Search Results

Interviewee:

Putnam, Wallace, 1899-1989  Search this

Interviewer:

Berman, Avis  Search this

Creator:

Mark Rothko and His Times Oral History Project  Search this

Names:

Mark Rothko and His Times Oral History Project  Search this

Avery, Milton, 1885-1965  Search this

Rothko, Mark, 1903-1970  Search this

Extent:

36 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1982 Aug. 13-20

Scope and Contents:

An interview of Wallace Putnam conducted 1982 Aug. 13-20, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.

Putnam recalls his youth and art training in Boston, Mass., his move to Hartford, Conn., and friendship with Milton Avery, whom he met when they both worked filing policies at Traveler's Insurance Co. He talks about his and Avery's early careers in New York and his first acquaintance with Mark Rothko. He remembers Rothko's early concerns as an artist, his interest in music, and visits to his studio and home (including catsitting for the Rothko's for three weeks).

Biographical / Historical:

Wallace Putnam (1899-1989) was a painter, writer, lithographer, and draftsman from Yorktown Heights, N.Y.

General:

Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 57 min.

Provenance:

This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.

Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Abstract expressionism  Search this

Painters -- New York (State) -- New York -- Interviews  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.putnam82

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95e296974-6e84-4758-94a3-571bdb420ba3

EDAN-URL:

ead_collection:sova-aaa-putnam82

Creator:

Landgren, Marchal E.  Search this

Names:

American Abstract Artists  Search this

Art Students League (New York, N.Y.)  Search this

Artists Equity Association  Search this

Contemporary Arts (Gallery)  Search this

Joseph Mitchell Gallery  Search this

Municipal Art Committee (New York, N.Y.)  Search this

Old Print Shop (New York, N.Y.)  Search this

University of Maryland at College Park  Search this

Washington, D.C.. Public Library  Search this

Abbott, Berenice, 1898-1991  Search this

Albers, Josef  Search this

Avery, Milton, 1885-1965  Search this

Beaton, Cecil Walter Hardy, Sir, 1904-  Search this

Constant, George  Search this

Cox, George Collins, 1851-1902  Search this

De Laittre, Eleanor, 1911-1998  Search this

Fitch, Clyde, 1865-1909  Search this

Force, Juliana, 1876-1948  Search this

Fruhauf, Aline, 1909-1978  Search this

Gallatin, A. E. (Albert Eugene), 1881-1952  Search this

Geist, Sidney  Search this

Gershwin, George, 1898-1937  Search this

Glackens, Ira, 1907-1990  Search this

Greene, Balcomb, 1904-1990  Search this

Harari, Hananiah, 1912-2000  Search this

Higgins, Eugene, 1874-1958  Search this

Holtzman, Harry  Search this

Hunt, William Morris, 1824-1879  Search this

Janauschek, Francesca Romana Magdalena, 1830-1904  Search this

Kane, John, 1860-1934  Search this

Kipling, Rudyard, 1865-1936  Search this

Laufman, Sidney, 1891-  Search this

Logasa, Charles, 1883-1936  Search this

Mitchell, Donald Grant, 1822-1908  Search this

Newman, Robert Loftin, 1827-1912  Search this

Orr, Elliot, 1904-1997  Search this

Portinari, Cândido, 1903-1962  Search this

Ryder, Albert Pinkham, 1847-1917  Search this

Saint-Gaudens, Augustus, 1848-1907  Search this

Sprinchorn, Carl, 1887-1971  Search this

Extent:

15.3 Linear feet

Type:

Collection descriptions

Archival materials

Christmas cards

Photographs

Scrapbooks

Sketches

Drawings

Date:

1881-circa 1982

bulk 1930-1975

Summary:

The papers of Washington, D.C. art historian, librarian, author, educator, and art consultant Marchal Landgren measure 15.3 linear feet and date from 1881 to circa 1982, with the bulk of the material dating from 1930 to 1975. Included are biographical materials, correspondence, writings and notes, professional and organization files, research projects' files, scattered personal business records, printed materials, two clippings scrapbooks, photographical materials, and scattered artwork.

Scope and Contents:

The papers of Washington, D.C. art historian, librarian, author, educator, and art consultant Marchal Landgren measure 15.3 linear feet and date from 1881 to circa 1982, with the bulk of the material dating from 1930 to 1975. Included are biographical materials, correspondence, writings and notes, professional and organization files, research projects' files, scattered personal business records, printed materials, two clippings scrapbooks, photographical materials, and scattered artwork.

Biographical material includes address cards, an appointment book, curriculum vitaes, genealogical materials, and military records. Correspondence is with artists, clients, colleagues, museums, and universities, and is predominantly professional in nature. Correspondents include Albert E. Gallatin, George Gershwin, Ira Glackens, Sidney Laufman, Elliot Orr, Candido Portinari, and Carl Sprinchorn, among others.

Writings include miscellaneous published and unpublished writings and drafts by Marchal Landgren primarily those not associated with his major research projects. These include various articles written for magazines and journals, manuscript drafts, research notes, and notebooks. There is also a file of writings by others that includes the John Mitchell Gallery Notes.

Professional and organizational files document Landgren's positions and work for educational institutions and arts organizations, including the American Abstract Artists Group, Art Students League of New York, Association of Artists Equity of Washington D. C., Contemporary Arts, D. C. Public Library, Library Journal, New York City Municipal Art Committee, Old Print Shop, Inc., and the University of Maryland, among others. These files also contain correspondence, perhaps the most notable found in the file on the American Abstract Artists Group which includes letters from Josef Albers, Eleanor de Laittre, Sidney Geist, Balcomb Greene, Hananiah Harari, and Harry Holtzman.

Well over one-half of the collection consists of files for Landgren's ongoing research projects on numerous artists and photographers, Latin American art, as well as his bibliographic reference projects. The bulk of the files cover his research, writing, and curatorial work on Robert Loftin Newman. Files are also found for Berenice Abbott, Milton Avery, George Constant, George Collins Cox, Aline Fruhauf, Eugene Higgins, William Morris Hunt, John Kane, Charles Logasa, Elliot Orr, and Albert Pinkham Ryder, among many others.

Personal business records include personal and general expense documentation and scattered exhibition price lists. Printed materials include clippings, exhibition catalogs, and miscellaneous published articles and essays. There are two scrapbooks of clippings.

There are photographs, slides, and negatives of images of Landgren, other artists and notable figures in the art world, and of artwork. Of note is a portrait photograph of Juliana Force by Cecil Beaton, one photograph by Berenice Abbott, "Barclay Street Ferry", and 14 taken by George C. Cox of Rudyard Kipling, Clyde Fitch, Augustus Saint-Gaudens, Madame Fanny Janauschek, Donald G. Mitchell, and others.

The papers also include scattered artwork, including holiday cards illustrated by artists, and sketches and drawings by other artists.

Arrangement:

This collection is arranged as 10 series.

Missing Title

Series 1: Biographical Materials, circa 1890-circa 1981 (0.2 linear feet; Box 1)

Series 2: Correspondence, circa 1930-circa 1982 (0.6 linear feet; Box 1)

Series 3: Writings and Notes, circa 1932-circa 1982 (1.2 linear feet; Boxes 1-3)

Series 4: Professional and Organizational Files, circa 1910-circa 1977 (3.4 linear feet; Boxes 3-6)

Series 5: Research Projects' Files, 1881-circa 1982 (6.9 linear feet; Boxes 6-13, 15)

Series 6: Personal Business Records, circa 1934-circa 1982 (0.4 linear feet; Box 13)

Series 7: Printed Material, circa 1927-circa 1981 (1.0 linear feet; Boxes 13-14)

Series 8: Scrapbooks, circa 1931-circa 1979 (0.2 linear feet; Boxes 14-15)

Series 9: Photographic Materials, circa 1930s-circa 1978 (0.2 linear feet; Boxes 14-15)

Series 10: Artwork, circa 1930s-circa 1940s (0.2 linear feet; Boxes 14-15)

Biographical / Historical:

Marchal E. Landgren (1907-1983) was an art historian, librarian, educator, author, and art consultant, active in New York and Washington, D. C.

