Search Results

Creator:

Gore, Marian L.  Search this

Subject:

Mallary, Robert  Search this

Lebrun, Rico  Search this

Kuntz, Roger  Search this

Luna, Mario  Search this

Leavitt, Thomas W.  Search this

Gerchik, Paul  Search this

Greene, Balcomb  Search this

Hopps, Walter  Search this

Hansen, Jurgen  Search this

Goeritz, Mathias  Search this

Elliot, James  Search this

Carter, Earl  Search this

Lipchitz, Jacques  Search this

Cremean, Robert  Search this

Brigante, Nicholas P.  Search this

Blair, Streeter  Search this

Ankrum, Joan  Search this

Albers, Josef  Search this

Siqueiros, David Alfaro  Search this

Albert, Michel (artist)  Search this

Wayne, June  Search this

Nevelson, Louise  Search this

Geoffrey, J. Iqbal  Search this

Vicente, Esteban  Search this

Wark, Robert R.  Search this

Schwaderer, Fritz (Fritz Karl)  Search this

Tamayo, Rufino  Search this

Robles, Esther  Search this

Schniede, Otto  Search this

Cuevas, José Luis  Search this

Ortiz, Emilio  Search this

Falkenstein, Claire  Search this

Comara Gallery  Search this

Dwan Gallery (Los Angeles, Calif.)  Search this

Ferus Gallery (Los Angeles, Calif.)  Search this

Silvan Simone Gallery  Search this

KPFK (Radio staion : Los Angeles, Calif.)  Search this

Ankrum Gallery  Search this

Ceeje Gallery  Search this

Type:

Sound recordings

Photographs

Interviews

Transcripts

Citation:

Marian Gore "Art Scene" interviews and papers, 1958-1969. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Collectors and collecting -- California -- Los Angeles  Search this

Curators -- California -- Los Angeles  Search this

Gallery owners -- California  Search this

Artists -- California -- Los Angeles  Search this

Theme:

Art organizations  Search this

Record number:

(DSI-AAA_CollID)6118

(DSI-AAA_SIRISBib)216328

AAA_collcode_goremari

Theme:

Art organizations

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_216328

Interviewee:

Linder, Charles K., 1967-  Search this

Interviewer:

Karlstrom, Paul J.  Search this

Creator:

Art Schools in California Oral History Project  Search this

Names:

Art Schools in California Oral History Project  Search this

Refusalon Gallery  Search this

San Francisco Art Institute -- Students.  Search this

University of California, Berkeley. Department of Art -- Students.  Search this

Extent:

25 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1999 July 10

Scope and Contents:

An interview of Charles Linder conducted 1999 July 10, by Paul Karlstrom, for the Archives of American Art as part of the Art Schools in California Oral History Project, in Linder's home, San Francisco, Calif.

Linder focuses on his experiences at the San Francisco Art Institute (BFA, sculpture and video, 1990) and University of California, Berkeley (MFA, new genres program, 1997). He discusses the art programs at the two institutions in terms of the benefits provided to students facing careers in a highly competitive and commercial art world; his particular interests in the contrasting philosophies of the fine arts training with romantic bohemian individuals on one hand and the careerist (market and/or teaching) goals on the other;

his admiration of certain faculty members at both institutions and savoring the bohemian atmosphere of the SFAI especially; the efficacy of formal training for artists who need to prepare to make a living; founding the avant-garde Refusalon Gallery in 1990, created in part as his conceptual art piece investigating the often conflicting worlds of creative idealism and business realities; and turning the gallery over to his partner in early 1999 when finding that, as an artist, he could not reconcile the two.

Biographical / Historical:

Charles K. Linder (1967- ) is a conceptual artist and gallery owner from San Francisco, Calif.

General:

Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1hr., 3 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. This interview is part of the Archives of American Art Oral History Program, started in 1959 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Gallery owners -- California  Search this

Conceptual artists -- California -- San Francisco  Search this

Topic:

Art students -- California -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Bente and Gerald E. Buck Collection. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.linder99

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw989798557-22b4-4ecb-be70-c1209847b62c

EDAN-URL:

ead_collection:sova-aaa-linder99

Interviewee:

Cummins, Susan  Search this

Riedel, Mija, 1958-  Search this

Interviewer:

Lauria, Jo  Search this

Extent:

9 Items (wav files (3 hr., 24 min.), digital)

Type:

Collection descriptions

Archival materials

Sound recordings

Interviews

Date:

2009 October 22

Scope and Contents:

An interview of Susan Cummins conducted 2009 October 22, by Jo Lauria, for the Archives of American Art, at Cummins' home, in Mill Valley, California. Mija Riedel is also present at the interview.

Biographical / Historical:

Susan Cummins (1946- ) is a former gallery owner and art dealer in Mill Valley, California. Cummins owned and operated the Susan Cummins gallery from 1984-2002. Mija Riedel (1958- ) worked at the Susan Cummins gallery with Cummins for 16 years.

General:

Originally recorded on 4 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 3 hr., 24 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Occupation:

Art dealers -- California  Search this

Gallery owners -- California  Search this

Topic:

Women art dealers  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Widgeon Point Charitable Foundation.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.cummin09

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw941aeff72-5126-4fc9-a8e0-087cba7b6f90

EDAN-URL:

ead_collection:sova-aaa-cummin09

Interviewee:

Gordon, Joni, 1936-  Search this

Interviewer:

Karlstrom, Paul J.  Search this

Names:

Los Angeles Institute of Contemporary Art  Search this

Asher, Betty  Search this

Extent:

4 Sound cassettes (Sound recording (120 min.), analog)

61 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Sound recordings

Interviews

Date:

2002 July 8-Sept 23

Scope and Contents:

An interview of Joni Gordon conducted 2002 July 8-Sept. 23, by Paul Karlstrom, for the Archives of American Art, in Gordon's home, Los Angeles, Calif.

She discusses her personal and educational background; the origins and purposes of Newspace Gallery; her experiences with the Ferus Gallery, Esther Robles Gallery, Frank Perls Gallery, and Felix Landau Gallery. Gordon also discusses her friendship with Betty Asher and Betty Parsons, who became her mentor in the gallery business. She relates that her interest in the promotion of local comtemporary artists led her along with her husband, Monte, and Robert Smith to organize the Los Angeles Institute of Contemporary Art (LAICA).

Biographical / Historical:

Joni Gordon (1936- ) is the owner and director of Newspace art gallery and an art collector from Los Angeles, Calif.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for the transcription of this interview was provided by Joni Gordon.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Gallery directors -- California -- Los Angeles  Search this

Gallery owners -- California  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the transcription of this interview provided by Joni Gordon.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.gordon02

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f863340e-606a-4d27-a0e0-524cbb11c4e9

EDAN-URL:

ead_collection:sova-aaa-gordon02

Creator:

Webster, Tamara, 1917-2011  Search this

Names:

Hammersley, Frederick, 1919-2009  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1917-circa 1920s

1961-1996

Summary:

The Tamara Webster papers relating to Frederick Hammersley measure 0.2 linear feet and date from circa 1917-circa 1920s, and 1961 to 1996. Webster was a mixed-media artist who operated the Tamara Webster Gallery in Cambria, California and was a friend of Frederick Hammersley. The papers include letters and holiday cards all written by Hammersley to Webster, and some Hammersley exhibition catalogs and clippings Hammersley sent to Webster. Also found are photographs of Hammersley in his Albuquerque studio, and photos of his artwork, his exhibitions, and other subjects.

