Search Results

Creator:

Vose Galleries of Boston  Search this

Subject:

Vose, Robert Churchill  Search this

Hassam, Childe  Search this

Hoffman, Malvina  Search this

Jonniaux, Alfred  Search this

Ladd, Anna Coleman (sculptor)  Search this

Thayer, Abbott Handerson  Search this

Norton, William E.  Search this

Sargent, John Singer  Search this

Vose, Robert C. (Robert Churchill)  Search this

Arthur U. Newton Galleries  Search this

Ehrich Galleries (New York, N.Y.)  Search this

Howard Young Galleries (New York, N.Y.)  Search this

Jill Newhouse (Gallery)  Search this

M. Knoedler & Co.  Search this

Macbeth Gallery  Search this

Milch Galleries  Search this

Norton Gallery and School of Art  Search this

R.C. & N.M. Vose (Firm)  Search this

Robert C. Vose Galleries  Search this

Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this

Type:

Video recordings

Manuscript

Citation:

Vose Galleries of Boston records, circa 1876-1996, bulk 1920-1940. Archives of American Art, Smithsonian Institution.

Topic:

Artists -- United States -- Photographs  Search this

Picture frame industry -- Massachusetts -- Boston  Search this

Picture frames and framing  Search this

Art, Modern -- 20th century -- Massachusetts -- Boston  Search this

Art, Modern -- 19th century -- Massachusetts -- Boston  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)9272

(DSI-AAA_SIRISBib)211467

AAA_collcode_vosegall

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211467

Creator:

Joan Peterson Gallery  Search this

Subject:

Berger, Jason  Search this

Powers, Marilyn  Search this

Peterson, Joan  Search this

Filipowski, Richard  Search this

Citation:

Joan Peterson Gallery records, 1958-1980. Archives of American Art, Smithsonian Institution.

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)10844

(DSI-AAA_SIRISBib)214592

AAA_collcode_joanpete

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_214592

Interviewee:

Vose, Robert C. (Robert Churchill), 1911-1998  Search this

Subject:

Karolik, Maxim  Search this

Vose Galleries of Boston  Search this

Type:

Sound recordings

Citation:

Quotes and excerpts must be cited as follows: Robert C. Vose lecture, 1987 May 14. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA_CollID)11980

(DSI-AAA_SIRISBib)212499

AAA_collcode_vose87

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212499

Interviewee:

Lunder, Peter  Search this

Interviewer:

McElhinney, James, 1952-  Search this

Subject:

Lunder, Paula Crane  Search this

Stern, Max  Search this

Broun, Elizabeth  Search this

Abbott, Jere  Search this

Gourley, Hugh J.  Search this

Colville, Thomas L.  Search this

Twombly, Cy  Search this

Walton, Alice  Search this

Corwin, Sharon  Search this

Cantor, Jay E.  Search this

Bixler, Julius Seelye  Search this

Greenbaum, Michael D.  Search this

Gurney, George  Search this

Smithsonian American Art Museum  Search this

Norton Gallery and School of Art  Search this

Sterling and Francine Clark Art Institute  Search this

Colby College. Museum of Art  Search this

Boston Red Sox (Baseball team)  Search this

Art Collectors: A Project in Partnership with the Center for the History of Collecting in America at The Frick Collection  Search this

Type:

Interviews

Sound recordings

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Peter and Paula Lunder, 2017 October 19-20. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Collectors and collecting -- Massachusetts -- Boston -- Interviews  Search this

Philanthropists -- Massachusetts -- Boston -- Interviews  Search this

Women art collectors  Search this

Record number:

(DSI-AAA_CollID)17520

(DSI-AAA_SIRISBib)391113

AAA_collcode_lunder17

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_391113

Interviewee:

Lunder, Peter H.  Search this

Lunder, Paula Crane  Search this

Interviewer:

McElhinney, James Lancel, 1952-  Search this

Names:

Art Collectors: A Project in Partnership with the Center for the History of Collecting in America at The Frick Collection  Search this

Boston Red Sox (Baseball team)  Search this

Colby College. Museum of Art  Search this

Norton Gallery and School of Art  Search this

Smithsonian American Art Museum  Search this

Sterling and Francine Clark Art Institute  Search this

Abbott, Jere  Search this

Bixler, Julius Seelye, 1894-1985  Search this

Broun, Elizabeth  Search this

Cantor, Jay E.  Search this

Colville, Thomas L.  Search this

Corwin, Sharon  Search this

Gourley, Hugh J.  Search this

Greenbaum, Michael D.  Search this

Gurney, George  Search this

Stern, Max, 1903-1980  Search this

Twombly, Cy, 1928-  Search this

Walton, Alice, 1949-  Search this

Extent:

5 Items (sound files (2 hr., 41 min.) Audio, digital, wav)

64 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2017 October 19-20

Scope and Contents:

An oral history interview with Peter and Paula Lunder conducted 2017 October 19-20, by James McElhinney, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at Colby College in Waterville, Maine.

