The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.
Scope and Contents note:
The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.
Artists' files include biographical material; artists' statements; correspondence; sales and expense reports; lists and notes; guest lists; writings by others; receipts, invoices, and statements; printed material, including press releases, exhibition announcements, brochures, catalogues, clippings; and photographs of artwork and artists. Included are extensive files on Afro Basaldella, Renato Birolli, Robert Broderson, Anselmo Franesconi, Joseph Glasco, Manabu Mabe, César Manrique, Luciano Minguzzi, Ennio Morlotti, Bernard Perlin, Daniel Rice, and Bernard Rosenthal. There are also files on Jan Cox, Kay Sage, and Kazuo Wakabayashi.
Correspondence comprises the largest series in the collection and consists of general correspondence; correspondence with museums, galleries, and art-related institutions in the United States; and correspondence with museums, galleries, and art-related institutions abroad. Letters focus on routine business matters, e.g., appraisals and sales, acquisitions, and organizing exhibitions at the Catherine Viviano Gallery and other venues.
General correspondence includes letters between Catherine Viviano and artists and their family members. Among the correspondents are: Mary Callery, Bernard Chaet, Piero and Virginia Dorazio, Jean Dubuffet, Dallas Ernst, Karl Fortress, Alberto Giacometti, Henry Sage Goodwin, Morris Graves, José Guerrero, Earle Ludgin, Joan Miro, Alfonso Ossorio, Dorothea Tanning, Stuyvesant Van Veen, Adja Yunkers and his wife, Dore Ashton, among others. Also found is Viviano's correspondence with clients, many of whom were prominent collectors, e.g., Richard Brown Baker, Carl and Joan Fisher, Lawrence and Barbara Fleischman, Joseph Hirschhorn, Marc Moyens, Vincent Price, Joseph Pulitzer, Jr., Nelson Rockefeller, Stanley Seeger, and Frederick and Dorothy Zimmerman. Of interest, are letters from Elizabeth Bishop inquiring about the purchase of a work of art from the gallery. Included are letters from art historians, museum directors, curators, representatives at other art-related institutions, and publishers including Walter Bareiss, Walter Barker, Dominque De Menil, Valentine Dudensing, William Eisendrath, S. Lane Faison, Emily Genauer, Bertram Goodhue, Erhard and Barbara Göpel, James Laughlin, Porter McCray, Abram Lerner, Doris Meltzer, Stephen Robson Miller, John Bernard Myers, Perry Rathbone, Belle Krasne Ribicoff, Meyer Shapiro, George Stout, and Curt Valentin.
Correspondence with museums, galleries, and art-related institutions in the United States contains letters between Viviano and museum directors, curators, dealers, artists, and collectors pertaining to loans, shipping and delivery of artwork, appraisals and sales, and acquisitions. Files include substantive correspondence with the American Academy of Arts and Letters, American Federation of the Arts, Art Institute of Chicago, Arts Club of Chicago, the Barnes Foundation, Bristol Art Museum, Brooklyn Museum, Bundy Art Gallery, Carnegie Institute, City Art Museum of St. Louis, Cleveland Museum of Art, Colorado Springs Fine Arts Center, Dallas Museum of Fine Arts, Denver Art Museum, Des Moines Art Center, Detroit Institute of Arts, Fogg Art Museum, Harvard University, Hirshhorn Museum and Sculpture Garden, Institute of Contemporary Art, Los Angeles County Art Museum, Massachusetts Institute of Technology, Metropolitan Museum of Art, Museum of Fine Arts, Boston, Museum of Fine Arts of Houston, Museum of Modern Art, Pennsylvania Academy of the Fine Arts, Philadelphia Art Alliance, Santa Barbara Museum of Art, University of Nebraska Art Galleries, University of Virginia, Mary Washington College, Wadsworth Atheneum, Walker Art Center, William Rockhill Nelson Gallery of Art, Atkins Museum of the Fine Arts, World House Gallery, and Yale University Art Library.