Scope and Contents:

The Tamara Webster papers relating to Frederick Hammersley measure 0.2 linear feet and date from circa 1917-circa 1920s, and 1961 to 1996. Webster was a mixed-media artist who operated the Tamara Webster Gallery in Cambria, California, and a friend of Frederick Hammersley. The papers include letters and holiday cards all written by Hammersley to Webster, and some Hammersley exhibition catalogs and clippings Hammersley sent to Webster. Also found are photographs of Hammersley in his Albuquerque studio, and photos of his artwork, his exhibitions, and other subjects.

Arrangement:

The collection is arranged as 3 series.

Missing Title

Series 1: Letters, 1970-1996 (3 folders; Box 1)

Series 2: Printed Material, 1961-1990 (2 folders; Box 1)

Series 3: Photographs, circa 1917-circa 1920s, 1972-1995 (8 folders; Box 1)

Biographical / Historical:

Tamara Webster (1917-2011) was a gallery owner and mixed-media artist in Cambria, California.

Webster incorporated painting, weaving, mosaic, ethnic jewelry, furniture, woodwork, and sculpture into her artwork. She moved to Cambria in the early 1970s and operated the Tamara Webster gallery in two locations before moving it to her home studio. Webster befriended abstract painter Frederick Hammersley while living in California. After Webster moved to New Mexico in 1971 the two artists corresponded and remained friends for many years.

Related Materials:

The Archives of American Art also has the Frederick Hammersley papers, 1897-2008 and the Bardene Allen Papers, circa 1965-2009.

Provenance:

The Tamara Webster papers relating to Frederick Hammersley were donated to the Archives of American Art in 2015 via Karen Kile, the director of the San Luis Obispo Museum of Art.

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.

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 -- California -- Cambria  Search this

Gallery owners -- California -- Cambria  Search this

Mixed-media artists -- California -- Cambria  Search this

Topic:

Women art dealers  Search this

Women artists  Search this

Citation:

Tamara Webster papers relating to Frederick Hammersley, circa 1917-circa 1920s, 1961-1996. Archives of American Art, Smithsonian Institution.

Sponsor:

The collection was digitized in 2022 with funding provided by the Frederick Hammersley Foundation.

Identifier:

AAA.webstama

See more items in:

Tamara Webster papers relating to Frederick Hammersley

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9aa7b20d2-b726-407b-9e4f-73233e1f61a5

EDAN-URL:

ead_collection:sova-aaa-webstama

Creator:

Allen, Bardene, 1933-  Search this

Names:

Fine Arts Gallery (Laguna Beach, California)  Search this

Orange County Center for Contemporary Art  Search this

Chamberlain, Richard, 1935-  Search this

Hammersley, Frederick, 1919-2009  Search this

Extent:

0.8 Linear feet (Boxes 1-2)

0.788 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Date:

circa 1965-2014

Summary:

The papers of sculptor, painter, and gallery owner Bardene Allen measure 0.8 linear feet and date from 1965-2014. Allen's career as a painter and sculptor, her friendship with Frederick Hammersley, and her administration of the Fine Arts Gallery in Laguna Beach, California, are documented through biographical material, correspondence, professional files, exhibition files, photographic materials including digital photographs, and printed material.

Scope and Contents:

The papers of sculptor, painter, and gallery owner Bardene Allen measure 0.8 linear feet and date from 1965-2014. Allen's career as a painter and sculptor, her friendship with Frederick Hammersley, and her administration of the Fine Arts Gallery in Laguna Beach, California, are documented through biographical material, correspondence, professional files, exhibition files, photographic materials including digital photographs, and printed material.

Correspondence includes a small amount of professional correspondence regarding Allen's career. Also of note is personal corresondence which includes letters from Frederick Hammersley and actor Richard Chamberlain. Professional files include a statement of Allen's thoughts on her relationship with Frederick Hammersley, as well as price lists, artwork inventories, donations, commission proposals, and documentation of her involvement with both the Fine Arts Gallery in Laguna Beach, California and the Orange County Center for Contemporary Art. Exhibition files are for select exhibitions Allen participated in. Photographic material includes printed photographs and transparencies as well as digitized and digital images of artwork and of Allen with her artwork and at exhibitions. Printed material includes press clippings and exhibition invitations and catalogs.

Arrangement:

The collection is arranged in 6 series:

Series 1: Biographical Material, circa 1990-1996 (0.1 Linear Feet; Box 1)

Series 2: Correspondence, circa 1965-2009 (0.2 Linear Feet; Box 1)

Series 3: Professional Files, circa 1980-1994 (0.1 Linear Feet; Box 1)

Series 4: Exhibition Files, circa 1989-1995 (0.1 Linear Feet; Box 2)

Series 5: Photographic Material, circa 1977-2014 (0.2 Linear Feet; Box 2, ER01)

Series 6: Printed Material, circa 1981-2007 (0.1 Linear Feet; Box 2)

Biographical / Historical:

Bardene Allen (1933- ) is a sculptor, painter and former gallery owner in Laguna Beach, California. Allen received her Bachelor of Fine Arts degree at Pomona College in 1955 where she studied under Frederick Hammersley, who would become a life-long friend and correspondent. She is the former owner of the Fine Arts Gallery in Laguna Beach, California which was in operation from 1980 to 1983. As a sculptor Allen has worked in stone, wood, resin, bronze and terracotta. Her subjects in sculpture and painting range from mythic gods and imaginary creatures to everyday characters, Hollywood entertainers, and popular musicians in rock and jazz music.

Provenance:

The papers were donated from 1992 to 2002, 2009, and 2014 by Bardene Allen.

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 born-digital records 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:

Sculptors -- California  Search this

Painters -- California  Search this

Gallery owners -- California  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Citation:

Bardene Allen Papers, circa 1965-2014. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.allebard

See more items in:

Bardene Allen papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96cb441fe-8257-4178-bc2e-c0532f95a292

EDAN-URL:

ead_collection:sova-aaa-allebard

Interviewee:

Faure, Patricia, 1928-2008  Search this

Interviewer:

Ehrlich, Susan, 1942-  Search this

Names:

Asher & Faure  Search this

Extent:

1 Item (Sound recording, master: 6 sound discs (5 hrs. and 20 min.) : digital ; 2 5/8 in)

104 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2004 Nov. 17-24

Scope and Contents:

An interview of Patricia Faure conducted 2004 Nov. 17-24, by Susan Ehrlich, for the Archives of American Art, in Beverly Hills, Calif.

Faure spoke about her early childhood in Wisconsin and the family's move to California; attending Hollywood High and meeting young stars; modeling; working for Vincent Price on Saturday's during high school; moving to New York for her modeling career; her first husband Philip Peyton; classes at the New School of Social Research, New York; meeting Joseph Cornell; her return to Los Angeles in the early 1950s; Riko Mizuno and other galleries in operation before she opened Asher-Faure;photography; her marriage to Jacques Faure and living in France; her daughter Zazu, born 1965; working for Nick Wilder, and the numerous artists and actors she met through his gallery; opening Asher-Faure with Betty Asher; the growth of galleries and art museums in Southern California; collectors; art writers, including Christopher Knight, Suzanne Muchnic, David Pagel, Leah Ollman, and Holly Meyers; her shows that combine a New York gallery and an artist from that gallery, for example the André Emmerich Gallery and Franz Kline or Philip Guston; the other businesses in Bergamont Station; her enjoyment of putting up a show; dogs bringing their owners into her gallery space; the independence of the art market from the stock market; and how she has profited in many ways from this journey. Faure also recalls Man Ray, Rico Lebrun, Frank Sinatra, Larry Rivers, Ed Moses, Billy Al Bengston, John Altoon, Sam Francis, Irving Blum, Peggy Moffit, Bill Claxton, Felix Landau, Everett Ellin, Maurice Tuchman, Rona Pondick, Jo Baer, and others.

