An interview of Raymond Horowitz conducted 2004 Oct.20-Nov. 5, by Avis Berman, for the Archives of American Art, in New York, N.Y.
Horowitz speaks of his privileged childhood in New York; the effects of the Depression on his family's finances; attending Columbia University for Law and the anti-Semitism he faced there; his ingratiation into art appreciation through Meyer Shapiro; employment under then-New York City comptroller Joseph McGoldrick; the formation of his law practice; and his marriage to his wife, Margaret Goldenberg. Horowitz also mentions his involvement in left-wing political movements; how he managed relationships with different dealers; his experiences with misattributed artworks and forgeries, particularly his luck in avoiding them; the hobbies of himself and his wife; how he avoids relationships with the artists of his works; sharing information with other collectors; the economics of donating artworks and the subsequent tax breaks; the importance of credit in art purchasing; how he and Margaret conferred on purchases; their affinity for Chase; his habits on lending to exhibitions; the differences between the management of the Metropolitan Museum and the National Gallery; his summer homes in East Hampton and Provincetown; the problems with contemporary art scholarship; and the importance of dealers in affirming the interest in American art. Horowitz spends most of the interview reflecting upon others in the art world whom he has met. He recalls Ira Spanierman, Dan and Rita Fraad, Charles Merill Mount, Victor Spark, Abraham Adler, Nicolai Cikovsky, Phillipe de Montebello, Theodore Stebbins, Jack Levine, Daniel Terra, Joseph Hirshhorn, Norman Hirschl, John Canaday, Doris and Harry Rubin, Paul Mellon, Bill Gerdts, Paul Magriel, Bernard Meyers, and many others.
Biographical / Historical:
Interviewee Raymond Horowitz (1916-2005) was a collector from New York, N.Y. Avis Berman is an art historian from New York, N.Y.
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.
Transcript available on the Archives of American Art website.
Lawyers -- New York (State) -- New York -- Interviews Search this
Correspondence of director Wilbur D. Peat. Many of the letters are from well-known artists of the 1920s and 1930s relating to their contributions to an exhibition of American paintings which Peat was assembling in 1932-1933. [Microfilm title: The Herron Museum of Art]
Correspondents include: Dewey Albinson, A. S. Baylinson, Wenona Day Bell, Thomas H. Benton, George Biddle, Peter Blume, Ernest Blumenschein, C. Curry Bohm, Adolphe Borie, George H. Borst, Robert Brackman, Samuel Brecher, Alexander Brook, Charles E. Burchfield, Varaldo J. Carian, Mrs. E. F. Carpenter, John Carroll, Nicolai Cikovsky, Antonio Cirino, Charles Val Clear, Max B. Cohen, John S. Curry, Randall Davey, Charles H. Davis, Edwin Dickinson, Paul Dougherty, Susan M. Eakins, Henry S. Eddy, Virginia B. Evans, Jerry Farnsworth, Ernest Fiene, John K. Fitzpatrick, John F. Folinsbee, Anton P. Fabrick, Charlotte Gailor, Daniel Garber, Robert F. Gilder, William J. Glackens, John R. Grabach, Charles T. Greener, Charles P. Gruppe,
Eugene Higgins, Edward Hopper, Bernard A. Hunger, Henry G. Keller, Fanny M. King, Georgina Klitgaard, Leon Kroll, Max Kuehne, Georges La Chance, Luigi Lucioni, Reginald Marsh, Henry E. Mattson, Henry Lee McFee, Miriam McKinnie, Clarence Millet, Ross E. Moffett, Francis Mora, Frederick Mulhaupt, Jerome Myers, Watson Nayland, Warren Newcombe, Waldo Peirce, Van Dearing Perrine, Robert Philipp, Abraham Phillips (Tromka), Majorie Phillips, Paul A. Plaschke, Edward Redfield, Doel Reed, Charles Rosen, Edward B. Rowan, Olive Rush, Chauncey Ryder, Eugene F. Savage, Henry Schnakenberg, Zoltan Sepeshy, Edward Sewall, Leopold Seyffert, Nan Sheets, Simka Simkhovitch, Clyde J. Singer, Judson Smith,
Eugene Speicher, Francis Speight, Maurice Sterne, Alfred Stieglitz (letter written on the back of Peat's letter to Georgia O'Keeffe and written for her), Elizabeth O'Neill Verner, Ferdinand E. Warren, Frederick Judd Waugh, Max Weber, Lois Wilcox, Arnold Wiltz, Grant Wood, and Harold Holmes Wrenn.
Biographical / Historical:
The John Herron Art Institute became the Indianapolis Museum of Art ca. 1969-1970. Peat was director 1929-1965.
Herron Museum of Art [microfilm title, reel D131]
Donated 1962 by the John Herron Museum of Art.
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.