Mr. and Ms. Lunder discuss their time living in Waterville and Dexter, Maine and Mr. Lunder's work as a partner at the Dexter Shoe Company; their exposures to art and culture while growing up in Boston and Chicago; their initial interests in art collecting and the shift of their focus from European art to American art; their associations with Hugh Gourley and other directors and curators at the Colby College Museum of Art; the relationships they made with fellow art collectors, museum curators, art dealers and gallery owners while growing their collection and when working on finding a home for their collection; their relationship with the former director of the Smithsonian American Art Museum Betsy Broun; Mr. Lunder's initial interest in Southwestern art and the development of their collection to include a wide range of American art; and Mr. Lunder's partial ownership of the Boston Red Sox beginning in 1977. Mr. and Ms. Lunder also describe living part-time in Florida and their patronage of the Norton Museum of Art in West Palm Beach; their desire to endow their collection to a Northeast regional museum in Maine; their belief in the importance of art conservation and their focus on having the collection be used for teaching; Ms. Lunder's work as a volunteer docent at the Colby Art Museum; and their work with the Clark Art Institute to support a place for art conservation in the region. Mr. and Ms. Lunder also recall Max Stern; Jere Abbott; Bro Adams; Thomas Colville; Margaret MacDonald; Sharon Corwin; Ann and Gil Maurer; Alice Walton as well as Jay Cantor; Seelye Bixler; Michael Greenbaum; George Gurney; Cy Twombly; Stephen Hannock; Doug Baxter; Christa Gaehde; and Michael Conforti, among others.

Biographical / Historical:

Peter Lunder (1933-) and Paula Lunder (1934- ) are art collectors and philanthropists in Boston, Massachusetts. James McElhinney (1952- ) is a painter and educator of New York, New York.

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 -- Collectors and collecting -- Massachusetts -- Boston -- Interviews  Search this

Philanthropists -- Massachusetts -- Boston -- Interviews  Search this

Women art collectors  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for this interview was provided by Barbara Fleischman.

Identifier:

AAA.lunder17

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b99a4024-ecd7-4cff-a300-7ac51b4e7245

EDAN-URL:

ead_collection:sova-aaa-lunder17

Interviewee:

Vose, S. Morton (Seth Morton), 1909-2007  Search this

Interviewer:

Brown, Robert F.  Search this

Names:

Vose Galleries of Boston  Search this

Homer, Winslow, 1836-1910  Search this

Hunt, William Morris, 1824-1879  Search this

Karolik, Maxim  Search this

Murphy, Hermann Dudley, 1867-1945  Search this

Paxton, Elizabeth Okie  Search this

Richardson, Edgar Preston, 1902-1985  Search this

Robinson, Thomas V., 1938-  Search this

Sample, Paul, 1896-1974  Search this

Seyffert, Leopold  Search this

Valentiner, Wilhelm Reinhold, 1880-1958  Search this

Whorf, John, 1903-1959  Search this

Extent:

87 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1986 July 24-1987 April 28

Scope and Contents:

An interview of S. Morton Vose conducted 1986 July 24-1987 April 28, by Robert F. Brown, for the Archives of American Art.

Vose speaks of the pervasive effect of his family's art gallery upon his life; studying languages at Harvard College; his affiliation with the gallery from 1927 on; the increasing emphasis on American painting during his career at the Vose Gallery, and the gradual de-emphasis on European work. He reminisces about some Vose Gallery clients, especially Maxim Karolik, and some art dealers; he discusses a traveling exhibition he was involved in; he speaks of the gallery's relations with prominent museum personnel, such as William Reinhold Valentiner and E.P. Richardson. Vose also discusses the pitfalls of appraising art collections, his father's last years, and the firm's move, and his recent work on a dictionary of American painters. He recalls William Morris Hunt, Thomas Robinson, Leopold Seyffert, Catherine Morris Wright, Maxim Karolik, Elizabeth Paxton, Paul Sample, John Whorf, Hermann Dudley Murphy, Winslow Homer, James Fitzgerald, Arthur Healey, and many others.

Biographical / Historical:

Seth Morton Vose (1909-2007) was an art dealer and art historian from Brookline, Massachusetts.

General:

Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 5 hr., 25 min.

Provenance:

These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Restrictions:

Transcript is available on the Archives of American Art's website.

Occupation:

Art historians -- Massachusetts -- Brookline  Search this

Art dealers -- Massachusetts -- Brookline  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.voses86

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a345a506-2674-4265-9220-c48ca66714d4

EDAN-URL:

ead_collection:sova-aaa-voses86

Interviewee:

Castano, Josephine Marie Caruso, 1901-  Search this

Interviewer:

Brown, Robert F  Search this

Subject:

Castano, Giovanni  Search this

Denhausen, Franz H.  Search this

Castano Galleries (Boston, Mass.)  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Josephine Marie Caruso Castano relating to Giovanni (John) Castano, 1991 May 17. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Conservation and restoration  Search this

Painting, Modern -- 20th century  Search this

Record number:

(DSI-AAA_CollID)12733

(DSI-AAA_SIRISBib)214655

AAA_collcode_castan91

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_214655

Interviewee:

Fink, Alan, 1925-  Search this

Interviewer:

Brown, Robert F  Search this

Subject:

Swan, Barbara  Search this

Mirski, Boris  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Alan Fink, 1997 Jan. 22 and Jan. 29. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA_CollID)13009

(DSI-AAA_SIRISBib)216022

AAA_collcode_fink97

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_216022

Interviewee:

Fink, Alan, 1925-  Search this

Interviewer:

Brown, Robert F.  Search this

Names:

Mirski, Boris, 1898-1974  Search this

Swan, Barbara, 1922-  Search this

Extent:

2 Sound cassettes (Sound recording (2 1/2 hrs.), analog)

45 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Sound recordings

Interviews

Date:

1997 Jan. 22 and Jan. 29

Scope and Contents:

An interview of Alan Fink conducted 1997 Jan. 22 and Jan. 29, by Robert F. Brown, for the Archives of American Art, at Fink's Alpha Gallery, Boston, Mass.