Correspondence with museums, galleries, and art-related institutions abroad primarily concerns the lending of artwork for exhibitions, acquisition and sales; also included are letters requesting biographical information on artists. Letters between Catherine Viviano and representatives of Max Beckmann Gesellschaft Archiv and Galerie Gunther Franke contain provenance-related information on Beckmann's work.
Business records document the routine business operations of the gallery. Printed material includes an incomplete run of Catherine Viviano Gallery exhibition catalogues; invitations and announcements from other galleries and institutions; and miscellaneous printed material.
Photographs include three images of miscellaneous artwork used for art reference.
Arrangement note:
Records are generally arranged by material type and in chronological order thereafter. Artists' files and correspondence files are arranged in alphabetical order and materials within the folders are arranged chronologically
The collection is arranged as 5 series:
Missing Title
Series 1: Artists' Files, 1945-1986 (Boxes 1-3; 3.5 linear feet)
Series 2: Correspondence, 1939-1985 (Boxes 3-6; 5.5 linear feet)
Series 3: Business Records, 1949-1972 (Boxes 10-11; 1.0 linear feet)
Series 4: Printed Material, 1930-1990 (Boxes 11-13; 1.6 linear feet)
Series 5: Photographs (1948-1954), undated (Box 14; 1 folder)
Biographical/Historical note:
Catherine Viviano (1889-1992) opened her gallery in 1949 on 42 East 57th Street in New York City. Specializing in contemporary American paintings and sculpture, the gallery featured younger American and European artists, e.g., Robert Broderson, Carlyle Brown, Jan Cox, Joseph Glasco, Peter Lanyon, Manabu Mabe, César Manrique, Bernard Perlin, Joseph Rollo, Bernard Rosenthal, and Kay Sage, among others. The gallery was also notable for introducing the work of Italian artists, who had been cut off from the American art scene during World War II, including Afro Basaldella and his brother Mirko Basaldella, Renato Birolli, Leonardo Cremonini, and Luciano Minguzzi.
Born in Italy in 1899 and raised in Chicago, Catherine Viviano came to New York in the early 1930's to work at the Pierre Matisse Gallery, where she remained for sixteen years before founding the Catherine Viviano Gallery.
In 1970, Catherine Viviano closed the gallery, though she continued to work from her home as an art dealer and consultant. She died of a stroke at the age of ninety-two in 1992.
Related Archival Materials note:
Among the other resources relating to Catherine Viviano Gallery in the Archives of American Art are the Kay Sage papers, 1925-circa 1985, bulk 1950-1965.
Provenance:
The Catherine Viviano Gallery records were donated in 2003 on behalf of Margaret Viviano, Catherine Viviano's sister, by her grandnephew, Peter C. Salerno, who had Power of Attorney for Margaret Viviano.
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.
The papers of museum director Perry Townsend Rathbone measure 4.3 linear feet and date from 1929 to 1985. The papers document Rathbone's career as museum director of the City Art Museum of St. Louis and the Boston Museum of Fine Arts, and his later work with Christie's New York office. Found within the papers are biographical materials, correspondence with friends and colleagues, writings, professional and project files, printed materials, and photographs, mostly of exhibitions.
Scope and Contents:
The papers of museum director Perry Townsend Rathbone measure 4.3 linear feet and date from 1929 to 1985. The papers document Rathbone's career as museum director of the City Art Museum of St. Louis and the Boston Museum of Fine Arts, and his later work with Christie's New York office. Found within the papers are biographical materials, correspondence with friends and colleagues, writings, professional and project files, printed materials, and photographs, mostly of exhibitions.
Biographical materials contain curriculum vitae, biographical sketches, citations for honorary degrees and for Rathbone's appointment as Chevalier of the French Legion of Honor, a passport, a transcript of an interview with Rathbone and articles written by others about Rathbone, including one by S. Lane Faison.
