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John Outterbridge papers, 1953-1997

Creator:
Outterbridge, John Wilfred, 1933-  Search this
Subject:
Simone, Nina  Search this
Otis, Johnny  Search this
Marley, Bob  Search this
Hines, Gregory  Search this
White, Charles (1918-1979)  Search this
Bradley, Tom  Search this
Angelou, Maya  Search this
Watts Towers Art Center  Search this
Type:
Sketches
Transcripts
Scrapbooks
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Place:
Watts (Los Angeles, Calif.) -- Buildings, structures, etc
Citation:
John Outterbridge papers, 1953-1997. Archives of American Art, Smithsonian Institution.
Topic:
Sculptors -- California -- Los Angeles  Search this
Artists' studios -- Photographs  Search this
Towers -- California -- Los Angeles  Search this
African American artists  Search this
Theme:
African American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6097
(DSI-AAA_SIRISBib)216289
AAA_collcode_outtjohn
Theme:
African American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216289
Online Media:

John Outterbridge papers

Creator:
Outterbridge, John, 1933-2020  Search this
Names:
Watts Towers Art Center  Search this
Angelou, Maya  Search this
Bradley, Tom, 1917-  Search this
Hines, Gregory  Search this
Marley, Bob  Search this
Otis, Johnny, 1921-  Search this
Simone, Nina, 1933-2003  Search this
White, Charles (1918-1979)  Search this
Extent:
4.8 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Transcripts
Scrapbooks
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Place:
Watts (Los Angeles, Calif.) -- Buildings, structures, etc
Date:
1953-1997
Summary:
The papers of Los Angeles African American painter, sculptor, and arts administrator John Outterbridge measure 4.8 linear feet and date from 1953 to 1997. The papers include biographical material, correspondence, writings, professional and project files, Watts Towers Arts Center files, exhibition files, printed material, photographs, a scrapbook, and one motion picture film reel.
Scope and Contents:
The papers of Los Angeles African American painter, sculptor, and arts administrator John Outterbridge measure 4.8 linear feet and date from 1953 to 1997. The papers include biographical material, correspondence, writings, professional and project files, Watts Towers Arts Center files, exhibition files, printed material, photographs, a scrapbook, and one motion picture film reel.

Biographical material includes life documents, awards, interview transcripts, a few sketches, teaching certificates, and a motion picture film reel entitled John Outterbridge: Black Artist.

The bulk of the correspondence consists of letters to John Outterbridge from family, artists, colleagues, museums, and universities. Notable correspondents include Maya Angelou, Johnny Otis, and Charles White.

Writings include teaching notes, an artist statement, nine typescript essays by Outterbridge, as well as papers written by students, and poems by various artists.

Professional and project files document Outterbridge's involvement in conferences, symposiums, membership records, and fellowships. There are grant and job applications, contracts, correspondence, project plans, and administrative records. There is documentation of the Metro Art for Rail Transit project and of his work as director of the Communicative Arts Academy. Outterbridge's directorship of the Watts Towers Arts Center (WTAC) are arranged in a separate series; files document administration, annual programs and events, and special projects.

Exhibition files are found for several exhibitions in which Outterbridge participated in the mid-1990s. Printed material includes clippings about John Outterbridge and the Watts Towers Arts Center, exhibition catalogs, announcements, books, and magazines.

There is one scrapbook that contains clippings, award certificates, and photographs of the Watts Towers Arts Center events. There are photographs of Johnny Otis, Nina Simone, and L.A. Mayor Tom Bradley.

Photographs are of John Outterbridge and his artwork, studio, family, friends, and events. Among those depicted in the photographs are Bob Marley and Gregory Hines.
Arrangement:
This collection is arranged as 9 series.

Missing Title

Series 1: Biographical Material, 1953-1997 (0.7 linear feet; Box 1, OV 6, FC 9)

Series 2: Correspondence, 1970-1997 (1.1 linear feet; Boxes 1-2, OV 7)

Series 3: Writings, circa 1980-1996 (0.2 linear feet; Box 2)

Series 4: Professional and Project Files, circa 1970-1997 (0.5 linear feet; Boxes 2-3, OV 8)

Series 5: Watts Towers Arts Center, 1976-1997 (0.4 linear feet; Box 3)

Series 6: Exhibition Files, 1992-1996 (0.2 linear feet; Box 3)

Series 7: Printed Materials, 1968-1997 (1.1 linear feet; Boxes 3-4)

Series 8: Scrapbook, 1968-1997 (0.5 linear feet; Box 5)

Series 9: Photographs, 1953-1995 (0.2 linear feet; Box 4-5)
Biographical / Historical:
John Outterbridge is an African American painter, sculptor and arts administrator in Los Angeles, California.

John Wilfred Outterbridge was born in Greenville, North Carolina in 1933. He attended Agricultural and Technical University in Greensboro, North Carolina and studied engineering for one year before joining the U.S. Army in 1953. He served two years in Europe where he started painting street scenes in his spare time. His paintings were liked and his Captain found a studio space for him, where he painted murals and artwork in offices, clubs, and American schools.

Outterbridge decided that he needed a formal education in art and after his discharge from the Army in 1955, he relocated to Chicago and enrolled first in the Chicago Academy of Art, and later in the American Academy of Art. He became active in the Chicago art scene and opened a gallery with artists John Pinkney, Elliot Hunter, and Jose Williams. While attending school, he also worked for a graphic arts firm running errands and as a Chicago Transit Authority bus driver.

Outterbridge married his wife Beverly in 1960 and they moved to Los Angeles in 1963. He worked at a production studio for a while and got an offer from another studio to become its art director. After a few years, Outterbridge took two years off and began experimenting with with other medium, such as found objects and sculpture.

Outterbridge then took a job in the art installation department of the Pasadena Art Museum where he met artists such as Peter Alexander, Richard Serra, Robert Rauschenberg, and Andy Warhol while helping with their exhibits. In addition to working on installations, Outterbridge taught sculpture classes at the museum and at several colleges such as Pasadena City College, Claremont College, Cal State Dominguez Hills, and University of California at Irvine.

From 1969-1975, Outterbridge was the director of the Compton Communicative Arts Academy. From 1975-1993, Outterbridge was the director of the Watts Towers Arts Center, a focal point in Los Angesle for African American visual and theatrical arts and the sponsor of the Watts Towers Jazz Festival and Day of the Drum Festival. He retired in 1993 to dedicate more time to his art.

Outterbridge's art can be found at the California African American Museum and the Los Angeles County Museum of Art. He has received awards throughout his career including fellowships from the Fulbright Foundation, Getty Foundation, and the National Endowment for the Arts. He received an honorary doctorate from Otis College of Art and Design in 1994.
Related Materials:
The Archives of American Art also has an oral history interview with John Outterbridge conducted by Allen Bassing in 1973.

A copy of the film John Outterbridge: Black Artist is available in the Samella Lewis papers, in the Rose Library at Emory University.
Provenance:
The John Outterbridge papers were donated to the Archives of American Art by John Outterbridge in 1997.
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:
Painters -- California  Search this
Arts administrators -- California -- Los Angeles  Search this
Topic:
Sculptors -- California -- Los Angeles  Search this
Artists' studios -- Photographs  Search this
Towers -- California -- Los Angeles  Search this
African American artists  Search this
Genre/Form:
Sketches
Transcripts
Scrapbooks
Photographs
Interviews
Video recordings
Motion pictures (visual works)
Citation:
John Outterbridge papers, 1953-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.outtjohn
See more items in:
John Outterbridge papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a172f43c-33be-45e4-87fb-14ed23fc3008
EDAN-URL:
ead_collection:sova-aaa-outtjohn
Online Media:

Frederick Stallknecht Wight letters

Creator:
Wight, Frederick Stallknecht, 1902-  Search this
Names:
Graves, Morris, 1910-2001  Search this
Hofmann, Hans, 1880-1966  Search this
Oliveira, Nathan, 1928-2010  Search this
Sheeler, Charles, 1883-1965  Search this
Extent:
17 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1954-1963
Scope and Contents:
Photocopies of letters to Wight from Charles Sheeler, Morris Graves, Nathan Oliveira and Hans Hofmann.
Biographical / Historical:
Painter, author, gallery director, art administrator; Los Angeles, Calif. Died 1986 Was director of the University of California, Los Angeles art gallery, now called the Frederick S. Wight Galleries.
Provenance:
Photocopies discarded after microfilming.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Arts administrators -- California -- Los Angeles  Search this
Gallery directors -- California -- Los Angeles  Search this
Topic:
Painting, Abstract -- United States  Search this
Painting, American  Search this
Function:
Art museums, University and college -- California -- Los Angeles
Identifier:
AAA.wighfred
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94108fa46-0c14-475b-9b13-b9931e104428
EDAN-URL:
ead_collection:sova-aaa-wighfred

Robert Bruce Inverarity papers

Creator:
Inverarity, Robert Bruce, 1909-1999  Search this
Names:
Federal Art Project (Calif.)  Search this
Federal Art Project (Ill.)  Search this
Federal Art Project (Iowa)  Search this
Federal Art Project (N.Y.)  Search this
Federal Art Project (Or.)  Search this
Federal Art Project (Utah)  Search this
Federal Art Project (Wash.)  Search this
Museum of International Folk Art (N.M.)  Search this
Deutsch, Hilda, 1911-  Search this
Duchamp, Marcel, 1887-1968 -- Photographs  Search this
Graves, Morris, 1910-2001 -- Photographs  Search this
Morris, Carl, 1911-1993  Search this
Ray, Man, 1890-1976 -- Photographs  Search this
Tobey, Mark  Search this
Extent:
13.8 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sound recordings
Sketchbooks
Interviews
Photographs
Drawings
Place:
United States -- Economic conditions, 1918-1945 -- Washington (State)
Date:
circa 1840s-1997
Summary:
The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 12.7 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.
Scope and Content Note:
The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 13.8 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.

Among the biographical information are awards and certificates, biographical and genealogical notes, and educational records. Correspondence concerns Inverarity's activities as Director of the WPA Federal Arts Project in Washington State, 1936-1941. Additional personal and professional correspondence, 1929-1993, documents his activities as a museum director, consultant, collector, and writer. Among the friends and colleagues with whom he corresponded are: Max Ernst and Dorothea Tanning, Rockwell and Sally Kent, Stanton MacDonald-Wright, Wolfgang Palen, Juliet and Man Ray, Mark Tobey, Edward Weston, and various individuals associated with the WPA.

Manuscripts of a few of Inverarity's many articles on topics such as anthropology, museology, and information storage and retrieval are among his writings and notes. Also included are the manuscript of an unpublished book, Tobey Remembered, along with drafts, notes, correspondence, research materials, and photocopies of Tobey's letters to him and others. Other writings consist of book reviews, children's books, a catalog of the Inverarity Collection, and a copy of his 1946 master's thesis, "The Social-Economic Position of the American Artist." Several journals, 1928-1966, survive, including one that records his 1932 trip to study the Haida Indians of the Queen Charlotte Islands.

Subject files include general subjects such as "Folk Art" and "Preservation." Files on the museums where Inverarity was the director contain some official records as well as general information. Art work by Inverarity includes eight volumes of sketch books, 1928-1942, commercial work for Boeing, notes and drawings for book designs. Among the work by other artists are drawings, paintings and prints by friends. Of particular interest are display panels for a small exhibit on airbrush stencil prints produced by the Washington State WPA Federal Art Project. Other noteworthy items are pencil sketches and a watercolor by Mark Tobey, and prints by Hiroshige and Jan Matulka.

Five scrapbooks, 1928-1979, contain newspaper clippings, miscellaneous printed items, and a small number of photographs and letters. Three volumes document his career as an artist and museum director. One consists of biographical information and items designed by Inverarity, and another concerns publication and marketing of his monograph Art of the Northwest Coast Indians.

Sound recordings consist of interviews and conversations. An extensive interview with Inverarity about his life and career was conducted by Craig Gilborn in 1990. Bruce and Jane Inverarity in conversation with former colleague Ernie Johnson and his wife Helen about his departure from the Museum of International Folk Art were recorded in 1980. Also included is a 1981 conversation with Grace T. Stevenson containing references to Mark Tobey and Morris Graves.

Printed material includes many items about or produced by the WPA Federal Art Project. Among the items written by Inverarity are many articles on a wide variety of topics, his book Art of the Northwest Coast Indians, and two published portfolios. Printed material by other authors includes articles, books and reports about or mentioning Inverarity, and books designed or illustrated by him. Among the miscellaneous printed items are catalogs and brochures of the schools where Inverarity taught and studied, and a few ephemeral items designed by him.

Photographs are of art work, people, places, the Washington State WPA Federal Art Project, and miscellaneous subjects. All photographs known to be by Inverarity are clearly marked. Art work includes views of Inverarity's collection of his own work and that of other artists hanging in his home. Photographs of people include artists, friends, colleagues, and various groups. Of special interest are Inverarity's portraits of artists, among them Marcel Duchamp, Max Ernst, Morris Graves, Hilaire Hiler, Rico Le Brun, Stanton Macdonald-Wright, Man Ray, Dorothea Tanning, and Mark Tobey. Photographs of places include the museums where Inverarity was director, places in which he lived, and travel pictures. Of note are a large group of photographs (copy prints) taken in 1932 while studying the Haida Indians in British Columbia. Nineteenth century photographs of family homes, Europe, and South America may have been taken by his father. Photographs of the Washington State WPA Federal Arts Project are of individual works of art, exhibition installations, mosaic procedures and local art centers. Many, probably intended for display, are mounted in groups on large cardboard panels. Miscellaneous subjects include art photographs by Inverarity and the microreader he invented.
Arrangement:
The collection is arranged as nine series. Correspondence is in chronological order, Biographical Information and Subject Files are arranged alphabetically by folder title. Other series have been organized into subseries and arrangement is as described in the Series Descriptions/Container List below. Unless noted otherwise, material within folders is arranged chronologically.

Missing Title

Series 1: Biographical Information, 1934-1997, undated (Box 1, OV 18; 0.25 linear ft.)

Series 2: Correspondence, 1928-1993, undated (Box 1; 0.75 linear ft.)

Series 3: Writings and Notes, 1928-1993, undated, (Boxes 2-3; 1.5 linear ft.)

Series 4: Subject Files, 1938-1990, undated (Boxes 3-6, OV 19-20; 2.5 linear ft.)

Series 5: Art Work, circa 1840s-1969, undated (Boxes 6, 12, 16, OV 21; 1.3 linear ft.)

Series 6: Scrapbooks, 1928-1991, undated (Boxes 7-8; 1.1 linear ft.)

Series 7: Sound Recordings, 1980-1990 (Box 8; 3 folders)

Series 8: Printed Material, 1902-1995, undated (Boxes 8-13, OV 22; 3.4 linear ft.)

Series 9: Photographs, circa 1870s-1990, undated (Boxes 11, 14-17, OV 23; 3.0 linear ft.)
Biographical Note:
Robert Bruce Inverarity (1909-1999) showed artistic leanings as a boy, and from an early age was fascinated by puppetry and Northwest Coast native culture. During much of his youth, Inverarity's family lived in Canada, but returned to their native Seattle when he was a teenager. After graduating from high school, he made a 500 mile journey on foot along the coasts of the Vancouver Islands, collecting Indian artifacts and studying the area's tribal legends.

He studied briefly with Mark Tobey in Seattle, where the two shared a studio; when Tobey departed for Chicago, Inverarity succeeded him as an art teacher at the Cornish School. He spent the next few years in California working as an artist, exhibiting, and occasionally teaching. From there, he moved to Vancouver where he was Director of the School of Creative Art. In 1932, Inverarity made a three month trip to the Queen Charlotte Islands, British Columbia, for the purpose of studying the Haida Indians.

Upon his return to the United States in 1933, Inverarity joined the University of Washington Drama School as a puppetry instructor; in 1938 he published a highly regarded Manual of Puppetry. During 1936-37, he took a leave of absence from the university to assume the position of State Director of the Federal Art Project, where he remained until 1939. He then became State Director of the Art and Crafts Project (1939-1941). The U.S. Navy appointed Inverarity Chief of Design for Camouflage (1941-1943) and he later served as an Official Navy War Artist (1943-1945).