JANUARY 22, 1997 SESSION: Fink discusses his childhood, early education, and first profession; traveling in Europe and meeting his future wife, the painter, Barbara Swan; and becoming interested in art.

JANUARY 29, 1997 SESSION: Coming to Boston in 1951 largely because Barbara Swan was there; first work as a gallery manager (1951-1967) for Boris Mirski; the New York dealer, Edith Halpert with whom he worked closely; the painter and head of Brandeis University art department, Mitchell Siporin; Leonard Baskin, and David Aronson; the lack of support for young local artists from Boston institutions; the major local collector of young local artists, Jerry Goldberg and Abe Pollin who followed his example; the increased number of Boston art galleries in the 1960s as art collecting grew; great success of a show of African masks at Mirski Gallery; his last years with Mirski; opening of his Alpha Gallery in September 1967; and taking on some of Mirski's artists, including Michael Mazur, Robert Birmelin, Philip Gausman, Barbara Swan, Marianna Pineda, Harold Tovish, Elbert Weinberg, and others.

Biographical / Historical:

Alan Fink (1925-) is an art dealer in Boston, Mass. and is married to Barbara Swan.

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:

Art dealers -- Massachusetts -- Boston  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.fink97

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bfbd3509-b64e-4354-81c4-90e08f31e752

EDAN-URL:

ead_collection:sova-aaa-fink97

Interviewee:

Castano, Josephine Marie Caruso, 1901-  Search this

Interviewer:

Brown, Robert F.  Search this

Names:

Castano Galleries (Boston, Mass.)  Search this

Castano, Giovanni, 1896-1978  Search this

Denhausen, Franz H., 1911-  Search this

Extent:

27 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1991 May 17

Scope and Contents:

An interview of Josephine Marie Caruso Castano regarding her husband, painter and art dealer Giovanni (John) Castano, conducted by Robert Brown for the Archives of American Art.

Castano discusses her childhood and marriage to Giovanni (John) Castano; his career in Cincinnati as a scene painter for the local opera company; moving to Boston circa 1930; his career there as an art dealer, owner of Castano Galleries, and an agent for Wildenstein and Knoedler's; his work as a teacher and painting restorer; the sculptor Franz Denghausen; and passing references to various painters, museum personnel, and art dealers.

Biographical / Historical:

Josephine Marie Caruso Castano is the widow of painter and art dealer Giovanni (John) Castano.

General:

Originally recorded on 1 sound tape cassette. Reformatted in 2010 as 1 digital wav file. Duration is 41 min.

Provenance:

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

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Painters -- Massachusetts -- Boston  Search this

Art dealers -- Massachusetts -- Boston  Search this

Topic:

Art -- Conservation and restoration  Search this

Painting, Modern -- 20th century  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.castan91

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91b2ecdd7-3a20-46a8-bef0-7df3bc89e321

EDAN-URL:

ead_collection:sova-aaa-castan91

Creator:

Vose Galleries of Boston  Search this

Names:

Arthur U. Newton Galleries  Search this

Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this

Ehrich Galleries (New York, N.Y.)  Search this

Howard Young Galleries (New York, N.Y.)  Search this

Jill Newhouse (Gallery)  Search this

M. Knoedler & Co.  Search this

Macbeth Gallery  Search this

Milch Galleries  Search this

Norton Gallery and School of Art  Search this

R.C. & N.M. Vose (Firm)  Search this

Robert C. Vose Galleries  Search this

Hassam, Childe, 1859-1935  Search this

Hoffman, Malvina, 1887-1966  Search this

Jonniaux, Alfred, b. 1882  Search this

Ladd, Anna Coleman, 1878-1939 (sculptor)  Search this

Norton, William E., 1843-1916  Search this

Sargent, John Singer, 1856-1925  Search this

Thayer, Abbott Handerson, 1849-1921  Search this

Vose, Robert C. (Robert Churchill), 1911-1998  Search this

Vose, Robert Churchill, 1873-  Search this

Extent:

26.6 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Manuscript

Date:

circa 1876-1996

bulk 1920-1940

Summary:

The records of Vose Galleries of Boston measure 26.6 linear feet and date from circa 1876, 1890s-1996 with the bulk of materials dating from 1920s-1930s. Nearly 90 percent of the collection documents the gallery's handling of American paintings and portraits through incoming and outgoing business correspondence with artists, clients, galleries, and museums, including considerable correspondence with portrait artist Alfred Jonniaux and clients regarding commissioned portraits. Other materials include client files; artists' biographies; records of sales, consignments, framing, restoration, and banking, mostly from the 1940s-1960s; and scattered exhibition catalogs, newspaper clippings, and postcards. Also found is a handwritten manuscript regarding the 1876 Centennial Exhibition in Philadelphia, PA and a 1991 videotape about the Vose Galleries and its founding family.

Scope and Contents note:

The records of Vose Galleries of Boston measure 26.6 linear feet and date from circa 1876, 1890s-1996 with the bulk of materials dating from 1920s-1930s. Nearly 90 percent of the collection documents the gallery's handling of American paintings and portraits through incoming and outgoing business correspondence with artists, clients, galleries, and museums, including considerable correspondence with portrait artist Alfred Jonniaux and clients regarding commissioned portraits. Other materials include client files; artists' biographies; records of sales, consignments, framing, restoration, and banking, mostly from the 1940s-1960s; and scattered exhibition catalogs, newspaper clippings, and postcards. Also found is a handwritten manuscript regarding the 1876 Centennial Exhibition in Philadelphia, PA and a 1991 videotape about the Vose Galleries and its founding family.

