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Brooklyn Museum interviews of artists

Creator:
Brooklyn Museum  Search this
Names:
Listening to pictures (1968-1973: Brooklyn Museum)  Search this
Anderson, Lennart, 1928-  Search this
Antonakos, Stephen, 1926-2013  Search this
Arisman, Marshall  Search this
Barker, Walter  Search this
Baskin, Leonard, 1922-2000  Search this
Bauermeister, Mary, 1934-  Search this
Benton, Thomas Hart, 1889-1975  Search this
Bishop, Isabel, 1902-1988  Search this
Brackman, Robert, 1898-  Search this
Butchkes, Sydney, 1922-  Search this
Casarella, Edmond, 1920-1996  Search this
Constant, George  Search this
Dash, Robert  Search this
De Creeft, José, 1884-1982  Search this
Dombek, Blanche, 1914-  Search this
Doyle, Tom, 1928-  Search this
Ernst, Jimmy, 1920-1984  Search this
Estern, Neil, 1926-  Search this
Evergood, Philip, 1901-1973  Search this
Frankenthaler, Helen, 1928-2011  Search this
Freilicher, Jane, 1924-  Search this
Goldin, Leon, 1923-  Search this
Goodman, Sidney  Search this
Graziani, Sante, 1920-  Search this
Greene, Balcomb, 1904-1990  Search this
Grillo, John, 1917-  Search this
Gropper, William, 1897-1977  Search this
Gross, Chaim, 1904-1991  Search this
Gussow, Roy, 1918-2011  Search this
Gwathmey, Robert, 1903-1988  Search this
Hartigan, Grace  Search this
Hopper, Edward, 1882-1967  Search this
Jaffe, Nora  Search this
Jenkins, Paul, 1923-2012  Search this
Kawabata, Minoru, 1911-  Search this
Kienbusch, William, 1914-1980  Search this
Knaths, Karl, 1891-1971  Search this
Koch, John, 1909-1978  Search this
Kosama, Yayoi  Search this
Lam, Jennett, 1911-  Search this
Lang, Steven, 1944-1971  Search this
Laurent, Robert, 1890-1970  Search this
Lawrence, Jacob, 1917-2000  Search this
Levine, Jack, 1915-2010  Search this
Lipchitz, Jacques, 1891-1973  Search this
Lipton, Seymour, 1903-1986  Search this
Margo, Boris, 1902-1995  Search this
Meyer, Ursula, 1915-  Search this
Moller, Hans, 1905-  Search this
Murch, Walter  Search this
Nevelson, Louise, 1899-1988  Search this
Odate, Toshio  Search this
Offner, Elliot  Search this
Ohlson, Douglas Dean, 1936-  Search this
Okada, Kenzo, 1902-1982  Search this
Palmer, Amanda, 1931-  Search this
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Peterdi, Gabor  Search this
Reinhardt, Ad, 1913-1967  Search this
Richards, Bill, 1936-  Search this
Rivers, Larry, 1925-2002  Search this
Sanchez, Emilio, 1921-1999  Search this
Schrag, Karl  Search this
Shahn, Ben, 1898-1969  Search this
Sheeler, Charles, 1883-1965  Search this
Sopher, Aaron, 1905-1972  Search this
Soyer, Moses, 1899-1974  Search this
Soyer, Raphael, 1899-1987  Search this
Thon, William, 1906-2000  Search this
Weinberg, Albert  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, William, 1887-1966  Search this
Interviewer:
Jacobowitz, Arlene  Search this
Extent:
7 Linear feet
Type:
Collection descriptions
Archival materials
Transcripts
Interviews
Date:
1965-1968
Summary:
Interviews of 72 artists, and transcripts for all but five, conducted by Arlene Jacobowitz, the Associate Curator for the Department of Painting and Sculpture at the Brooklyn Museum, between 1965 and 1968. The artists discuss their work in the museum collection. Also included are 38 edited excerpts of the interviews, approximately 2-3 min. in length, used as "audio-labels" in the 1968 "Listening to Pictures" installation at the museum.
Scope and Content Note:
Interviews of 72 artists, and transcripts for all but five, conducted by Arlene Jacobowitz, the Associate Curator for the Department of Painting and Sculpture, between 1965 and 1968. The artists discuss their work in the museum collection. Also included are 38 edited excerpts of the interviews, approximately 2-3 min. in length, used as "audio-labels" in the 1968 "Listening to Pictures" installation.

The artists interviewed are: Lennart Anderson, Stephen B. Antonakos, Marshall Arisman, Walter Barker, Leonard Baskin, Mary Bauermeister, Thomas Hart Benton, Isabel Bishop, Robert Brackman, Sydney Butchkes, Edmund Casarella, George Constant, Robert Warren Dash, Jose DeCreeft, Blanche Dombek, Tom Doyle, Jimmy Ernst, Neil Estern, Philip Evergood, Helen Frankenthaler, Jane Freilicher, Leon Goldin, Sidney Goodman, Sante Graziani, Balcomb Greene, John Grillo, William Gropper, Chaim Gross, Roy Gussow, Robert Gwathmey, Grace Hartigan, Edward Hopper, Nora Jaffe, Paul Jenkins, Minoru Kawabata, William Kienbusch, Karl Knaths, John Koch, Yayoi Kosama, Jennett Lam, Steven Lang, Robert Laurent, Jacob Lawrence, Jack Levine, Jacques Lipchitz, Seymour Lipton, Boris Margo, Ursula Meyer, Hans Moller, Walter Murch, Louise Nevelson, Toshio Odate, Elliot Offner, Douglas Ohlson, Kenzo Okada, Amanda Palmer, Irene Rice Pereira, Gabor Peterdi, Ad Reinhardt, Bill Richards, Larry Rivers, Emilio Sanchez, Karl Schrag, Ben Shahn, Charles Sheeler, Aaron Sopher, Moses Soyer, Raphael Soyer, William Thon, Albert Weinberg, and William and Marguerite Zorach.
Arrangement:
The collection is arranged as a single series:

Series 1: Interviews, 1965-1968 (Box 1-7; 7 lin. ft.)
Historical Note:
The interview program at the Brooklyn Museum was begun by Arlene Jacobowitz in the spring of 1965 with artists whose works were on exhibition at the Brooklyn Museum. In 1968, excerpts from the interviews were incorporated into an exhibition entitled "Listening to Pictures," in which visitors could access the sound recordings using headphones while standing before the painting being discussed. The exhibition opened April 28, 1968, and was gradually disassembled, 1971-1973.
Related Material:
The Brooklyn Museum Archives houses the records of the Departments of European Painting and Sculpture, American Painting and Sculpture, Contemporary Art (1897-2005), which contain records relating to the work of Arlene Jacobowitz.
Provenance:
This collection was donated to the Archives of American Art by Dierdre Lawrence of the Brooklyn Museum in 1989.
Restrictions:
Use of original papers requires an appointment. Researchers may view the original reels for the archival notations on them, but original reels are not available for playback due to fragility.
Rights:
Authorization to quote or reproduce for purposes of publication requires written permission from the interviewee.
Topic:
Artists -- United States -- Interviews  Search this
Art, American -- Exhibitions  Search this
Genre/Form:
Transcripts
Interviews
Citation:
Interview between [artist's name] and [interviewer's name] from the "Listening to Pictures" program of the Brooklyn Museum. Gift of the Brooklyn Museum. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.broomuse
See more items in:
Brooklyn Museum interviews of artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-broomuse

Oral history interview with Grace Borgenicht Brandt

Interviewee:
Brandt, Grace Borgenicht, 1915-2001  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Names:
Grace Borgenicht Gallery  Search this
Baskin, Leonard, 1922-2000  Search this
De Rivera, José Ruiz, 1904-1985  Search this
Ernst, Jimmy, 1920-1984  Search this
Kahn, Wolf, 1927-2020  Search this
Extent:
7 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1963 January 10
Scope and Contents:
An interview of Grace Borgenicht Brandt conducted by Dorothy Seckler on 1963 January 10 for the Archives of American Art.
Brandt speaks of the beginnings of the Grace Borgenicht Gallery, her development as a dealer. She recalls the artists Leonard Baskin, Jose de Rivera, Jimmy Ernst and Wolf Kahn.
Biographical / Historical:
Grace Borgenicht Brandt (1915-2001) was an art dealer and collector in New York, New York.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 38 min.
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
Art -- Collectors and collecting -- New York (State) -- Interviews  Search this
Art dealers -- New York (State) -- New York -- Interviews  Search this
Function:
Art galleries, Commercial -- New York (State) -- New York
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.brandt63
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-brandt63

Leonard Baskin letter to Lawrence Fleischman

Creator:
Baskin, Leonard, 1922-2000  Search this
Fleischman, Lawrence Arthur, 1925-1997  Search this
Subject:
Eakins, Thomas  Search this
Type:
Correspondence
Date:
1960 Aug. 25
Topic:
Art market  Search this
Record number:
(DSI-AAA)8925
See more items in:
Lawrence and Barbara Fleischman papers, 1837-1984, bulk bulk 1935-1979
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_8925