Correspondence is with Rathbone's friends and colleagues. Notable correspondents include Max Beckmann, Xavier Gonzalez, Hanns Swarzenski, Curt Valentin, Jane Sabersky, William R. Valentiner, and Marian Willard, among others. Rathbone knew several art historians and conservators who served in the U.S. Army as members of the Monuments, Fine Arts and Archives Section, also known as the Monuments Men. Correspondence with these colleagues is arranged together as a subseries and includes correspondence with S. Lane Faison, Thomas Carr Howe, Lamont Moore, Charles Parkhurst, Andrew Ritchie, George Leslie Stout, and Otto Wittman. Most of the correspondence with other Monuments Men is post World War II.
Writings by Rathbone consist of student papers, typescript drafts of articles and entries for exhibition catalogs, notes and notebooks from European trips, and lectures.
Professional files encompass a range of documents related to Rathbone's museum directorships, projects, travels and professional affiliations. The folders about his work at the City Art Museum of St. Louis and the Museum of Fine Arts in Boston include correspondence, reports, meeting minutes, press releases and notes. There are also folders on specific projects such as the renovation of the historic Dederer-Blodgett House and Rathbone's membership on various art commissions and committees. Also found within this series are correspondence, notebooks, receipts, itineraries and vouchers for Rathbone's business trips to Europe and other locations while working for the Boston Museum of Fine Arts.
Printed materials include news clippings, articles, press releases, a few art magazines and exhibition catalogues, and invitations to events. There are also black and white photographs of exhibitions, including a Max Beckmann exhibit, and a few images of Rathbone.
Arrangement:
The collection is arranged as 6 series.
Missing Title
Series 1: Biographical Materials, 1930-1982 (0.1 linear feet; Box 1)
Series 2: Correspondence, 1940-1985 (1.1 linear feet; Box 1-2)
Series 3: Writings, 1929-1967 (0.8 linear feet; Box 2)
Series 4: Professional Files, 1938-1984 (2 linear feet; Box 2-4, OV 6)
Series 5: Printed Materials, 1954-1975 (0.2 linear feet; Box 4-5, OV 6)
Series 6: Photographs, 1936-1972 (0.1 linear feet; Box 5)
Biographical / Historical:
Perry Townsend Rathbone (1911-2000) was a prominent museum director who worked primarily in Boston and New York City. He was an early supporter of German Expressionism in America.
Rathbone was director of the City Art Museum of St. Louis from 1940-1955, moving on to direct the Museum of Fine Arts, Boston from 1954-1972, where he led a period of extensive reform. After retiring from the museum, he worked for one year for the Chase Manhattan Bank as an art consultant. Rathbone worked as director and senior vice president of Christies USA auction house from 1973-1987. After 1987, he continued working at Christies as a consultant.
Rathbone was born in Germantown, Pennsylvania on July 3, 1911 and grew up in New Rochelle, New York. He attended Harvard College, majoring in Art History and graduating in 1933. He then completed the graduate "museum course" taught by Professor Paul Sachs in 1934. The Paul Sachs museum course was famous for cultivating future directors at some of this country's most prestigious museums. After Harvard, Rathbone was appointed as curator of Alger House (later renamed the Grosse Pointe War Memorial), a branch of the Detroit Institute of Arts. Rathbone directed the ''Masterpieces of Art'' exhibit at the 1939 New York World's Fair. The success of the exhibit led to his appointment as director of the City Art Museum of St. Louis, Missouri in 1940 at the age of 29, making him the youngest American museum director at the time.
During World War II, Rathbone served in the U.S. Navy from late 1942-1945. He was a commissioned officer in charge of the Navy Art and Poster Section, Office of Public Relations in Washington, D.C. He supervised five Navy "combat artists," who painted naval battles and depicted the daily lives of soldiers. He also served as an officer in New Calcedonia. He separated from service as a Lieutenant Commander in late 1945. This collection does not contain records directly related to his military service. In 1945 Rathbone married Euretta de Cosson while on leave in Washington, D.C. They had three children together: Peter, Eliza, and Belinda.