Biographical / Historical:

Patricia Faure (1928-2008) was a gallery owner from Los Angeles, Calif. Interviewer Susan Ehrlich: Art historian, Beverly Hills, Calif.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Gallery owners -- California  Search this

Topic:

Art -- Economic aspects  Search this

Art -- Collectors and collecting -- California  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.faure04

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9baf48f29-3a9d-4b04-8359-bd197be4dc53

EDAN-URL:

ead_collection:sova-aaa-faure04

Interviewee:

Palmer, Herbert Bearl, 1915-2006  Search this

Interviewer:

Ehrlich, Susan, 1942-  Search this

Names:

Ankrum Gallery  Search this

David Stuart Galleries  Search this

Feigen Palmer Gallery  Search this

Felix Landau Gallery  Search this

Irving Blum Gallery (Los Angeles, Calif.)  Search this

New York University -- Students  Search this

Ankrum, Joan  Search this

Bloch, Lucienne, 1909-1999  Search this

Bluhm, Norman, 1921-1999  Search this

Callahan, Harry M.  Search this

Cézanne, Paul, 1839-1906  Search this

Feigen, Richard L., 1930-  Search this

Garabedian, Charles  Search this

Grooms, Red  Search this

Maillol, Aristide, 1861-1944  Search this

Mullican, Lee, 1919-1998  Search this

Offner, Richard, 1889-1965  Search this

Onslow-Ford, Gordon  Search this

Paalen, Wolfgang, 1907-  Search this

Reiss, Henrietta  Search this

Reiss, Winold, 1886-1953  Search this

Riley, Bridget, 1931-  Search this

Shapiro, Meyer  Search this

Stevenson, Harold, 1929-2018  Search this

Tudor, David, 1926-1996  Search this

Vasa  Search this

Wölfflin, Heinrich, 1864-1945  Search this

Extent:

56 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2004 Dec. 6-22

Scope and Contents:

An interview of Herbert Palmer conducted 2004 Dec. 6 and 22, by Susan Ehrlich, for the Archives of American Art, in West Hollywood, Calif.

Palmer discusses his family background and childhood in New York City; early exposure to art exhibitions; music appreciation; attending New York University; taking classes with Winhold Reiss, Meyer Shapiro, Richard Offner, and Heinrich Wolfflin; his master's thesis on Paul Cezanne's paintings of Mount Saint Victoire; moving to California; learning to fly; meeting Lillian, his wife; founding Feigen-Palmer Gallery with Richard Feigen; other galleries in the area, including Irving Blum, David Stuart, Felix Landau, Charles Garabedian, and Joan Ankrum; Monday Night Art Walks; John Cage and David Tudor performance pieces; the many artists he's exhibited; Andy Warhol's "The Kiss"; 1968 split with Richard Feigen to become the Herbert Palmer Gallery; the theft of a Picasso sculpture in Dec. 1981 and the ensuing legal case, which involved numerous galleries and collectors; his longstanding friendships with Gordon Onslow Ford, Lee Mullican, and Wolfgang Paalen; membership to the Art Dealers Association of California; and his enjoyment of discovering art, old and new. Palmer also recalls Henriette Riess, Harold Stevenson, Lucienne Bloch, Bridget Riley, Vasa Mihich, Maillol, Red Grooms, Norman Bluhm, and others.

Biographical / Historical:

Herbert Palmer (1915-2006) owned the Herbert Palmer Gallery of West Hollywood, Calif. Interviewer Susan Ehrlich is an art historian from Beverly Hills, Calif.

General:

Originally recorded on 4 mini discs. Reformatted in 2010 as 15 digital wav files. Duration is 3 hr., 35 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

Use requires an appointment.

Occupation:

Gallery owners -- California  Search this

Topic:

Art thefts  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.palmer04

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9865dac29-395b-4aba-932d-dc84613acfdc

EDAN-URL:

ead_collection:sova-aaa-palmer04

Interviewee:

Jancar, Tom, 1950  Search this

Interviewer:

Drohojowska-Philp, Hunter  Search this

Names:

Bowers Museum  Search this

Claire Copley Gallery  Search this

Jancar Gallery  Search this

Jancar/Kuhlenschmidt Gallery  Search this

Orange Coast College -- Students  Search this

University of California, Irvine -- Students  Search this

Ader, Bas Jan, 1942-1975  Search this

Amico, David, 1951-  Search this

Askevold, David  Search this

Cointet, Guy de, 1934-1983  Search this

DeLap, Tony, 1927-2019  Search this

Gagosian, Larry  Search this

Garver, Thomas H.  Search this

Glicksman, Hal  Search this

Hebron, Micol  Search this

Hubbard, Kim  Search this

Jimmerson, Tom  Search this

Kauffman, Craig, 1932-2010  Search this

Kira, Hiromu, 1898-1991  Search this

Kuhlenschmidt, Richard  Search this

Lawler, Louise  Search this

Leider, Philip, 1929-  Search this

Milant, Jean, 1943-  Search this

Prince, Richard, 1949-  Search this

Segalove, Ilene, 1950-  Search this

Sprinkle, Annie, 1954-  Search this

Tippett, Phil  Search this

Extent:

5 Items (sound files (2 hr., 30 min.) Audio, digital, wav)

58 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2017 June 23

Scope and Contents:

An interview with Tom Jancar conducted June 23 2017, by Hunter Drohojowska-Philp, for the Archives of American Art, at Pomona College, Art Department, Claremont, California.

Mr. Jancar discusses his family's origins in the Pasadena, California area; his mother's interest in painting and his early exposure to art in their home; the impact of music on his early art understanding; his first classes in art history at Orange Coast College and subsequent art degrees from UC Irvine; his interest in collecting Pictorialist photography in the Los Angeles area; his first exposures to Conceptual art at UC Irvine; his time as a teaching assistant for Bas Jan Ader at UCI; the impact of visits as a student to galleries in the L.A. area, especially the Claire Copley Gallery. Mr. Jancar also describes his work as an art preparator at the Bowers Museum; his time performing construction work with Tom Jimmerson for galleries in the L.A. area; his friendship with Richard Kuhlenschmidt and the opening of the Jancar/Kuhlenschmidt Gallery in the Los Altos Apartments building in 1980; Mr. Jancar's decision to leave the gallery business in 1982 and to devote his time to working in corporate architecture; his return to the gallery world in 2006 and the opening of the Thomas Jancar Gallery; his focus on women artists and emphasis on showing the work of emerging artists alongside more established artists; his decision to leave the gallery world once again in 2015, and the closing of his gallery. Mr. Jancar also recalls Hal Glicksman, Tom Jimmerson, Craig Kauffman, Tom Garver, Phil Tippett, Tony DeLap, Ilene Segalove, Hiromu Kira, Guy de Cointet, as well as Kim Hubbard, David Amico, Phil Leider, Larry Gagosian, Louise Lawler, Jean Milant, Micol Hebron, Richard Prince, Annie Sprinkle, and David Askevold, among others.

Biographical / Historical:

Tom Jancar (1950- ) a contemporary art dealer who owns Jancar Gallery in Los Angeles, California. Hunter Drohojowska-Philp is a writer in Los Angeles, California.