Oral history interview with Leonard Baskin, 1969 April 17

Interviewee:
Baskin, Leonard, 1922-2000  Search this
Interviewer:
Cummings, Paul, 1933-  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Sculptors -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12706
(DSI-AAA_SIRISBib)212532
AAA_collcode_baskin69
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212532

Irma Jaffe interviews, 1965-1977

Creator:
Jaffe, Irma B.  Search this
Baskin, Leonard, 1922-2000  Search this
Subject:
Baskin, Leonard  Search this
Type:
Interviews
Sound recordings
Record number:
(DSI-AAA_CollID)10692
(DSI-AAA_SIRISBib)214293
AAA_collcode_jaffirma
Theme:
African American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214293

Brooklyn Museum records

Creator:
Brooklyn Museum  Search this
Names:
Brooklyn Institute of Arts and Sciences  Search this
Federal Art Project  Search this
Albee, Grace  Search this
Albers, Josef  Search this
Alps, Glen  Search this
Arms, John Taylor, 1887-1953  Search this
Ballinger, Maxil, 1914-  Search this
Baskin, Leonard, 1922-2000  Search this
Beny, Roloff  Search this
Boyd, Fiske, 1895-1975  Search this
Broner, Robert, 1922-  Search this
Casarella, Edmond, 1920-1996  Search this
Cassatt, Mary, 1844-1926  Search this
Citron, Minna Wright, 1896-1991  Search this
Conover, Robert F. (Robert Fremont), 1920-  Search this
Day, Worden, 1916-1986  Search this
Deshaies, Arthur  Search this
Drewes, Werner, 1899-1985  Search this
Fox, William Henry, 1858-1952  Search this
Frasconi, Antonio  Search this
Fuchs, Emil, 1866-1929  Search this
Goldin, Leon, 1923-  Search this
Gropper, William, 1897-1977  Search this
Hart, George Overbury, 1868-1933  Search this
Hayter, Stanley William, 1901-1988  Search this
Heller, Helen West, d. 1955  Search this
Hoff, Margo  Search this
James McNeill Whistler, 1834-1903  Search this
Jones, John Paul, 1924-  Search this
Kohn, Misch, 1916-  Search this
Lachaise, Isabelle Nagle, d. 1957  Search this
Lang, David, b. 1897  Search this
Martinelli, Ezio, 1913-1980  Search this
Moy, Seong  Search this
Pennell, Joseph, 1857-1926  Search this
Pierce, Danny, 1920-  Search this
Pozzatti, Rudy, 1925-  Search this
Sager, Peter  Search this
Schanker, Louis, 1903-1981  Search this
Schrag, Karl  Search this
Suba, Susanne, 1913-  Search this
Sykes, Maltby  Search this
Takal, Peter, 1905-  Search this
Von Wicht, John, 1888-1970  Search this
Wald, Sylvia, 1915-  Search this
Warsager, Hyman J., 1909-1974  Search this
Weber, Max, 1881-1961  Search this
Yoshida, Tōshi, 1911-  Search this
Zoellner, Richard  Search this
Extent:
25 Items (reels of microfilm)
Type:
Collection descriptions
Archival materials
Date:
1823-1963
Scope and Contents:
Included are extensive memoirs of William Henry Fox director of the museum for over 25 years; scattered records of the Brooklyn Institute, 1823-1873; catalogs for Brooklyn Museum exhibits (4 1/2 reels) and for exhibits held in various galleries and museums, primarily in N.Y. (14 reels); brief records of the Dept. of Painting and Sculpture primarily relating to Gilbert Stuart's portrait of George Washington; records of the Dept. of Prints and Drawings, mainly regarding exhibitions, including correspondence, much of it with curator Una Johnson, correspondence with art dealers, files on artists, and statistics on exhibitions, 1936-1939; and records of the Registrar's office, 1933-1936, regarding the museum's involvement in the Federal Art Project of the Works Progress Administration, mainly the Graphic Arts Division.
Dept. of Prints & Drawings artists files relate to: Grace Albee, Josef Albers, Glen Alps, Maxil Ballinger, Leonard Baskin, Wilfred Roloff Beny, Fiske Boyd, Robert Broner, Edmond Casarella, Minna Citron, Robert Conover, Worden Day, Arthur Deshaies, Werner Drewes, Antonio Frasconi, Leon Goldin, William Gropper, Stanley William Hayter, Helen West Heller, Margo Hoff, John Paul Jones, Misch Kohn, David Lang, Ezio Martinelli, Seong Moy, Danny Pierce, Rudolph Pozzatti, Peter Sager, Louis Schanker, Karl Schrag, Susanne Suba, Maltby Sykes, Peter Takal, John Von Wicht, Sylvia Wald, Hyman Warsager, Max Weber, Toshi Yoshida, Richard Zoellner, and others.
Other correspondents of note (reels BR21-22) include John Taylor Arms, Mary Cassatt (1 letter, 1903), George Overbury "Pop" Hart, Mrs. Gaston Lachaise, Joseph Pennell (re Whistler), and a group from art dealers.
Also included are papers of and related to Austrian artist Emil Fuchs, including letters regarding commissions, a list of books and prints, and miscellany.
Biographical / Historical:
The Brooklyn Museum had its roots in the Brooklyn Institute of Arts and Sciences, founded 1823. The Museum was formed in 1889.
Provenance:
Lent for microfilming 1964-1965 by Brooklyn Museum.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters  Search this
Museum administrators -- New York (State) -- New York -- Brooklyn  Search this
Museum directors -- New York (State) -- New York -- Brooklyn  Search this
Function:
Art museums -- New York (State) -- New York -- Brooklyn
Identifier:
AAA.broomuse2
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-broomuse2

New Britain Museum of American Art records

Creator:
New Britain Museum of American Art  Search this
New Britain Institute. Art Museum  Search this
Names:
Arms, John Taylor, 1887-1953  Search this
Avery, Milton, 1885-1965  Search this
Baskin, Leonard, 1922-2000  Search this
Benton, Thomas Hart, 1889-1975  Search this
Boghosian, Varujan  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Dehn, Adolf, 1895-1968  Search this
Kappel, Philip  Search this
LeWitt, Sol, 1928-2007  Search this
Low, Sanford B. D. (Sanford Ballard Dole), 1905-1964  Search this
Meyer, Herbert W. (Herbert William), 1882-1960  Search this
Pleissner, Ogden M.  Search this
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Vose, Robert C. (Robert Churchill), 1911-1998  Search this
Extent:
0.4 Linear feet ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1907-1978
Scope and Contents:
Letters from artists, art dealers, and art collectors, mostly addressed to Sanford Low, Director of the Museum, 1940-1964. Some letters contain price lists of works of art, photographs and printed matter. Correspondents include John Taylor Arms, Milton Avery, Thomas Hart Benton, Leonard Baskin, Varujan Boghosian, Charles Burchfield, Adolf Dehn, Philip Kappel, Sol LeWitt, Herbert Meyer, Ogden Pleissner, Henry Schnakenberg, Robert Vose and others. Also included are writings by Low and others about the Musuem.
Biographical / Historical:
Known as the Art Museum of the New Britain Institute prior to 1961.
Provenance:
Donated 1979 by the New Britain Museum of American Art.
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:
Museum directors -- Connecticut -- New Britain  Search this
Function:
Art museums -- Connecticut -- New Britain
Identifier:
AAA.newbrit
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-newbrit

Oral history interview with Fritz Scholder

Interviewee:
Scholder, Fritz, 1937-2005  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
Baskin, Leonard, 1922-2000  Search this
Green, Robert B.  Search this
Horowitch, Elaine  Search this
Howe, Oscar, 1915-1983  Search this
Lauren, Ralph  Search this
Loloma, Charles, 1921-  Search this
Martin, Agnes, 1912-2004  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Price, Vincent, 1911-1993  Search this
Thiebaud, Wayne  Search this
Extent:
100 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1995 March 3-30
Scope and Contents:
An interview of Fritz Scholder conducted 1995 March 3-30, by Paul Karlstrom, for the Archives of American Art.
Scholder discusses his family background and growing up in parallel worlds of Anglo and Indian cultures and the frustration of western versus tribal life; his education in Lawrence, Kan. and the University of Wisconsin; moving to California; his father's job as head of Indian relocation; studying at the Indian art program at the University of Arizona, Arizona State University, and the Indian Art Institute in Santa Fe, N.M.; his views on Indians in general and the difficulty of operating in the mainstream art world; his travels and search for adventure in Europe and Egypt; the importance of magic and the occult in his work; myths as a basis for human experience; art as an agent of social change; objections of Indian groups to his work; and his experience as an Indian role model while not part of the movement. He recalls Robert B. Green, Wayne Thiebaud, Ralph Lauren, Vincent Price, Georgia O'Keeffe, Charles Loloma, Agnes Martin, Elaine Horowitch, and Leonard Baskin.
Biographical / Historical:
Fritz Scholder (1937-2005) was a painter and sculptor from Scottsdale, Ariz.
General:
Originally recorded on 7 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 11 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Painters -- Arizona -- Scottsdale -- Interviews  Search this
Sculptors -- Arizona -- Scottsdale -- Interviews  Search this
Painters -- Southwest, New -- Interviews  Search this
Sculptors -- Southwest, New -- Interviews  Search this
Indians of North America -- Southwest, New -- Art  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.schold95
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schold95