During his early years as a teacher and administrator, Inverarity continued making art and participated in a wide variety of exhibitions. He published a portfolio, 12 Photographs by R. B. Inverarity (1940). In the following year, Movable Masks and Figures of the North Pacific Coast Indians, a portfolio of his watercolors reproduced as silkscreen prints, appeared. Although Inverarity stopped exhibiting in 1941, he continued to produce art; notable work of this period includes photographic portraits of a number of artist friends (Max Ernst, Dorothea Tanning, Marcel Duchamp, and Man Ray).

After World War II, Inverarity completed his formal education. He earned a Bachelor's degree in art and anthropology from the University of Washington (1946), and then studied with Hilaire Hiler at Freemont University in Los Angeles, where he was awarded a Master's degree in fine arts (1947) and a Ph.D. (1948).

Inverarity began his museum career in 1949 when he was appointed the first director of the Museum of International Folk Art in Santa Fe, New Mexico, a position that combined his interest in, and knowledge of, anthropology and art. While in Santa Fe, he published Art of the North West Coast Indians (1950). During his five year tenure as director, the museum participated in a pilot study for coding visual files, a project of the anthropological group, Human Resources Area Files, Inc. When Inverarity was dismissed from the Museum of International Folk Art in 1954, most of the staff resigned in protest, and the American Association of Museums investigated the situation.

Inverarity then became the first director of the Adirondack Museum, Blue Mountain Lake, New York, where he remained for eleven years. In addition to planning the museum's building, and developing collections and programs, Inverarity continued his involvement with the visual files project of the Human Resources Area Files, Inc., studying information storage and retrieval, developing a "microreader," and publishing Visual Files Coding Index (1960). In addition, he published many articles on a variety of topics and was active in organizations for anthropologists and museum professionals.

After his 1965 departure from the Adirondack Museum, Inverarity went to California and worked as an illustrator and book designer at the University of California Press. He returned to the east coast in 1969 to assume the directorship of the Philadelphia Maritime Museum. During this period, he remained active in professional associations and traveled to study museums abroad. He retired in 1976 and moved to La Jolla, California.

Robert Bruce Inverarity died in 1999.
Separated Material:
Originals of most of the drawings and sketches loaned by Mr. Inverarity were returned to him after filming and were not subsequently donated. This material is available on 35 mm microfilm reel D/NDA/I, frames 392-409.
Provenance:
Robert Bruce Inverarity donated his papers to the Archives in several installments between 1965 and 1993. Additional papers were received from his estate in 1999. He also loaned a small number of additional drawings and sketches for microfilming which were returned to him. A few of these drawings were included with the papers he subsequently donated to the Archives of American Art.
Restrictions:
The collection is open for research. Use 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:
Arts administrators  Search this
Painters  Search this
Topic:
Puppet theater  Search this
New Deal, 1933-1939 -- Washington (State)  Search this
Works of art  Search this
Federal aid to the arts -- Washington (State)  Search this
Art and state -- Washington (State)  Search this
Genre/Form:
Scrapbooks
Sound recordings
Sketchbooks
Interviews
Photographs
Drawings
Citation:
Robert Bruce Inverarity papers, circa 1840s-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.inverobe
See more items in:
Robert Bruce Inverarity papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9460b503e-0657-430a-9244-ead53bd5066f
EDAN-URL:
ead_collection:sova-aaa-inverobe
Online Media:

Ruth Bowman papers

Creator:
Bowman, Ruth, 1923-  Search this
Names:
American Association of Museums  Search this
American Federation of Arts  Search this
Brooklyn Museum  Search this
Canadian Museums Association  Search this
Craft and Folk Art Museum  Search this
KUSC (Radio station : Los Angeles, Calif.)  Search this
Long Beach Museum of Art  Search this
Los Angeles County Museum of Art  Search this
Massachusetts Institute of Technology  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New York University  Search this
Newark Museum  Search this
WNYC (Radio station : New York, N.Y.)  Search this
Albers, Josef  Search this
Anshutz, Thomas Pollock, 1851-1912  Search this
Bengelsdorf, Rosalind, 1916-1979  Search this
Bolotowsky, Ilya, 1907-1981  Search this
Burkhardt, Hans Gustav, 1904-1994  Search this
Cézanne, Paul, 1839-1906  Search this
Diller, Burgoyne, 1906-1965  Search this
Eakins, Thomas, 1844-1916  Search this
Ferren, John, 1905-1970  Search this
Holty, Carl, 1900-1973  Search this
Holtzman, Harry  Search this
Lassaw, Ibram, 1913-2003  Search this
Levine, Les, 1935-  Search this
Lipchitz, Jacques, 1891-1973  Search this
MacDonald, Duncan (Broadcaster)  Search this
Mason, Alice Trumbull, 1904-1971  Search this
McNeil, George, 1908-1995  Search this
Morris, George L. K., 1905-1975  Search this
Noguchi, Isamu, 1904-1988  Search this
Picasso, Pablo, 1881-1973  Search this
Reinhardt, Ad, 1913-1967  Search this
Sloan, Helen Farr, 1911-2005  Search this
Wilfred, Thomas, 1889-1968  Search this
Extent:
26.7 Linear feet
21.99 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Interviews
Sound recordings
Scripts (documents)
Date:
1936-2006
bulk 1963-1999
Summary:
The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writings and related research materials include her thesis,"Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.
Scope and Contents:
The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writing and related research materials include her thesis, "Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.

Biographical materials consist of certificates, resumes, and a few photographs of Ruth Bowman. Correspondence concerns Bowman's professional activities and interests. Among the most frequent correspondents are: American Association of Museums, Craft and Folk Art Museum (Los Angeles), Massachusetts Institute of Technology, The Metropolitan Museum of Art, and The Museum of Modern Art.

Writings by Ruth Bowman, published and unpublished, include a thesis and articles about Thomas Pollock Anshutz, catalogs for American Federation of Arts and The Newark Museum exhibitions, lectures, as well as articles about museum education and visual arts programs. Research relates to her writings about Anshutz, and to unrealized projects concerning Anshutz, Cézanne, Eakins, Picasso, and other subjects. Also found are two brief writings about Bowman.

Subject files--general subjects, artists' files, Ruth Bowman activities, and "Sunrise Semester"--contain the majority of Bowman's professional correspondence along with printed material, writings, photographs, and sound recordings. Among the most thoroughly documented general subjects are: The Brooklyn Museum's Trustees Retreat, Canadian Museums Association, a 1981 Craft Symposium, International Network for the Arts, Long Beach Museum of Art, Los Angeles County Museum of Art, "Museum Directors' Forum", New York University Art Collection, and Massachusetts Institute of Technology Council for the Arts. Artists' files are comprised mainly of printed material with a small amount of correspondence and some photographs. The Les Levine file consists of the first issue of Art-Rite featuring a brief article about Levine on its cover; Thomas Wilfred's file includes information about Lumia. Ruth Bowman activities include lectures, radio and television appearances, and participation in professional events. "Sunrise Semester," a collaboration between CBS television and New York University, offered early morning courses for college credit. Ruth Bowman was the instructor for "20th Century American Art," which is documented by general information, scripts, and sound recordings of all 46 classes.