Related Materials:

The Archives of American Art also holds the Jancar Gallery records.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Topic:

Art dealers -- California -- Los Angeles -- Interviews  Search this

Gallery owners -- California -- Los Angeles -- Interviews  Search this

Women artists  Search this

Genre/Form:

Interviews

Sound recordings

Identifier:

AAA.jancar17

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c8cc1c6d-6d30-4c6a-b676-25c7af8aae1f

EDAN-URL:

ead_collection:sova-aaa-jancar17

Interviewee:

Felsen, Rosamund, 1934-  Search this

Interviewer:

Ayres, Anne, 1936-  Search this

Extent:

5 Sound discs (Sound recording, master (5 hrs.), digital, 2 5/8 in.)

104 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound discs

Pages

Sound recordings

Interviews

Date:

2004 Oct. 10-11

Scope and Contents:

An interview of Rosamund Felsen conducted 2004 October 10-11, by Anne Ayres, for the Archives of American Art, in Los Angeles, Calif.

Felsen discusses developing her gallery's stable of artists; forming a creative consciousness while working at Gemini GEL and being involved in high school theater; being unable to start a career because of the demand of raising four children; the influences of her older siblings; her marriages to Vern Hinderer and Sidney Felsen; engaging in the nascent 1960s Los Angeles art world; the founding of Gemini GEL with her husband, Sidney, and Stanley and Elyse Grinstein; her involvement with "political" artists like Jeffrey Vallance; working in the now defunct Pasadena Art Museum; that museum's downfall; starting a gallery with Timothea Stewart; her thoughts on other Los Angeles galleries of the 1970s; the influence of the Beatnik movement on L.A. art; the financial difficulties of exhibiting conceptual art; and the importance of art schools in forming a regional art scene. Felsen also mentions her ambivalent opinions of Feminist art; the exodus of a major portion of her gallery's artists; the importance of lawyers aiding artists; the characteristics of retrospective exhibitions on the Los Angeles art world; the differences between high art and design; her relationships with various collectors; socializing in the L.A. art world; the definitions of the terms "art world" and "taste"; the public's restricted access, because of admission prices and tastes, to contemporary art; how she splits funds after selling an artwork; the problems of dealing with artist's estates; the importance of her relationships with museum curators; and how she still retains enthusiasm for her work. Felsen also recalls Patrick Hogan, Lari Pittman, Michael Kelley, Man Ray, Tom Hanks, Jeffrey Vallance, Thomas Kincade, Laura Owens, Meg Cranston, Keith Sklar, Ralph Rugoff, Tim Ebner, Virginia Dwan, George Wanlass, and others.

Biographical / Historical:

Rosamund Felsen (1934- ) is a gallery owner in Los Angeles, Calif. Anne Ayres (1936- ) is a curator from Los Angeles, Calif.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Gallery owners -- California  Search this

Topic:

Art -- Economic aspects  Search this

Art -- Political aspects  Search this

Art -- Collectors and collecting -- California -- Los Angeles  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview provided by the Art Dealers Association.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.felsen04

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f2519beb-2154-42ff-9ccb-106eaac0f473

EDAN-URL:

ead_collection:sova-aaa-felsen04

Interviewee:

Jancar, Tom, 1950-  Search this

Interviewer:

Drohojowska-Philp, Hunter  Search this

Subject:

Ader, Bas Jan  Search this

Amico, David  Search this

Askevold, David  Search this

Cointet, Guy de  Search this

DeLap, Tony  Search this

Gagosian, Larry  Search this

Garver, Thomas H.  Search this

Glicksman, Hal  Search this

Hebron, Micol  Search this

Hubbard, Kim  Search this

Jimmerson, Tom  Search this

Kauffman, Craig  Search this

Kira, Hiromu  Search this

Kuhlenschmidt, Richard  Search this

Lawler, Louise  Search this

Leider, Philip  Search this

Milant, Jean  Search this

Prince, Richard  Search this

Segalove, Ilene  Search this

Sprinkle, Annie  Search this

Tippett, Phil  Search this

Bowers Museum  Search this

Claire Copley Gallery  Search this

Jancar Gallery  Search this

Jancar/Kuhlenschmidt Gallery  Search this

Orange Coast College  Search this

University of California, Irvine  Search this

Type:

Interviews

Sound recordings

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Tom Jancar, 2017 June 23. Archives of American Art, Smithsonian Institution.

Topic:

Art dealers -- California -- Los Angeles -- Interviews  Search this

Gallery owners -- California -- Los Angeles -- Interviews  Search this

Women artists  Search this

Record number:

(DSI-AAA_CollID)17485

(DSI-AAA_SIRISBib)389161

AAA_collcode_jancar17

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_389161

Creator:

Frank Perls Gallery  Search this

Names:

Curt Valentin Gallery (New York, N.Y.)  Search this

M. Knoedler & Co.  Search this

Amato, Sam, 1924-  Search this

Brice, William, 1921-  Search this

Chuey, Robert  Search this

Lebrun, Rico, 1900-1964  Search this

Lipchitz, Jacques, 1891-1973  Search this

Matisse, Henri, 1869-1954  Search this

McGarrell, James, 1930-  Search this

Peake, Channing, 1910-  Search this

Perls, Frank, 1910-1975  Search this

Perls, Klaus  Search this

Picasso, Pablo, 1881-1973  Search this

Ray, Man, 1890-1976  Search this

Strombotne, James  Search this

Warsaw, Howard  Search this

Extent:

23.8 Linear feet

Type:

Collection descriptions

Archival materials

Short stories

Scrapbooks

Photographs

Sales records

Gallery records

Date:

circa 1920-1983

bulk 1949-1975

Summary:

The Frank Perls papers and Frank Perls Gallery records measure 23.8 linear feet and date from 1920-1983, with the bulk dating from 1949-1975. Personal papers include writings, military records, appointment calendars, and photographs. Gallery records date from its opening in 1939 until its closure in 1981 and consist of financial, sales, and legal records; exhibition files; exhibition catalogs and announcements; subject files that contain a variety of correspondence with artists, dealers, galleries, museums, and friends and family, as well as reference materials and photographs; and scrapbooks.

Scope and Content Note:

The Frank Perls papers and Frank Perls Gallery records measure 23.8 linear feet and date from 1920-1983, with the bulk dating from 1949-1975. Personal papers include writings, military records, appointment calendars, and photographs. Gallery records date from its opening in 1939 until its closure in 1981 and consist of financial, sales, and legal records; exhibition files; exhibition catalogs and announcements; subject files that contain a variety of correspondence with artists, dealers, galleries, museums, and friends and family, as well as reference materials and photographs; and scrapbooks.

Personal papers contain biographical materials, including military records from Perls' service in the army during World War II, personal photographs, documentation on his estate settlement, and numerous short stories. Of particular interest are Perl's stories about his interactions with Pablo Picasso and his work to uncover fraud, fakes, and corruption in the art world. There are also many photographs of Picasso, photographs of family, the war, and Perls, including two original photographs of Perls by Man Ray.

Gallery sales, purchases, consignments, insurance appraisals, loans, provenance research, and general business expenses are well documented in the General Business and Financial Records. Perls jointly owned artwork with several galleries in New York, including the Curt Valentine Gallery and M. Knoedler Gallery, and these consignment and joint sales are documented in the invoices. A complete accounting of the Gallery's income and expense reports from 1950-1971 is also be found in this series. Artists extensively documented through financial transactions are William Brice, James Strombotne, and Howard Warsaw.