Oral history interview with Berthe von Moschzisker

Creator:
Von Moschzisker, Berthe, 1915-2002  Search this
Interviewer:
Hunter, Anne S.  Search this
Names:
Print Club (Philadelphia, Pa.)  Search this
Baskin, Leonard, 1922-2000  Search this
Hayter, Stanley William, 1901-1988  Search this
Extent:
2 Sound cassettes (Sound recording)
108 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Interviews
Sound recordings
Date:
1990 November 26
Scope and Contents:
An interview of Berthe von Moschzisker conducted 1990 November 26, by Anne Schuster Hunter, for the Archives of American Art Philadelphia Project.
Von Moschzisker speaks about her background and education; cataloging the John S. Phillips print collection at the Pennsylvania Academy of the Fine Arts; her tenure as director of the Print Club of Philadelphia, including editions published for the club by Leonard Baskin and others; print workshops including Prints in Progress run by Stanley William Hayter; the Print Club Permanent Collection at the Philadelphia Museum of Art; supporters of the club; and the status of prints within the Philadelphia art community.
Biographical / Historical:
Berthe von Moschzisker (1915-2002) was the director of the Print Club of Philadelphia from 1944-1969.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 41 min.
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:
Transcript: Patrons must use microfilm copy.
Topic:
Prints -- Societies, etc. -- Pennsylvania -- Philadelphia  Search this
Prints -- Technique  Search this
Prints -- Pennsylvania -- Philadelphia  Search this
Arts administrators -- Pennsylvania -- Philadelphia -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.vonmos90
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-vonmos90

Oral history interview with Margaret N. Lockwood

Interviewee:
Lockwood, Margaret N., 1939-  Search this
Interviewer:
Brown, Robert F.  Search this
Creator:
Impressions Workshop (Firm)  Search this
Names:
Impressions Workshop (Firm)  Search this
Baskin, Leonard, 1922-2000  Search this
Lockwood, George, 1929-  Search this
Extent:
46 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1992 Aug. 27 and Sept. 15
Scope and Contents:
An interview of Margaret Lockwood conducted 1992 Aug. 27 and Sept. 15, by Robert Brown, for the Archives of American Art.
Lockwood discusses her upbringing in a Boston area Irish family and her early interest in writing; meeting and subsequently marrying (1960) George Lockwood, a poet, printmaker and printer; the printmaker Leonard Baskin, for whom Lockwood had worked; founding in 1960 with her husband the Impressions Workshop in Boston and her role there; special projects she undertook; and the quick succession of children (four).
Biographical / Historical:
Margaret N. Lockwood (1939- ), is a writer and owner of Impressions Workshop, a gallery and center for printmaking in Boston, Mass. The workshop was acquired by Stephen Andrus in the late 1960s, who added Impressions Gallery.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 53 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Gallery owners -- Massachusetts -- Boston  Search this
Topic:
Authors -- Massachusetts -- Boston -- Interviews  Search this
Function:
Art galleries, Commercial -- Massachusetts -- Boston
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lockwo92
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lockwo92

Oral history interview with Phillip A. Bruno

Interviewee:
Bruno, Phillip A.  Search this
Creator:
McElhinney, James, 1952-  Search this
Widgeon Point Charitable Foundation  Search this
Names:
Barnes Foundation  Search this
Columbia University -- Students  Search this
Exposition universelle et internationale (1958 : Brussels, Belgium)  Search this
Grace Borgenicht Gallery  Search this
La Napoule Art Foundation, Henry Clews Memorial  Search this
Marlborough Gallery  Search this
Weyhe Gallery  Search this
Widgeon Point Charitable Foundation  Search this
World House Galleries  Search this
Avery, Milton, 1885-1965  Search this
Bacon, Francis, 1909-1992  Search this
Baskin, Leonard, 1922-2000  Search this
Bertoia, Harry  Search this
Bravo, Claudio, 1936-2011  Search this
Brown, Joan, 1938-1990  Search this
Calder, Alexander, 1898-1976  Search this
Clews, Henry, 1876-1937  Search this
Crawford, Ralston, 1906-1978  Search this
Cuevas, José Luis, 1934-  Search this
Ernst, Max, 1891-1976  Search this
Estes, Richard, 1932-  Search this
Giacometti, Alberto, 1901-1966  Search this
Hefner, Hugh M. (Hugh Marston), 1926-  Search this
Hirshhorn, Joseph H.  Search this
Katz, Alex, 1927-  Search this
Koenig, Fritz, 1924-  Search this
Kubach, Wolfgang, 1936-  Search this
Kubach-Wilmsen, Anna Maria, 1937-  Search this
Matisse, Henri, 1869-1954  Search this
Morgan, Randall, 1920-  Search this
Nagare, Masayuki, 1923-  Search this
Neuberger, Roy R.  Search this
Nevelson, Louise, 1899-1988  Search this
Park, David, 1911-1960  Search this
Peterdi, Gabor  Search this
Rothko, Mark, 1903-1970  Search this
Schapiro, Meyer, 1904-  Search this
Staempfli, George W.  Search this
Willard, Charlotte  Search this
Extent:
46 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 January 13-21
Scope and Contents:
An interview of Phillip A. Bruno conducted 2009 January 13-21, by James McElhinney, for the Archives of American Art, at the Archives of American Art, in New York, New York.
Bruno speaks of some his earliest impressions of art while growing up in New York and Paris; attending Columbia University, where he majored in the history of painting and architecture and studied under Meyer Schapiro; his first job at the Weyhe Gallery as a gallery assistant; helping create the Grace Borgenicht Gallery, where he served as director for five years; traveling to Mexico, meeting Jose Cuevas and exhibiting his work at the Edward Loeb Gallery in Paris; traveling to Brazil and meeting a family of naturalist painters who emphasized the importance of painting outdoors, unlike many painters from the New York school; working with Henry Clews and the La Napoule Art Foundation; selling a piece of Salvador Dali jewelry made by Carlos Alamanni to Hugh Hefner, founder of Playboy Magazine; working as director of The World House Gallery and selling works by Fancis Bacon and Max Ernst to clients such as Joseph Hirshhorn and Roy Neuberger; organizing a exhibition of artists shown at the Brussels World Fair in 1958 at World House and meeting George Staempfli through the artist Joan Brown; moving from World House to the Staempfli Gallery in 1960 to work as co-director; the Staempfli Gallery's role in the international art world; an original drawing by Leonard Baskin inscribed to Phillip in 1954; selling the work of artists such as Harry Bertoia, Fritz Koening, and David Park; meeting Henri Matisse in Paris at the age of 21; visiting the studios of Alexander Calder and Mark Rothko; the difference between galleries that can spot new talent and galleries that sell certain artists well; the art market becoming less idealistic and more commercial; the rising importance of auction houses and the possibility of their taking the place of traditional art galleries; the move of the Staempfli Gallery to the SoHo neighborhood and soon after, leaving Staempfli for Marlborough, where he was one of the New York directors for 18 years; his appreciation for the creativity of others, retirement and current plans to write his memoirs. Bruno also recalls Milton Avery, Gabor Peterdi, Hans Muller, Ralston Crawford, Randall Morgan, Charlotte Willard, Dorthy Satterlee, Masayuki Nagare, Claude Bemardin, Kubach-Wilmsen, Louise Nevelson, Cladio Bravo, Lopez Garcia, Alberto Giacometti, The Barnes Foundation, Richard Estes, Alex Katz, and Neil Wlliver.
Biographical / Historical:
Phillip A. Bruno (1930- ) is an art collector and director of Marlborough Gallery, New York, New York.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr., 45 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Gallery directors -- New York (State) -- New York  Search this
Topic:
Collectors and collecting -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bruno09
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bruno09