As associate director and board member of Contemporary Arts, Inc. in New York, Landgren established a program for providing artists with their first solo exhibition in New York, including those of John Kane and Mark Tobey. In 1932, he directed the exhibition schedule at the New School for Social Research; and in 1935, Landgren served as the director of art activities for the New York City Municipal Art Committee where he facilitated many exhibitions over the course of five years, including Recent Paintings by Boris Aronson at Babcock Galleries in 1938.

Working as a freelance art consultant, researcher, and author, Landgren organized numerous exhibitions between 1932 and 1950 of the work of Milton Avery, George C. Cox, Elliot Orr, Robert Loftin Newman, and Albert Pinkham Ryder. He also edited several arts publications, including the Old Print Shop Portfolio, John Mitchell Gallery Notes, and arts manuscripts for Oxford University Press.

In 1939, Landgren was selected by the New York World's Fair Commision to prepare historical notes on Latin American art for the exhibition catalogs of the Latin American art exhibition. After the Fair, he continued his research on this topic and wrote several articles, as well as lecturing on Latin American painting at the Art Students League of New York, the Newark Art Club, and the National Education Association at the Boston Museum.

After serving in the U. S. Army Air Force during World War II, Landgren moved to Washington, D. C. in 1950 and began work as the arts division readers' advisor for the D. C. Public Library. For seventeen years, he built up the library's general collection of art books and created extensive files of art exhibition catalogs.

In 1967, he took a position as a bibliographic consultant for the fine arts department at the University of Maryland. He became director of the University's art gallery and of the art department museum training program. During his tenure at the University of Maryland, Landgren conducted graduate seminars in art history, edited and published exhibition catalogs, and organized exhibitions, including The Late Landscapes of William Morris Hunt in 1976.

Landgren was a visiting scholar at the Smithsonian Institution's National Collection of Fine Arts and curated an exhibition of paintings by Robert Loftin Newman held there from 1973 to 1974 and at the Tennessee Fine Arts Center in 1974.

Marchal Landgren authored two books: Years of Art: The Story of the Art Students League of New York (Robert M. McBride and Company, 1940), and Robert Loftin Newman (Smithsonian Institution Press, 1974). He was a regular reviewer of art books for the Library Journal from 1958 to 1972, and contributed reviews to Trend, Magazine of Art, and other journals. He was awarded a research grant by the American Council of Learned Societies in 1963 for his study of George C. Cox and did a great deal of research in American art and American art institutions for an unfinished manuscript. He also worked on a bibliography of art literature which he never completed.

Provenance:

The Marchal Landgren papers were donated by Landgren in 1974, and by the Landgren estate via David Huddle in 1983.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Librarians -- Washington (D.C.)  Search this

Educators -- Washington (D.C.)  Search this

Authors -- Washington (D.C.)  Search this

Art historians -- Washington (D.C.)  Search this

Art consultants -- Washington (D.C.)  Search this

Topic:

Art, American  Search this

Art, Modern -- 20th century -- United States  Search this

Genre/Form:

Christmas cards

Photographs

Scrapbooks

Sketches

Drawings

Citation:

Marchal Landgren papers, 1881-circa 1982, bulk 1930-1975. 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.landmarc

See more items in:

Marchal Landgren Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw946a644a0-83cc-46a7-8c56-e9c63db0e1b4

EDAN-URL:

ead_collection:sova-aaa-landmarc

Interviewee:

Kuh, Katharine  Search this

Interviewer:

Berman, Avis  Search this

Creator:

Mark Rothko and His Times Oral History Project  Search this

Names:

Art Institute of Chicago  Search this

Black Mountain College (Black Mountain, N.C.)  Search this

First National Bank of Chicago -- Art collections  Search this

Katharine Kuh Gallery (Chicago, Ill.)  Search this

Mark Rothko and His Times Oral History Project  Search this

Vassar College  Search this

Adams, Ansel, 1902-1984  Search this

Albers, Josef  Search this

Albright, Ivan, 1897-1983  Search this

Archipenko, Alexander, 1887-1964  Search this

Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this

Arensberg, Walter, 1878-1954  Search this

Avery, Milton, 1885-1965  Search this

Barr, Alfred H., Jr., 1902-1981  Search this

Berenson, Bernard, 1865-1959  Search this

Davis, Stuart, 1892-1964  Search this

De Kooning, Willem, 1904-1997  Search this

Duchamp, Marcel, 1887-1968  Search this

Ernst, Max, 1891-1976  Search this

Hofmann, Hans, 1880-1966  Search this

Kepes, Gyorgy, 1906-2001  Search this

Klee, Paul, 1879-1940  Search this

Léger, Fernand, 1881-1955  Search this

Mies van der Rohe, Ludwig, 1886-1969  Search this

Moholy-Nagy, László, 1895-1946  Search this

Mérida, Carlos, 1891-1984  Search this

Newman, Barnett, 1905-1970  Search this

Noguchi, Isamu, 1904-1988  Search this

Paepcke, Walter Paul, 1896-1960  Search this

Porter, Eliot, 1901-1990  Search this

Ray, Man, 1890-1976  Search this

Rich, Daniel Catton, 1904-1976  Search this

Rothko, Mark, 1903-1970  Search this

Smith, David, 1906-1965  Search this

Stamos, Theodoros, 1922-1997  Search this

Stieglitz, Alfred, 1864-1946  Search this

Still, Clyfford, 1904-1980  Search this

Tamayo, Rufino, 1899-  Search this

Tobey, Mark  Search this

Tworkov, Jack  Search this

Weston, Edward, 1886-1958  Search this

Extent:

313 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1982 Mar. 18-1983 Mar. 24

Scope and Contents:

An interview of Katharine Kuh conducted 1982 Mar. 18-1983 Mar. 24, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.

Kuh speaks of her invalid childhood in Chicago, the development of her interest in art, classes in art history at Vassar College, and her career as curator of modern art at the Art Institute of Chicago. She recalls in particular the "Sanity in Art" movement against modern art in Chicago. Kuh describes her relationship with Mark Rothko and Rothko's relationships with Mark Tobey, Clyfford Still, Kate Rothko, Theodoros Stamos, Milton Avery, Stanley Kunitz, and Hans Hofmann.

Kuh discusses her parents, the family silk business, travelling in Europe as a child, life in Chicago, the effects of polio and other illnesses on her interests, and her student years at Vassar College. She remembers visiting Bernard Berenson in Italy with her family and again with Daniel Catton Rich, with whom she worked very closely at the Art Institute of Chicago. She speaks of the Katharine Kuh Gallery, which she started in the mid-1930s and its place in the vanguard of the Chicago art scene.

Kuh remembers the effects of the stock market crash on her personal situation, her marriage to businessman George Kuh, distaste for life in the suburbs, and her divorce. She discusses the Katharine Kuh Gallery and the actions taken against her business by members of the reactionary "Sanity in Art" movement (including a very funny anecdote concerning Carlos Merida). She speaks of the classes in modern art that she taught at her gallery and of some of the artists she exhibited there, including the photographers Ansel Adams, Alfred Stieglitz, and Edward Weston.