Extensive exhibition files document the gallery's exhibitions and Perl's curatorial work. Files contain varied documentation, such as photographs, catalogs, announcements, and publicity for Frank Perls Gallery shows from 1939 through 1971. Artists represented in this series include Sam Amato, Robert Chuey, Jaques Lipchitz, Pablo Picasso, James McGarrell, and James Strombotne. Files are also found for the two major retrospective exhibitions Perls organized and curated, Matisse Retrospective at University of California, Los Angeles and Sixty Years of Picasso Prints at the Los Angeles County Museum of Art, both in 1966. Additional information about these exhibitions is also found in the Subject Files.

Subject Files are extensive and varied in name, content, and topic. They consist mostly of correspondence with friends, family, colleagues, artists, critics, galleries and dealers, clients, arts organizations and associations, publications, and others. There are also reference files and exhibition files for exhibitions held at other galleries and museums in which Perls was interested, guest curated, or loaned artwork. The contents of each file unit varies, but many include correspondence, photographs, appraisal records, sales records, invoices, reports, and membership records. The files highlight his close personal relationship with many artists, including William Brice, Rico Lebrun, James McGarrell, Channing Peake, Pablo Picasso, and James Strombotne. Subject Files also contain abundant correspondence with colleagues and family members, including his brother Klaus, who owned and operated the Perls Gallery in New York. Many of the files concern Perl's work with art documentation and authentication. Subject Files have been arranged according to Frank Perls original order.

Finally, scrapbooks contain newspaper articles, catalogs, and announcements about exhibitions at the Perls Gallery in New York during the late 1930s and the Frank Perls Gallery in Los Angeles during the 1950s.

Arrangement:

The collection is arranged into 5 series:

Missing Title

Series 1: Frank Perls papers, circa 1920-1981 (Box 1-2, 28; 1.1 linear feet)

Series 2: General Financial and Business Records, 1949-1975 (Box 2-4, 23-27; 3.4 linear feet)

Series 3: Exhibition Files, 1937-1975 (Box 5-6; 1.5 linear feet)

Series 4: Subject Files, circa 1939-1983 (Box 6-22; 16.5 linear feet)

Series 5. Scrapbooks, 1937-1957 (Box 28; 0.3 linear feet)

Historical Note:

Frank Perls (1910-1975) was founder and sole owner of the Frank Perls Gallery in Beverly Hills, California.

Frank Perls was born in Germany on October 23, 1910. His parents, Hugo and Kaethe Perls, owned one of the leading art galleries in Berlin, and sold the work of many well-known artists. Artists works included in the gallery inventory were pieces by Edvard Munch, Pablo Picasso, Claude Monet, Vincent van Gogh, and Paul Cézanne, among others. His parents enjoyed a close friendship with Picasso, a relationship Perls maintained until Picasso's death in 1973. After his parents divorce in 1931, his mother left Germany and eventually opened the Galerie Kaethe in Paris.Frank Perls studied art history at the Universities of Munich, Berlin, and Frankfurt and joined his mother at the Galerie Kaethe in 1932.

Frank Perls immigrated to the United States in 1937 and partnered with his brother, Klaus Perls, to open the Perls Galleries in New York. Two years later he moved to California and opened the Frank Perls Gallery on Sunset Boulevard in Hollywood. During those first years, the Gallery hosted exhibitions by Man Ray, Eugene Berman, and John Decker.

Perls closed his gallery in 1942 when he enlisted in the United States Army. Because he was fluent in both French and German, Perls served as an interpreter at the Military Intelligence Service, European Theater of Operations. He landed in Normandy with the 30th Infantry Division and was awarded the Bronze Star in 1944. In 1945, Perls was assigned to the Arts and Monuments Section of Allied Military Government in Germany. He was honorably discharged in September, 1945.

After the war, Perls returned to Los Angeles and managed the recently opened Associated American Artists Gallery in Beverly Hills. The gallery was organized in 1934 and marketed art to the middle classes with the opportunity to purchase prints at affordable prices. Perls made significant contacts during his tenure at the gallery and eventually opened his own Beverly Hills gallery in 1950.

The Frank Perls Gallery on Camden Drive was closely associated with the Pierre Matisse Gallery and the Curt Valentin Gallery in New York, both major sources of exhibition materials for the early years. Perls introduced southern California to artists he believed represented the best modern art of America and Europe - Henri Matisse, Georges Braque, Alexander Calder, Pablo Picasso, Ben Shahn, Georgia O'Keeffe, Marc Chagall, Paul Klee, and Jean Dubuffet. Between 1950 to 1954, Frank Perls Gallery organized the first West coast exhibitions of Joan Miro, Marino Marini, and Alberto Giacometti. Perls also gave exhibitions to newly emerging artists of Southern California artists, including William Brice, Robert Chuey, Rico Lebrun, James McGarrell, Channing Peake, and Howard Warsaw.

Perls moved his gallery to Wilshire Boulevard in 1965 and stopped representing California artists at that time to focus primarily on major exhibitions of Henri Matisse and Picasso. In 1966, he helped organize an extensive traveling Henri Matisse exhibition at UCLA called Matisse Retrospective. Perls worked with Matisse's children, Pierre, Jean, and Marguerite Duthuit, to identify 345 prints and sculptures and attach family inventory numbers to them.

Frank Perls also organized several large Picasso exhibitions, including the Bonne Fete Monsieur Picasso exhibit at UCLA in 1961 and the 45 Selected Picasso Graphics exhibition at Frank Perls Gallery in 1971. For his work in preparing these major exhibitions in California of Matisse and Picasso, Perls was made a life fellow of the Los Angeles County Museum.

Perls was a member of the Art Dealers of America, serving for several years on the Board of Directors and as director. He was also dedicated to exposing art fakes and forgeries, earning a reputation for discovering, exposing, and pursuing disreputable art appraisers and dealers. Perls wrote extensively about modern art and artists, as well as his experiences in short stories that often appeared in print.

Frank Perls died on February 8, 1975 from complications following open-heart surgery. The Gallery remained open until 1981 while his executor and family distributed the gallery inventory.

Provenance:

The Frank Perls papers and Frank Perls Gallery records were donated by Joan Hazlitt, one of the executors of the Perls' estate, from 1976-1988.

Restrictions:

Use of original papers requires an appointment.

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:

Gallery owners -- California  Search this

Topic:

Art -- Economic aspects  Search this

Art -- Collectors and collecting -- California -- Beverly Hills  Search this

World War, 1939-1945  Search this

Curators -- California  Search this

Art -- Forgeries  Search this

Function:

Art galleries, Commercial -- California

Genre/Form:

Short stories

Scrapbooks

Photographs

Sales records

Gallery records

Citation:

Frank Perls papers and Frank Perls Gallery records, circa 1920-1983, bulk 1949-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation.