Ben Shahn papers

Creator:
Shahn, Ben, 1898-1969  Search this
Names:
Baskin, Leonard, 1922-2000  Search this
Delano, Jack  Search this
Dugan, Alan  Search this
Evans, Walker, 1903-1975  Search this
Ferry, W. Hawkins  Search this
Francis, Arlene  Search this
Friendly, Fred W.  Search this
Gusten, Theodore, 1899-1978  Search this
Hirsch, Joseph, 1910-1981  Search this
Kingman, Dong, 1911-  Search this
Lange, Dorothea  Search this
Lee, Russell, 1903-1986  Search this
Lionni, Leo, 1910-  Search this
MacLeish, Archibald, 1892-1982  Search this
Martin, John Bartlow, 1915-1987  Search this
Mydans, Carl  Search this
Nakashima, George, 1905-  Search this
Nakashima, Marian  Search this
Odets, Clifford, 1906-1963  Search this
Osborn, Robert Chesley, 1904-1994  Search this
Rivera, Diego, 1886-1957  Search this
Robbins, Jerome  Search this
Rodman, Selden, 1909-  Search this
Rothstein, Arthur, 1915-1985  Search this
Sheeler, Charles, 1883-1965  Search this
Smith, David, 1906-1965  Search this
Soby, James Thrall, 1906-1979  Search this
Soyer, Raphael, 1899-1987  Search this
Vachon, John, 1914-1975  Search this
Williams, William Carlos, 1883-1963  Search this
Wolcott, Marion Post, 1910-1990  Search this
Zorach, William, 1887-1966  Search this
Extent:
24.8 Linear feet
Type:
Collection descriptions
Archival materials
Awards
Sketches
Transcripts
Motion pictures (visual works)
Sketchbooks
Video recordings
Drawings
Photographs
Prints
Sound recordings
Interviews
Date:
1879-1990
bulk 1933-1970
Summary:
The papers of social realist painter, photographer, illustrator, printmaker, and teacher Ben Shahn (1898-1969) measure 24.8 linear feet and date from 1879-1990, with the bulk of the material dating from 1933-1970. The bulk of the collection consists of over 14 linear feet of incoming letters from artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Also found are biographical materials, project and source files, printed material, artwork by Shahn and others, photographs taken of and by Shahn, interview transcripts, sound recordings of interviews and a motion picture film.
Scope and Contents note:
The papers of social realist painter, photographer, illustrator, printmaker, and teacher Ben Shahn (1898-1969) measure 24.8 linear feet and date from 1879-1990, with the bulk of the material dating from 1933-1970. The bulk of the collection consists of over 14 linear feet of incoming letters from artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Also found are biographical materials, project and source files, printed material, artwork by Shahn and others, photographs taken of and by Shahn, interview transcripts, sound recordings of interviews and a motion picture film.

Biographical material and family records include a 1924 passport for Shahn and his first wife, Tillie, biographical sketches of Shahn, and award certificates received by him.

Letters are primarily written to Shahn from family members, artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Notable correspondents include Leonard Baskin, Alexander Calder, Dorothea Lange, Walker Evans, Joseph Hirsch, Leo Lionni, John Bartlow Martin, George and Marian Nakashima, Clifford Odets, Charles Olson, Robert Osborn, Diego Rivera, Jerome Robbins, Selden Rodman, James Thrall Soby, Raphael Soyer, and William Carlos Williams. A small number of scattered letters from Shahn can also be found throughout the series.

Project files document approximately twenty-one of Shahn's commissions, including murals for the community center at Jersey Homesteads, the Bronx Central Annex Post Office, the Social Security Building in Washington D.C. , and the William E. Grady Vocational High School. The files also document his involvement in the Franklin Delano Roosevelt Memorial in Roosevelt, in addition to projects for schools, temples and private homes.

Financial and legal records include consignment records, loan agreements, royalty statements and receipts for artwork sold.

Notes and writings are by Shahn and others including Alan Dugan, W. H. Ferry, Theodore Gusten, and John Bartlow Martin. They include lists of artwork, many of which are annotated.

Artwork includes a sketchbook and several unbound sketches and lettering by Shahn, in addition to drawings and prints by others including Shahn's children, Mario Casetta and Stefan Martin.

Source files contain printed material and photographs relating to topics depicted by Shahn in his artwork such as children, dams, farming, houses, industry, mines and miners, slums, war and workers. These files also contain scattered photographic prints by FSA and OWI photographers including Shahn, Jack Delano, Walker Evans, Dorothea Lange, Russell Lee, Carl Mydans, Marion Post Wolcott, Arthur Rothstein, and John Vachon.

Printed material includes news clippings covering Shahn and his career as well as subjects of interest to Shahn. Also found are exhibition catalogs and announcements for exhibitions for Shahn and others, and reproductions of Shahn's artwork including publications illustrated by him.

Photographs are of Shahn, his family and friends and colleagues including Alexander Calder, Jerome Robbins, Charles Sheeler, David Smith and William Zorach. Also included are photographs taken by Shahn of New York City and for the FSA in the 1930s, as well as photographs of artwork by Shahn. Photographs by others include one photo each by Walker Evans, Dorothea Lange, Russell Lee and Arthur Rothstein.

The collection also contains transcripts of eight radio, television and motion picture interviews of Shahn and a reel of 16mm motion picture film from the BBC-TV program "Monitor," in addition to sound recordings of interviews of Shahn by Tony Schwartz and Arlene Francis. Artifacts include a Christmas greeting in the form of a sock.
Arrangement note:
The collection is arranged as 12 series:

Series 1: Biographical and Family Records, 1879-1984 (Box 1, OV 36; 0.2 linear ft.)

Series 2: Letters, 1929-1990 (Boxes 1-25, 35, OVs 36-38; 14.4 linear ft.)

Series 3: Project Files, 1933-1975 (Boxes 25-26; OVs 36-37; 1.03 linear ft.)

Series 4: Financial and Legal Records, 1934-1988 (Boxes 26-27, 35; 0.81 linear ft.)

Series 5: Notes and Writings, circa 1933-1988 (Boxes 27-28; 1.62 linear ft.)

Series 6: Artwork, circa 1930s-1965 (Boxes 28, 35; 11 folders)

Series 7: Source Files, circa 1900s-1960s (Boxes 28-30, 35; 1.81 linear ft.)

Series 8: Printed Material, 1912-1988 (Boxes 30-33, 35, OV 39; 3.22 linear ft.)

Series 9: Photographs, circa 1900-1969 (Boxes 33-35; 0.86 linear ft.)

Series 10: Interview Transcripts, 1943-1968 (Box 34; 0.25 linear ft.)

Series 11: Audio and Video Recordings, 1959-1968 (Box 34; 0.25 linear ft.)

Series 12: Artifacts, circa 1930s-circa 1960s (Box 34; 2 items)
Biographical/Historical note:
Ben Shahn (1898-1969) was a social realist painter, muralist, printmaker, photographer, illustrator, and teacher who worked primarily in Brooklyn, New York and New Jersey. He was most active in the 1930s through the 1950s and worked on several federally funded arts projects, including the Farm Security Administration's photographic documentation project of rural America during the Depression.

Ben Shahn was born in Kovno, Lithuania and immigrated with his family to the United States in 1906 where he settled in Brooklyn, and later Roosevelt, New Jersey, after becoming a naturalized citizen in 1918.

Following an apprenticeship as a lithographer from 1913-1917, Shahn studied at New York University, the City College of New York, and the National Academy of Design from 1919-1922. He married Tillie Goldstein in 1922 and they had two children, Judith and Ezra.

Two years after Shahn's first solo exhibition at the Downtown Gallery in 1930, his Passion of Sacco and Vanzetti, a series of 23 gouaches about the Sacco and Vanzetti trial of the 1920s, was exhibited at the Downtown Gallery to critical and public acclaim. The exhibition marked the beginning of Shahn's reputation as one of the most important social realist painters in America. Shahn's commitment to social and political justice found a natural outlet in mural painting when, in 1933, he was hired to assist Diego Rivera on the labor and industry mural Man at the Crossroads, for New York City's Rockefeller Center. The mural was destroyed amid controversy in 1933 before it was completed, but Shahn had learned much about the art of fresco painting during the project and was inspired by the potential of the mural as a unique art form for presenting life's struggles and stories to a large public audience. Between 1933 and 1937 Shahn worked on various murals for other buildings, including New York's Central Park Casino (circa 1934) and Riker's Island Prison (1934), none of which saw completion. In 1937, however, the Farm Security Administration (FSA) commissioned Shahn to execute a mural for the Community Center in the town of Jersey Homesteads, later Roosevelt, New Jersey, which Shahn completed in 1938. Shahn settled in Jersey Homesteads the following year and remained there for the rest of his life. Other important mural commissions followed for the Bronx Central Post office (1939) and the Social Security Building in Washington DC (1942).

One of Shahn's assistants on the Jersey Homesteads mural was Bernarda Bryson, whom he had met in 1933 when she came to New York to interview Rivera about the Rockefeller Center mural controversy for an Ohio newspaper. Shahn and Bryson became lifetime companions and had three children, Susanna, Jonathan and Abigail, although they did not marry until shortly before Shahn's death in 1969. Shahn and Tillie Goldstein were divorced in 1944.

Shahn had enrolled with the federal Public Works of Art Project in 1934, and between 1935 and 1938 he and Bryson travelled across country as Shahn photographed poverty-stricken areas and documented rural life for the Farm Security Administration (FSA) and the Resettlement Agency. Shahn's interest in photography developed in the early 1930s when, encouraged by his friendship with Walker Evans, he began photographing street scenes and people in New York City. He later used the images as the basis for many of his prints and paintings.

In 1942 Shahn began working for the Office of War Information (OWI) and was instructed to produce posters and pamphlets explaining to citizens the necessities of wartime, such as the need for secrecy and food rationing. Ultimately, only two of Shahn's posters were ever used; the rest were rejected as being too harsh for their intended audience. Shahn later worked for the Congress of Industrial Organization Political Action Committee (CIO-PAC), producing posters for the 1944 campaign to re-elect Roosevelt, who he believed in deeply. He was promoted to director of the CIO's Graphic Arts Division for the 1946 congressional campaign following Roosevelt's death, but that job ended when the election went poorly for the Democratic party.