Kuh remembers the McCarthy era and the political conservatism in Chicago, including her testimony on behalf of Bill Zimmerman, Acting Commissioner of Indian Affairs. She criticizes blockbuster exhibitions and the changes in the role of a museum curator. She reminisces about building the collection at the Art Institute of Chicago and the art education program she ran there, and recalls Stuart Davis, Laszlo Moholy-Nagy, Gyorgy Kepes, and Ivan Albright.

Kuh remembers Laszlo Moholy-Nagy, Ludwig Mies van der Rohe, and Marcel Duchamp, as well as the collectors Walter Paepcke and Walter and Louise Arensberg (whose collection she surveyed in their home for an exhibition at the Art Institute of Chicago).

Kuh focuses on her memories of Mark Rothko, recalling when they met, their friendship, his manner of working, his feelings about his work, and his worries towards the end of his life. She talks about Clyfford Still, Barnett Newman, and Mark Tobey. Some parts of this tape repeat what she said earlier.

Kuh continues discussing Rothko, particularly his Houston chapel murals and the retrospective exhibition at MOMA in 1961. She remembers visiting Rothko's studio and describes his working methods. She relates Rothko's views on other artists, including Milton Avery, Clyfford Still, Turner, Robert Motherwell, and Adolf Gottlieb; parts repeat things said before. Kuh also discusses Rothko's wife and daughter.

Kuh recounts building the collection at the Art Institute of Chicago and speaks of the museum staff, trustees, and donors. She remembers Alfred Barr at MOMA.

Kuh continues speaking about the Art Institute of Chicago, describing the circumstances of her resignation and subsequent move to New York. She talks of knowing Peggy Guggenheim, Max Ernst, and Fernand Leger.

Kuh describes her work as a consultant to college museums and her writings. She discusses the field of art criticism and her career as art editor at Saturday Review. She recalls Clyfford Still's retrospective exhibition at the Metropolitan Museum of Art and his death.

Kuh describes her work as a collector for the First National Bank of Chicago.

Kuh recounts more about her work at Saturday Review and her resignation. She goes into great detail about her travels in Alaska and British Columbia surveying Northwest Indian art for a government report. She speaks again about the McCarthy era.

Kuh speaks again about the Katharine Kuh Gallery and the artists she exhibited there, including Josef Albers (and his Black Mountain College), Alexander Archipenko, Stuart Davis, Paul Klee, Alexander Calder, and Man Ray.

Kuh continues her discussion of artists she exhibited at the Katharine Kuh Gallery, including Mark Tobey, Paul Klee, and Isamu Noguchi.

Kuh continues talking about artists she exhibited at the Katharine Kuh Gallery, including David Smith, Ansel Adams, Edward Weston, Eliot Porter, Rufino Tamayo, and Jack Tworkov.

Biographical / Historical:

Katharine Kuh (1904-1994) was an art consultant, curator, and critic from Chicago and New York City.

General:

Originally recorded on 16 sound cassettes. Reformatted in 2010 as 31 digital wav files. Duration is 21 hrs., 52 min.

Provenance:

This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.

Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Jack Kufeld, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.

Restrictions:

Transcript: Patrons must use microfilm copy.

Rights:

Authorization to quote or reproduce for the purposes of publication requires written permission from Avis Berman. Contact Reference Services for more information.

Occupation:

Art critics -- Illinois -- Chicago  Search this

Art critics -- New York (State) -- New York  Search this

Art museum curators -- New York (State) -- New York  Search this

Art museum curators -- Illinois -- Chicago  Search this

Topic:

Abstract expressionism  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.kuh82

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw941cbbacd-01e0-402c-828e-c3909d220c9b

EDAN-URL:

ead_collection:sova-aaa-kuh82

Creator:

Constant, George  Search this

Names:

Art Institute of Chicago  Search this

Audubon Artists (New York, N.Y.)  Search this

Brooklyn Museum  Search this

Carnegie Institute  Search this

Dayton Art Institute  Search this

Federation of Modern Painters and Sculptors  Search this

Ferargil Galleries  Search this

Heckscher Museum  Search this

Lyman Allyn Art Museum  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Parrish Art Museum  Search this

Spanish Refugee Aid (Organization)  Search this

United States. Works Progress Administration  Search this

Whitney Museum of American Art  Search this

Avery, Milton, 1885-1965  Search this

Avery, Sally  Search this

Burliuk, David, 1882-1967  Search this

Caparn, Rhys, 1909-1997  Search this

Carnell, Julia Shaw Patterson, 1863-1944  Search this

Davidson, Morris, 1898-1979  Search this

Eaton, Charles Warren, 1857-1937  Search this

Gecan, Vilko, 1894-1973  Search this

Kanaga, Consuelo, 1894-  Search this

Landgren, Marchal E.  Search this

Neuberger, Roy R.  Search this

Pach, Walter, 1883-1958  Search this

Perret, Nell, 1916-  Search this

Preston, Georgette  Search this

Putnam, Wallace, 1899-1989  Search this

Extent:

4.6 Linear feet

Type:

Collection descriptions

Archival materials

Christmas cards

Photographs

Video recordings

Sound recordings

Interviews

Date:

1912-2007

bulk 1932-1978

Summary:

The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work.

Scope and Contents note:

The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work. A small portion of the correspondence and printed materials are written in Greek.

Biographical material includes artist statements written and recorded by Constant, two audio interview recordings discussing his philosophies on art and his work, inventories of artwork, personal property deeds and legal correspondence, and other miscellaneous material.

Correspondence is predominantly in the form of business and personal letters, postcards, and holiday cards received from family and friends. These include correspondence from Constant's daughter, Georgette Preston, and extended family members. Other frequent personal correspondents include Milton and Sally Avery, Lewis Balamuth, Margaret Brunning, David Burliuk, Nathaniel Burwash, Rhys Caparn, Julia Shaw Patterson Carnell, Phillip Cavanaugh, Morris Davidson, Charles Eaton, Vilko Gecan, Marchal Landgren, Roy Neuberger, Walter Pach, Nell Perret, Constantine Pougialis, Wallace Putnam and Consuelo Kanaga, Hi Simons, and Helen Slosberg. Business related correspondents include Audubon Artists, Art Institute of Chicago, Brooklyn Museum, Carnegie Institute, Dayton Art Institute, Federation of Modern Painters and Sculptors, Ferargil Galleries, Guild Hall, Heckscher Museum, Lyman Allyn Museum, Metropolitan Museum, Museum of Modern Art, Spanish Refugee Appeal, and the Whitney Museum. Other business correspondence related to Constant's work with the WPA are also included in the series.

Printed material includes books and booklets on American and Greek art, including a limited print edition of George Constant by George Constant, clippings and articles reviewing Constant's work, exhibition announcements and catalogs of Constant's shows, periodicals profiling his artwork, and dance and theater related programs that Constant consulted on.

Photographs include black and white prints of Constant and his family and friends in St. Louis, Missouri, Dayton, Ohio, and in and around his studio in Shinnecock Hills, New York. The collection also includes photo stills from his 1965 exhibition at the Parrish Art Museum and a comprehensive set of black and white prints, a handful of color prints, and several color slide sheets of Constant's artwork from the 1920s to 1978.