Identifier:

AAA.perlfran

See more items in:

Frank Perls papers and Frank Perls Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9163380a7-6151-44d0-b553-a17e8aae42a0

EDAN-URL:

ead_collection:sova-aaa-perlfran

Creator:

Gore, Marian L.  Search this

Names:

Ankrum Gallery  Search this

Ceeje Gallery  Search this

Comara Gallery  Search this

Dwan Gallery (Los Angeles, Calif.)  Search this

Ferus Gallery (Los Angeles, Calif.)  Search this

KPFK (Radio staion : Los Angeles, Calif.)  Search this

Silvan Simone Gallery  Search this

Albers, Josef  Search this

Albert, Michel (artist)  Search this

Ankrum, Joan  Search this

Blair, Streeter, 1888-1966  Search this

Brigante, Nicholas P., 1895-1989  Search this

Carter, Earl  Search this

Cremean, Robert, 1932-  Search this

Cuevas, José Luis, 1934-  Search this

Elliot, James, 1943-2011  Search this

Falkenstein, Claire, 1908-1997  Search this

Geoffrey, J. Iqbal, 1939-  Search this

Gerchik, Paul  Search this

Goeritz, Mathias, 1915-1990  Search this

Greene, Balcomb, 1904-1990  Search this

Hansen, Jurgen  Search this

Hopps, Walter  Search this

Kuntz, Roger, 1926-1975  Search this

Leavitt, Thomas W.  Search this

Lebrun, Rico, 1900-1964  Search this

Lipchitz, Jacques, 1891-1973  Search this

Luna, Mario  Search this

Mallary, Robert, 1917-1997  Search this

Nevelson, Louise, 1899-1988  Search this

Ortiz, Emilio, 1936-  Search this

Robles, Esther  Search this

Schniede, Otto  Search this

Schwaderer, Fritz (Fritz Karl), 1901-  Search this

Siqueiros, David Alfaro  Search this

Tamayo, Rufino, 1899-  Search this

Vicente, Esteban, 1903-2001  Search this

Wark, Robert R.  Search this

Wayne, June, 1918-2011  Search this

Extent:

2.2 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Photographs

Interviews

Transcripts

Date:

1958-1969

Summary:

The Marian Gore "Art Scene" interviews and papers measure 2.2 linear feet and date from 1958 to 1969, with all sound recordings dated between 1962 and 1964. The core of the collection consists of 37 radio programs recorded by Marian Gore for KPFK radio in Los Angeles, California, consisting of interviews with artists, collectors, gallerists, and museum curators. A series of artist files contains notes, correspondence and other materials related to her interview subjects, and a printed materials series contains mainly exhibition posters, programs, and announcements produced by the art spaces with which her subjects were affiliated.

Scope and Contents:

The Marian Gore "Art Scene" interviews and papers measure 2.2 linear feet and date from 1958 to 1969, with all sound recordings dated between 1962 and 1964. The core of the collection consists of 37 radio programs recorded by Marion Gore for KPFK radio in Los Angeles, California, consisting of interviews with artists, collectors, gallerists, and museum curators. A series of artist files contains notes, correspondence and other materials related to her interview subjects, and a printed materials series contains mainly exhibition posters, programs, and announcements produced by the art spaces with which her subjects were affiliated.

The "Art Scene" Interviews series contains 36 interviews from Gore's "Art Scene" radio series of interviews relating to the contemporary art scene in Los Angeles, particularly galleries and artists showing on La Cienega Boulevard in West Hollywood. Also found is a single episode of another KPFK program called "Seen at the galleries" and hosted by Earl Carter, featuring an interview with Jacques Lipchitz on the occasion of his retrospective at UCLA. Two interviews, with Mathias Goeritz and David Siqueiros, were conducted in Mexico City. Other interview subjects include Michel Albert, Josef Albers, Joan Ankrum, Streeter Blair, Nick Brigante, Robert Cremean, José Luis Cuevas, James Elliott, Claire Falkenstein, Balcomb Greene, Paul Gerchik, Jurgen Hansen, Walter Hopps, Roger Kuntz, Rico Lebrun, Dr. Thomas Leavitt, Jacques Lipchitz, Mario Luna, Robert Mallary, Louise Nevelson, Emilio Ortiz, Esther Robles, Otto Schniede, Fritz Schwaderer, Rufino Tamayo, Esteban Vicente, Robert Wark, and June Wayne.

Artist files include mainly brief, typewritten notes created for Gore's radio interviews, with the questions she asked her interview subjects and brief introductory or concluding remarks. Correspondence is also found in files for Robert Cremean, Iqbal Geoffrey, Balcomb Greene, Robert Mallary, Emilio Ortiz, and Esteban Vicente. Louise Nevelson's file also contains a transcript of her interview with Gore. Also found scattered in some files are notes, photographs, clippings, press releases, resumes, and exhibition programs. Note that not every person in this series has a corresponding sound recording in Series 1, and not every interviewee in Series 1 has a corresponding file in this series.

Most of the material in the Printed Materials series consists of exhibition announcements, programs, and posters from Galleries in the Los Angeles, California area, particularly those along La Cienega Boulevard. Of these, Ankrum Gallery, Ceeje Gallery, Comara Gallery, Dwan Gallery, Ferus Gallery, and Silvan Simone Gallery on Olympic Boulevard contain the most material, with many of the other files containing only one or two pieces. Of note are original prints promoting exhibitions at the Ferus and Ceeje Galleries, and a poster for an art walk along La Cienega Boulevard in the file for the Los Angeles County Museum of Art.

Arrangement:

The collection is arranged in 3 series:

Missing Title

Series 1: "Art Scene" Interviews (1.3 linear feet, Boxes 1-2, 4)

Series 2: Artist Files (0.2 linear feet, Boxes 2, 4)

Series 3: Printed Materials (0.7 linear feet, Boxes 3-4, OV 5)

Biographical / Historical:

Marian L. Gore (1914-2009) volunteered as a radio interviewer for KPFK between 1962-1964, conducting a series of interviews with Los Angeles-area artists, curators, collectors, and gallerists in response to a growing awareness of Los Angeles' rapidly growing role as a creative center and art market.

Born Marian Lucille Moore on Feb. 27, 1914, in Los Angeles to Fred and Lucille Moore. Fred Moore, an attorney, defended Nicola Sacco and Bartolomeo Vanzetti in the infamous 1921 trial. Following her divorce in the early 1960s, Gore approached the radio station KPFK, who was looking for someone to interview local artists. In a 1997 letter that accompanied her donation of the collection to the Archives, Gore writes,

"The early 1960's were an interesting and probably unique period for the Southern California art world. In Los Angeles on La Cienega Boulevard galleries had sprung up like mushrooms, and on Friday nights those who were interested in this scene would go from one gallery to another noting what artists were featured and what trends were apparent. It was a pleasurable way to meet artists as well as a social event where one could see friends and exchange impressions.

"Because I was searching for something to do, at the suggestion of a friend I had gone to radio station KPFK to volunteer my services in any way possible. It turned out to be a most fortuitous time for this offer. The management was interested in possible intervie3ws with artists, and so it all began. I had never done an interview in my life and was astounded to discover how easy it was to get artists, gallery owners, and even museum personnel to talk aobut what they did. Once this began I was swaped with requests for taped interviews, far more than I could manage."

Gore later became an antiquarian bookseller specializing in books on food and drink. She retired in 1994 and donated her book collection to the Los Angeles Public Library.

Provenance:

Donated 1997 by Marian Gore.

Restrictions:

Use of original papers requires an appointment.

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:

Art -- Collectors and collecting -- California -- Los Angeles  Search this

Curators -- California -- Los Angeles  Search this

Gallery owners -- California  Search this

Artists -- California -- Los Angeles  Search this

Genre/Form:

Sound recordings

Photographs

Interviews

Transcripts

Citation:

KPFK "Art Scene" interviews, 1950-1969. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Council on Library and Information Resources "Hidden Collections" grant program.