Shahn returned increasingly to painting and a retrospective of his work was held at the Museum of Modern Art in 1947. He also became more active in academia as an accomplished writer, teacher and lecturer. He received honorary doctorates from Princeton University and Harvard University, and become the Charles Eliot Norton professor at Harvard in 1956. Shahn's Norton lectures were collected and published as the influential The Shape of Content in 1957. He also began to work as a commercial artist for a variety of companies and publications including CBS, Time, Harper's, and the Container Corporation of America. Shahn believed, however, that the artist's ideas and integrity must always be reflected in his commercial art. He refused to compromise on this point and was very selective in his choice of commercial commissions. Shahn illustrated many books and articles, designed sets for stage productions such as New York Export: Opus Jazz, choreographed by Jerome Robbins, and designed mural mosaics for synagogues, universities and private homes.

Since the 1930s Shahn had been represented by Edith Halpert at the Downtown Gallery, but his relationship with her was always contentious on the subject of payments Shahn received for commercial work, and became increasingly so as his income from such sources increased. Finally, in 1968, Shahn wrote to Halpert telling her that after ten years of "an accumulation of ill-feeling, discomfort and recrimination between us" he felt compelled to end their dealer-artist relationship.

By the time of Shahn's break with Halpert his health had begun to fail. He died of a heart attack following surgery in a New York City hospital on March 14, 1969.
Related Archival Materials note:
The Archives of American Art holds four oral history interviews with Ben Shahn: 1964 Apr. 14 interview conducted by Richard K. Doud for the Archives of American Art New Deal and the Arts Project in which Shahn speaks of his travels and work for the Farm Security Administration (FSA) and the American image as portrayed by FSA; 1965 Jan. 17 interview; 1965 Oct. 3. interview conducted by Harlan Phillips for the Archives of American Art New Deal and the Arts Project; and 1968 Sept. 27 interview conducted by Forrest Selvig. Most of these interviews have transcripts available online.

The Archives also holds the Bernarda Bryson Shahn papers, circa 1947-2005, and two oral history interviews with Bernarda Bryson Shahn: 1983 Apr. 29 and 1995 July 3.
Separated Materials note:
The Archives of American Art also holds material lent for microfilming (reel N70-6) including addresses and essays by Shahn, seven royalty statements, and three letters from publishers. Many of the writings found on this reel were included in subsequent donations. All other lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
The Ben Shahn papers were donated to the Archives of American Art in several installments between 1967-1991 by Shahn's widow, Bernarda Bryson Shahn who also lent materials for microfilming in 1969. Jean Shahn, Ben Shahn's daughter-in-law and estate representative, donated one additional sketch in 2018.
Restrictions:
Access to original papers requires an appointment. Access to audiovisual recording with no duplicate access copy requires advance notice.
Rights:
The Ben Shahn papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Printmakers -- United States  Search this
Illustrators -- United States  Search this
Photographers -- United States  Search this
Painters -- United States  Search this
Genre/Form:
Awards
Sketches
Transcripts
Motion pictures (visual works)
Sketchbooks
Video recordings
Drawings
Photographs
Prints
Sound recordings
Interviews
Citation:
Ben Shahn papers, 1879-1990, bulk 1933-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.shahben
See more items in:
Ben Shahn papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-shahben
Online Media:

Susan Conway Gallery records

Creator:
Susan Conway Gallery (Washington, D.C.)  Search this
Names:
Susan Conway Conservation Studio  Search this
Aho, Eric, 1966-  Search this
Barnet, Will, 1911-2012  Search this
Baskin, Leonard, 1922-2000  Search this
Dehner, Dorothy, 1901-1994  Search this
Doyle, Mary Ellen, 1938-  Search this
Honeycutt, Brece  Search this
Merrill, Ross M.  Search this
Natzler, Gertrud  Search this
Natzler, Otto  Search this
Oliphant, Pat, 1935-  Search this
Scott, Sam  Search this
Sorel, Edward, 1929-  Search this
Extent:
23.9 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Visitors' books
Date:
circa 1928, 1940s-2003
bulk 1987-2003
Summary:
The modern and contemporary art gallery records of the Susan Conway Gallery in Washington, D.C. measure 23.9 linear feet and 0.001 GB and date from circa 1928, circa 1940s-2003, with the bulk of the material dating from 1987-2003. Nearly half of the collection documents the gallery's work as the sole representative of artist and political cartoonist Pat Oliphant through administrative records, exhibition files, press clippings, and a handful of photographs. Also found in the collection are artists' files of other artists represented by the gallery, client files, administrative records, printed and digital materials, and the records of the Susan Conway Conservation Studio.
Scope and Contents:
The modern and contemporary art gallery records of the Susan Conway Gallery in Washington, D.C. measure 23.9 linear feet and 0.001 GB and date from circa 1928, circa 1940s-2003, with the bulk of the material dating from 1987-2003. Nearly half of the collection documents the gallery's work as the sole representative of artist and political cartoonist Pat Oliphant through administrative records, exhibition files, press clippings, and a handful of photographs. Also found in the collection are artists' files of other artists represented by the gallery, client files, administrative records, printed and digital materials, and the records of the Susan Conway Conservation Studio.

The exhibitions and sales of artwork by artists represented by the gallery are documented through biographies, correspondence, exhibition printed materials, newspaper clippings, notes, price lists, photographs and slides, sales invoices, and shipping records. Artists of interest include Eric Aho, Will Barnet, Leonard Baskin, Dorothy Dehner, Mary Ellen Doyle, Brece Honeycutt, Ross M. Merrill, Otto and Gertrud Natzler, Sam Scott and Edward Sorel. Sales records can also be found in Client Files, along with correspondence with individual clients and galleries, notes, and shipping records.

Nearly half of the collection documents the exhibitions, loans, promotion and sales of Patrick Oliphant's artwork. Materials found include contracts, correspondence with galleries, museums, and clients, exhibition printed materials, notes, scattered photographs, price lists, proposals, sales invoices, and shipping records. Much of the material relates to Oliphant's numerous traveling exhibitions, including "Oliphant: The New World Order in Drawing and Sculpture," "Oliphant's Presidents: 25 Years of Caricatures," and "Seven Presidents."

Administrative and Miscellaneous Records includes records related to the daily operation of the gallery space and promotion of the gallery, such as contracts, a guest book, documents created for Conway's public talks, scattered documentation regarding gifts of artwork, and other miscellaneous records.

The bulk of the printed materials are Susan Conway Gallery exhibition announcements. Also found are some catalogs, clippings and a brochure. The records of the Susan Conway Conservation Studio include condition reports, correspondence with clients, notes, and photographs and slides of artwork.

None of the gallery records of the Santa Fe location are included in this collection. The outlying dates of this collection include older photographs and a negative found in the Artists' Files.
Arrangement:
The collection is arranged as 7 series.

Series 1: Artists' Files, circa 1928, circa 1940s-2003 (7.6 linear feet; Boxes 1-8, 26, OV 27, ER01; 0.001 GB)

Series 2: Client Files, 1987-2003 (1.85 linear feet; Boxes 8-10, 26)

Series 3: Exhibition and Loan Files, 1987-2003 (0.85 linear feet; Boxes 10-11)

Series 4: Records Regarding Patrick Oliphant, 1976-2003 (11.5 linear feet; Boxes 11-22, 26, OV 27, ER02; 0.001 GB)

Series 5: Administrative and Miscellaneous Records, 1978-2003 (0.5 linear feet; Box 22)

Series 6: Printed Materials, 1987-2002 (0.4 linear feet; Box 23, OV 27)

Series 7: Susan Conway Conservation Studio Records, before 1970s-1993 (1.2 linear feet; Boxes 23-26)
Biographical / Historical:
The Susan Conway Gallery was founded by Susan Conway in the Georgetown neighborhood of Washington, D.C., in 1987. In 1991, the gallery relocated in Georgetown to the Glackens House, former home of painter William Glackens. In 1998, Conway opened a second location in Santa Fe, New Mexico. Prior to opening the gallery, Conway ran her own fine arts conservation studio.