Rathbone resumed his position as the director of the City Art Museum of St. Louis after the war. The Detroit Institute of Arts director William R. Valentiner introduced Rathbone to German Expressionism. Rathbone helped the German Expressionist painter Max Beckmann, labeled a ''degenerate artist'' by Hitler, and his wife immigrate to America and then arranged a teaching position for Beckmann at Washington University. Rathbone and Beckmann became close, and in 1948, Rathbone organized a Beckmann retrospective at the City Art Museum. Beckmann made a portrait of Rathbone and one of his wife Euretta. Rathbone gave the eulogy at Beckmann's funeral in 1950.
In 1955 Rathbone became the director of the Museum of Fine Arts (MFA) in Boston. During his tenure there he expanded the museum by 80,000 square feet, doubled the staff, and oversaw the renovations of 57 of the Museum's 189 galleries. He mounted exhibitions of Rembrandt, Matisse, Modigliani, Cezanne, van Gogh and Courbet. The Boston Museum's first acquisitions of Pablo Picasso, Alexander Calder, Constantine Brancusi, Paul Klee, Alberto Giacometti and other works by 20th-century artists occurred under Rathbone's directorship. Rathbone also served as curator of paintings and wrote the catalog essays for many of the museum's exhibitions. Working with Frances Weeks Hallowell, he established the first "Ladies Committee" for the museum, which substantially increased membership. He was appointed as Chevalier de Légion d'Honneur by the French government in 1964.
In 1969, the Museum of Fine Arts purchased what was believed to be a Raphael portrait of Eleonora Gonzaga, 1505, from a Genoa art dealer. The work was meant to be the highlight of the museum's centennial celebration. However controversy arose when the Italian government alleged that the work was smuggled out of the country and the museum was forced to return the painting to the Italian government. The situation caused Rathbone to resign in 1972.
At the request of David Rockefeller, Rathbone became an art consultant to Chase Manhattan Bank for one year. In 1973, he became director of Christie's auction house in New York and senior vice president in 1977, working there until 1987, when he retired but still worked as a consultant.
Perry Townsend Rathbone died on January 22, 2000 at the age of 88.
Related Materials:
The Archives of American Art also holds an oral history interview of Perry Townsend Rathbone conducted in 1975-1976 by Paul Cummings for the Archives of American Art's oral history program.
Provenance:
Perry Townsend Rathbone donated his paper to the Archives of American Art in 1977 and 1988.
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:
Museum directors -- Massachusetts -- Boston Search this
Genre/Form:
Transcripts
Photographs
Interviews
Citation:
Perry Townsend Rathbone papers, 1929-1985. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection was funded by the Samuel H. Kress Foundation.
The papers of art historian and Monuments Man S. Lane Faison measure 5.1 linear feet and date from 1922 to 1981, bulk from 1950-1976. Faison was an art history professor at Williams College, Massachusetts and, during World War II, he was a member of the Art Looting Intelligence Unit (ALIU) of the U.S. Office of Strategic Services. The collection includes scattered correspondence; writings; teaching files; subject files on exhibitions and projects; artists files; and printed materials. There are two folders of documents and photographs related to Faison's World War II work in the U.S. Art Looting Intelligence Unit.
Scope and Contents:
The papers of art historian and Monuments Man S. Lane Faison measure 5.1 linear feet and date from 1922 to 1981, bulk from 1950-1976. Faison was an art history professor at Williams College, Massachusetts and, during World War II, he was a member of the Art Looting Intelligence Unit (ALIU) of the U.S. Office of Strategic Services. The collection includes scattered correspondence; writings; teaching files; subject files on exhibitions and projects; artists files; and printed materials. There are two folders of documents and photographs related to Faison's World War II work in the U.S. Art Looting Intelligence Unit.
Six folders of scattered correspondence relate to Faison's teaching, lectures, and writings.
Writings include bound student notebooks, lecture notes, typescript drafts, published articles, and material related to his book Handbook of the Collection: Williams College Museum of Art. Eighteen bound notebooks are filled with Faison's college class notes. There are typescript drafts of Faison's articles and speeches, as well as printed versions. Papers relating to Faison's book Handbook of the Collection: Williams College Museum of Art include several drafts, a correction copy, and a folder of illustrations to accompany the text.
