Includes one sound cassette containing a recorded interview.
Container:
Box 5, Folder 13
Type:
Archival materials
Date:
1995-1997
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Collection Citation:
Ed Clark papers, 1923-2017. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation.
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 or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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.
Collection Citation:
Zabriskie Gallery Records, 1905-2011. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Collection Citation:
Stable Gallery records, 1916-1999, bulk 1953-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Lichtenstein Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Collection Citation:
Stable Gallery records, 1916-1999, bulk 1953-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Lichtenstein Foundation.
The scattered papers of painter and printmaker Clara MacGowan measure 0.3 linear feet and date from 1929 to 1977. Found are scattered biographical materials, a mixed-media scrapbook, and photographs of MacGowan, Macgowan with others, and her works of art. Also included is an album of photographs of seventy-four paintings by MacGowan compiled in 1977 to facilitate the distribution of her estate.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Clara MacGowan (1895-1983) was a painter, printmaker, and educator in Chicago, Illinois. MacGowan was a professor of art at Northwestern University from 1927-1947, and a frequent lecturer at local women's clubs. Her work was exhibited regularly at the Arts Club of Chicago and the Chicago Society of Artists.
Provenance:
The Clara MacGowan papers were donated in 1996 by the Illinois Historical Art Project through Joel Dryer.
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.
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
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.
Collection Citation:
Terry Dintenfass, Inc. records, 1947-1987, bulk 1961-1983. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
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 or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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.
Collection Citation:
Zabriskie Gallery Records, 1905-2011. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.
Scope and Contents note:
The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.
Artists' files include biographical material; artists' statements; correspondence; sales and expense reports; lists and notes; guest lists; writings by others; receipts, invoices, and statements; printed material, including press releases, exhibition announcements, brochures, catalogues, clippings; and photographs of artwork and artists. Included are extensive files on Afro Basaldella, Renato Birolli, Robert Broderson, Anselmo Franesconi, Joseph Glasco, Manabu Mabe, César Manrique, Luciano Minguzzi, Ennio Morlotti, Bernard Perlin, Daniel Rice, and Bernard Rosenthal. There are also files on Jan Cox, Kay Sage, and Kazuo Wakabayashi.
Correspondence comprises the largest series in the collection and consists of general correspondence; correspondence with museums, galleries, and art-related institutions in the United States; and correspondence with museums, galleries, and art-related institutions abroad. Letters focus on routine business matters, e.g., appraisals and sales, acquisitions, and organizing exhibitions at the Catherine Viviano Gallery and other venues.
General correspondence includes letters between Catherine Viviano and artists and their family members. Among the correspondents are: Mary Callery, Bernard Chaet, Piero and Virginia Dorazio, Jean Dubuffet, Dallas Ernst, Karl Fortress, Alberto Giacometti, Henry Sage Goodwin, Morris Graves, José Guerrero, Earle Ludgin, Joan Miro, Alfonso Ossorio, Dorothea Tanning, Stuyvesant Van Veen, Adja Yunkers and his wife, Dore Ashton, among others. Also found is Viviano's correspondence with clients, many of whom were prominent collectors, e.g., Richard Brown Baker, Carl and Joan Fisher, Lawrence and Barbara Fleischman, Joseph Hirschhorn, Marc Moyens, Vincent Price, Joseph Pulitzer, Jr., Nelson Rockefeller, Stanley Seeger, and Frederick and Dorothy Zimmerman. Of interest, are letters from Elizabeth Bishop inquiring about the purchase of a work of art from the gallery. Included are letters from art historians, museum directors, curators, representatives at other art-related institutions, and publishers including Walter Bareiss, Walter Barker, Dominque De Menil, Valentine Dudensing, William Eisendrath, S. Lane Faison, Emily Genauer, Bertram Goodhue, Erhard and Barbara Göpel, James Laughlin, Porter McCray, Abram Lerner, Doris Meltzer, Stephen Robson Miller, John Bernard Myers, Perry Rathbone, Belle Krasne Ribicoff, Meyer Shapiro, George Stout, and Curt Valentin.
Correspondence with museums, galleries, and art-related institutions in the United States contains letters between Viviano and museum directors, curators, dealers, artists, and collectors pertaining to loans, shipping and delivery of artwork, appraisals and sales, and acquisitions. Files include substantive correspondence with the American Academy of Arts and Letters, American Federation of the Arts, Art Institute of Chicago, Arts Club of Chicago, the Barnes Foundation, Bristol Art Museum, Brooklyn Museum, Bundy Art Gallery, Carnegie Institute, City Art Museum of St. Louis, Cleveland Museum of Art, Colorado Springs Fine Arts Center, Dallas Museum of Fine Arts, Denver Art Museum, Des Moines Art Center, Detroit Institute of Arts, Fogg Art Museum, Harvard University, Hirshhorn Museum and Sculpture Garden, Institute of Contemporary Art, Los Angeles County Art Museum, Massachusetts Institute of Technology, Metropolitan Museum of Art, Museum of Fine Arts, Boston, Museum of Fine Arts of Houston, Museum of Modern Art, Pennsylvania Academy of the Fine Arts, Philadelphia Art Alliance, Santa Barbara Museum of Art, University of Nebraska Art Galleries, University of Virginia, Mary Washington College, Wadsworth Atheneum, Walker Art Center, William Rockhill Nelson Gallery of Art, Atkins Museum of the Fine Arts, World House Gallery, and Yale University Art Library.