The gallery represents modern and contemporary artists including Eric Aho, Will Barnet, Leonard Baskin, Dorothy Dehner, Mary Ellen Doyle, Brece Honeycutt, Ross M. Merrill, Otto and Gertrud Natzler, Sam Scott and Edward Sorel. The gallery is also the sole fine arts representative of sculpture, painting, and drawings by Patrick Oliphant, a Pulitzer Prize winning political cartoonist.
Provenance:
The Susan Conway Gallery records were donated by Susan Conway in 2004 and 2007.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Susan Conway Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art galleries, Commercial -- Washington (D.C.)  Search this
Genre/Form:
Photographs
Visitors' books
Citation:
Susan Conway Gallery records, circa 1928, circa 1940s-2003. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.susacong
See more items in:
Susan Conway Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-susacong
Online Media:

Moses Soyer papers

Creator:
Soyer, Moses, 1899-1974  Search this
Names:
Baskin, Leonard, 1922-2000  Search this
Bishop, Isabel, 1902-1988  Search this
Burliuk, David, 1882-1967  Search this
Cikovsky, Nicolai, 1894-  Search this
Dobkin, Alexander, 1908-  Search this
Evergood, Philip, 1901-1973  Search this
Gross, Chaim, 1904-1991  Search this
Soyer, David, 1928-  Search this
Soyer, Ida  Search this
Soyer, Raphael, 1899-1987  Search this
Photographer:
Newman, Arnold, 1918-2006  Search this
Extent:
3.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Date:
circa 1905-1974
Summary:
The papers of realist painter Moses Soyer date from circa 1905 to 1974 and measure 3.8 linear feet. Within the papers are scattered biographical materials, general correspondence with friends, artists, galleries, art organizations, and others, as well as correspondence with his family, including his son David, writings and notes by Soyer and others, exhibition materials, news clippings, and other printed material, numerous photographs of Soyer, his family, fellow artists, friends and his artwork. Also found are book illustrations and loose sketches by Soyer.
Scope and Content Note:
The papers of realist painter Moses Soyer date from circa 1905 to 1974 and measure 3.8 linear feet. Within the papers are scattered biographical materials, general correspondence with friends, artists, galleries, art organizations, and others, as well as correspondence with his family, including his son David, writings and notes by Soyer and others, exhibition materials, news clippings, and other printed material, numerous photographs of Soyer, his family, fellow artists, friends and his artwork. Also found are book illustrations and loose sketches by Soyer.

Biographical materials include awards, business documents such as records for the loan of his artwork, passports, his marriage certificate, and other official documents. Soyer's 1966 membership to the National Institute of Arts and Letters and several awards from the National Academy of Design are found here as well. Correspondence is with friends and artists such as Leonard Baskin, Isabel Bishop, Alex Dobkin, Philip Evergood, Chaim Gross, and his brother Raphael Soyer, as well as with students, galleries, art organizations, museums, universities, and others. Also found is correspondence with his son David and his grandchildren that include many letters illustrated by Soyer.

Writings and notes include Soyer's draft writings for his book Painting the Human Figure, autobiographical essays, desk diaries, and miscellaneous writings and notes. There are also writings by Ida and David Soyer, artist Philip Evergood, and others. Printed material consists of exhibition catalogs and announcements, news clippings about Soyer's career and realist painting, and scattered material such as newsletters, programs, and magazines.

The papers contain numerous photographs of Soyer, including photographs of him working in his studio, with models, with family, and with fellow artists such as David Burliuk, Nicolai Cikovsky, Chaim Gross, Raphael Soyer, and many others. Additional photographs are of Soyer's family, fellow artists, friends, events, and his artwork. Among the photographers is Arnold Newman. Original artwork includes book illustrations for First Book of Ballet and loose sketches by Soyer.
Arrangement:
The collection is arranged into 6 series:

Series 1: Biographical Material, 1925-1974 (Box 1, 5, OV 6; 12 folders)

Series 2: Correspondence, 1928-1974 (Box 1-2, 5; 1.0 linear foot)

Series 3: Writings & Notes, circa 1930s-1968, undated (Box 2; 0.6 linear feet)

Series 4: Printed Material, 1926-1974 (Box 2-3, 5, OV 6; 0.8 linear feet)

Series 5: Photographs, circa 1905-1974 (Box 3-5, OV 6; 1.1 linear foot)

Series 6: Artwork, circa 1940s-1960s (Box 4-5; 0.2 linear feet)
Biographical Note:
Moses Soyer (1899-1974) and his twin brother Raphael (1899-1987) were born on December 25, 1899, in the Russian town Borisoglebsk. Their father Abraham was a scholar and Hebrew teacher who encouraged all of his children to sketch and paint. After the family was deported from Russia, they settled in the Bronx, New York, in 1912. Moses and Raphael briefly attended school, but at 16 they began working various jobs to help support their family. They also began taking free art classes at Cooper Union and for a brief time at the National Academy of Design. Moses then enrolled at the Educational Alliance Art School where he met close friend Chaim Gross. He participated in his first exhibition in 1923 and also taught classes at the Education Alliance Art School until 1926 when he received a traveling scholarship to Europe.

Before leaving for Europe, Soyer married Ida, a former student and dancer. They spent most of their time during the next two years in France. Their son David was born in 1928. Shortly after his birth they returned to the New York City where Moses found greater inspiration for his social-realist paintings. During the Depression, he was commissioned to do artwork for the WPA and for the Federal Arts Project, depicting people doing everyday tasks. During this time Soyer also taught classes at the Contemporary Art School and the New School for Social Research.

Throughout the 1940s and 1950s Soyer continued with this subject matter, even as the abstract art movement became more prominent. Speaking out against abstract art as well as regionalism, he exhibited his work constantly, becoming a significant figure in the social realist movement. His work was represented by the American Contemporary Art (ACA) Gallery beginning in 1944, and he was also a member of several art organizations, including the Artists Equity Association. He was elected to the National Academy of Design in 1963 and to the National Institute of Arts and Letters in 1966. Soyer's later work focused on more sensitive portrayals of the female figure, especially dancers. He also painted portraits, including many of his artist friends such as Chaim Gross, Joseph Stella, and David Burliuk. He illustrated several books, including the First Book of Ballet and wrote Painting the Human Figure, which was published in 1964. Soyer continued to paint until his death in 1974.
Related Material:
Also found at the Archives of American Art are the Abe Lerner papers concerning the book Moses Soyer, 1961-1970, a Moses Soyer letter to Herbert S. Schimmel, and a Moses Soyer letter and two photographs, donated by Marilyn Mark. Also available at the Archives are the papers of Raphael Soyer, Moses Soyer's twin brother.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel D176), the majority of which was later donated. Loaned materials not donated at a later date are not described in the container listing of this finding aid.
Provenance:
Moses Soyer first lent the Archives of American Art material for microfilming in 1965. Some of these papers, along with additional material, were donated by Soyer between 1966 and 1969. His son, David Soyer, gave more material in 1974 and 1975.
Restrictions:
Use of the original papers requires an appointment.
Rights:
The Moses Soyer papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Works of art  Search this
Painters -- New York (State) -- New York  Search this
Painting, American  Search this
Artists' studios -- New York (State) -- New York -- Photographs  Search this
Social realism -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Sketches
Citation:
Moses Soyer papers, circa 1905-1974. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.soyemose
See more items in:
Moses Soyer papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-soyemose
Online Media:

J. B. Neumann papers

Creator:
Neumann, J. B. (Jsrael Ber)  Search this
Names:
Artlover  Search this
Gehenna Press  Search this
New Art Circle (New York, N.Y.)  Search this
Albers, Josef  Search this
Baskin, Leonard, 1922-2000  Search this
Beckmann, Max, 1884-1950  Search this
Kandinsky, Wassily, 1866-1944  Search this
Morrison, Helen Balfour  Search this
Namuth, Hans  Search this
Rattner, Abraham  Search this
Schmid, Elsa, 1897-  Search this
Photographer:
White, Clarence H., 1871-1925  Search this
Extent:
2.1 Linear feet (4 boxes)
Type:
Collection descriptions
Archival materials
Drawings
Photographs
Scrapbooks
Etchings
Date:
1905-1967
Summary:
The papers of gallery director, art dealer and publisher Jsrael Ber Neumann (1887-1961) measure 2.1 linear feet and date from 1905 to 1967. The papers document Neumann's career as the director of galleries in Berlin and Munich, Germany (1910-1924) as well as the New Art Circle gallery in New York City (1924-1952). Neumann was a respected art dealer, publisher of Artlover periodical, founder of Gehenna Press, and frequent lecturer. Found within his papers are correspondence with artists and museums, writings, printed materials mostly comprised of exhibition catalogues, artwork, and photographic materials.
Scope and Contents:
The papers of gallery director, art dealer and publisher Jsrael Ber Neumann (1887-1961) measure 2.1 linear feet and date from 1905 to 1967. The papers document Neumann's career as the director of galleries in Berlin and Munich, Germany (1910-1924) as well as the New Art Circle gallery in New York City (1924-1952). Neumann was a respected art dealer, publisher of Artlover periodical, founder of Gehenna Press, and frequent lecturer. Found within his papers are correspondence with artists and museums, writings, printed materials mostly comprised of exhibition catalogues, artwork, and photographic materials.

Correspondence is between Neumann and friends, colleagues, and museums. There is also correspondence with notable artists, including Josef Albers, Leonard Baskin, Max Beckmann, Wassily Kandinsky, and Abraham Rattner, among others. There are also condolence letters from friends and colleagues to Elsa Schmid, Neumann's wife.

Scattered writings consist of typescript drafts of Neumann's speeches and one article on expressionism. There is also one speech written by curator Richard Klein.

Printed materials comprise the bulk of the collection and include a bound gallery guest register, a disbound scrapbook, exhibition catalogs and announcements, brochures, magazines, posters, and news clippings. There are many exhibition catalogs from Neumann's galleries in Berlin and Munich as well as from the New Art Circle gallery in New York. Artwork consists of two etchings and one drawing by an unknown artist or artists.