Identifier:

AAA.goremari

See more items in:

Marian Gore "Art Scene" interviews and papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b8a530a5-0d06-4fcc-95c4-d1f0648c0264

EDAN-URL:

ead_collection:sova-aaa-goremari

Interviewee:

Goldeen, Dorothy, 1948-  Search this

Interviewer:

Drohojowska-Philp, Hunter  Search this

Type:

Interviews

Sound recordings

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Dorothy Goldeen, 2014 August 18. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Expertising  Search this

Gallery owners -- California -- Interviews  Search this

Record number:

(DSI-AAA_CollID)16252

(DSI-AAA_SIRISBib)370624

AAA_collcode_goldee14

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_370624

Creator:

Copley, William Nelson, 1919-1996  Search this

Names:

Copley Galleries (Beverly Hills, Calif.)  Search this

Cornell, Joseph  Search this

Duchamp, Marcel, 1887-1968  Search this

Ernst, Max, 1891-1976  Search this

Magritte, René, 1898-1967  Search this

Matta, 1912-2002  Search this

Ray, Man, 1890-1976  Search this

Tanguy, Yves, 1900-1955  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1948-1967

Scope and Contents:

Papers and gallery records including photographs, writings, announcements and catalogs.

REEL 2709: Announcements and catalogs for exhibitions at The Copley Galleries, Beverly Hills, California, 1948-1949; 97 photographs, mostly of installations of exhibitions at the gallery, and a few of paintings by Man Ray, 1948; and an undated essay by Copley, "Portrait of the Artist as a Young Art Dealer," 51 pages in which he describes the brief one year history of the gallery, which exhibited the work of the Surrealists, including Joseph Cornell, Marcel Duchamp, Max Ernst, Rene Magritte, Roberto Sebastian Antonio Matta Echuarren, Man Ray, and Yves Tanguy.

REEL 861: Scrapbook, 1953-1967, in 3 volumes. Includes Copley's newspaper column; magazine clippings relating to his work and exhibits; and exhibition catalogs.

Biographical / Historical:

Painter, New York, N.Y. and gallery owner, Calif. Died May 1996.

Provenance:

Material on reel 2709 donated 1976, by William Copley; material on reel 861 lent for microfilming 1975 by Copley.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Rights:

"Portrait of an Artist as a Young Art Dealer": Authorization to publish, quote or reproduce requires written permission from Director, Centre Beauborg. Contact Reference Services for more information.

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:

Painters  Search this

Gallery owners -- California  Search this

Topic:

Surrealism  Search this

Identifier:

AAA.coplwill

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99d078059-2f27-4fa5-88d0-4b09e637242b

EDAN-URL:

ead_collection:sova-aaa-coplwill

Creator:

Labaudt, Lucien, 1880-1943  Search this

Labaudt, Marcelle, 1892-1987  Search this

Names:

California School of Design  Search this

Federal Art Project (Calif.)  Search this

Lucien Labaudt Art Gallery  Search this

San Francisco Women Artists  Search this

Arnautoff, Victor Mikhail, 1896-1979  Search this

Biberman, Edward  Search this

Feitelson, Lorser, 1898-1978  Search this

Ferier, André  Search this

Ford, C.  Search this

Gerstle, Wilhelm, 1879-1963  Search this

Kent, Adaline Dutton, 1900-1957  Search this

Kuhn, Walt, 1877-1949  Search this

London, Charmian  Search this

Léger, Fernand, 1881-1955  Search this

Macdonald-Wright, Stanton, 1890-1973  Search this

Matisse, Henri, 1869-1954  Search this

Moya del Pino, Jose, 1891-1969  Search this

Oldfield, Otis, 1890-1969  Search this

Ozenfant, Amédée, 1886-1966  Search this

Ozenfant, Marthe  Search this

Pflueger, Timothy Ludwig, 1892-1946  Search this

Rivera, Diego, 1886-1957  Search this

Rowan, Edward Beatty, 1898-1946  Search this

Sotomayor, Antonio, 1904-  Search this

Extent:

8.5 Linear feet ((partially microfilmed on 11 reels))

Type:

Collection descriptions

Archival materials

Date:

1896-1987

Scope and Contents:

Correspondence, photographs, exhibition materials, scrapbooks, journals, printed matter, essays, gallery records and other business records, and miscellaneous papers.

REELS 3799-3806: A resume; a travel journal; an address book; appointment books; passports for Marcelle Labaudt; correspondence, including 3 illustrated Christmas cards from Walt Kuhn and letters from Edward Rowan about Lucien Labaudt's murals for the Los Angeles post office for the Section of Fine Arts; notes on costume design, geometry, and metric color scales; writings by Lucien Labaudt, including "Color Constructions--Opticolormetry", 1940; 4 sketchbooks and 70 sketches by Labaudt; prints and drawings by others; scrapbook on history of costume design; announcements; programs; reproductions; printed material concerning Labaudt's California School of Design; records of the San Francisco Women Artists organization; minutes of the Artists' Council kept by Marcelle Labaudt; artist files; guest registers; ledgers 1929 and 1939-1949, and financial records, 1943-1980, for the Lucien Labaudt Art Gallery; clippings; photographs of Labaudt's family, 1911-1981; of works of art, 1913-1968; and stage and costume design.

REEL 1052: Correspondence relating to the Lucien Labaudt Art Gallery and to Lucien and Marcelle; photographs (many undated and unidentified) of a gallery opening, 1950 of Max Hages, two paintings by Fred Martin, and two by R. Kaess; manuscript material; biographical material on artists who exhibited at the gallery; catalogs and announcements; printed material; and clippings.

REEL 1854: Photographs, 1920-1940 of: Labaudt; Labauadt working on Beach Chalet Murals; at the Bohemian Club Grove with C. Ford, Arnautoff, Otis Oldfield, Moya del Pino, Sotomayer, Timothy Pflueger, William Gerstle, and Diego Rivera; with Adeline Kent; with Marcelle and André Ferier; costumes and sets designed by Labaudt; and paintings and murals by Labaudt. Also included are 173 personal and business letters, 1923-1975; sketches; manuscripts, including essays about Labaudt by Stanton Macdonald-Wright and Lorser Feitelson; a scrapbook; business records; catalogs and announcements; clippings and other printed matter. Correspondents include: Edward Biberman, Lorser Feitelson, Walt Kuhn, Fernand Leger, Charmain London (Mrs. Jack), Henri Matisse, Marthe and Amedee Ozenfant, Timothy L. Pflueger and Edward Rowan.

UNMICROFILMED: Biographical material regarding Marcelle Labaudt's education; correspondence, 1901-1979, with friends and associates, including Alvyne Maisonneuve, Yliane Remy, Henry and Ann Varnum Poor, Charmian London, Millard Sheets and Richard Diebenkorn (1 letter, 1950); Marcelle Labaudt's travel diary kept on a trip to France, undated; art works, undated, including a sketchbook and illustrated letter by Lucien and an unsigned print; exhibition catalogs and clippings regarding the Lucien Labaudt Art Gallery; photographs, slides and negatives, 1896-1976, of friends, family and art works, and an album of photographs of Lucien's works of art.

Biographical / Historical:

Lucien Labaudt was a painter, muralist, costume and set designer. He also ran a commercial art school called the California School of Design. After his death in 1943, on assignment as a war artist correspondent, his wife, Marcelle Labaudt, established the Lucien Labaudt Art Gallery in San Francisco, California. She specialized in giving younger or relatively unknown artists their first exhibitions and operated the gallery until 1980.