Correspondence with museums, galleries, and art-related institutions abroad primarily concerns the lending of artwork for exhibitions, acquisition and sales; also included are letters requesting biographical information on artists. Letters between Catherine Viviano and representatives of Max Beckmann Gesellschaft Archiv and Galerie Gunther Franke contain provenance-related information on Beckmann's work.
Business records document the routine business operations of the gallery. Printed material includes an incomplete run of Catherine Viviano Gallery exhibition catalogues; invitations and announcements from other galleries and institutions; and miscellaneous printed material.
Photographs include three images of miscellaneous artwork used for art reference.
Arrangement note:
Records are generally arranged by material type and in chronological order thereafter. Artists' files and correspondence files are arranged in alphabetical order and materials within the folders are arranged chronologically
The collection is arranged as 5 series:
Missing Title
Series 1: Artists' Files, 1945-1986 (Boxes 1-3; 3.5 linear feet)
Series 2: Correspondence, 1939-1985 (Boxes 3-6; 5.5 linear feet)
Series 3: Business Records, 1949-1972 (Boxes 10-11; 1.0 linear feet)
Series 4: Printed Material, 1930-1990 (Boxes 11-13; 1.6 linear feet)
Series 5: Photographs (1948-1954), undated (Box 14; 1 folder)
Biographical/Historical note:
Catherine Viviano (1889-1992) opened her gallery in 1949 on 42 East 57th Street in New York City. Specializing in contemporary American paintings and sculpture, the gallery featured younger American and European artists, e.g., Robert Broderson, Carlyle Brown, Jan Cox, Joseph Glasco, Peter Lanyon, Manabu Mabe, César Manrique, Bernard Perlin, Joseph Rollo, Bernard Rosenthal, and Kay Sage, among others. The gallery was also notable for introducing the work of Italian artists, who had been cut off from the American art scene during World War II, including Afro Basaldella and his brother Mirko Basaldella, Renato Birolli, Leonardo Cremonini, and Luciano Minguzzi.
Born in Italy in 1899 and raised in Chicago, Catherine Viviano came to New York in the early 1930's to work at the Pierre Matisse Gallery, where she remained for sixteen years before founding the Catherine Viviano Gallery.
In 1970, Catherine Viviano closed the gallery, though she continued to work from her home as an art dealer and consultant. She died of a stroke at the age of ninety-two in 1992.
Related Archival Materials note:
Among the other resources relating to Catherine Viviano Gallery in the Archives of American Art are the Kay Sage papers, 1925-circa 1985, bulk 1950-1965.
Provenance:
The Catherine Viviano Gallery records were donated in 2003 on behalf of Margaret Viviano, Catherine Viviano's sister, by her grandnephew, Peter C. Salerno, who had Power of Attorney for Margaret Viviano.
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.
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.
Collection Citation:
Catherine Viviano Gallery records, 1930-1990, bulk 1949-1978. Archives of American Art, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
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.
Collection Citation:
Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial recordings, photographic materials, artwork, and video and sound recordings.
Scope and Contents:
The papers of California conceptual artist and sculptor David Ireland measure 24.8 linear feet and 8.39 GB and date from circa 1910s to circa 2009, with the bulk of the material dating from 1960 to 2005. The papers include biographical material, correspondence, notes and notebooks, installation projects and exhibition files, teaching files, travel files, personal business records, printed and digital material and commercial sound recordings, photographic materials, artwork, and video and sound recordings.
Biographical material includes awards and certificates, address books and appointment books, artist's statements, resumes, chronologies, student university materials, passports, and sound and video recordings of interviews with Ireland. Correspondence is with friends, peers, universities, galleries, and museums, including Jeffrey Grobart, Eleanor Coppola, Margie Lee, Marie-Louise Lienhard, Paul Marion, and Alta Tingle, among others. Notes and notebooks contain incoming phone messages, notes to self, regarding projects and ideas, as well as various other notes and plans.
Installation projects and exhibition files constitute the bulk of the collection and document David Ireland's extensive projects and exhibitions around the world. Files are found for his Capp Street house project and Pacific Enterprises project in San Francisco; Boott Mills project in Lowell, Massachusetts; IKEA Emeryville Public Art Project in Emeryville, California; and several Washington State Arts Commission and Western Washington University projects. Other exhibition and installation locations found within the files include the American Academy in Rome; Yerba Buena Arts Center in California; Perth Institute of Contemporary Art in Australia; Helmhaus in Zurich, Switzerland; Arts Club of Chicago; SFMOMA; New Museum of Contemporary Art in New York; Walker Art Center in Minneapolis, Minnesota; and the Mattress Factory in Pittsburgh, among many others. The files contain a wide variety of materials, including sound and video recordings in various formats.