Correspondence of note is with artists Childe Hassam, Malvina Hoffman, Alfred Jonniaux, and John Singer Sargent; galleries Ehrich Galleries, Clapp & Graham Co., M. Knoedler & Co., Macbeth Galleries, Milch Galleries, Newhouse Galleries, Arthur U. Newton Galleries, Norton Galleries, and Howard Young Galleries; the estates of Anna Coleman Ladd and William E. Norton; and the family of Abbott H. Thayer.

Researchers should note that the records do not comprehensively span the gallery's history or operations. The bulk of the collection is correspondence from Robert C. Vose's era running the Robert C. Vose Galleries in the 1920s-1930s and, lesser so, under Robert C. Vose, Jr.'s direction in the 1970s. There is little material in the collection which dates before the 1910s or the 1950s-1960s, other than correspondence regarding Alfred Jonniaux and some financial records. There is a handful of correspondence which covers the period of R.C. & N.M. Vose Gallery. Records loaned for microfilming should be consulted for materials outside of the bulk dates of this collection, especially for materials from the late 1800s-early 1900s.

Arrangement note:

The collection is arranged as 5 series:

Missing Title

Series 1: Correspondence, 1895-1996 (Boxes 1-23, 28; 22.6 linear feet)

Series 2: Customer Files, 1912-1946 (Boxes 23-24; 0.8 linear feet)

Series 3: Art-Related Files, circa 1876, 1890s-1947 (Box 24, 28; 1 linear feet)

Series 4: Financial Records, 1911-1962, 1991 (Boxes 24-25; 1.8 linear feet)

Series 5: Printed Materials, circa 1904-1990 (Boxes 25-27; 0.4 linear feet)

Biographical/Historical note:

Vose Galleries is a long time family run art gallery based in the Boston, Mass. area.

In 1841, Joseph Vose purchased Westminster Art Gallery, a small Providence, Rhode Island art gallery founded by Ransom Hicks. At the age of 19 in 1850, Joseph's son Seth Morton Vose joined the gallery and five years later became director. The gallery's primary business until the late 1860s was frame making, gilding and art supplies. Seth Morton Vose had a passion for art, especially the French painters of the Barbizon School and he slowly began buying and exhibiting artwork. By 1882, the gallery regularly exhibited in Boston.

Seth's son Robert C. Vose joined the business in 1896, and managed the gallery's Boston office from 1897. Robert broadened the gallery's horizons by showing his fine stock of Barbizon, Dutch, English and American artists throughout America, while his younger brother, Nathaniel, and his cousin, Charles Thompson, handled the Boston gallery. During the next sixty-seven years, Robert C. Vose moved the gallery into a position of national prominence.

In 1924, Nathaniel left the gallery and established his own gallery in Providence. The Boston gallery's name changed to Robert C. Vose Galleries, and around the same time, took over the Carrig-Rohane framing company. In 1931-1932, Robert's three sons, Robert C. Vose, Jr., Seth Morton Vose II, and Herbert Vose, joined the firm. The gallery continued to show exhibitions in Boston, and the sons took turns joining their father on the road. The gallery's name was changed to Vose Galleries of Boston, Inc. in 1952. In 1963, Vose Galleries moved to their current location at 238 Newbury Street in Boston. Robert C. Vose passed away in 1964.

Robert C. Vose, Jr.'s sons, Abbot W. Vose and Robert C. Vose III, joined the gallery in 1968 and 1970, respectively. Robert C. Vose, Jr. passed away in 1998. The Vose Galleries of Boston continues to operate at Newbury Street under the direction of the sixth generation of the Vose family.

Related Archival Materials note:

The Archives of American Art holds several separately cataloged collections related to Vose Galleries of Boston, including the Carrig-Rohane Shop records (1903-1962); oral history interviews with Seth Morton Vose (July 24, 1986 - April 28, 1987) and Robert C. Vose, Jr. (June 27 - July 23, 1986); a sound recording and videotape of a Robert C. Vose, Jr. lecture at the Somerset Club (May 14, 1987); a sound recording of an interview with Robert C. Vose (March 1961); the Miscellaneous Art Exhibition Catalog collection containing Vose Galleries exhibition catalogs, circa 1900-1941; and, Robert C. Vose, Jr. typescripts and clippings, 1961, on microfilm reels 3480 and 4314.

Separated Materials note:

The Archives of American Art also holds material lent for microfilming.

Reel B1 contains a scrapbook compiled by Seth Vose and annotated by Robert Vose that contains clippings, 1886-1900, and an 1889 letter from author and critic Alfred Trumble; and a scrapbook compiled and annotated by Robert C. Vose spanning the years 1920-1940, 1897, and 1905, containing clippings and handwritten lists.

Reel 2380 includes numerous photographs, circa 1890-1964, of Seth Morton Vose, Robert C. Vose, Sr., artists, collectors, and dealers associated with Vose Galleries; a Macbeth Gallery "smoker" in honor of Emil Carlsen; a drawing of Charles Emil Heil by George F. Wing, and a charcoal drawing after Monticelli by Albion Harris Bicknell. Many of the photographs are annotated by Robert C. Vose.

Reels 3936-3940 are comprised of account books, 1871-1887; a journal, 1889-1903, a ledger, 1889-1901; invoice books, 1896-circa 1954, inventories of paintings and drawings in stock, 1884, 1892 and 1906; exhibition records, 1911-1982?; traveling exhibition records, 1915-1949; and a record of paintings sold, 1876-1894. Written permission is required to access these reels.