Provenance:

Donated by Marcelle Labaudt 1974-1976, and after her death by her estate through her step-sister and executor, Simone M. Berges, 1984. After Berges' death in 1988, an additional installment was received via Berges' sister-in-law, Jill Alexander.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Costume designers  Search this

Painters  Search this

Gallery owners -- California  Search this

Topic:

Federal aid to the arts -- California -- San Francisco -- Exhibitions  Search this

Art and state -- California -- San Francisco -- Exhibitions  Search this

Mural painting and decoration -- 20th century -- California -- San Francisco  Search this

Costume -- California -- San Francisco  Search this

Muralists  Search this

Identifier:

AAA.labaluci

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a9f5e236-5785-4470-ba27-6403b1b8667d

EDAN-URL:

ead_collection:sova-aaa-labaluci

Interviewee:

Marks, Matthew  Search this

Interviewer:

Wechsler, James  Search this

Extent:

1 Item ((1 hr., 47 min.), digital, wav )

33 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2006 August 2

Scope and Contents:

An interview with Matthew Marks conducted 2006 August 2, by James Wechsler for the Archives of American Art, at Matthew Marks Gallery in New York, NY.­

Biographical / Historical:

Matthew Marks (1962-) is a gallerist in New York, NY, and Los Angeles, California.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

This interview is access restricted; written permission is required. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Gallery owners -- New York (State) -- New York  Search this

Gallery owners -- California  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for this interview was provided by the Widgeon Point Charitable Foundation.

Identifier:

AAA.marks06

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92352ae21-edf5-45f4-8f3f-f1c02af6ef32

EDAN-URL:

ead_collection:sova-aaa-marks06

Interviewee:

Goldeen, Dorothy.  Search this

Interviewer:

Drohojowska-Philp, Hunter  Search this

Extent:

5 Items (sound files (1 hr., 40 min.), digital, wav)

33 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2014 August 18

Scope and Contents:

An interview with Dorothy Goldeen conducted 2014 August 18, by Hunter Drohojowska-Philp, for the Archives of American Art, at Goldeen's home in Santa Monica, California.

Biographical / Historical:

Interviewee Dorothy Goldeen (1948- ) is an art advisor and former gallerist in Santa Monica, California. Interviewer Hunter Drohojowska-Philp is an art critic and writer from Beverly Hills, California.

General:

Originally recorded as 5 sound files. Duration is 1 hr., 40 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.

Topic:

Art -- Expertising  Search this

Gallery owners -- California -- Interviews  Search this

Genre/Form:

Interviews

Sound recordings

Identifier:

AAA.goldee14

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f26bc1fc-48da-47e5-b89b-a122a6ad0961

EDAN-URL:

ead_collection:sova-aaa-goldee14

Interviewee:

Butler, Brian, 1961-  Search this

Interviewer:

Drohojowska-Philp, Hunter  Search this

Extent:

11 Items (sound files (9 hr., 5 min.) Audio, digital, wav)

149 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2018 June 4- August 6

Scope and Contents:

An interview with Brian Daniel Butler conducted 2018 June 4, 18, and August 6, by Hunter Drohojowska-Philp, for the Archives of American Art, at 1301PE Gallery in Los Angeles, California.

Mr. Butler discusses growing up in the Los Angeles area, in particular in Palos Verdes; his early introduction to studying art at ArtCenter while in high school and his initial interest in illustration; his work in the summers at the advertising firm BBDO; his time as a student at Franklin College and his travels and time spent in Germany and Switzerland as a college student; his introduction to British 20th-century art, especially the work of the artists from St. Ives; his time studying art and art history at UC Berkeley with Peter Selz, among others; his subsequent work in galleries while living in south London, including Paton Gallery; his return to Los Angeles and his work at the advertising firms Chiat/Day and TracyLocke; his continuing interest in the art world, his employment at the Los Angeles gallery Asher/Faure, and his curation of the show there titled British Art: The Literate Link; his introduction to Burnett Miller and his time as the director of the Burnett Miller Gallery; his work with Karsten Schubert on the show A Brave New World; his time in Cologne, Germany, working for a collaborative gallery owned by Miller and Claes Nordenhake in the early '90s; and the challenges presented by representing galleries at art fairs.

Mr. Butler also describes his first thoughts about starting a gallery, and on his focus on producing multiples and editions; his first gallery Brain Multiples, where he helped produce work by Thaddeus Strode, among others; his subsequent gallery 1301 where he produced exhibitions for Jorge Pardo, Diana Thater, Jason Rhoades, Pae White, Rirkrit Tiravanija, and Sarah Seager, among others; the transition to his gallery 1301PE (Projects and Editions) and working with Paul McCarthy, Charles Ray, Angela Bulloch, and Fiona Banner, among others; his three years as the director of the New Zealand gallery Artspace beginning in 2005; his thoughts on the current museum and gallery scenes in Los Angeles and the world, and the changes he has seen during his years in the business.

Mr. Butler also recalls Jay Chiat; Duke Comegys; John Baldessari; Dagny Corcoran; Lynne Cooke; Tarlton Pauley Morton; Peter Morton; Fred Sandback; Ian Hamilton Finlay; Kate Ericson; Mel Ziegler; Katrina Cerio Butler, as well as Fred Fehlau; Jean Rasenberger; Meg Cranston; Wilhelm Schürmann; Lincoln Tobier; Peter Noever; Suzanne Goin; Isha Welsh; Judy Darragh; Amada Cruz; and Mungo Thomson, among others.

Biographical / Historical:

Brian Daniel Butler (1961- ) is an art dealer and owner of the 1301PE Gallery in Los Angeles, California. Hunter Drohojowska-Philp is a writer in Los Angeles, California.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

This transcript is open for research. Access to the entire recording is restricted. Contact reference Services for more information.

Occupation:

Gallery owners -- California  Search this

Art dealers -- California -- Los Angeles  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.butler18

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a5b0f2ef-4056-4b0b-b3c5-1699959a79d2

EDAN-URL:

ead_collection:sova-aaa-butler18

Creator:

Felsen, Rosamund, 1934-  Search this

Names:

Johns, Jasper, 1930-  Search this

Kelly, Ellsworth, 1923-  Search this

Ruppersberg, Allen, 1944-  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1968-1977

Summary:

The letters of Los Angeles gallerist Rosamund Felsen measure 0.2 linear feet and date from 1968-1977. Included are sixteen letters and two postcards, all but three of which are from Jasper Johns. The others are from Ellsworth Kelly, Al Ruppersberg, and Bob P. The warm casual letters from Johns describe the artist's interest in birds, gardens, and weather. He also discusses drawings and upcoming exhibitions. Folded into the letters are a black and white snapshot of Johns and one of Felsen, in both cases surrounded by others. Also included here is the panty hose box in which Felsen stored these letters.

Scope and Contents:

The letters of Los Angeles gallerist Rosamund Felsen measure 0.2 linear feet and date from 1968-1977. Included are sixteen letters and two postcards, all but three of which are from Jasper Johns. The others are from Ellsworth Kelly, Al Ruppersberg, and Bob P. The warm casual letters from Johns describe the artist's interest in birds, gardens, and weather. He also discusses drawings and upcoming exhibitions. Folded into the letters are a black and white snapshot of Johns and one of Felsen, in both cases surrounded by others. Also included here is the panty hose box in which Felsen stored these letters.

Arrangement:

The collection is arranged as a single series.

Missing Title

Series 1: Letters and Postcards, 1968-1977 (0.2 linear feet; Box 1)

Biographical / Historical:

Rosamund Felsen (1934- ) is a gallery owner in Los Angeles.

Related Materials:

Also found in the Archives of American Art are the Rosamund Felsen gallery records and an oral history interview with Rosamund Felsen conducted by Anne Ayres in 2004.

Provenance:

Donated in 2016 by Rosamund Felsen.

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.

Topic:

Gallery owners -- California  Search this

Genre/Form:

Photographs

Citation:

Rosamund Felsen letters, 1968-1977. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.felsrosa

See more items in:

Rosamund Felsen Letters

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9403b171b-39b6-4e61-97ad-140d2e8b1a68

EDAN-URL:

ead_collection:sova-aaa-felsrosa