Arrangement note:

The collection is arranged into 4 series:

Missing Title

Series 1: Biographical Material, 1923-2007 (Box 1; 17 folders)

Series 2: Correspondence, 1930-1979 (Box 1-2; 1.4 linear feet)

Series 3: Printed Material, 1927-2005 (Box 2-3; 2 linear feet)

Series 4: Photographic Material, 1912-1978 (Box 4-6; 1 linear foot)

Biographical/Historical note:

Greek American George Zachary Constant (1892-1978) worked from his studios in Shinnecock Hills, and New York City, New York as a painter and printmaker. A founder and lifelong member of the Federation of Modern Painters and Sculptors, Constant worked for the Work Projects Administration (WPA) during the Depression and early years of World War II, and exhibited regularly at major galleries and museums from the 1920s to 1970s.

Born in Arahova, Greece, Constant was raised by his two uncles after the death of his parents in 1896. In school and at the monestary one of his uncles led, Constant showed an early interest in classical Greek aesthetics. At the age of eighteen, he immigrated to the United States and continued his art studies at Washington University before transferring to the Art Institute of Chicago. From 1918 to 1922, Constant taught at the Dayton Art Institute and continued to produce and exhibit his work locally. In 1922, he moved to New York, joined the Society of Independent Painters, and became close friends with Society founder and art critic Walter Pach. During the 1920s, his etchings were shown at the Valentine and Downtown Galleries, and at the New Art Circle of J.B. Neumann, where he presented his first one man gallery show in 1929.

From the 1930s to 1940s, Constant produced prints, watercolors, and oil paintings for the WPA, many of which were purchased by museums and public institutions, including the Metropolitan Museum of Art and the Philadelphia Museum. During this same period, Constant exhibited his work at the Boyer Gallery in the late 1930s, and at the Ferargil Gallery from the 1940s to early 1950s. In the decade between 1955 and 1965, Constant also worked on color and set design for seventeen dance productions created by the choreographer Alwin Nikolais. In the last two decades of his career, Constant produced works from his studio in Shinnecock Hills, New York and continued to exhibit at numerous galleries, including Grace Borgenicht Gallery, Guild Hall, Mari Galleries, Tirca Karlis Gallery, and Artium Gallery.

Provenance:

The papers of George Constant were donated by the artist in 1969 and 1978. Additional materials were donated in 2001 and 2007 by his daughter Georgette Preston.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Painters -- New York (State) -- New York  Search this

Art -- Philosophy  Search this

Printmakers -- New York (State) -- New York  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Genre/Form:

Christmas cards

Photographs

Video recordings

Sound recordings

Interviews

Citation:

George Constant papers, 1912-2007, bulk 1932-1978. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.consgeor

See more items in:

George Constant papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cec7527c-1946-423b-aab7-e7728da8a072

EDAN-URL:

ead_collection:sova-aaa-consgeor

Interviewee:

Kufeld, Jack, 1907-1990  Search this

Interviewer:

Berman, Avis  Search this

Creator:

Mark Rothko and His Times Oral History Project  Search this

Names:

Design Laboratory (New York, N.Y.)  Search this

Gallery Secession (New York, N.Y.)  Search this

Mark Rothko and His Times Oral History Project  Search this

Avery, Milton, 1885-1965  Search this

Godsoe, Robert  Search this

Gottlieb, Adolph, 1903-1974  Search this

Gross, Chaim, 1904-1991  Search this

Harris, Louis, 1902-1970  Search this

Jaffe, Vladimir  Search this

Kufeld, Jack, 1907-1990  Search this

Neumann, J. B. (Jsrael Ber)  Search this

Pereira, I. Rice (Irene Rice), 1902-1971  Search this

Rothko, Edith  Search this

Rothko, Mark, 1903-1970  Search this

Weber, Max, 1881-1961  Search this

Yavno, Max  Search this

Extent:

28 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1981 Oct. 5

Scope and Contents:

An interview of Jack Kufeld conducted 1981 Oct. 5, by Avis Berman, for the Archives of American Art's Mark Rothko and His Times oral history project.

Kufeld discusses his acquaintance with Mark Rothko and the artists of The Ten. He speaks briefly about Gallery Secession and its owner, Robert Godsoe, and the Gallery's role in the formation of The Ten. Kufeld and Rothko lived together for a short time after Rothko's separation from his first wife, Edith. Kufeld remembers Edith, with whom he remained friends for many years even though he stopped associating with painters when he abruptly stopped painting in the late 1930s. He talks about the Design Laboratory, where he was a teacher. Kufeld recalls Robert Godsoe, Milton Avery, Max Yavno, J.B. Neumann, Adolf Gottlieb, Lou Harris, Max Weber, I. Rice Pereira, Chaim Gross, Vladimir Jaffe, and many others.

Biographical / Historical:

Jack Kufeld (1907-1990) was a painter from New York, N.Y. Member of the painters' group The Ten which included Mark Rothko, Ilya Bolotowsky, Joseph Solman, Adolph Gottlieb and others.

General:

Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 1 hrs., 44 min.

Provenance:

This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.

Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Buffie Johnson, Jacob Kainen, Louis Kaufman, Katharine Kuh, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.

Restrictions:

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

Topic:

Philadelphia Ten (Group of artists)  Search this

Abstract expressionism  Search this

Painters -- New York (State) -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the interview was provided by the Mark Rothko Foundation.

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

Identifier:

AAA.kufeld81

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e5997e78-31e8-45a8-bbb3-5acd522fa3f9

EDAN-URL:

ead_collection:sova-aaa-kufeld81

Creator:

Vicente, Esteban, 1903-2001  Search this

Interviewer:

Sandler, Irving, 1925-  Search this

Names:

Avery, Milton, 1885-1965  Search this

Dalí, Salvador, 1904-1989  Search this

De Kooning, Elaine  Search this

De Kooning, Willem, 1904-1997  Search this

Frankenthaler, Helen, 1928-2011  Search this

Kline, Franz, 1910-1962  Search this

Marca-Relli, Conrad, 1913-2000  Search this

Mitchell, Joan, 1926-1992  Search this

Pach, Walter, 1883-1958  Search this

Pollock, Jackson, 1912-1956  Search this

Resnick, Milton, 1917-2004  Search this

Rothko, Mark, 1903-1970  Search this

Extent:

86 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Place:

Spain -- History -- Civil War, 1936-1939

Date:

1968 August 26

Scope and Contents:

Interview of Esteban Vicente conducted 1968 August 26, by Irving Sandler, for the Archives of American Art. Vicente speaks of the gallery activity of the 1940s and 1950s; The Club and the exhibition on 9th Street arranged by many of those artists; remembering Mark Rothko as a casual acquaintance and the society of artists living in the Hamptons; coming to the United States, acting as vice-consul in Philadelphia for the Loyalist camp during the Spanish Civil War; and his own work and his feelings about the work of his contemporaries. He recalls Bill de Kooning, Franz Kline, John Ferrin, Marca-Relli, Milton Resnick, Joan Mitchell, Helen Frankenthaler, Walter Pach, Elaine de Kooning, Milton Avery, Jackson Pollock, Salvador Dali, and many others.

Biographical / Historical:

Esteban Vicente (1903-2001) was a painter in New York, New York. and Bridgehampton, New York.

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.

Topic:

Art, American  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York -- Interviews  Search this

Genre/Form:

Interviews

Sponsor:

Funding for the interview was provided by the Mark Rothko Foundation.