Teaching files consist of course files containing miscellaneous notes for classes taught by Faison. The syllabi for classes he taught are filed separately.
Subject files are arranged into three groups: Monuments Men/ALIU files; projects and exhibitions files, and general research files. There are only two folders relating to Faison's World War II work in the ALIU. They contain photographs of looted artwork and documents about the controversial decision to ship recovered artwork to the U.S. for storage in the National Gallery in Washington, D.C. Projects and exhibitions files document Faison's curatorial work on the Oberlin Project (a traveling exhibition of college art) and the Carnegie International Exhibition, and other miscellaneous collaborative projects. Research files contain documents organized according to Faison's original folder headings and include miscellaneous images and clippings loosely grouped together by topic: architecture, advertising, housing, poster design, etc.
Artist files are Faison's documents on specific artists that mostly contain images of artwork, clippings and articles. Artist files were mostly used for teaching and reference.
Printed materials include news clippings, exhibition catalogs, press releases, reports and other miscellaneous materials.
Arrangement:
This collection is arranged in 6 series.
Missing Title
Series 1: Correspondence, 1949-1979 (0.1 linear feet; Box 1, 6 folders)
Series 2: Writings, 1928-1979 (1.7 linear feet; Box 1-2, 7)
Series 3: Teaching Files, 1935-1976 (0.7 linear feet; Box 2-3)
Series 4: Subject Files, 1923-1981 (0.6 linear feet; Box 3, 7)
Series 5: Artist Files, 1922-1976 (1.5 linear feet; Box 3-5, 7)
Series 6: Printed Materials, circa 1935-1980 (0.5 linear feet; Box 6-7)
Biographical / Historical:
Samson Lane Faison Jr. (1907-2006) was an art history professor at Williams College and director of the Williams College Museum of Art, Massachusetts. During World War II, Faison served in the Art Looting Investigation Unit of the Office of Strategic Services, an intelligence unit related to the Monuments, Fine Arts and Archives Division of the U.S. Army.
Samson Lane Faison Jr. was born in Washington, D.C. on November 16, 1907 to Samson Lane Faison Sr., a brigadier general in the United States Army, and Eleanor Sowers Faison. Faison graduated from Williams College in 1929, completed his M.A. at Harvard University in 1930, and a M.F.A. from Princeton in 1932. Shortly thereafter, he began teaching at Yale as an associate professor of art. In 1935, Faison married Virginia Gordon Weed (d. 1997) and they had four sons: Gordon, George, Christopher and Samson. Faison joined the Williams College faculty in 1936 and became head of the art department in 1940.
During World War II, Faison initially served as an instructor in U.S. Naval Air Force. From 1945-1946, however, Faison was a member of the Office of Strategic Services' Art Looting Investigation Unit (ALIU) responsible for investigating and interrogating Nazis and art dealers who were involved in the systematic looting of fine arts and antiquities across Europe. The ALIU investigated Karl Haberstock, Hitler's primary dealer and Hermann Voss, director of Hitler's Führermuseum in Linz, Austria where Hitler planned to house and display plundered art. Faison was the primary author of the report on the Führermuseum and also interrogated Göring's curator Walter Andreas Hofer. The ALIU issued twelve Detailed Interrogation Reports on Nazi looting activities which were used at the Nuremburg Trials.
During the recovery efforts, the U.S. government decided to ship 202 paintings that had been stolen by the Nazis from several Berlin museums in Germany (notably the Kaiser Friedrich Museum now known as the Bode Museum) to the U.S. for safekeeping at the National Gallery of Art in Washington, D.C. The government argued that the storage conditions in Germany were poor. Twenty-five of the Monuments Men signed a petition, known as the Wiesbaden Manifesto, against moving the paintings out of Germany. The Berlin Paintings were transported to the U.S. anyway and went on display at the National Gallery of Art before being put in storage. Faison was one of ninety-five American art historians who signed a second resolution in protest, demanding the immediate return of the paintings. The artwork, however, was not returned until 1948.