Interviews conducted by Bowman are with English museum administrators and educators; people knowledgeable about a controversial proposal for an Annenberg Fine Arts Center at The Metropolitan Museum of Art; guests on KUSC radio shows "Sounds of Seeing" and "Live from Trump's"; and guests on the WNYC radio program "Views on Art." Interviews with miscellaneous individuals include Josef Albers, Hans Burkhardt, Carl Holty, Isamu Noguchi, and Helen Farr Sloan. Bowman interviewed a dozen American abstract artists, including Ilya Bolotowsky, Rosalind Bengelsdorf Browne, Burgoyne Diller, John Ferren, Carl Holty, Harry Holtzman, Ibram Lassaw, Jacques Lipchitz, Alice Mason, George McNeil, George L. K. Morris, and Ad Reinhardt for a thesis on the subject, but eventually wrote on a different topic. Two interviews with Bowman were conducted by Duncan MacDonald and an unidentified interviewer.
Arrangement:
This collection is arranged as 5 series:

Missing Title

Series 1: Biographical Materials, 1964-1984 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1963-1996 (Box 1; 0.7 linear feet)

Series 3: Writings and Related Research, 1942-1999 (Boxes 1-3; 1.5 linear feet)

Series 4: Subject Files, 1936-2006 (Boxes 3-12, 26; 9.6 linear feet)

Series 5: Interviews, 1963-1989 (Boxes 12-25; 9.2 linear feet, ER01-ER70; 21.99 GB)
Biographical / Historical:
Ruth Bowman (b. 1923) is an art historian and museum educator who worked in New York City and Los Angeles. She is known for her interest in using new communications technology for museum education, discovering Arshile Gorky's long forgotten murals at Newark Airport, and expertise in the work of Thomas Anshutz.

A graduate of Bryn Mawr College (B.A. 1944), where she had studied art history and classical archaeology, Ruth Bowman began a museum career in New York as an assistant curator at the Jewish Museum in the early 1960s. From 1963-1974 Ruth Bowman served as curator of the York University Art Collection and was involved in its transition to the Grey Art Gallery and Study Center. Bowman wrote her master's thesis on Philadelphia artist Thomas Pollock Anshutz and received a degree from the Institute of Fine Arts, New York University in 1971. During this same period, she was a staff lecturer at The Museum of Modern Art and taught art history in divisions of New York University. She was the instructor for a "Sunrise Semester" 20th century American art course broadcast nationally on CBS.

In 1974 Bowman and her family moved to California and she began an association with the Los Angeles County Museum of Art as Director of Education. She attended summer courses in arts administration at Harvard University (1975) and similar training provided by the British Arts Council (1976). She taught at University of California Santa Barbara, as well as at California State University at Fullerton and Long Beach. Bowman was active in the Council of the American Association of Museums (vice president), the Craft and Folk Art Museum in Los Angeles (vice president), and has served as a consultant to several museums and a corporate collection.

Ruth Bowman with her friend Harry Kahn (1916-1999) developed a collection of self-portraits by 20th century American artists, which she donated to the National Portrait Gallery in 2002. Mrs. Bowman is the widow of R. Wallace Bowman and currently resides in New York City.
Provenance:
Donated by Ruth Bowman in 2004.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
Research material including correspondence, writings and notes, photographs, and printed material on Cezanne, Thomas Eakins, and Picasso: Authorization to publish, quote, or reproduce requires written permission from Ruth Bowman. 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:
Art historians -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Art, American -- 20th century  Search this
Women art historians  Search this
Women educators  Search this
Genre/Form:
Photographs
Interviews
Sound recordings
Scripts (documents)
Citation:
Ruth Bowman papers, 1936-2006, bulk 1963-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bowmruth2
See more items in:
Ruth Bowman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9199b569d-b2ba-4750-a774-41b9a20f8264
EDAN-URL:
ead_collection:sova-aaa-bowmruth2
Online Media:

Thomas Carr Howe papers

Creator:
Howe, Thomas Carr, 1904-1994  Search this
Names:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Bohemian Club (San Francisco, Calif.)  Search this
California Palace of the Legion of Honor  Search this
M.H. de Young Memorial Museum  Search this
United States. Army. Monuments, Fine Arts and Archives Section  Search this
Berenson, Bernard, 1865-1959  Search this
Cronyn, Hume  Search this
Faison, S. Lane (Samson Lane), 1907-2006  Search this
Göring, Hermann, 1893-1946  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Kelleher, Patrick J. (Patrick Joseph), 1917-  Search this
Mallory, Margaret, 1911-1998  Search this
Mills, Paul Chadbourne, 1924-  Search this
Moore, Lamont  Search this
Ritchie, Andrew Carnduff  Search this
Rorimer, James J. (James Joseph), 1905-1966  Search this
Standen, Edith Appleton  Search this
Stout, George L. (George Leslie)  Search this
Valland, Rose  Search this
Wittmann, Otto, 1911-2001  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sound recordings
Photographs
Date:
1932-1984
Summary:
The Thomas Carr Howe papers measure 4.4 linear feet and date from 1932 to 1984. Howe was director of the California Palace of the Legion of Honor in San Francisco for nearly 40 years, and he served as one of the Monuments Men in the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The collection documents Howe's MFAA work in Germany and Austria locating and recovering cultural artifacts and artwork stolen by the Nazis. There is significant correspondence with friends and colleagues, as well as fellow Monuments Men such as Samson Lane Faison, Edith Standen, and George Stout. The papers also includes reports, inventories of stolen artwork, maps, annotated photographs, a scrapbook, and photographs. The papers also document Howe's later work at the California Palace of the Legion of Honor.
Scope and Content Note:
The Thomas Carr Howe papers measure 4.4 linear feet and date from 1932 to 1984. Howe was director of the California Palace of the Legion of Honor in San Francisco for nearly 40 years, and he served as one of the Monuments Men in the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The collection documents Howe's MFAA work in Germany and Austria locating and recovering cultural artifacts and artwork stolen by the Nazis. There is significant correspondence with friends and colleagues, as well as fellow Monuments Men such as Samson Lane Faison, Edith Standen, and George Stout. The papers also includes reports, inventories of stolen artwork, maps, annotated photographs, a scrapbook, and photographs. The papers also document Howe's later work at the California Palace of the Legion of Honor.

Biographical materials include articles and memorial tributes for Howe's father and grandfather, a short autobiography and resume, and the certificate for the copyright to his book.

The bulk of the collection consists of correspondence, the most voluminous of which are letters from Monuments Men S. Lane Faison, Patrick J. Kelleher, Andrew C. Ritchie, Edith Standen, George Stout, Marcelle Minet, Rose Valland, James Rorimer, and others. Additional correspondents include friends and colleagues such as Bernard Berenson, Hume Cronyn, Paul Mills, Christopher Forbes, Margaret Mallory, William A. McGonagle, and Otto Wittman, among many others

Writings include a brief summary of Howe's book Salt Mines and Castles and a sound cassette of his lecture about the book. Project, membership and travel files are primarily associated with his professional work at the California Palace of the Legion of Honor and include documentation of member art trips, a feasibility study for merging the California Palace of the Legion of Honor with the M. H. de Young Memorial Museum, and a membership list of the Bohemian Club.

The Monuments, Fine Arts and Archives (MFAA) Records and Looted Inventories series contain many records relating to Howe's military service as a Monuments Man. There are several inventory records which contain lists of the contents of Hermann Göring's collection of looted artwork, artwork destroyed in the Flak towers fire in Berlin, and artwork held at several of the central collecting points, though mostly at Weisbaden. There is also a small fold out map of the Altausse salt mines; a U.S. government issued manual of maps marking important cultural monuments and artwork in Germany; a book of U.S. government regulations pertaining to the MFAA section; a government information bulletin; and several official status reports and published U.S. government reports about art looting investigations and safeguarding cultural property.

Professional files consist of papers relating to Howe's job as the director of the California Palace of the Legion of Honor and art trips he organized. Documents include a survey of Los Angeles museum curator salaries, a questionnaire about Howe's work as a museum director, and a membership list of Bohemian Club artists. The bulk of the travel papers are itineraries.

The photographs are divided into two subseries: MFAA Section images and personal photographs. The Monuments Men subseries includes photographs documenting bomb damage to cultural monuments in various countries, though mainly Germany; U.S. soldiers transporting recovered artwork such as Michelangelo's Madonna and Child from the Altaussee salt mines in Austria, and other looted art repositories such as Neuschwanstein Castle and Berchtesgaden in Germany; Weisbaden and Munich collecting points; and art recovery of The Adoration of the Mystic Lamb by Hubert and Jan van Eyck. There are many photographs of the Monuments Men including Thomas Carr Howe, George Stout, Stephen Kovalyak, Lamont Moore, Patrick J. Kelleher, Edith Standen, and Rose Valland. Personal photographs consists of portraits of Howe and photographs of events, mostly formal dinners and parties.