Identifier:

AAA.vicent68

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw952b2e3c6-c451-4016-946d-a24f43883c09

EDAN-URL:

ead_collection:sova-aaa-vicent68

Creator:

Artists Equity Association  Search this

Artist:

Weber, Max, 1881-1961  Search this

Soyer, Raphael, 1899-1987  Search this

Hofmann, Hans, 1880-1966  Search this

Sternberg, Harry, 1904-2001  Search this

Feininger, T. Lux  Search this

Gross, Chaim, 1904-1991  Search this

Avery, Milton, 1885-1965  Search this

Shahn, Ben, 1898-1969  Search this

Advertiser:

Maidenform, Inc.  Search this

Names:

Astor Hotel (New York, N.Y.)  Search this

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

1 Item (Ink on paper, approx 10 x 8 in.)

Container:

Box 1, Folder 49

Type:

Archival materials

Books

Lithographs

Date:

1951

Scope and Contents:

An artist's book with a spiral plastic binding, composed of original lithographs, most of them serving as advertisements. Participating artists include Milton Avery, T. Lux Feininger, Chaim Gross, Hans Hofmann, Reginald Marsh, Ben Shahn, Raphael Soyer, and Max Weber. Of special interest are a Maidenform brassiere ad by Harry Sternberg; a nude female figure with a 19th century camera for Pagano photographs and illustrations, and the Danby Furniture Co. by Helen Ratkai; etc.

Local Numbers:

AC0060-0000375-01.tif - AC0060-0000375-59.tif (AC Scan Nos.)

General:

In Box 1, Folder 49, Hotels series.

From the acknowledgment page: "This is Volume II of IMPROVISATIONS. IMPROVISATIONS was first conceived in 1950 from an idea by Julio de Diego as a medium for advertisers in sympathy with the ideals of Artists Equity Association. As in IMPROVISATIONS 1950, the member-artists who illustrated this journal were selected by the advertisers and were given complete freedom of expression. Each page was designed by the artist directly on the litho plate, thus making this a collection of original lithographs."

Series Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

Series Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Masquerades  Search this

Artists' books  Search this

Nude in art  Search this

Cameras  Search this

Genre/Form:

Books

Lithographs -- 1950-1960

Series Citation:

Warshaw Collection of Business Americana Subject Categories: Hotels, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

See more items in:

Warshaw Collection of Business Americana Subject Categories: Hotels

Warshaw Collection of Business Americana Subject Categories: Hotels / 1: American Hotels / Astor, Hotel, New York, New York

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c547e442-151b-4d41-ab85-fd723021d60f

EDAN-URL:

ead_component:sova-nmah-ac-0060-s01-01-hotels-ref542

Creator:

Avery, Milton, 1885-1965  Search this

Subject:

Avery, Sally  Search this

Rothko, Mark  Search this

Eilshemius, Louis M. (Louis Michel)  Search this

Duthuit, Georges  Search this

Putnam, Wallace  Search this

Hartley, Marsden  Search this

Citation:

Milton Avery papers, 1926-1982, bulk 1950-1982. Archives of American Art, Smithsonian Institution.

Topic:

Painting, Abstract  Search this

Painters -- New York (State) -- New York  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9536

(DSI-AAA_SIRISBib)211735

AAA_collcode_avermilt

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211735

Creator:

Penney, Charles Rand, 1923-2010  Search this

Names:

Charles Rand Penney Collection  Search this

Arp, Jean, 1887-1966  Search this

Audubon, John James, 1785-1851  Search this

Avery, Milton, 1885-1965  Search this

Bertoia, Harry  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Calder, Alexander, 1898-1976  Search this

Davis, Stuart, 1892-1964  Search this

Evergood, Philip, 1901-1973  Search this

Ganso, Emil, 1895-1941  Search this

Goodnough, Robert, 1917-  Search this

Grooms, Red  Search this

Hopper, Edward, 1882-1967  Search this

Marin, John, 1870-1953  Search this

Marsh, Reginald, 1898-1954  Search this

Miró, Joan, 1893-  Search this

Moore, Henry, 1898-1986  Search this

Nevelson, Louise, 1899-1988  Search this

Noguchi, Isamu, 1904-1988  Search this

Pepper, Beverly  Search this

Segal, George, 1924-2000  Search this

Sloan, John, 1871-1951  Search this

Stamos, Theodoros, 1922-1997  Search this

Steinberg, Saul  Search this

Wilke, Ulfert, 1907-1987  Search this

Extent:

23.1 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1923-1994

bulk 1945-1994

Summary:

The papers of art collector Charles Rand Penney measure 23.1 linear feet and date from 1923 to 1994 with the bulk of the collection dating from 1945 to 1994. The majority of the collection consists of Penney's art collection files, which include printed materials, correspondence, notes, and photographic materials. Also found within the papers are catalogs from exhibitions that featured artwork from Penney's collection.

Scope and Contents:

The papers of art collector Charles Rand Penney measure 23.1 linear feet and date from 1923 to 1994 with the bulk of the collection dating from 1945 to 1994. The collection consists primarily of Penney's art collection files which include printed materials, correspondence, notes, and photographic materials. Also found within the papers are catalogs from exhibitions that featured artwork from Penney's collection.

Artists of significance represented in Penney's art collection files include Jean Arp, John James Audubon, Milton Avery, Harry Beroia, Alexander Calder, Stuart Davis, Philip Evergood, Emil Ganso, Robert Goodnough, Red Grooms, Edward Hopper, John Marin, Reginald Marsh, Joan Miro, Henry Moore, Louise Nevelson, Isamu Noguchi, Beverly Pepper, George Segal, John Sloan, Theodoros Stamos, Saul Steinberg, and Ulfert Wilke, among many others. Also included are files for artists that participated in theToronto 20 portfolio project in 1965. The files do not include Penney's files relating to Charles Burchfield, Wester New York state artists, or objects from the Arts and Craft movement.

A few notable exhibition catalogs found in the series of catalogs of the Charles Rand Penney art collection are Charles Burchfield: The Charles Rand Penney Collection, The Graphic Art of Emil Ganso, Drawings from the Collection of Charles Rand Penney, Quilts Coverlets Hooked Rugs from the Collection of Charles Rand Penney, The Charles Rand Penney Collection: Twentieth Century Art, and An American Visionary: Watercolors and Drawings of Charles E. Burchfield.

Arrangement:

The collection is arranged as 2 series.

Missing Title

Series 1: Art Collection Files, 1923-1994 (Box 1-23, OV 24; 22.7 linear feet)

Series 2: Catalogs of the Charles Rand Penney Art Collection, 1966-1991 (Box 23, 0.2 linear feet)

Biographical / Historical:

Charles Rand Penney (1923-2010) was an art collector from Buffalo, New York. He was well known for his collection of art by Western New York artists, but also collected art from Europe, Africa, Oceania, and other regions of the United States. His travels contributed to the eclectic mix of paintings, drawings, sculptures, hooked rugs, quilts, and tribal art found within his art collection.

Penney cited receiving the watercolor Warrior in 1933 from Western New York artist Bob Blair as the beginning of his life as an art collector. Years later, Penney served in World War II, attended law school, and began practicing law in the 1950s. His collections grew quickly during the late 1950s through 1970s. Penney collected over 100,000 works of art during his lifetime, much of it guided by dealers James and Merle Goodman.

In 1963, Penney began donating artwork to the Memorial Art Gallery in Rochester, New York. In total, approximately 400 works of art were donated to the gallery including Big Diamond by David Smith and Beverly Pepper's Vertical Ventaglio (1967-1968). Penney also donated over 1000 works of art to the Burchfield Art Center in Buffalo, New York.