Photographic materials include black and white photographs and negatives, including notable portraits of Neumann by photographers Helen Balfour Morrison, Clarence White, and Hans Namuth.
Arrangement:
This collection is arranged as 5 series.

Series 1: Correspondence, 1925-1961 (0.2 linear feet; Box 1)

Series 2: Writings, 1919, 1954-circa 1960 (5 folders; Box 1)

Series 3: Printed Materials, 1910-1967 (1.7 linear feet; Box 1-4)

Series 4: Artwork, 1919-circa 1960 (3 folders; Box 3-4)

Series 5: Photographic Materials, 1905-circa 1950 (0.2 linear feet; Box 3-4)
Biographical / Historical:
J. B. (Jsrael Ber) Neumann (1887-1961) was a gallery director, art dealer and publisher. After immigrating to the U.S., Neumann founded the New Art Circle Gallery in New York City. Before then, he had art galleries in Berlin, Munich, Dusseldorf and Bremen, Germany.

J. B. Neumann was born in Austria in 1887. His father was an oil and lumber dealer. Neumann initially studied business but later apprenticed to a book and picture dealer when he was nineteen. While working as a clerk in a large bookstore in London, Neumann had the opportunity to work at the rare book dealer's table in the British Museum. The job allowed him to assess and handle fine and rare books, starting a lifelong passion, and Neumann went on to amass a substantial personal library.

In 1910, Neumann returned to Berlin, Germany and in 1911 opened a book and art shop where he exhibited the work of Edvard Munch and others. Neumann had many friends who were artists and in 1915-1916 he was secretary to the Berlin Secession, a prominent German artist association. By 1922 Neumann had branch offices in Bremen, Dusseldorf and Munich.

Neumann immigrated to America in 1923 and left the Berlin gallery to the directorship of Karl Nierendorf and the Munich gallery to Günther Franke. Neumann settled in New York City and one year later he opened a 57th Street gallery and bookshop, first called J.B. Neumann's Print Room and later the New Art Circle gallery. He supported numerous artists, including Wassily Kandinsky, Max Beckmann, Paul Klee, and Georges Rouault. Elsa Schmid, Neumann's wife, was an artist who worked in mosaics.

Neumann also worked as a publisher. He created the printing company Gehenna Press and published a series of periodicals including Bilderhefte (Berlin, 1920-1922) and Artlover (New York, 1926-1945, 1959). The New Art Circle gallery closed circa 1952 and, after working as its director for nearly three decades, Neumann became a consultant for museums and collectors. He was also a lecturer and he frequently spoke about art at universities, museums and galleries.

Neumann died in Rye, New York on April 28, 1961. He is survived by his widow, Elsa Schmid (d. 1970); two sons, Peter and Albrecht; and a daughter, Mrs. Johanna Lam.
Related Materials:
The Archives of American Art also holds a collection of Josef Albers letters to J. B. Neumann, 1934-1947 on microfilm reel 911.

Additional J.B. Neumann papers are also located at the Museum of Modern Art in New York. The museum microfilmed a portion of these papers and donated a copy of that film to the Archives. This material may be viewed on reel NJBN5 at Archives of American Art offices, affliate centers, and via interlibrary loan.
Separated Materials:
Also available at the Archives of American Art are materials lent for microfilming (reels NJBN-1- NJBN-5) including correspondence with numerous artists, art critics, museum directors and others. The materials on reel NJBN-1- NJBN-4 were returned to Neumann's wife, Elsa Schmid and the original material on reel NJBN-5 is located at The Museum of Modern Art in New York, NY. Loaned material is not described in the collection container inventory.
Provenance:
Neuman's wife, Elsa Schmid and The Museum of Modern Art lent the Archives of American Art material for microfilming in 1966-1967. The rest of the J.B. Neumann papers were donated in several installments between 1973-2007 by Eva Lee (family friend), Joy Weber, Max Weber's daughter, Neil Richmond, and Hellie Neumann, J.B. Neumann's granddaughter.
Restrictions:
Use of original papers requires an appointment.
Rights:
The J. B. Neumann papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art dealers -- New York (State) -- New York  Search this
Gallery directors -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- United States -- History  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art -- Periodicals  Search this
Genre/Form:
Drawings
Photographs
Scrapbooks
Etchings
Citation:
J. B. Neumann papers, 1905-1967. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.neumjsra
See more items in:
J. B. Neumann papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-neumjsra

Interviews of artists by Brian O'Doherty

Creator:
Museum of Fine Arts, Boston  Search this
Interviewer:
O'Doherty, Brian  Search this
Names:
Albers, Josef  Search this
Baskin, Leonard, 1922-2000  Search this
Chagall, Marc, 1887-1985  Search this
Gropius, Walter, 1883-1969  Search this
Hopper, Edward, 1882-1967  Search this
Levine, Jack, 1915-2010  Search this
Lipchitz, Jacques, 1891-1973  Search this
Lippold, Richard, 1915-2002  Search this
Shahn, Ben, 1898-1969  Search this
Extent:
9 sound tapes ((Partially transcribed on 126 p.), 7 in.)
Type:
Collection descriptions
Archival materials
Sound tapes
Date:
[ca. 1962]
Scope and Contents:
Interviews conducted by Brian O'Doherty for the Museum of Fine Arts, Boston's "Invitation to Art" program, aired on channel 2, television station WGBH, Boston, Massachusetts. Interviewees include: Josef Albers, Leonard Baskin, Marc Chagall, Walter Gropius, Edward Hopper, Jack Levine, Jacques Lipchitz, Richard Lippold and Ben Shahn.
Provenance:
Donated 1964 by the Museum of Fine Arts, Boston.
Restrictions:
All except Chagall interview: Patrons must use transcripts.
Topic:
Art, American  Search this
Artists -- Interviews  Search this
Art, Modern -- 20th century -- United States  Search this
Identifier:
AAA.musefabi
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-musefabi

Larom Munson papers and gallery records

Creator:
Munson, Larom B.  Search this
Names:
Little Gallery (Princeton, N.J.)  Search this
Munson Gallery (New Haven, Conn.)  Search this
Baskin, Leonard, 1922-2000  Search this
Grosz, George, 1893-1959  Search this
Held, John, 1889-1958  Search this
Moy, Seong  Search this
Scharl, Josef, 1896-1954  Search this
Townsend, Lee, 1895-1965  Search this
Twombly, Cy, 1928-  Search this
Extent:
48 Items
Type:
Collection descriptions
Archival materials
Date:
1952-1961
Scope and Contents:
REEL 3483: Two letters, May 15, 1961 and August 26, 1961, from Maxfield Parrish to Munson in New Haven, Conn. in which Parrish asserts that he has only a small number of paintings for an exhibit due to the success of an exhibition at Scott and Fowles in 1925 "which just about cleaned me out" and a "sell out" at the Boston sale of illustrations for Edith Wharton's Italian Gardens. Parrish discourages Munson from planning an exhibition of his work.
UNMICROFILMED: Files, 1952-1956, on artists Leonard Baskin, George Grosz, John Held, Jr., Seong Moy, Josef Scharl, Lee Townsend, and Cy Twombly containing mostly letters to Munson from the artists, as well as price lists and press releases, relating to exhibitions at Munson's Little Gallery, Princeton, N.J.
Biographical / Historical:
Gallery owner; Princeton, N.J. and New Haven, Ct. Munson operated the Little Gallery at 39 Palmer Square West, Princeton, N.J., 1947 to 1962, and the Munson Gallery, 33 Whitney St. and 275 Orange St., New Haven, Ct.
Provenance:
Maxfield Parrish letters donated 1975 by Munson. He donated the remainder in 1994. Additions are expected.
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:
Artists -- United States  Search this
Gallery owners -- New Jersey -- Princeton  Search this
Function:
Art galleries, Commercial -- New Jersey -- Princeton
Art galleries, Commercial -- Connecticut -- New Haven
Identifier:
AAA.munslaro
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-munslaro

Boris Mirski Gallery records

Creator:
Boris Mirski Gallery (Boston, Mass.)  Search this
Names:
Aronson, David, 1923-  Search this
Baskin, Leonard, 1922-2000  Search this
Bloom, Hyman, 1913-  Search this
Geller, Esther  Search this
Lebrun, Rico, 1900-1964  Search this
Mazur, Michael, 1935-2009  Search this
Mirski, Boris, 1898-1974  Search this
Polonsky, Arthur  Search this
Shahn, Ben, 1898-1969  Search this
Siporin, Mitchell, 1910-1976  Search this
Swan, Barbara, 1922-  Search this
Zerbe, Karl, 1903-1972  Search this
Extent:
6.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
circa 1936-2000
bulk 1945-1972
Summary:
The Boris Mirski Gallery records measure 6.2 linear feet and date from 1936-2000, bulk 1945-1972. They include gallery administrative files; artist files including correspondence, exhibition and loan paperwork as well as photographic documentation of artwork; gallery correspondence; financial materials including outgoing and incoming invoices and sales records; printed materials promoting the gallery and its artists; press materials; and a number of photographs of Boris Mirski at events and with others, as well as photographs of artwork. Artists particularly well represented in the collection include David Aronson, Leonard Baskin, Hyman Bloom, Esther Geller, Rico Lebrun, Michael Mazur, Arthur Polonsky, Ben Shahn, Mitchell Siporin, Barbara Swan, and Karl Zerbe.
Scope and Contents:
The records of the Boris Mirski Gallery, which showed the avant-garde art of the Boston Expressionist school, as well as New York and international modern art styles and non-western art, measure 6.2 linear feet and date from 1936-2000, bulk 1945-1972. They include gallery administrative files; artist files including correspondence, exhibition and loan paperwork as well as photographic documentation of artwork; gallery correspondence; financial materials including outgoing and incoming invoices and sales records; printed materials promoting the gallery and its artists; press materials; and a number of photographs of Boris Mirski at events and with others, as well as photographs of artwork. Artists particularly well represented in the collection include David Aronson, Leonard Baskin, Hyman Bloom, Esther Geller, Rico Lebrun, Michael Mazur, Arthur Polonsky, Ben Shahn, Mitchell Siporin, Barbara Swan, and Karl Zerbe.