Printed materials are clippings, postcards, fundraising pamphlets, essays, and memorial tributes for colleagues.
Arrangement:
The collection is arranged as 10 series:

Missing Title

Series 1: Biographical Materials, 1934-1955, 1974 (Box 1; 6 folders)

Series 2: Correspondence, 1932-1984 (Box 1-3; 2.1 linear feet)

Series 3: Writings, circa 1946 (Box 3; 2 folders)

Series 4: Professional Files, circa 1945-1975 (Box 3, 5; 0.3 linear feet folders)

Series 5: Monuments, Fine Arts and Archives Records and Looted Inventories, circa 1942-1950 (Box 3, 5, OV 6; 0.3 linear feet)

Series 6: Photographs, 1938-1970 (Box 3-5; 1.2 linear feet)

Series 7: Scrapbook, 1936-1948 (Box 4; 0.1 linear feet)

Series 8: Printed Materials, 1934-1980 (Box 4; 0.4 linear feet)
Biographical Note:
Thomas Carr Howe, Jr. (1904-1994) served as the director of the California Palace of the Legion of Honor in San Francisco for nearly four decades and, during World War II, as an officer in the U.S. Army's Monuments, Fine Arts and Archives unit assisting with locating, recovering, and restituting cultural objects and artwork stolen by the Nazis.

Howe was born in Kokomo, Indiana in 1904. He studied at Harvard University where he received his bachelor's and master's degrees. Howe was the assistant director of the California Palace of the Legion of Honor in San Francisco from 1931-1939 and director from 1939-1968. Howe was also the art commissioner for the San Francisco Golden Gate International Exposition (1939-1940) for which he organized an exhibition showcasing Mexican muralists.

During World War II, Howe joined the U.S. army and served from 1945 to 1946 in Germany and Austria. He began as a naval lieutenant but was soon assigned to serve in the Monuments, Fine Arts and Archives (MFAA) section. Howe reported to Lieutenant Commander George Stout at Wiesbaden, and was later promoted to Lieutenant Commander and Deputy Chief of the MFAA at Frankfurt. During his service as one of the "Monuments Men" Howe located hidden and recovered large repositories of cultural objects and works of art stolen by the Nazis. He also helped with the restitution effort. At the Altaussee salt mines in Austria, Howe helped salvage a large cache of stolen artwork that included Michelangelo's Madonna and Child and the Ghent Altarpiece or The Adoration of the Mystic Lamb by Hubert and Jan van Eyck, Vermeer's The Artists Studio, and the Rothschild family jewels. Howe later described his wartime work in his book Salt Mines and Castles: The Discovery and Restitution of Looted European Art (1946).

Howe resumed his position as the director of the California Palace of the Legion on Honor after the war, a position he held until his retirement in 1968. Through his career as a prominent art director, Howe was close with many American and international museum professionals, collectors and socialites. Friends and colleagues include Agnes Mongan and Paul Sachs (both former directors of Harvard's Fogg Museum), Whitney Warren, and Gerda and Hans-Erich Von Schmidt auf Altenstadt.

For his wartime service as a Monuments Men, Howe was honored with the Chevalier of the French Legion of Honor and the Officier of the Dutch Order of Orange-Nassau in 1946. At the request of the federal government, Howe also later served as the Cultural Affairs Advisor to the High Commissioner of Germany from 1950-1951, during which time he returned to Germany with S. Lane Faison, another MFAA official, to assist with closing the central collecting points where the recovered artworks has been held for restitution. From 1960-1968, Howe was a member of the Fine Arts Committee for The White House and he continued to serve on numerous panels and commissions as an art advisor.

Howe married Francesca Deering. Together they had one daughter Francesca.
Related Material:
Among the holdings of the Archives of American are the papers of several additional members of the U. S. Army MFAA section. There is an oral history interview with Thomas Carr Howe and Robert Neuhaus conducted by Paul Karlstrom and Peter Fairbanks on September 26, 1987 and another with Howe conducted by Paul Karlstrom on June 2-3, 1976.
Provenance:
Thomas Carr Howe donated his papers to the Archives of American Art in multiple installments from 1979 to 1982.
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:
Arts administrators -- California -- San Francisco  Search this
Topic:
Cultural property -- Protection -- Europe -- History -- 20th century  Search this
Art thefts -- Germany -- History -- 20th century  Search this
Museum directors -- California -- San Francisco  Search this
Art treasures in war -- Germany  Search this
World War, 1939-1945 -- Art and the war  Search this
Art treasures in war -- France  Search this
Genre/Form:
Scrapbooks
Sound recordings
Photographs
Citation:
Thomas Carr Howe papers, 1932-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.howethom
See more items in:
Thomas Carr Howe papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw994ab802b-473d-4480-ad1e-12e76c5babda
EDAN-URL:
ead_collection:sova-aaa-howethom
Online Media:

Noah Purifoy papers

Creator:
Purifoy, Noah, 1917-  Search this
Names:
California Arts Council  Search this
Watts Towers Art Center  Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1935-1998
bulk 1971-1998
Summary:
The papers of African American assemblage artist Noah Purifoy measure 1.2 linear feet and date from 1935 to 1998 with the bulk of the material dating from 1971 to 1998. The collection contains biographical material; correspondence; writings on Purifoy and art; material related to the California Arts Council; material related to other professional activities, including commissions and exhibitions; printed material; and scrapbooks.
Scope and Contents:
The papers of African American assemblage artist and arts administrator Noah Purifoy measure 1.2 linear feet and date from 1935 to 1998 with the bulk of the material dating from 1971 to 1998. The collection contains biographical material, including an award, diplomas, and resumes; correspondence with arts institutions and artists; writings on Purifoy and art; material related to the California Arts Council, including drafts for the Artists-in-Education Summer Workshop and Conference; material related to other professional activities, including a commission from the Getty Center and exhibitions; and printed material, including clippings, exhibition catalogs, and magazines. Also included are two scrapbooks, which contain photographic material, correspondence, printed material, as well as selected writings and other materials documenting Purifoy's career as an artist and arts administrator.
Arrangement:
This collection is arranged as seven series.

Series 1: Biographical Material, 1939-1953, 1980-circa 1987 (Box 1; 3 folders)

Series 2: Correspondence, 1971-1979, 1992-1998 (Box 1; 3 folders)

Series 3: Writings, 1974, circa 1990s, undated (Box 1; 4 folders)

Series 4: California Arts Council, 1976-1980 (Box 1, OV 2; 0.1 linear feet)

Series 5: Other Professional Activities, circa 1967-1977, 1994-1998 (Box 1; 0.1 linear feet)

Series 6: Printed Material, 1939, 1966-1998 (Box 1, OV 2; 0.2 linear feet)

Series 7: Scrapbooks, 1935-1938, 1957-1997 (Box 1, OV 3; 0.5 linear feet)
Biographical / Historical:
Noah Purifoy (1917-2004) was an African American sculptor, assemblage artist, and arts administrator in Los Angeles and Joshua Tree, California.

Born in Snow Hill, Alabama, Purifoy attended Alabama State Teachers College (now Alabama State University) and Atlanta University (now Clark Atlanta University). In 1953, Purifoy enrolled at the Chouinard Arts Institute (now CalArts) as the first full-time African American student. He earned his bachelor's of fine arts degree in 1956, just before his 40th birthday.

Purifoy co-founded the Watts Towers Art Center in Los Angeles, California and he, along with artist Judson Powell, organized the exhibition 66 Signs of Neon as a way to interpret the 1965 Watts Riots.