Related Materials:

Also found at the Archives of American Art is an oral history interview with Charles Rand Penney conducted by Robert F. Brown on August 14-16, 1981. Additional files relating to the Charles Rand Penney Foundation (1963-1976) are located at the Memorial Art Gallery of the University of Rochester in Rochester, N.Y. Files relating to Western New York state artists, Charles Burchfield, and American Arts and Crafts are located at the Burchfield-Penney Center at Buffalo State College, Buffalo, New York.

Provenance:

The collection was donated in 1993-1994 by Charles Rand Penney.

Restrictions:

Use of original papers requires an appointment and is limited to the 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.

Topic:

Art -- Collectors and collecting  Search this

Citation:

Charles Rand Penney Papers, 1923-1994, bulk 1945-1994. 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.pennchar

See more items in:

Charles Rand Penney papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw972c049ec-5929-47d4-a5d2-e8041e6394e0

EDAN-URL:

ead_collection:sova-aaa-pennchar

Creator:

Ross, Gloria F.  Search this

Names:

Atelier Raymond Picaud  Search this

Denver Art Museum  Search this

Dovecot Studios  Search this

Pace Editions (Firm)  Search this

Pinton Atelier  Search this

Temple Emanu-El (Bayonne, N.J.)  Search this

Avery, Milton, 1885-1965  Search this

Bearden, Romare, 1911-1988  Search this

Davis, Stuart, 1892-1964  Search this

Frankenthaler, Helen, 1928-2011  Search this

Motherwell, Robert  Search this

Nevelson, Louise, 1899-1988  Search this

Noland, Kenneth, 1924-  Search this

Extent:

14.5 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Paintings

Video recordings

Photographs

Date:

circa 1924-1998

Summary:

The papers of New York tapestry éditeur Gloria Ross measure 14.5 linear feet and date from circa 1924-1998. The bulk of the papers consist of project files that document her collaborations with artists to make tapestries of their paintings and collages. Also found are scattered biographical material, professional correspondence, exhibition files, professional activity files, personal business records, printed material, photographs, and artwork.

Scope and Contents:

The papers of New York tapestry éditeur Gloria Ross measure 14.5 linear feet and date from circa 1924-1998. The bulk of the papers consist of project files that document her collaborations with artists to make tapestries of their paintings and collages. Also found are scattered biographical material, professional correspondence, exhibition files, professional activity files, personal business records, printed material, photographs, and artwork.

Biographical material includes resumes and career summaries, as well as an interview of Ross on one videocassette, and a few Frankenthaler family documents. Correspondence is with artists, weavers, workshops, publications, and galleries and is of a professional nature.

Project files document Ross's collaborations with prominent artists such as Helen Frankenthaler, Robert Motherwell, Romare Bearden, Louise Nevelson, Milton Avery, Stuart Davis, and others. Project files may include correspondence, contracts, invoices, notes, photographs, yarn samples, and a few maquettes and cartoons. Also of note are extensive files regarding her collaborations with Navajo weavers to create tapestries based on geometric paintings by Kenneth Noland. Other project files include a commissioned tapestry for Temple Emanu-El in New York.

Exhibition files document various solo and group exhibitions of Gloria Ross tapestries and includes one videocassette from a 1978 exhibition. Records of her professional activities include her participation in symposia, lectures, and public events. Files may include correspondence, draft lectures, programs, and event publicity. Two short documentaries found on two videocassettes were produced for the Denver Art Museum. Personal business records document Ross's business relationships with weaving workshops and art galleries, most notably Atelier Raymond Picaud, Pinton atelier, Edinburgh Tapestry Company (Dovecot Studios), and Pace Editions, the major sales agent of Gloria Ross tapestries.

Printed material consists of catalogs, announcements, press releases, and other publications regarding exhibitions of Gloria Ross tapestries and Navajo tapestries. Photographs depict Ross, the Frankenthaler family, Ross's tapestries, weaving studios, and Navajo weavers. Artwork includes one painting by Paul Jenkins and unidentified textile and yarn samples.

Arrangement:

This collection is arranged as 9 series.

Missing Title

Series 1: Biographical Material, circa 1926-1998 (5 folders; Box 1)

Series 2: Correspondence, 1965-1998 (0.7 linear feet; Box 1)

Series 3: Project Files, 1960-1998 (7.3 linear feet; Boxes 1-7, 14-15, 17-19, OVs 20, 22-24, Artifact)

Series 4: Exhibition Files, 1967-1994 (0.8 linear feet; Boxes 7-8, 17)

Series 5: Professional Activities, 1955-1997 (0.7 linear feet; Box 8)

Series 6: Personal Business Records, 1964-1998 (1.8 linear feet; Boxes 8-10, OV 21)

Series 7: Printed Material, 1970s-1990s (0.8 linear feet; Boxes 10-11, 14)

Series 8: Photographs, circa 1924-1990s (1.1 linear feet; Boxes 11, 16)

Series 9: Artwork, circa 1970s-1990s (1.1 linear feet; Boxes 11-14, 17, 19)

Biographical / Historical:

Gloria F. Ross (1923-1998) was a tapestry éditeur in New York, New York.

Ross was born Gloria Frankenthaler in New York in 1923. She graduated from Mount Holyoke College in 1943 and married Alfred Ross. They had three children: Alfred, Beverly, and Clifford. In 1954, Gloria Ross made her first needlepoint work from a design by her sister, abstract painter Helen Frankenthaler, and by the mid-1960s, she was exhibiting her tapestries and hooked rugs in New York. She established Gloria F. Ross Studio in 1966 and began regularly collaborating with artists such as Robert Motherwell, Louise Nevelson, Jack Youngerman, and Jean Dubuffet to make their works into tapestries. She created business partnerships with weaving workshops in Scotland and France to produce the works. In 1973 she had her first exhibition at Pace Editions, Inc., beginning a long relationship with the gallery as her main sales agent.

In 1979, Ross first traveled to the Navajo Nation to find weavers for a collaborative project with artist Kenneth Noland. She continued to visit the Southwest at least once a year until 1994, and she donated her collection of Navajo rugs and other textiles to the Denver Art Museum. Throughout the 1980s Ross traveled extensively for projects, exhibitions, and symposia. Her final commissioned project, completed in 1997, was a tapestry designed by artist Mark Podwol for Temple Emanu-El in New York. That same year she established the Gloria F. Ross Center for Tapestry Studies in Tucson, Arizona.

Provenance:

Donated in 2013 by the Gloria Ross estate via Michael I. Katz, executor, with assistance from the Gloria F. Ross Tapestry Program, University of Arizona, via Ann Lane Hedlund, director.

Restrictions:

Use of original papers requires an appointment. 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.