Teaching files document David Ireland's many roles as visiting artist, artist-in-residence, instructor, and conference and symposium panelist at the California College of Arts and Crafts, San Francisco Art Institute, Skowhegan School of Painting and Sculpture, and Stanford University Department of Art, among others. Travel files document Ireland's trips abroad, both independent of and as a result of installation and project obligations.
Personal business records are comprised of financial materials and documentation relating to Ireland's two early South African import and safari businesses as well grants and project proposals, various loan agreements, representation through Gallery Paule Anglim, property sales and tax documentation, inventory materials, and various other business materials. Also found within the collection are printed material and four commercial sound recordings. Photographs are of the artist, friends and family, Ireland's Oakland studio, and works of art. There is artwork by Ireland, including sketches, drawings, and prints, and a few pieces of artwork by other artists. In addition to sound and video recordings arranged in other series, there is one video recording and six sound cassettes that are either unidentified or have no additional context within the collection.
Arrangement:
This collection is arranged as 11 series.
Missing Title
Series 1: Biographical Material, circa 1950-circa 2009 (1.5 linear feet; Boxes 1-2)
Series 2: Correspondence, circa 1937-circa 2008 (4 linear feet; Boxes 2-6)
Series 3: Notes and Notebooks, circa 1965-circa 2008 (0.7 linear feet; Boxes 6-7)
Series 4: Installation Projects and Exhibition Files, circa 1960s-circa 2009 (11.6 linear feet; Boxes 7-18, OV26, OV27, 7.84 GB; ER01-ER15)
Series 5: Teaching Files, 1977-1998 (1.2 linear feet; Boxes 18-19)
Series 6: Travel Files, circa 1950s-circa 1994 (0.6 linear feet; Boxes 19-20)
Series 7: Personal Business Records, circa 1965-circa 2008 (1.1 linear feet; Boxes 20-21)
Series 8: Printed Material and Commercial Recordings, 1932-circa 2009 (2.3 linear feet; Boxes 21-23, 0.553 GB; ER16)
Series 9: Photographic Materials, circa 1910s-circa 2005 (1 linear foot; Boxes 23-24)
Series 10: Artwork, circa 1965-circa 2003 (0.2 linear feet; Box 24)
Series 11: Video and Sound Recordings, circa 1965-circa 1990s (0.4 linear feet; Box 25)
Biographical / Historical:
David Ireland (1930-2009) was a conceptual artist and sculptor who worked in San Francisco, California.
Ireland was born in Bellingham, Washington and attended Western Washington University. In 1953, he received a degree in industrial design and printmaking from the California College of Arts and Crafts (now California College of the Arts) in Oakland. He then served two years in the U. S. Army in Missouri, returning to live and work in Bellingham. For several years, Bellingham served as his launch point for extensive travels in Europe and Africa.
In the late 1950s, Ireland founded Hunter Africa, an artifacts import business. He moved the business to San Francisco in 1965 and also began a second business leading safaris in Africa. He married Bellingham native Joanne Westford and had two children, Ian Ireland and Shaughn Niland; they divorced in 1970.
Ireland attended the San Francisco Art Institute and received a graduate degree in 1974. There, he met other Bay Area artists involved in the conceptual movement there, including Tom Marioni, Paul Kos, Howard Fried, and Terry Fox.
Much of Ireland's artwork of the 1980s and 1990s centered on the transformation of his home at 500 Capp Street in San Francisco, where he dramatically physically and conceptually transformed the interior and exterior structure into a mix of architectural sculpture and environmental art piece. He bought a second home in 1979 to transform, and, in the 1980s, completed a renovation of the main building at the Headlands Center for Arts in Sausalito with artist Mark Thompson.
David Ireland's work has been presented in more than forty solo exhibitions at venues that included the Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C.; The Museum of Modern Art and the New Museum of Contemporary Art, New York. He created major public projects and private commissions in Los Angeles, San Francisco, Philadelphia, Washington, D. C., and other cities. His work is included in the permanent collections of The Museum of Modern Art and the Whitney Museum of American Art in New York, San Francisco Museum of Modern Art, Los Angeles County Museum of Art, Oakland Museum of California, and University of California, Berkeley Art Museum and Pacific Film Archive, among others.
Provenance:
The David Ireland papers were donated in 2010 by the David Ireland Estate through Jock Reynolds, Special Trustee, The David Ireland Revocable Trust.
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. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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 -- San Francisco Search this
Conceptual artists -- California -- San Francisco Search this
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Collection Citation:
David Ireland papers, circa 1910s-circa 2009, bulk 1960-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The David Ireland Revocable Trust.