In 1989, Purifoy moved to the Mojave Desert, just outside of Joshua Tree, California. He spent the remainder of his life creating the Noah Purifoy Outdoor Sculpture Museum, which is composed of large-scale assemblages in the desert constructed entirely from found objects. The museum is open to the public and maintained by the Noah Purifoy Foundation.
Provenance:
Noah Purifoy donated the papers to the Archives of American Art in 1998.
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:
Arts administrators -- California -- Los Angeles  Search this
Assemblage artists -- California -- Los Angeles  Search this
Assemblage artists -- California -- Joshua Tree  Search this
Sculptors -- California -- Los Angeles  Search this
Sculptors -- California -- Joshua Tree  Search this
Topic:
African American artists  Search this
African American sculptors  Search this
Genre/Form:
Scrapbooks
Citation:
Noah Purifoy papers, 1935-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.purinoah
See more items in:
Noah Purifoy papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw938fc3463-c7f7-4e57-9663-d2751c1a5d54
EDAN-URL:
ead_collection:sova-aaa-purinoah
Online Media:

Charles M. Kurtz papers, 1843-1990, bulk 1884-1909

Creator:
Kurtz, Charles M. (Charles McMeen), 1855-1909  Search this
Subject:
Kurtz, Julia Stephenson  Search this
Albright Art Gallery (Buffalo, N.Y.)  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Louisiana Purchase Exposition (Location of meeting: Saint Louis, Mo.). Date of meeting or treaty signing: (1904 :.)  Search this
National Academy of Design (U.S.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Southern Exposition (Location of meeting: (Louisville, Ky.).)  Search this
Type:
Diaries
Scrapbooks
Citation:
Charles M. Kurtz papers, 1843-1990, bulk 1884-1909. Archives of American Art, Smithsonian Institution.
Topic:
Glasgow school of painting  Search this
Theme:
Diaries  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)9530
(DSI-AAA_SIRISBib)211729
AAA_collcode_kurtchar
Theme:
Diaries
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211729
Online Media:

Evangeline J. Montgomery papers

Creator:
Montgomery, Evangeline J.  Search this
Names:
Andrews, Benny, 1930-2006  Search this
Jones, Lois Mailou, 1905-1998  Search this
Saar, Betye  Search this
Waddy, Ruth G. (Ruth Gilliam), 1909-2003  Search this
Extent:
26.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Interviews
Scrapbooks
Sketchbooks
Sound recordings
Video recordings
Date:
1928-2018
Summary:
The papers of African American artist, curator, and arts administrator Evangeline "EJ" Montgomery measure 26.1 linear feet and date from 1929-2019. The papers relate to Montgomery's career and involvement in the African American art scene in California and Washington, D.C. The collection includes biographical materials consisting of calendars and appointment books, certificates and awards, records regarding Montgomery's personal art collection, resumes and biographies, and other personal records; correspondence with colleagues and friends such as Benny Andrews, Willis Bing Davis, Edmund Barry Gaither, Eugene Grigsby, Dele Jegede, Samella Lewis, Nzegwu Nkiru, and A.M. Weaver; professional activity files documenting Montgomery's career as a consultant, curator, member, and volunteer for a myriad of organizations including the American Association for State and Local History, National Conference of Artists, and the Oakland Museum; and research files and notes on African and African American arts and history, Black media, Black photographers, the museum profession, and the artists Betye Saar, Lois Mailou Jones, Nike Davies-Okundaye, Romare Bearden, Ruth Waddy, Sam Gilliam, and Sargent Johnson. Also included are files regarding Montgomery's career as an artist containing material on the Brandywine Workshop, interviews with Floyd Coleman and for The Historymakers, sales and consignment records, and other material; printed and documentary material consisting of art reproductions, clippings, exhibition announcements and catalogs, and posters regarding Montgomery and other African American artists; artwork by Montgomery, including student sketchbooks, and others; photographic material of Montgomery, friends and colleagues, events, personal snapshots, and works of art; and unidentified audiovisual material.
Scope and Contents:
The papers of artist, curator, and arts administrator Evangeline "EJ" Montgomery measure 26.1 linear feet and date from 1929-2019. The papers relate to Montgomery's career and involvement in the African American art scene in California and Washington, D.C. The collection includes biographical materials consisting of calendars and appointment books, certificates and awards, records regarding Montgomery's personal art collection, resumes and biographies, and other personal records; correspondence with colleagues and friends such as Benny Andrews, Willis Bing Davis, Edmund Barry Gaither, Eugene Grigsby, Dele Jegede, Samella Lewis, Nzegwu Nkiru, and A.M. Weaver; professional activity files documenting Montgomery's career as a consultant, curator, member, and volunteer for a myriad of organizations including the American Association for State and Local History, National Conference of Artists, and the Oakland Museum; and research files and notes on African and African American arts and history, Black media, Black photographers, the museum profession, and the artists Betye Saar, Lois Mailou Jones, Nike Davies-Okundaye, Romare Bearden, Ruth Waddy, Sam Gilliam, and Sargent Johnson. Also included are files regarding Montgomery's career as an artist containing material on the Brandywine Workshop, interviews with Floyd Coleman and for The Historymakers, sales and consignment records, and other material; printed and documentary material consisting of art reproductions, clippings, exhibition announcements and catalogs, and posters regarding Montgomery and other African American artists; artwork by Montgomery, including student sketchbooks, and others; photographic material of Montgomery, friends and colleagues, events, personal snapshots, and works of art; and unidentified audiovisual material.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Materials, 1967-2015 (1.0 linear feet; Box 1, OV 27)

Series 2: Correspondence, 1963-2014 (2.0 linear feet; Boxes 2-4)

Series 3: Professional Activity Files, 1963-2017 (7.6 linear feet; Boxes 4-11)

Series 4: Research Files and Notes, 1928-2018 (4.0 linear feet; Boxes 11-16)

Series 5: Files Regarding Montgomery's Career as an Artist, 1970-2016 (1.5 linear feet; Boxes 16-17)

Series 6: Printed and Documentary Materials, 1964-2018 (7.2 linear feet; Boxes 17-23, 26, OVs 27-29, 31-34

Series 7: Artwork, circa 1957-2006 (0.2 linear feet; Boxes 23, 26, OV 30)

Series 8: Photographic Materials and Moving Images, circa 1965-2017 (3.0 linear feet; Boxes 23-27, OV 27)

Series 9: Unidentified Audiovisual Materials, circa 1990s (1 folder; Box 25)
Biographical / Historical:
Evangeline "EJ" Montgomery (1930- ) is an African American artist, curator, and arts administrator in California and Washington, D.C.

Montgomery was born in New York and moved to Harlem in New York City after the divorce of her parents, Oliver and Carmelite Thompson. Upon graduating from Seward Park High School in 1951, Montgomery worked painting faces on dolls and statues. In 1955, she married Ulysses "Jim" Montgomery and moved to Los Angeles. In California she began working for jewelry designer Thomas Usher while attending Los Angeles City College. She continued her education at California College of the Arts (California College of Arts and Crafts) where she received her Bachelor of Fine Arts degree in 1969. During the late 1960s, Montgomery began curating exhibitions. From 1971 to 1976, she was curator for Rainbow Sign Gallery in Berkeley. Other roles Montgomery held were as the national exhibits workshop coordinator at the American Association for State and Local History and as program development consultant at the African American Museums Association. From 1976 to 1979, she was art commissioner for the city of San Francisco.

Montgomery moved to Washington, D.C. in 1980 to serve as the community affairs director for Howard University's WHMM-TV station. She then began working for the United States Information Agency (USIA) as a program officer in their Arts America program in the early 1980s. In her role, she worked to promote cross-cultural exchanges through art, specializing in American exhibitions touring abroad. Montgomery retired from the USIA in 2008.