Reels 4593-4594 contain clippings, undated and 1891-1989, chiefly about purchases, sales and exhibitions, but also pertaining to art dealers, museums, artists, and art events.

Reel 4909 contains a scrapbook of clippings, announcements, programs, and other printed materials, 1882-1993.

Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

From 1965-1994, Vose Galleries of Boston loaned materials to the Archives of American Art for microfilming. Robert C. Vose, Jr. also donated records in several installments from 1974 to 1997.

Restrictions:

Use of original papers requires an appointment.

Rights:

Reels 3936-3940: Authorization to publish, quote or reproduce requires written permission from an officer of the Vose Galleries. 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.

Topic:

Artists -- United States -- Photographs  Search this

Picture frame industry -- Massachusetts -- Boston  Search this

Picture frames and framing  Search this

Art, Modern -- 20th century -- Massachusetts -- Boston  Search this

Art, Modern -- 19th century -- Massachusetts -- Boston  Search this

Function:

Art galleries, Commercial -- Massachusetts

Art galleries, Commercial -- Rhode Island

Genre/Form:

Video recordings

Manuscript

Citation:

Vose Galleries of Boston records, circa 1876-1996. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund

Identifier:

AAA.vosegall

See more items in:

Vose Galleries of Boston records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b560897e-b32f-45cc-9f36-548879006396

EDAN-URL:

ead_collection:sova-aaa-vosegall

Creator:

McLaughlin, John, 1898-  Search this

Names:

Tamarind Lithography Workshop  Search this

Extent:

3.2 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Photographs

Date:

1922-1979

bulk 1936-1976

Summary:

The papers of Southern California art dealer and abstract painter John McLaughlin measure 3.2 linear feet and date from 1922 to 1979, bulk 1936 to 1976. The collection documents John McLaughlin's personal life and career through biographical material, correspondence, writings, Tamarind Lithography fellowship files, scattered personal business records, printed materials, preliminary sketches and designs, and photographic material.

Scope and Contents:

The papers of Southern California art dealer and abstract painter John McLaughlin measure 3.2 linear feet and date from 1922 to 1979, bulk 1936 to 1976. The collection documents John McLaughlin's personal life and career through biographical material, correspondence, writings, Tamarind Lithography fellowship files, scattered personal business records, printed materials, preliminary sketches and designs, and photographic material.

Biographical material includes McLaughlin's military service records, art awards, and resumes.

Correspondence is with friends, artists, museums, and galleries. Notable correspondents include Eugene Anderson, Karl Benjamin, Frederick Hammersley, Jules Langsner, Stanton Macdonald-Wright, and others.

Writings include artist statements, lectures, and notes. Researchers will find McLaughlin's ideas about his work and aesthetics are also referenced in much of the correspondence. There are also writings about McLaughlin by others.

The Tamarind Lithography fellowship files consists of the letter of appointment, printed material, and profiles for fellow artists at the workshop.

Personal business records include assorted legal and financial papers, such as contracts with galleries, art loan agreements, consignment records, and art shipment expenses. There are business papers about McLaughlin's Japanese print gallery, The Tokaido, Inc.

Printed material consists of exhibition catalogs for McLaughlin's shows at the Andre Emmerich Gallery, Felix Landau Gallery, a retrospective at the Corcoran Gallery of Art in 1968, and the seminal 1959 Four Abstract Classicists exhibition in Los Angeles, among others. Also included are exhibition announcements, news clippings, and press releases.

Artwork includes annotated sketches, collages and designs for paintings, and one painting.

Photographs, negatives, and slides are of McLaughlin, artwork, and exhibition installations. There is one album of photographs from a 1963 retrospective exhibition at the Pasadena Art Museum.

Arrangement:

This collection is arranged as 8 series.

Series 1: Biographical Material, 1941-circa 1975 (8 folders; Box 1)

Series 2: Correspondence, 1936-1976 (0.6 linear feet; Box 1)

Series 3: Writings, circa 1936-1976 (0.2 linear feet; Box 1)

Series 4: Tamarind Lithography Fellowship Files, 1958-1970 (0.2 linear feet; Box 1)

Series 5: Personal Business Records, circa 1937-1975 (0.2 linear feet; Box 2)

Series 6: Printed Material, 1932-1979 (1.5 linear feet; Boxes 2-3, 5)

Series 7: Artwork, circa 1948-circa 1976 (0.2 linear feet; Boxes 4-6)

Series 8: Photographic Material, 1922-1979 (0.3 linear feet; Box 4)

Biographical / Historical:

John Dwyer McLaughlin (1898-1976) was best known as one of the leading Los Angeles "hard-edge" geometric abstractionist painters and one of the artists featured in the seminal 1959 exhibition "Four Abstract Classicists" curated by Jules Langsner. McLaughlin was also a dealer of Japanese art prints.

McLaughlin was born and educated in Massachusetts. He served in the United States Navy during World War I from 1917-1921 and married Florence Emerson in 1928. McLaughlin began painting around 1932 with no formal training. In 1935, the couple moved to Japan and lived there for several years before moving back to Boston, where they opened The Tokaido, Inc., a Japanese art print gallery. From this time up to the start of World War II, McLaughlin worked primarily as a print dealer. During World War II, he served as a language intelligence officer in the Marines, thanks to his knowledge of Japanese.