Topic:

Tapestry -- Design  Search this

Tapestry -- Production control  Search this

Tapestry -- Technique  Search this

Designers -- New York (State) -- New York  Search this

Navajo weavers  Search this

Women artists  Search this

Genre/Form:

Interviews

Paintings

Video recordings

Photographs

Citation:

Gloria Ross papers, circa 1924-1998. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.rossglor

See more items in:

Gloria Ross papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98a5d5eb6-9a0b-441f-82c9-8f6b53b795ee

EDAN-URL:

ead_collection:sova-aaa-rossglor

Creator:

Laurent, Robert, 1890-1970  Search this

Names:

Avery, Milton, 1885-1965  Search this

Barnes, Albert C. (Albert Coombs), 1872-1951  Search this

Bellows, George, 1882-1925  Search this

Berenson, Bernard, 1865-1959  Search this

Bluemner, Oscar, 1867-1938  Search this

Calder, Alexander, 1898-1976  Search this

Careas, Jean  Search this

Courtois, Gustave, 1852-1923  Search this

Dasburg, Andrew, 1887-1979  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

Field, Hamilton Easter  Search this

Fiene, Ernest, 1894-  Search this

Goodrich, Lloyd, 1897-1987  Search this

Gross, Chaim, 1904-1991  Search this

Halpert, Edith Gregor, 1900-1970  Search this

Hart, George Overbury, 1868-1933  Search this

Hassam, Childe, 1859-1935  Search this

Henri, Robert, 1865-1929  Search this

Hope, Henry R. (Henry Radford), 1905-  Search this

Kuhn, Walt, 1877-1949  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Lachaise, Gaston, 1882-1935  Search this

Laurent, John, 1921-  Search this

Lipchitz, Jacques, 1891-1973  Search this

McBride, Henry, 1867-1962  Search this

McFee, William  Search this

Nadelman, Elie, 1882-1946  Search this

Pascin, Jules, 1885-1930  Search this

Prendergast, Maurice Brazil, 1858-1924  Search this

Rattner, Abraham  Search this

Ryder, Albert Pinkham, 1847-1917  Search this

Smith, David, 1906-1965  Search this

Soyer, Raphael, 1899-1987  Search this

Speicher, Eugene Edward, 1883-1962  Search this

Stella, Joseph, 1877-1946  Search this

Sterne, Maurice, 1878-1957  Search this

Stieglitz, Alfred, 1864-1946  Search this

Strater, Henry, 1896-  Search this

Zorach, William, 1887-1966  Search this

Extent:

3.7 Linear feet ((on 8 microfilmed reels + 1 photograph not microfilmed))

Type:

Collection descriptions

Archival materials

Date:

1869-1973

Scope and Contents:

Correspondence; manuscripts and writings; lists of works of art; photographs; biographical material; gallery and foundry files; notes and speeches; financial material; scrapbook; guest book; magazines; exhibition catalogs; clippings; and printed material.

REEL N68-2: Letters from George Bellows, Bernard Berenson, Elliott Daingerfield, Arthur B. Davies, Roger Fry, John Marin, Joseph Pennell, Man Ray, John Sloan, Max Weber, J. Alden Weir, and others. Two highly detailed letters from Maurice Sterne in 1913 describe that artist's life in Bali. Also included are signatures of American artists from a guest book, and a 1966 catalog of the Hamilton Easter Field Art Foundation Collection.

REEL N68-3 Letters from Childe Hassam, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, Elie Nadelman, David Smith, Alfred Stieglitz, William Zorach, Oscar Bluemner, Albert C. Barnes, Andrew Dasburg, Ernest Fiene, Pop Hart, Robert Henri, Joseph Stella, Maurice Sterne, and others. Also included are manuscripts, lists of works of art, and photographs of Laurent with Hamiltion Easter Field, Bernard Kariol and others.

REEL 2: Personal data sheet, exhibition catalogs and magazines containing articles by or about Laurent, ca. 1920-1965.

REEL 497: John Laurent's collection of 34 letters, 1902-1960, to Robert Laurent and Hamiltion Easter Field. The 6 letters to Field are from Bernhard Berenson, George Bellows, Maurice Prendergast, Pop Hart, Gustov Courtois, and John Carpenter. The 28 letters to Robert Laurent are from Albert P. Ryder, Gaston Lachaise, Raphael Soyer, Walt Kuhn, Robert Henri, Alfred Stieglitz, Arthur B. Davies, Milton Avery, Alexander Calder, Henry McBride, William McFee, Jules Pascin, Jean Careas, and two unidentified artists.

REEL 2063: Photographs, ca. 1930-1962, of Laurent, his studio, exhibitions, and works of art.

REELS 2065-2067: Biographical material; correspondence from Maurice Sterne, Yasuo Kuniyoshi, Edith Halpert, Henry Hope, Henry Strater, Lloyd Goodrich, David Smith, Walt Kuhn, William Zorach, Ernest Fiene, and Samuel Wood Gaylor; gallery and foundry files; notes, writings, and speeches; financial material; lists of works of art; blueprints; exhibition and printed material, clippings, and a scrapbook; photos of source material and works of art owned by Laurent; and material concerning Hamilton Easter Field, Laurent's teacher and friend, including correspondence, guest book signatures, financial and legal papers and Field Foundation material.

REEL 2155: Photographs of Laurent's works of art with catalog sheets listing the title, date, medium, size, ownership, and exhibition information for each work, ca. 1920-1967. Also included are photographs of Laurent in his studio and with others, including Gaston Lachaise and David Smith; a photo of Chaim Gross; and photos of the Ogunquit Museum in Maine.

UNMICROFILMED: A black and white photograph of the Field Foundation Dinner Auction-Dinner-Dance, Ogunquit, Maine. Depicted are Lloyd Goodrich, Yasuo Kuniyoshi, William Zorach, Robert Laurent, Emil Ganso and others.

Biographical / Historical:

Painter, sculptor, teacher, etcher, and writer; Brooklyn, New York & Ogunquit, Maine. Laurent studied under Hamilton Easter Field, and both were from Brooklyn, N.Y. and were involved in the summer art colony in Oguniquit, Maine.

Provenance:

Material on reels N68-2-N68-3 was lent for microfilming 1968 by Robert Laurent; he donated material on reel 2 1966; material on reel 497 was lent for microfilming 1973 by John Laurent, son of Robert Laurent; material on reels 2063, 2065-2067 was donated 1978 by John Laurent; He donated additional material on reel 2155 and not filmed with his brother Paul in 1981.

Restrictions:

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

Occupation:

Etchers  Search this

Painters  Search this

Sculptors  Search this

Topic:

Painting, Modern -- 20th century  Search this

Sculpture, Modern -- 20th century  Search this

Etching, Modern -- 20th century  Search this

Identifier:

AAA.laurrobe

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96ee96a38-5fa2-4e34-805b-8a013225135a

EDAN-URL:

ead_collection:sova-aaa-laurrobe

Creator:

Avery, Milton, 1885-1965  Search this

Names:

Avery, Sally  Search this

Duthuit, Georges, 1891-  Search this

Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this

Hartley, Marsden, 1877-1943  Search this

Putnam, Wallace, 1899-1989  Search this

Rothko, Mark, 1903-1970  Search this

Extent:

2.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1926-1982

bulk 1950-1982

Summary:

The papers of abstract painter Milton Avery measure 2.8 linear feet and date from 1926 to 1982, with the bulk of the collection dating from 1950 to 1982. Almost the entire collection consists of records of the Milton Avery Trust (2.4 linear feet) maintained by Avery's wife Sally, who served as a trustee. Milton Avery's business and personal correspondence (five folders) contains letters from friends and fellow artists, including a few from George Duthuit, Louis Eilshemius, Marsden Hartley, Wallace Putnam, and Mark Rothko. Also found are scattered writings about Avery, price lists, estate records, exhibition announcements and catalogs, and news clippings.

Scope and Content Note:

The papers of abstract painter Milton Avery measure 2.8 linear feet and date from 1926 to 1982, with the bulk of the collection dating from 1950 to 1982. Almost the entire collection consists of business files maintained by Milton Avery's wife Sally as a trustee for the Milton Avery Trust (2.4 linear feet). Milton Avery's business and personal correspondence (five folders) contains letters from friends and fellow artists, including a few from George Duthuit, Louis Eilshemius, Marsden Hartley, Wallace Putnam, and Mark Rothko. Also found are scattered writings about Avery, price lists, estate records, exhibition announcements and catalogs, and news clippings.