As an artist, Montgomery gained recognition for her work in printmaking and metalworking. She was the recipient of the D.C. Commission on the Arts and Humanities fellowship in 2012 and an Excellence in the Arts Award from the Brandywine Print Workshop in 2004. Due to her diagnosis of Parkinson's disease in the 1990s, Montgomery had to stop working with metal but continued her printmaking work.
Provenance:
The Evangeline J. Montgomery papers were donated in 2019 by Evangeline J. Montgomery, as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.
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 or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- Washington (D.C.)  Search this
Art museum curators -- California  Search this
Printmakers -- Washington (D.C.)  Search this
Metal-workers -- Washington (D.C.)  Search this
Metal-workers -- California  Search this
Printmakers -- California  Search this
Topic:
African American artists  Search this
African American art museum curators  Search this
Black Arts movement  Search this
Women artists  Search this
Women museum curators  Search this
Women printmakers  Search this
Women arts administrators  Search this
Genre/Form:
Drawings
Interviews
Scrapbooks
Sketchbooks
Sound recordings
Video recordings
Citation:
Evangeline J. Montgomery papers, 1928-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.montevan
See more items in:
Evangeline J. Montgomery papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9915d0dc7-2f94-41bd-9b8b-d04432f7df32
EDAN-URL:
ead_collection:sova-aaa-montevan
Online Media:

Oral history interview with Judith Baca, 1986 August 5-6

Interviewee:
Baca, Judith Francisca, 1946-  Search this
Interviewer:
Mesa-Bains, Amalia, 1943-  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Judith Baca, 1986 August 5-6. Archives of American Art, Smithsonian Institution.
Topic:
Latino and Latin American artists  Search this
Mexican American art  Search this
Mural painting and decoration, American  Search this
Chicano art movement  Search this
Women artists  Search this
Women painters  Search this
Women arts administrators  Search this
Women muralists  Search this
Theme:
Latino and Latin American  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)5436
(DSI-AAA_SIRISBib)211937
AAA_collcode_baca86
Theme:
Latino and Latin American
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_211937
Online Media:

Oral history interview with Lorser Feitelson, 1964 May 12-1964 June 9

Interviewee:
Feitelson, Lorser, 1898-1978  Search this
Interviewer:
McGlynn, Betty Lochrie Hoag, 1914-2002  Search this
Subject:
Cahill, Holger  Search this
Buff, Conrad  Search this
Durston, Arthur  Search this
Federal Art Project (Calif.)  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Lorser Feitelson, 1964 May 12-1964 June 9. Archives of American Art, Smithsonian Institution.
Topic:
Mural painting and decoration -- California -- Los Angeles  Search this
Federal aid to the arts  Search this
Art and state -- California -- Los Angeles  Search this
Painters -- California -- Los Angeles -- Interviews  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)12880
(DSI-AAA_SIRISBib)213456
AAA_collcode_feitel64
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213456
Online Media:

Oral history interview with John Outterbridge, 1973 January 3

Interviewee:
Outterbridge, John Wilfred, 1933-  Search this
Interviewer:
Bassing, Allen, 1932-  Search this
Subject:
Gilmore, Robert  Search this
Rauschenberg, Robert  Search this
Alexander, Peter  Search this
Warhol, Andy  Search this
Sera, Richard  Search this
Powell, Judson  Search this
Puerefoy, Noel  Search this
Dickson, Charles  Search this
Coplans, John  Search this
Di Suvero, Mark  Search this
Chicago Academy of Fine Arts  Search this
Pasadena Art Museum  Search this
American Academy of the Fine Arts  Search this
Compton Communicative Arts Academy  Search this
Type:
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with John Outterbridge, 1973 January 3. Archives of American Art, Smithsonian Institution.
Topic:
African American artists  Search this
African American painters  Search this
African American sculptors  Search this
African American military personnel  Search this
Theme:
African American  Search this
Record number:
(DSI-AAA_CollID)11485
(DSI-AAA_SIRISBib)214143
AAA_collcode_outter73
Theme:
African American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214143

Oral history interview with Edith Wyle, 1993 March 9-September 7

Interviewee:
Wyle, Edith R.  Search this
Interviewer:
Emanuelli, Sharon K.  Search this
Subject:
Craft and Folk Art Museum  Search this
Egg and Eye Gallery and Restaurant (Los Angeles, Calif.)  Search this
Women in the Arts in Southern California Oral History Project  Search this
Type:
Interviews
Sound recordings
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Edith Wyle, 1993 March 9-September 7. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Theme:
Craft  Search this
Record number:
(DSI-AAA_CollID)12933
(DSI-AAA_SIRISBib)215447
AAA_collcode_wyle93
Theme:
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215447
Online Media:

Oral history interview with Clinton Adams, 1995 August 2-3

Interviewee:
Adams, Clinton, 1918-2002  Search this
Interviewer:
Karlstrom, Paul J  Search this
Subject:
Altoon, John  Search this
Delano, Annita  Search this
Edmondson, Leonard  Search this
Feitelson, Lorser  Search this
Johnston, Ynez  Search this
Kistler, Lynton R.  Search this
Langsner, Jules  Search this
Lebrun, Rico  Search this
Macdonald-Wright, Stanton  Search this
Price, Vincent  Search this
Scholder, Fritz  Search this
Tamarind Lithography Workshop  Search this
Tamarind Institute  Search this
University of California, Los Angeles  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Clinton Adams, 1995 August 2-3. Archives of American Art, Smithsonian Institution.
Topic:
Modernism (Art)  Search this
Painters -- California -- Los Angeles -- Interviews  Search this
Printmakers -- New Mexico -- Albuquerque -- Interviews  Search this
Prints -- Technique  Search this
Record number:
(DSI-AAA_CollID)12197
(DSI-AAA_SIRISBib)215892
AAA_collcode_adams95
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215892
Online Media:

Oral history interview with Everett Ellin, 2004 April 27-28

Interviewee:
Ellin, Everett, 1928-2011  Search this
Interviewer:
Kirwin, Liza, 1957-  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Everett Ellin, 2004 April 27-28. Archives of American Art, Smithsonian Institution.
Record number:
(DSI-AAA_CollID)12188
(DSI-AAA_SIRISBib)247266
AAA_collcode_ellin04
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_247266
Online Media:

Oral history interview with Thomas Lawson, 2018 August 9-10

Interviewee:
Lawson, Thomas, 1951-  Search this
Interviewer:
Ferguson, Russell, 1956-  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Thomas Lawson, 2018 August 9-10. Archives of American Art, Smithsonian Institution.
Topic:
Authors -- California -- Los Angeles -- Interviews  Search this
Painters -- California -- Los Angeles -- Interviews  Search this
Record number:
(DSI-AAA_CollID)17595
(DSI-AAA_SIRISBib)396435
AAA_collcode_lawson18
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_396435
Online Media:

James Melchert papers

Creator:
Melchert, Jim, 1930-  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
National Endowment for the Arts  Search this
Cotton, Paul, 1939-  Search this
Tucker, Marcia  Search this
Voulkos, Peter, 1924-2002  Search this
Extent:
7 Linear feet
12.28 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Date:
circa 1949-2021
Summary:
The papers of ceramicist, educator, and arts administrator James Melchert measure 7.0 linear feet and 12.28 Gigabytes, and date from circa 1949 to 2021. The collection documents Melchert's career through biographical material, personal and professional correspondence, professional files documenting Melchert's teaching, residences, exhibitions, and other professional activities, writings, printed material documenting exhibitions and more, photographic material including images of Melchert and his artwork, and artwork comprising slide projection works.
Scope and Contents:
The papers of ceramicist, educator, and arts administrator James Melchert measure 7 linear feet and 12.28 Gigabytes, and date from circa 1949 to 2021.

Biographical material includes biographies and résumés, travel documents, and student records. Correspondence is professional and personal in nature and includes letters from artists such as Lawrence Weiner, Adrian Piper, Sol Lewitt, Hetty Huisman, and Peter Voulkos; gallerists and curators including Holly Solomon, Paul Kotula, Marcia Tucker, Lucy Lippard, and Harald Szemann; and notable former students including Paul Cotton and Theresa Cha. Professional files include records and correspondence from Melchert's tenures at the American Academy in Rome, the National Endowment for the Arts, and the University of California Berkeley, in addition to documenting other professional activities.

