and Fritz Bultman, Halper was introduced to Hans Hofmann, his students, and other abstract expressionist artists.

In 1949, Halper was invited to give a talk on James Joyce at Forum 49, a Provincetown summer lecture series on the future of art organized by Weldon Kees and held in a gallery at 200 Commercial Street. Speakers ranged from Jackson Pollock to poet laureate Howard Nemerov, and the series also presented one of the first major exhibitions of abstract expressionism in America. In 1952, Halper became the treasurer of the Provincetown Art Association (est. 1914), an influential social nexus that connected artists, galleries, patrons, and the public through memberships and annual events.

In 1953, he entered into a partnership with New York art dealer Sam Kootz and helped establish the Kootz Gallery in Provincetown. Their stable initially consisted of abstract expressionists Kootz represented in New York: Robert Motherwell, Hans Hofmann, Adolph Gottlieb, Fritz Bultman, and William Baziotes. Halper and Kootz mutually agreed to dissolve their partnership in 1954 and Halper opened the H-C Gallery with John Murray Cuddihy in 1955. After Cuddihy's departure at the end of the 1956 season, Halper opened the HCE Gallery (1957-1967), a name inspired by Joyce's Finnegan's Wake. In 1962, Halper entered into a one year partnership with Noah Goldowsky to help finance and run the Sun Gallery.

After the dissolution of the Kootz Gallery, Halper continued to represent Motherwell and, for a short time, Gottlieb in the Provincetown area, but quickly added other artists to the HCE stable. Through its relationship with New York dealers, such as Martha Jackson Gallery, Andre Emmerich Gallery, and Waddington Galleries, HCE was able to exhibit and sell works by Milton Avery, Gandy Brodie, Anthony Caro, Edwin Dickinson, Marsden Hartley, Hans Hoffman, Wolf Kahn, William King, Jan Muller, Elie Nadelman, David Smith, Richard Stankiewicz, Tal Streeter, and Anthony Vevers, among others.
Related Archival Materials note:
Also found in the Archives of American Art are the Kootz Gallery records and oral history interviews with Nathan Halper conducted by Dorothy Seckler, July 17, 1963 and by Robert Brown, July 8-August 14, 1980. Columbia University also holds Nathan Halper's papers concerning his literary scholarly work.
Provenance:
The Nathan Halper business records were donated by Nathan Halper in 1979. Additional materials were donated in 1983 and 1984 by his wife Helen Marjorie Windust Halper.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
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 dealers  Search this
Gallery directors -- Massachusetts -- Provincetown  Search this
Topic:
Art -- Massachusetts -- Provincetown  Search this
Art, Modern -- 20th century -- United States  Search this
Function:
Art galleries, Commercial -- Massachusetts
Genre/Form:
Photographs
Gallery records
Visitors' books
Citation:
Nathan Halper business records, 1952-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.halpnath
See more items in:
Nathan Halper business records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-halpnath
Online Media:

Early One Morning, (sculpture)

Sculptor:
Caro, Anthony 1924-2013  Search this
Medium:
Painted steel and aluminum
Type:
Sculptures
Owner/Location:
Tate Gallery Millbank London England SW1P 4RG Accession Number: T00805
Date:
1962
Topic:
Abstract  Search this
Control number:
IAS 8G110047
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_477573

Anthony Caro: artist file, [photographs]

Artist:
Caro, Anthony 1924-2013  Search this
Physical description:
1 folder
Type:
Photograph
Artist files
Topic:
Art, British  Search this
Image number:
VFM VF000548
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_137551

Anthony Caro seven decades with an introduction by Dieter Schwarz

Title:
Seven decades
Author:
Caro, Anthony 1924-2013  Search this
Schwarz, Dieter 1953-  Search this
Annely Juda Fine Art (London)  Search this
Physical description:
1 volume (unpaged) illustrations (chiefly colour), portraits 28 cm
Type:
Exhibitions
Exhibition catalogs
Place:
Great Britain
Date:
2019
Topic:
Sculpture, Abstract  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1111597

India, (sculpture)

Sculptor:
Caro, Anthony 1924-2013  Search this
Medium:
Sculpture: varnished steel; Base: red brick, stone
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
Western Washington University Western Gallery Between Humanities and Old Main Bellingham Washington 98225
Date:
1976. Installed 1977
Topic:
Abstract  Search this
Allegory--Place--India  Search this
Control number:
IAS 66360007
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_304700

Atlantic, (sculpture)

Sculptor:
Caro, Anthony 1924-2013  Search this
Medium:
Painted steel and aluminum on a stone base
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
The Gulley East Road Shaftsbury Vermont
Date:
1962
Topic:
Allegory--Place--Oceans  Search this
Abstract--Geometric  Search this
Control number:
IAS VT000087
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_310436

Ruanda, (sculpture)

Sculptor:
Caro, Anthony 1924-2013  Search this
Medium:
Steel
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
Florida International University Art Museum University Park Miami Florida 33199
Date:
1974
Topic:
Abstract  Search this
Allegory--Place--Ruanda  Search this
Control number:
IAS FL000061
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_317039

Double Variation, (sculpture)

Sculptor:
Caro, Anthony 1924-2013  Search this
Medium:
Steel
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
Florida International University Art Museum University Park Miami Florida 33199
Date:
1983-1984
Topic:
Abstract  Search this
Control number:
IAS FL000062
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_317040

Tub Figure, (sculpture)

Title:
Bather, (sculpture)
Sculptor:
Caro, Anthony 1924-2013  Search this
Medium:
Sculpture: bronze; Base: concrete
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
University of Judaism Fine Arts Council Marvin and Sondra Smalley Family Sculpture Garden Los Angeles California
Date:
1985. Dedicated Jan. 13, 1991
Topic:
Figure female--Nude  Search this
Figure female--Full length  Search this
Object--Furniture--Bathtub  Search this
Recreation--Leisure--Bathing  Search this
Control number:
IAS CA000266
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_318725

Shoestring, (sculpture)

Sculptor:
Caro, Anthony 1924-2013  Search this
Medium:
Bronze and brass
Type:
Sculptures-Outdoor Sculpture
Sculptures
Place:
Wisconsin
Sheboygan
Topic:
Abstract--Geometric  Search this
Control number:
IAS WI000026
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_326675

Veduggio Dream, (sculpture)

Sculptor:
Caro, Anthony 1924-2013  Search this
Medium:
Varnished steel
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
Clos Pegase Winery 1060 Dunaweal Lane Calistoga California 94515
Date:
1972-1973
Topic:
Abstract  Search this
Control number:
IAS CA001031
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_333611

Sunshine, (sculpture)

Sculptor:
Caro, Anthony 1924-2013  Search this
Medium:
Painted steel
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
Clos Pegase Winery 1060 Dunaweal Lane Calistoga California 94515
Date:
1964
Topic:
Abstract  Search this
Control number:
IAS CA001032
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_333612

Rape of the Sabines, (sculpture)

Sculptor:
Caro, Anthony 1924-2013  Search this
Medium:
Sculpture: steel; Base: wood
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
Administered by Martin Selig Real Estate 1000 Second Avenue, #1800 Seattle Washington 98104
Located Metropolitan Park East Tower, 1221 Howell Street Seattle Washington
Date:
1986
Topic:
Abstract  Search this
History--Ancient--Rome  Search this
Control number:
IAS WA000573
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_336477

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