Arrangement:

The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Material, 1964, 1975 (Box 1; 1 folder)

Series 2: Correspondence, 1935-1981 (Box 1; 10 folders)

Series 3: Subject Files, 1950-1981 (Box 1-4; 2.4 linear feet)

Series 4: Writings, circa 1951-1979 (Box 4; 5 folders)

Series 5: Financial & Legal Records, 1943-1982 (Box 4; 6 folders)

Series 6: Printed Material, 1926, 1962-1977 (Box 4; 4 folders)

Series 7: Photographs, circa 1970 (Box 4; 1 folder)

Biographical Note:

Milton Avery (1885-1965) was born in Altmar, New York and grew up in Hartford, Connecticut. Around 1905 he began attending the Connecticut League of Art Students in Hartford where he studied life drawing while also working full-time as a factory worker and file clerk. In 1915 he had his first public exhibition and, in 1918, transferred to the School of Art Society in Hartford. In 1924 he met Sally Michel (1905-2003), a student at the Art Students League in New York, and moved to New York City to be closer to her. They married one year later. Around this time Avery also altered his year of birth to 1893, perhaps due to the age difference between him and Sally. After their marriage Sally worked as an illustrator so that Avery could paint full time.

During the early 1920s, Avery's works were traditional figurative and genre subjects, influenced by American Impressionism. By the mid 1920s, with his move to New York, Avery began to simplify his forms and use broader expanses of flat color. Although his paintings became increasingly abstract, he never fully abandoned representational subject matter, painting figure groups, still lifes, landscapes, and seascapes. By the mid-1940s, Avery's work was characterized by a reduction of elements and elimination of detail, filled with an emphasis on arbitrary color.

Avery exhibited in a group show at The Opportunity Gallery in 1928 which also featured Mark Rothko and the two became close friends. He became friends with many other artists including Adolph Gottlieb, Barnett Newman, and Marsden Hartley. Avery's color work was an important influence on many younger artists, particularly Mark Rothko, Adolph Gottlieb, Barnett Newman, Helen Frankenthaler, and other Color Field painters. The Phillips Collection in Washington, D.C. was the first museum to purchase one of his paintings in 1929 and to give him his first solo museum exhibition in 1944.

In 1949 Milton Avery suffered a major heart attack and began making monotypes during his recovery. He returned to painting despite periods of ill-health, and his reputation grew rapidly over the next ten years, culminating in a retrospective at the Whitney Museum of American Art in New York in 1960. He also exhibited along with his wife Sally Avery and their daughter, March Avery Cavanaugh (born in 1932), both of whom were also painters. Avery died in 1965 and left behind an oeuvre of paintings that numbers in the thousands. His wife Sally managed his estate and the sale of his works to many major museums, and served as a trustee for the Milton Avery Trust until her death in 2003.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming on reels N68-95, N68-115, N69-63, and 2535 including six scrapbooks, a sketchbook, Christmas cards, exhibition catalogs, and photographs. Loaned materials were returned to the lender and are not described in the collection container inventory.

Provenance:

The Milton Avery papers were donated in 1968, 1969, and 1982 by his widow Sally Avery, including a few letters previously loaned for microfilming.

Restrictions:

The collection has been digitized and is available online via the Archives of American Art's website.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Painting, Abstract  Search this

Painters -- New York (State) -- New York  Search this

Citation:

Milton Avery papers, 1926-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.avermilt

See more items in:

Milton Avery papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw962db9fe5-4a80-451f-a614-95e126345f06

EDAN-URL:

ead_collection:sova-aaa-avermilt

Collection Creator:

Avery, Milton, 1885-1965  Search this

Container:

Box 2, Folder 56

Type:

Archival materials

Date:

1973-1980

Collection Restrictions:

The collection has been digitized and is available online via the Archives of American Art's website.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Milton Avery papers, 1926-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Milton Avery papers

Milton Avery papers / Series 3: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9deca2551-ae3f-437b-a136-e89735d3ca15

EDAN-URL:

ead_component:sova-aaa-avermilt-ref100

Collection Creator:

Avery, Milton, 1885-1965  Search this

Container:

Box 2, Folder 57

Type:

Archival materials

Date:

1969, 1973-1974

Collection Restrictions:

The collection has been digitized and is available online via the Archives of American Art's website.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Milton Avery papers, 1926-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Milton Avery papers

Milton Avery papers / Series 3: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a0e475c2-8d2a-45d7-bfc9-818678d029ab

EDAN-URL:

ead_component:sova-aaa-avermilt-ref101

Collection Creator:

Avery, Milton, 1885-1965  Search this

Container:

Box 2, Folder 58

Type:

Archival materials

Date:

1973-1974

Collection Restrictions:

The collection has been digitized and is available online via the Archives of American Art's website.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Milton Avery papers, 1926-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Milton Avery papers

Milton Avery papers / Series 3: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw935cbac08-e0dd-490f-8601-0b5bf5b23ef5

EDAN-URL:

ead_component:sova-aaa-avermilt-ref102

Collection Creator:

Avery, Milton, 1885-1965  Search this

Container:

Box 2, Folder 59

Type:

Archival materials

Date:

1977-1979

Collection Restrictions:

The collection has been digitized and is available online via the Archives of American Art's website.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Milton Avery papers, 1926-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Milton Avery papers

Milton Avery papers / Series 3: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9741ca589-6c14-42d4-b6c9-b35b03f4a0a1

EDAN-URL:

ead_component:sova-aaa-avermilt-ref103

Collection Creator:

Avery, Milton, 1885-1965  Search this

Container:

Box 2, Folder 60

Type:

Archival materials

Date:

1950-1979

Collection Restrictions:

The collection has been digitized and is available online via the Archives of American Art's website.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Milton Avery papers, 1926-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Milton Avery papers

Milton Avery papers / Series 3: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93b3d6773-43f4-4b8d-a1dc-5775e207866d

EDAN-URL:

ead_component:sova-aaa-avermilt-ref104

Collection Creator:

Avery, Milton, 1885-1965  Search this

Container:

Box 2, Folder 61

Type:

Archival materials

Date:

1964-1969

Collection Restrictions:

The collection has been digitized and is available online via the Archives of American Art's website.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Milton Avery papers, 1926-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Milton Avery papers

Milton Avery papers / Series 3: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bbbb1079-8887-4b14-948c-8f8d714599b3

EDAN-URL:

ead_component:sova-aaa-avermilt-ref105

Collection Creator:

Avery, Milton, 1885-1965  Search this

Container:

Box 2, Folder 62

Type:

Archival materials

Date:

1977

Collection Restrictions:

The collection has been digitized and is available online via the Archives of American Art's website.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Milton Avery papers, 1926-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Milton Avery papers

Milton Avery papers / Series 3: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw908ac722e-4684-4c6c-95cb-245d3cde7052

EDAN-URL:

ead_component:sova-aaa-avermilt-ref106

Collection Creator:

Avery, Milton, 1885-1965  Search this

Container:

Box 2, Folder 63

Type:

Archival materials

Date:

1961-1971, 1973

Collection Restrictions:

The collection has been digitized and is available online via the Archives of American Art's website.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Milton Avery papers, 1926-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Milton Avery papers

Milton Avery papers / Series 3: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d1634d86-1521-4bc5-932c-be0a016f7d3e

EDAN-URL:

ead_component:sova-aaa-avermilt-ref107