The writings series includes interviews, talks, panels, symposia, notes, artist statements, and autobiographical texts. Printed material includes clippings and exhibition documentation. Photographic material includes images of Melchert and his artwork from various stages of his career. Artwork includes Melchert's slide projection works represented by slides, and an artist multiple by Nam June Paik.
Arrangement:
The collection is arranged in seven series:

Series 1: Biographical Material, circa 1949-2019 (0.1 Linear feet: Box 1)

Series 2: Correspondence, circa 1953-2021 (3.1 Linear feet: Boxes 1-4; 3.93 Gigabytes: ER01-ER02)

Series 3: Professional Files, circa 1965-2020 (0.8 Linear feet: Box 4)

Series 4: Writings, circa 1960s-2020 (0.7 Linear feet: Box 5; 8.35 Gigabytes: ER03-ER05)

Series 5: Printed Material, circa 1960s-2020 (1.4 Linear feet: Boxes 5-7)

Series 6: Photographic Material, circa 1952-2017 (0.6 Linear feet: Box 7)

Series 7: Artwork, circa 1968-1990 (0.3 Linear feet: Box 7)
Biographical / Historical:
James Melchert (1930-2023) was a ceramicist and educator who lived in Oakland, California. Melchert was known for his uniquely conceptualist approach to ceramics which draws from other disciplines including painting and performance art.

Born in New Bremen, Ohio, Melchert's education followed an unorthodox path: upon finishing his undergraduate degree in Art History in 1952, he spent four years in Japan teaching English at a high school, during which time he met his wife to be, a missionary and collage artist named Mary Ann Hostetler, with whom he would have three children. Melchert received a first master's degree from the University of Chicago in 1957 in painting, followed by a second master's degree in ceramics from the University of California at Berkeley in 1961. He shifted his focus to ceramics while completing his painting degree and attended a five-day workshop with the highly innovative and influential Peter Voulkos, with whom he would study at Berkeley and for whom he would serve as studio assistant. Melchert's career as a ceramicist began with a close association to Voulkos and the California Funk art movement.

Melchert's evolving interests led to his work including performance art and slide projection works, one of which was exhibited at Documenta 5 curated by Harald Szeemann in Kassel, Germany. After a trip to Europe in the eighties, Melchert began his experimental investigations with ceramic tile, working with cracks and imperfections in tiles and painting on the resulting works, a theme that would be an occupation of his studio practice to this day. Melchert taught fairly steadily throughout the early stages of his career and is known as a dedicated instructor to artists of various disciplines, including Paul Cotton and Theresa Cha.

Notably Melchert served as a faculty member at University of California at Berkeley from 1964-1994, with a stint living in Washington D.C. serving as the Director of Visual Arts Program of the National Endowment for the Arts from 1977 to 1981, and in Rome, Italy as the Director of American Academy, Rome from 1984 to 1988. As an artist, in addition to being exhibited around the world, Melchert's ceramic works including commissions are held in numerous collections such as the Los Angeles County Museum of Art, Massachusetts Institute of Technology, National Museum of Modern Art, Kyoto, Japan, San Francisco Museum of Modern Art, Smithsonian American Art Museum's Renwick Gallery, Stedelijk Museum in Amsterdam, Netherlands, and Yale University Museum of Art.
Related Materials:
Related materials include Archives of American Art's Oral history interview with James Melchert, 1991 Apr. 4-5, and Oral history interview with James Melchert, 2002 September 18-October 19.
Provenance:
Donated 2004 and 2019-2021 by James Melchert as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
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 or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Ceramicists -- California -- Oakland  Search this
Educators -- California -- Berkeley  Search this
Arts administrators -- Washington (D.C.)  Search this
Topic:
Interviews  Search this
Conceptual art  Search this
Funk  Search this
Ceramics  Search this
Citation:
James Melchert papers, circa 1949-2021. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.melcjim
See more items in:
James Melchert papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d190f8b8-f9b3-4b9f-a02a-e6c19fe8769b
EDAN-URL:
ead_collection:sova-aaa-melcjim

Oral history interview with John Outterbridge

Creator:
Outterbridge, John, 1933-2020  Search this
Interviewer:
Bassing, Allen, 1932-  Search this
Names:
American Academy of the Fine Arts -- Students  Search this
Chicago Academy of Fine Arts -- Students  Search this
Compton Communicative Arts Academy  Search this
Pasadena Art Museum  Search this
Alexander, Peter, 1939-  Search this
Coplans, John  Search this
Di Suvero, Mark, 1933-  Search this
Dickson, Charles  Search this
Gilmore, Robert  Search this
Powell, Judson  Search this
Puerefoy, Noel  Search this
Rauschenberg, Robert, 1925-2008  Search this
Sera, Richard  Search this
Warhol, Andy, 1928-1987  Search this
Extent:
13 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Date:
1973 January 3
Scope and Contents:
Interview of John W. Outterbridge conducted 1973 January 3, by Allen Bassing, for the Archives of American Art.
Outterbridge speaks of his family background and how that influenced him to lean toward the arts; attending Agriculture & Technical University and majoring in engineering even though he wanted to become an artist; joining the Army in order to get the G.I. Bill so he could afford school; painting during his three-year stint in the service, and how his company commander admired his work and got him a studio; attending the Chicago Academy of Art, then the American Academy of Art after leaving the military; moving to Los Angeles to pursue a career as an artist full-time; quitting painting and deciding to focus on sculpture; working at the Pasadena Art Museum, and how it disturbed him that there weren't any Black artists being represented in the shows he was installing there; getting involved with the Compton Communicative Arts Academy just as it was starting; and the present situation of the Compton Communicative Arts Academy and where he sees it going. He recalls Andy Warhol, Peter Alexander, Richard Serra, Robert Rauschenberg, Mark di Suvero, John Coplans, Judson Powell, Noel Puerefoy, Charles Dickson, Bobby Gilmore, and many others.
Biographical / Historical:
John Outterbridge (1933-2020) was an art administrator, painter, and sculptor from Los Angeles, California.
Provenance:
This interview is part of the Archives' 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 others.
Restrictions:
This transcript is open for research. No audio exists. Contact Reference Services for more information.
Occupation:
Arts administrators -- California -- Los Angeles  Search this
Painters -- California -- Los Angeles  Search this
Sculptors -- California -- Los Angeles  Search this
Topic:
African American artists  Search this
African American painters  Search this
African American sculptors  Search this
African American military personnel  Search this
Genre/Form:
Interviews
Identifier:
AAA.outter73
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw909ebd196-ac6f-4c3f-8b60-786de9253c6b
EDAN-URL:
ead_collection:sova-aaa-outter73
Online Media:

Oral history interview with Jim Woods

Creator:
Woods, James M.  Search this
Interviewer:
Bassing, Allen, 1932-  Search this
Extent:
12 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Date:
1972 December 20
Scope and Contents:
Interview of Jim Woods conducted 1972 December 20, by Allen Bassing, for the Archives of American Art.
Biographical / Historical:
Jim Woods (1935-2006) was an art administrator in Los Angeles, California. Founded Studio Watts Workshop in 1964.
Provenance:
This interview is 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:
Patrons must use transcript.
Use requires an appointment.
Occupation:
Arts administrators -- California -- Los Angeles -- Interviews  Search this
Topic:
Art, American -- California -- Los Angeles  Search this
Genre/Form:
Interviews
Identifier:
AAA.woods72
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e0fcfd30-749b-4326-a4c8-af675242027a
EDAN-URL:
ead_collection:sova-aaa-woods72

Everett Ellin papers

Creator:
Ellin, Everett  Search this
Names:
Everett Ellin Gallery  Search this
Calder, Alexander, 1898-1976 -- Photographs  Search this
Extent:
0.3 Linear feet
Type:
Collection descriptions
Archival materials
Date:
[circa 1958-1963]
Scope and Contents:
Photographs and printed material regarding Everet Ellin's career as owner of the Everett Ellin Galleries. Photographs are of Ellin, his galleries in Los Angeles, and Alexander Calder's sculpture. Printed material includes gallery advertisements, and a cafe menu from Ellin's Santa Monica Boulevard gallery.
Biographical / Historical:
Art dealer, art administrator, consultant; Los Angeles, Calif. and Diana, Tex. Ellin opened the Everett Ellin Gallery on Santa Monica Blvd., from 1957-1958, and then another on Sunset Blvd. from 1960-1963.
Provenance:
Donated 2007 by Everett Ellin.
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.
Occupation:
Art dealers -- California -- Los Angeles  Search this
Identifier:
AAA.elliever
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92c15a996-da26-41b5-873a-b624e18271c2
EDAN-URL:
ead_collection:sova-aaa-elliever

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