An oral history interview with Virginia Wright conducted 2017 March 22-23, by Mija Riedel, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at Wright's home in Seattle, Washington.
Biographical / Historical:
Virginia Wright (1929-2020) was an art collector and philanthropist in Seattle, Washington. Mija Riedel (1958- ) is an independent scholar in San Francisco, California.
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:
The transcript and recording are open for research. Contact Reference Services for more information.
Topic:
Art -- Collectors and collecting -- Washington (State) -- Seattle -- Interviews Search this
Philanthropists -- Washington (State) -- Seattle -- Interviews Search this
An oral history interview with A. Alfred Taubman 2013 June 6-July 13, conducted by Avis Berman, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection.
Taubman speaks of growing up in Pontiac; Michigan, his love of drawing; attending the University of Michigan; his early interest in architecture; collecting stamps; his father's involvement with farming; importance of learning drawing; his experiences with dyslexia; moving to Detroit and having kids; collecting artwork; meeting artists and dealers; his involvement with the Detroit Institute of Arts; financial troubles in Detroit; Detroit history; Josef Hoffmann furniture; his time in jail; Sotheby's financial trouble and selling works of art; his children and grandchildren; his houses; displaying artwork; his interest in sculpture; the competition of collecting; sculptures in shopping malls; his friendship with Roy and Dorothy Lichtenstein; collecting artwork and working with William R. Acquavella; his time owning Sotheby's and its impact on collecting; missing out on purchasing a blue period Picasso; collecting in depth and types of work he doesn't often collect; Russian artwork; Ms. Taubman's collecting interests; his time on the board of the Whitney Museum of American Art; working with I.M. Pei; commissioning Richard Meier to build a house; and changes that he brought to Sotheby's. Taubman also recalls Carlos Lopez, Reva Kolodney, Barbara Fleischman, Bill Poplack, Richard Bellamy, Leo Castelli, Green Gallery, Henry Geldzahler, Robert Rauschenberg, Mark di Suvero, James Rosenquist, OK Harris Gallery, Antoine Poncét, Domenico di Pace Beccafumi, Detroit Institute of Arts, Coleman Young, Richard Gerstl, Gustav Klimt, Egon Schiele, Michael Graves, Jean Arp, John Chamberlain, College for Creative Studies, Sam Sachs, Arman, Crutchfield, Paul von Ringelheim, Roy Lichtenstein, Seymour Evans, Richard Feigen, Illeana Sonnabend, Larry Gagosian, Pablo Picasso, Niarchos, Balthus, Edward Hopper, Marsha Miro, Tom Armstrong, I.M. Pei, Vincent Ponte, and Richard Meier.
Biographical / Historical:
Interviewee A. Alfred Taubman (1924-2015) was an art collector, entrepreneur, and philanthropist in Bloomfield Hills, Michigan. Interviewer Avis Berman (1949- ) is an art historian and author in New York, New York.
Related Materials:
The Archives of American Art also holds the papers of A. Alfred Taubman.
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:
This transcript is open for research. Contact Reference Services for more information.
Sound recording: ACCESS RESTRICTED; written premission required.
Topic:
Art -- Collectors and collecting -- Michigan Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview was provided by Barbara Fleischman.
An interview with Jon Shirley conducted 2018 August 7-8, by Mija Riedel, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at Shirley's home in Medina, Washington.
Mr. Shirley recalls hiring architect George Suyama to design a 23,000-square-foot home to house the art collection Shirley was assembling with his wife, Mary; growing up in Honolulu, Philadelphia, and Puerto Rico as his father was in the military; an influential humanities class at the Hill School; discovering Alexander Calder while still in high school; studying at MIT; his 25-year tenure with Radio Shack and Tandy International Electronics stores; a five-year period in Brussels that expanded his knowledge of art; his and Mary's move to Seattle and subsequent engagement with art glass and Pilchuck; becoming president of Microsoft and taking the company public; the evolution of his Alexander Calder collection to 40+ works (what has been called the best privately held Calder collection in the U.S.); his 30+ year friendship with Chuck Close, collecting more than 30 of his works, and financing "The Portrait Speaks;" his long-term engagement with the Seattle Art Museum and in particular the founding and endowing of the Olympic Sculpture Park; Mary's death in 2013 and Shirley's subsequent remarriage to Kim Richter; and endeavoring to restore Calder's only posthumously made work, "Mountain and Clouds," in the Hart Senate Office Building. Shirley also recalls working with Robert Mnuchin, Anthony Grant, Sandy Rower, Tobias Meyer, Robert Storr, Patterson Sims, Arne Glimcher, Jinny Wright, Barney Ebsworth and the Pace Gallery; acquiring works by Magdalena Abakanowicz, Jesús Moroles, Marino Marini, Mark Rothko, Gerhard Richter, Mark di Suvero, Claes Oldenburg, David Smith, Joan Mitchell, Korean Dansaekhwa artists, Constantin Brancusi ("Bird in Space") and Alberto Giacometti ("Dog"); and building a collection of 350+ works of sculpture and post-WWI paintings.