After the war, McLaughlin and his wife settled in Dana Point, California, where he began painting in earnest, gaining some early local success. His painting, Hope Deferred was awarded first prize for oil painting in the 1948 San Diego Art Guild Annual. He became associated with the Felix Landau Gallery in Los Angeles and was one of four painters included in the historic 1959 Four Abstract Classicists, exhibition at the Los Angeles County Museum of Art organized by critic Jules Langsner which also featured the work of Frederick Hammersley, Lorser Feitelson, and Karl Benjamin. The phrase "hard-edge painting" was first used in association with this exhibition as a description of a unique California style of geometric abstractionist painting.

Throughout the 1960s and 1970s McLaughlin exhibited widely and became a mentor for many younger Los Angeles area reductive painters. He was admired for his integrity and independent position regarding the art market. John McLaughlin died in Dana Point, California in 1976 at the age of 77.

Related Materials:

The Archives of American Art also holds an oral history interview of John D. McLaughlin conducted July 23, 1974, by Paul J. Karlstrom.

Provenance:

The John McLaughlin papers were donated to the Archives of American Art in multiple installments. John McLaughlin donated material in 1973 and his widow Florence McLaughlin donated material in 1976. Additional papers were donated by the artist's nephew John McLaughlin in 1998 and 1999. A painting was donated 2015 by the Stephne' Hesen estate.

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  Search this

Painters -- California  Search this

Topic:

Art, Modern -- California -- Los Angeles  Search this

Painting, Abstract -- California -- Exhibitions  Search this

Genre/Form:

Sketches

Photographs

Citation:

John McLaughlin papers, 1922-1979, bulk 1936-1976. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Frederick Hammersley Foundation and the Walton Family Foundation.

Identifier:

AAA.mclajohn

See more items in:

John McLaughlin papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90baa8e3e-4554-441e-beef-c10b28d25768

EDAN-URL:

ead_collection:sova-aaa-mclajohn

Interviewee:

Zoehler, Wendell H., 1907-1989  Search this

Interviewer:

Brown, Robert F  Search this

Subject:

Doll & Richards (Gallery)  Search this

Type:

Interviews

Sound recordings

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Wendell Zoehler, 1978 April 14 and 27. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA_CollID)11931

(DSI-AAA_SIRISBib)214600

AAA_collcode_zoehle78

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_214600

Interviewee:

Zoehler, Wendell H., 1907-1989  Search this

Interviewer:

Brown, Robert F.  Search this

Names:

Doll & Richards (Gallery)  Search this

Extent:

40 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

1978 April 14 and 27

Scope and Contents:

An interview of Wendell Zoehler conducted 1978 April 14 and 27, by Robert F. Brown, for the Archives of American Art.

Zoehler speaks of his long association with the Doll & Richards art gallery in Boston from 1929 to 1966.

Biographical / Historical:

Wendell Zoehler (1907-1989) was an art dealer in Boston, Massachusetts.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 22 min.

Provenance:

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

Occupation:

Art dealers -- Massachusetts -- Boston  Search this

Genre/Form:

Interviews

Sound recordings

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.zoehle78

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw968747cb7-ba2a-4e0f-9ec8-483cabcf7860

EDAN-URL:

ead_collection:sova-aaa-zoehle78

Creator:

Richardson, Edgar Preston, 1902-1985  Search this

Richardson, Constance, 1905-  Search this

Names:

Castano Galleries (Boston, Mass.)  Search this

Detroit Institute of Arts  Search this

Henry Francis du Pont Winterthur Museum  Search this

Historical Society of Pennsylvania  Search this

Macbeth Gallery  Search this

National Collection of Fine Arts (U.S.)  Search this

National Portrait Gallery (Smithsonian Institution)  Search this

Pennsylvania Academy of the Fine Arts  Search this

Philadelphia Museum of Art  Search this

White House (Washington, D.C.)  Search this

Peale family  Search this

Allen, Joseph  Search this

Allston, Washington, 1779-1843  Search this

Andrews, Wayne  Search this

Aram, Siegfried F.  Search this

Bishop, Isabel, 1902-1988  Search this

Bostick, William A.  Search this

Bouché, Louis, 1896-1969  Search this

Boyd, Julian P. (Julian Parks), 1903-  Search this

Castano, Giovanni, 1896-1978  Search this

Cohn, Harold  Search this

Copeland, Lammot du Pont  Search this

Culver, Charles B. (Charles Beach), 1908-1967  Search this

Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this

Flexner, James Thomas, 1908-2003  Search this

Frankenstein, Alfred V. (Alfred Victor), 1906-1981  Search this

Fredericks, Marshall M., 1908-1998  Search this

Freeman, Michael W.  Search this

Garrison, Eve Josephson, 1903-2003  Search this

Groce, George C., 1899-  Search this

Hardy, Jeremiah Pearson, 1800-1889  Search this

Heil, Walter, 1890-1973  Search this

Hopper, Edward, 1882-1967  Search this

Jungwirth, Irene G. (Irene Gayas), 1913-  Search this

Krentzin, Earl, 1929-  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Lee-Smith, Hughie  Search this