The administrative files cover a number of topics including documents related to various properties, mortgages, and insurance, copyrights, legal cases, administrative events, and select group exhibitions at the gallery.

The artist files document each gallery artist's exhibition history in the gallery and include correspondence with the artist as well as files documenting significant outside exhibitions, projects and the placement of artworks. While exhibiting artists showed a range of sculpture, painting, and drawing at the gallery, there was a tendency towards highly expressive figurative artwork sometimes referred to as Boston Expressionism, often associated with the first generation Jewish American experience.

The gallery correspondence, primarily with patrons and institutions, is arranged alphabetically with select regular correspondents of the gallery having their own file, in addition to a folder of holiday cards.

The financial files include both outgoing and incoming transactions as invoices and sales records, organized by patron or vendor.

The printed materials are a records of the printing activities of the gallery as well as a press archive, with select printed materials from outside the gallery reflecting the activities of the gallery and gallery artists.

The photographic materials include both images that include the gallerist as well as images that document artworks.
Arrangement:
The collection is arranged as 6 series.

Series 1: Administrative Files, circa 1948-1995 (0.5 Linear feet; Box 1)

Series 2: Artist Files, circa 1945-2000 (2.7 Linear feet; Boxes 1-4, OV 7)

Series 3: Gallery Correspondence, circa 1936-1976 (1 Linear feet; Boxes 4-5)

Series 4: Financial Files, circa 1958-1974 (1.2 Linear feet; Boxes 5-6)

Series 5: Printed Material, circa 1944-1981 (0.7 Linear feet; Box 6, OV 8)

Series 6: Photographic Material, circa 1945-1976 (0.1 Linear feet; Box 6)
Biographical / Historical:
The Boris Mirski Gallery (est.1944; closed 1979) was a gallery in Boston, Massachusetts owned and operated by Boris Mirski (1898-1974). The gallery evolved out of various businesses owned by Mirski from the late 1910s, including his first formal gallery established alongside a framing shop on Charles Street in Beacon Hill in 1927. The gallery moved to its final incarnation on the lower level of 166 Newbury in 1972, and closed in 1979 following the gallerist's death in 1974.

Boris Chaim Mirski, born 1898, immigrated to the United States at the age of fourteen, leaving behind his troubled youth as a Lithuanian Jew in a harsh political climate that included frequent pogroms. At the advice of his mother, an activist in the resistance, Boris acquired a number of marketable skills including metalwork and framing, which allowed him to establish a lucrative business while he developed opportunities to show art that interested him. Early in his career this included a home for non-western and "primitive" art styles from around the globe, as well as the work of emerging local artists. Mirski's gallery created opportunities for artists working against the generally conservative tradition of the Boston School, and helped establish an identity for the local avant-garde. The gallery program had strong ties with the Museum of Fine Arts, Boston alumni and faculty, and frequently hosted exchange shows with New York City's Downtown Gallery, whose director Edith Halpert acted as a mentor. While exhibiting artists showed a range of sculpture, painting, and drawing at the gallery, there was a tendency towards highly expressive figurative artwork sometimes referred to as Boston Expressionism, often associated with the first generation Jewish American experience. Gallery artists included David Aronson, Leonard Baskin, Hyman Bloom, Esther Geller, Rico Lebrun, Michael Mazur, Arthur Polonsky, Ben Shahn, Mitchell Siporin, Barbara Swan, and Karl Zerbe.
Related Materials:
Related materials include Archives of American Art's Oral history interview with Boris Mirski, 1973 June 19.
Provenance:
The Boris Mirski Gallery records were donated by Deborah Mirski Brown, Boris Mirski's daughter from 1989-1996, with additions in 2007 and 2017.
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 Boris Mirski Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters  Search this
Topic:
Art dealers  Search this
Art galleries, Commercial -- Massachusetts -- Boston  Search this
Expressionism (Art) -- Massachusetts -- Boston  Search this
Jewish artists  Search this
Modernism (Art)  Search this
New York school of art  Search this
Sculptors  Search this
Genre/Form:
Photographs
Citation:
Boris Mirski Gallery records, 1936-2000, bulk 1945-1972. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mirsbori
See more items in:
Boris Mirski Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mirsbori

Bruce Anthony King photographs and printed material

Creator:
King, Bruce Anthony, 1934-  Search this
Names:
Baskin, Leonard, 1922-2000  Search this
Castano, Giovanni, 1896-1978  Search this
Hallam, Beverly, 1923-2013  Search this
Hugo, Harold  Search this
Janowitz, Joel, 1945-  Search this
Laurent, John, 1947-  Search this
McKee, Todd  Search this
Mirski, Boris, 1898-1974  Search this
Morgan, Maud, 1903-1999  Search this
Plamondon, Peter M.  Search this
Smart, Mary, 1915-  Search this
Vose, Robert C. (Robert Churchill), 1911-1998  Search this
Extent:
0.3 Linear feet ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1974-1986
Scope and Contents:
Photographs of artists (1974-1976) and miscellaneous printed material concerning King's photographs (1976-1986).
REEL 906: One hundred three photographs by King are of Leonard Baskin, his family, his studio, and his home.
REEL 1817: Six photographs of Harold Hugo, and 2 photographs of Boris Mirski (1974); previously microfilmed under Photos of Artists II and subsequently scanned.
Unfilmed: Photographs of artists (1976-1977) include Giovanni (John) Castano, Beverly Hallam and Mary-Leigh Smart, John Laurent, Judy and Todd McKee and their children, Peter Plamondon and his studio, and Robert C. Vose. Printed material includes photocopies of King's photographs of Joel Janowitz and Maud Morgan. Printed material containing photographs by King includes a book VISION AND REVISION (1979), a magazine SPECTRUM (Spring/Summer 1985), and a calendar NEW ENGLAND IMAGES (1986).
Biographical / Historical:
Photographer, born 1934.
Provenance:
Donated by Bruce Anthony King, 1975 and 1985.
Occupation:
Photographers  Search this
Topic:
Portrait photography -- Photographs  Search this
Artists -- United States -- Photographs  Search this
Identifier:
AAA.kingbruc
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kingbruc

Irma Jaffe interviews

Creator:
Jaffe, Irma B.  Search this
Names:
Baskin, Leonard, 1922-2000  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Date:
1965-1977
Summary:
The records of art historian Irma Jaffe date from 1965-1977, measure 1 linear foot, and contain interviews, some transcripts, and a letter. The recordings include interviews conducted by Jaffe for her book The Sculpture of Leonard Baskin (1980), and recordings made for the radio program "Art News and Interviews," WFMU radio, Upsala College, East Orange, New Jersey.
Scope and Contents:
The records of art historian Irma Jaffe date from 1965-1977, measure 1 linear foot, and contain interviews, some transcripts, and a letter. The recordings include interviews conducted by Jaffe for her book The Sculpture of Leonard Baskin (1980), and recordings made for the radio program "Art News and Interviews," WFMU radio, Upsala College, East Orange, New Jersey.
Arrangement:
The collection is arranged as 2 series.

Series 1: Interviews, 1965-1977 (Box 1, 0.9 linear feet)

Series 2: Correspondence, 1977 (Box 1, 0.1 linear feet)
Biographical / Historical:
Irma Jaffe (1917-2018) was an art historian in New York, New York, who wrote about European Renaissance, Baroque, and 19th and 20th century American art. She received her PhD from Columbia University, and then served as a research curator for the Whitney Museum. She later became a professor at Fordham University, and was founder and first chair of the university's Music and Art History Department.
Provenance:
The Irma Jaffe interviews were donated in two separate installments. The Hans Hoffman, Max Kozloff, and "Alienation and Commitment" panel discussion recordings and transcripts were donated in 1967 by Sam Jaffe, Irma Jaffe's husband. The remainder of the collection was donated by Irma Jaffe in 1985.
Restrictions:
The 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 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 reponsibility 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
Genre/Form:
Interviews
Sound recordings
Citation:
Irma Jaffe interviews, 1965-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jaffirma
See more items in:
Irma Jaffe interviews
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jaffirma

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