After the war, Faison resumed his professorship and his position as art department chair at Williams College and became director of the Williams College Museum of Art in 1948. In 1950, Faison returned to Germany as the last Director of the Munich Central Collecting Point, one of several recovered artwork repositories in Europe established by the U.S. State Department for inventory, research, and repatriation. Faison's orders were to close down the Munich Collecting Point, which took nine months.
Faison continued to teach at Williams until his retirement. Faison and two of his colleagues, William H. Pierson Jr. and Whitney S. Stoddard, were the three art history professors at Williams College nicknamed the "Holy Trinity," due to their reputation for launching the careers of their students to stratospheric heights. Several of their students went on to become directors at prestigious museums such as the Museum of Modern Art and the Guggenheim in New York, the National Gallery of Art in Washington, D.C. and the Art Institute of Chicago. The New York Times created the moniker "Williams Mafia" in reference to the Williams alumni that were taught by the "Holy Trinity" and whom went on to become prominent members of the art world.
Faison was made a Chevalier of French Legion of Honor in 1952. He received a Guggenheim Fellowship for 1960-1961 and Williams college awarded him a Doctor of Letters in 1971. He stepped down from his position as art department chair in 1969, and retired from his position as the director of the Williams College Museum of Art in 1976. Faison died in Williamstown, MA in 2006 at the age of 98.
Related Materials:
The Archives of American Art also holds an oral history interview of S. Lane Faison conducted on December 14, 1981 by Robert F. Brown for the Archives of American Art's oral history program.
Papers of S. Lane Faison, 1945-1986, are also located at the National Gallery of Art.
Provenance:
The S. Lane Faison papers were donated to the Archives of American Art by S. Lane Faison, Jr. in 4 installments from 1978 to 1982.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Type:
Archival materials
Date:
1935-1976
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Type:
Archival materials
Date:
circa 1950-1976
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Extent:
0.1 Linear feet (6 folders)
Type:
Archival materials
Date:
1949-1979
Scope and Contents:
Scattered correspondence is with friends and colleagues about events, classes, lectures and various topics of art history. Most were written during Faison's tenure at Williams College. Several letters are related to the publication of Faison's book the Handbook of a Collection: Williams College Museum of Art.
Arrangement:
Correspondents with three or more letters have named separate folders. Correspondents with fewer than three letters are arranged chronologically and grouped together in one folder at the end of the subseries.
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Container:
Box 2, Folder 42
Type:
Archival materials
Date:
1936-circa 1943
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Container:
Box 2, Folder 43
Type:
Archival materials
Date:
circa 1950
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Container:
Box 2, Folder 44
Type:
Archival materials
Date:
circa 1951
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Container:
Box 2, Folder 45
Type:
Archival materials
Date:
circa 1953-1960
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Container:
Box 2, Folder 46
Type:
Archival materials
Date:
circa 1940-1950
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Container:
Box 2, Folder 47
Type:
Archival materials
Date:
circa 1940-1950
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Container:
Box 2, Folder 48
Type:
Archival materials
Date:
circa 1941-1958
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Container:
Box 3, Folder 1
Type:
Archival materials
Date:
circa 1941-1958
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Container:
Box 3, Folder 2
Type:
Archival materials
Date:
circa 1935 -1940
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Container:
Box 3, Folder 3
Type:
Archival materials
Date:
circa 1937
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Container:
Box 3, Folder 4
Type:
Archival materials
Date:
1940-1976
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Container:
Box 3, Folder 5
Type:
Archival materials
Date:
circa 1940-1970
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Container:
Box 3, Folder 6
Type:
Archival materials
Date:
circa 1940-1970
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Faison, S. Lane (Samson Lane), 1907-2006 Search this
Container:
Box 3, Folder 7
Type:
Archival materials
Date:
1949-1951
Collection Restrictions:
Use of original papers requires an appointment.
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:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