Lewis, W. S. (Wilmarth Sheldon), 1895-1979  Search this

Lynes, Russell, 1910-1991  Search this

Marsh, Reginald, 1898-1954  Search this

Mast, Gerald, 1908-1971  Search this

McDermott, John Francis, 1902-  Search this

Middeldorf, Ulrich Alexander, 1901-  Search this

Morse, John D., 1906-  Search this

Moser, Liselotte, 1906-1983  Search this

O'Keeffe, Georgia, 1887-1986  Search this

Oliver, Andrew, 1906-  Search this

Peale, Charles Willson, 1741-1827  Search this

Pleasants, J. Hall (Jacob Hall), 1873-1957  Search this

Ripley, S. Dillon (Sidney Dillon), 1913-2001  Search this

Rockefeller, John D., 1906-  Search this

Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this

Rutledge, Anna Wells  Search this

Sellers, Charles Coleman, 1903-  Search this

Sheeler, Charles, 1883-1965  Search this

Simper, Fred, 1914-  Search this

Simpson, Corelli C. W.  Search this

Soria, Regina, 1911-  Search this

Spark, Victor D. (Victor David), 1898-1991  Search this

Speck, Walter, 1895-  Search this

Stevens, William B.  Search this

Valentiner, Wilhelm Reinhold, 1880-1958  Search this

Vose, Robert C. (Robert Churchill), 1911-1998  Search this

Watkins, Franklin Chenault, 1894-1972  Search this

Wedda, John  Search this

Woolfenden, William E. (William Edward), 1918-1995  Search this

Wyeth, Andrew, 1917-2009  Search this

Extent:

28.7 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Manuscripts

Interviews

Diaries

Transcripts

Sketches

Lectures

Place:

Detroit (Mich.)

Date:

1814-1996

bulk 1921-1996

Summary:

The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.

Scope and Contents:

The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.

Biographical materials include certificates, awards, and honorary degrees, membership information, personal and family photographs, a few sketches, and a transcript of an oral history Interview with E.P. Richardson conducted by the National Endowment for the Humanities in 1982.

There are acquisitions files for the Richardsons' personal art collection that invoices, photographs, correspondence with galleries and collectors, appraisals, price lists, and artwork examination forms.

Correspondence is with colleagues, art dealers, collectors, museums and museum curators, foreign scholars, organizations, galleries, artists, art historians and critics, publishers, editors, librarians, friends, and family. Topics regard purchasing art for various collections, consultations about art and collecting including authentications and attributions, publishing, general art history, lectures, and personal matters, among other topics. There is correspondence with the Archives of American Art, Castano Galleries, Lawrence Fleischman, James Thomas Flexner, Alfred V. Frankenstein, George Croce, Walter Heil, Earl Krentzin, Wilmarth Lewis, Russel Lynes, John Francis McDermott, Philadelphia Museum of Art, J. Hall Pleasants, Anna Rutledge, Charles Sellers, Smithsonian Institution, Regina Soria, Victor Spark, William Stevens, Robert Vose, William Woolfenden, and many others. Scattered correspondence with artists is with Isabel Bishop, Louis Bouche, William Bostick, Eve Garrison, Edward Hopper, Irene Jungwirth, Yasuo Kuniyoshi, Hughie Lee-Smith, Reginald Marsh, Gerald Mast, Georgia O'Keefe, Charles Sheeler, Walt Speck, and John Wedda, among many others. The greatest extent of correspondence is with Andrew Wyeth, Harold Cohn, and Frederick Simper. There is also personal correspondence with family and friends, and between E.P. and Constance Richardson.

E.P. Richardson's prominence as an art historian, writer, and expert on collecting is well documented through his prolific writings. Materials include drafts, notes, typescripts, and outlines for articles, exhibition catalog essays, and lectures. Also found are research files and publishing documentation for Richardson's books, including Washington Allston: A Study of the Romantic Artist in America (1948), Painting in America (1956), Charles Willson Peale and his World (1983), and American Romantic Painting (1944). There are also miscellaneous notes and four diaries. Two of the diaries comment on the social and cultural life of Detroit; the authenticity of paintings; Richardson's reflections on contemporary American painting, thoughts about museums, dealers, artists, and art historians (especially Wilhelm R. Valentiner); and travel.

Notebooks compiled by Richardson on a wide variety art-related topics cover nearly six decades. There are also numerous research files organized Richardson about individual artists and art history. And, the art collector files contain reference materials about art collectors and their collections including Lamont du Pont Copeland, Michael W. Freeman, Nelson Rockefeller, Mr. and Mrs. Joseph Allen, and the Marquis de Somerlous. There are three index card file boxes containing bibliographic data on published books and articles.

Professional and committee files document Richardson's professional and consulting work for the Art Quarterly, Detroit Institute of Arts, National Collection of Fine Arts, the National Portrait Gallery, the Pennsylvania Academy of Fine Arts, the John D. Rockefeller III collection, Winterthur Museum, the White House, and the Historical Society of Pennsylvania.

Constance C. Richardson's papers include business and professional correspondence with various institutions, most extensively with the Macbeth Gallery. In addition, there is a smaller amount of personal correspondence, photographs and slides of her artworks, printed materials, two illustrated notebooks on her work, and miscellaneous notes. Also included is Constance's artist palette.

Biographical / Historical:

Art historian, museum director, and writer E. P. (Edgar Preston) Richardson (1902-1985) served as director of the Detroit Institute of Arts (1945-1962) and Winterthur Museum (1963-1966). He was also a board member of the Pennsylvania Academy of the Fine Arts from 1966-1977 and, in 1954, co-founded the Archives of American Art, Smithsonian Institution.

E. P. Richardson was born in 1902 in Glens Falls, New York and died in Philadelphia in 1985. He graduated from Williams College in Massachusetts in 1925 and studied painting at the Pennsylvania Academy of the Fine Arts for the three years following graduation. In 1930 he became educational secretary at the Detroit Institute of Arts, was quickly named assistant director in 1933, and served as director from 1945 to 1962. He left Detroit to take the position of director of the Winterthur Museum, where he remained until 1966. Richardson married Constance Coleman in 1931. Born in Berlin, Germany in 1905, Constance Coleman Richardson was an award-winning and widely exhibited realist style painter of American landscapes. She gave up painting in the 1960s and died in 2002.

While at the Detroit Institute of Arts, E. P. Richardson co-founded the Archives of American Art with Lawrence Fleischman, and served as the Archives' first director. Richardson was also art advisor to John D. Rockefeller III for over ten years, editor of Art Quarterly from 1938 to 1967, and a member of various boards, including the Historical Society of Pennsylvania, the Smithsonian Arts Commission, and the National Portrait Gallery. He authored numerous books including ones on artists Washington Allston and Charles Willson Peale, and The Way of Western Art: American Romantic Painting (1939), Painting in America: The Story of Four Hundred and Fifty Years (1956), A Short History of Painting in America (1963), and American Art, an Exhibition of the Collection of Mr. and Mrs. John D. Rockefeller, 3d (1976).

Related Materials:

Related collections among the holdings of the Archives of American Art include an interview with E.P. Richardson dated February 6, 1978 conducted by Linda Downs; and several miscellaneous manuscripts that include an E.P. Richardson Letter to Rockwell Kent, June 15 1959; E.P. Richardson letters to Lawrence Arthur Fleischman, May 13, 1962 and August 22 1954; and a Yasuo Kunioshi letter to E.P. Richardson, July 25 1948.

Additional E.P. Richardson papers are found at the Detroit Institute of Arts and in the archives of the Henry Francis du Pont Winterthur Museum.

Separated Materials:

The Archives of American Art also holds material lent for microfilming (reel D46) including E.P. Richardson's research material on Jeremiah P. Hardy. These materials are housed at the Smithsonian American Art Museum Library and are not described in the collection container inventory.

Provenance:

Edith Wilkinson first donated a letter to E. P. Richardson from herself in 1957. E.P. Richardson donated papers to the Archives of American Art in 1958 and 1960 and lent materials for microfilming in 1961. Addition material was donated by Constance Richardson in 1985, and by Martha Fleischman in 2003.

Restrictions:

Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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:

Authors -- Michigan -- Detroit  Search this

Art historians -- United States  Search this

Topic:

Art -- Collectors and collecting  Search this

Painting, American  Search this

Art, American  Search this

Romanticism  Search this

Art -- History -- Study and teaching  Search this

Genre/Form:

Photographs

Manuscripts

Interviews

Diaries

Transcripts

Sketches

Lectures

Citation:

Edgar P. Richardson papers, 1814-1996, bulk 1921-1996. 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.

Identifier:

AAA.richedga

See more items in:

E.P. (Edgar Preston) and Constance Richardson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f0a154af-52ef-402b-b06d-60a290eec749

EDAN-URL:

ead_collection:sova-aaa-richedga

Interviewee:

Vose, Robert C. (Robert Churchill), 1911-1998  Search this

Interviewer:

Brown, Robert F  Search this

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Robert C. Vose, 1986 June 27-July 23. Archives of American Art, Smithsonian Institution.

Topic:

Art dealers -- Massachusetts -- Boston -- Interviews  Search this

Record number:

(DSI-AAA_CollID)9948

(DSI-AAA_SIRISBib)212500

AAA_collcode_vose86

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212500

Interviewee:

Campbell, Robert B., 1909-1974  Search this

Interviewer:

Brown, Robert F  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Robert B. Campbell, 1974 February 8-20. Archives of American Art, Smithsonian Institution.

Topic:

Art, American  Search this

Art dealers -- Massachusetts -- Boston -- Interviews  Search this

Record number:

(DSI-AAA_CollID)13211

(DSI-AAA_SIRISBib)212575

AAA_collcode_campbe74

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212575

Interviewee:

Castano, Giovanni, 1896-1978  Search this

Interviewer:

Brown, Robert F  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Giovanni Castano, 1973 June 17-1974 June 20. Archives of American Art, Smithsonian Institution.

Topic:

Art, American  Search this

Record number:

(DSI-AAA_CollID)12257

(DSI-AAA_SIRISBib)212582

AAA_collcode_castan73

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212582

Interviewee:

Siembab, Carl, 1926-2007  Search this

Interviewer:

Brown, Robert F  Search this

Subject:

Carl Siembab Gallery  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Carl Siembab, 1971 July 1. Archives of American Art, Smithsonian Institution.

Topic:

Art dealers -- Massachusetts -- Boston -- Interviews  Search this

Record number:

(DSI-AAA_CollID)12969

(DSI-AAA_SIRISBib)213090

AAA_collcode_siemba71

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213090

Interviewee:

Richter, Mischa, 1910-2001  Search this

Interviewer:

Brown, Robert F  Search this

Subject:

Barnet, Will  Search this

Bloom, Hyman  Search this

Levine, Jack  Search this

Reinhardt, Ad  Search this

Steig, William  Search this

Zimmerman, Harold K.  Search this

Museum of Fine Arts, Boston. School  Search this

Yale University. School of Fine Arts  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Mischa Richter, 1994 September 27-28. Archives of American Art, Smithsonian Institution.

Topic:

New masses  Search this

New Yorker (New York, N.Y. : 1925)  Search this

Caricatures and cartoons  Search this

Jewish artists  Search this

Painters -- Massachusetts -- Provincetown -- Interviews  Search this

Magazine illustration  Search this

Record number:

(DSI-AAA_CollID)12128

(DSI-AAA_SIRISBib)215762

AAA_collcode_richte94

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_215762