Biographical / Historical:
Jon Shirley (1938- ) is a retired president, chief operating officer, and director of the Microsoft corporation, and a collector of Modern art, in Medina, Washington. Mija Riedel (1958- ) is a writer and editor in San Francisco, California.
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:
The transcript and recording are open for research. Contact Reference Services for more information.
An interview with Robert E. Meyerhoff conducted 2014 December 11-12, by James McElhinney, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at Meyerhoff's Fitzhugh Farm in Phoenix, Maryland.
Meyerhoff speaks of his first experiences with art; his wife Jane; his background as an engineer, his family and philanthropy; the Maryland Institute College of Art; the Baltimore Museum; Professor Bates Lowry; his wife's interest in art; early purchases and the beginning of his collection; Rothko; the art world; collectors; becoming friends with artists; notes and tapes with his wife Jane discussing work and talking with artists; collecting five artists; agreement with the National Gallery; being friends with Robert Rauschenberg; art investment and speculation; displaying artwork; gallery and museum space and displaying art; star architects; spending time in New York; his home in Maryland; Baltimore; living with artwork; the collection; responding to art; touring of his gallery; planning the gallery; Irving Blum; interactions with dealers; Leo Castelli; art world friends; fake Pollock; Baltimore response to the Avant Garde; African Americans and museums; Meyerhoff scholars program; University of Maryland, Baltimore County; Freeman Hrabowski; de-accessioning; buying based on eye and heart; record keeping; horses, Phoenix, Maryland; buying a Durer; Candida Hofer; video art; Walter's Art Museum; looking at art; art history; sharing his collection. Meyerhoff also recalls Dave Bergman, Sidney Janis, Robert Rauschenberg, Frank Sella, Roy Lichtenstein, Jasper Johns, Bud Leake, Jackson Frost, Cy Twombly, the Duke of Pembroke, Ellsworth Kelly, Frank Gehry, Rose Ellen, Brice Marden, Phillip Guston, Roy Sargent, de Kooning, Franz Kline, Agnes Barton, Grace Hartigan, Candida Höfer, Thomas Ruff, Jeff Wall, Hans Hofmann; Vik Muniz, Lawrence Menifee, Jr., Leo Castelli, Ben Heller, Israel Rosen, Betty Parsons, Saul Bellow, Paula Cooper, James Goodman, Matthew Morrison, Jackson Pollock, Lee Krasner, Ruth Kuffman, Freeman Hrabowski, Rheda Becker, Thomas Struth, William Kentridge, Nina Sundell, and Allison Berkeley.
Biographical / Historical:
Interviewee Robert E. Meyerhoff (1924-) is a philanthropist and art collector in Phoenix, Md. Interviewer James McElhinney (1952- ) is a painter and educator in New York, New York.
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:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
An interview with Hester Diamond conducted 2017 October 4-5, by Judith Olch Richards, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at Diamond's home in New York, New York.
Ms. Diamond discusses the lives of her parents and grandparents in New Jersey as European immigrants; her life as a student during World War II attending Hunter College in Manhattan, and her exploration of the city's art museums, especially the Museum of Modern Art; her early interest in modern art and her friendship and subsequent marriage with Harold Diamond; her work as a social worker and Mr. Diamond's work as a school teacher, and their growing interest in the New York museum and gallery scene; their time working part-time for Martha Jackson at her gallery; their organization of a traveling exhibition in the United States for the British sculptor Barbara Hepworth; their first trip together to Europe in 1955 and their subsequent introduction to the business of art dealing; Mr. Diamond's illness and death and Ms. Diamond's transition out of the art dealing business. Ms. Diamond also describes her first work as an interior designer for J. Seward Johnson; her subsequent decision to leave the decorating business; her second husband Ralph Kaminsky and his daughter Rachel Kaminsky; the shift of her art collecting focus towards Renaissance paintings; her help founding the Medici Archive Project; her relationships with fellow collectors and curators; her new interest in Spanish sculpture; and her third husband, Dr. David Wilson. Ms. Diamond also recalls Ben Nicholson; Nan Roberts; E. L. Hodgkins; G. David Thompson; Joseph Hirshhorn; Alastair Stair; Eugene Thaw; Shepard and Birgitta Schreiber; as well as Dr. Jacques Koerfer; Thomas Ammann; Edward Goldberg; Robert Strassler; Maryan Ainsworth; Jon Landau; and Rose Fried, among others.
Biographical / Historical:
Hester Diamond (1928-2020) was an art collector in New York, New York. Judith Olch Richards (1947- ) is former executive director of iCI in New York, New York.
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:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Topic:
Art -- Collectors and collecting -- New York (State) -- New York -- Interviews Search this
An interview with Fleur Bresler conducted 2018 April 19, by Glenn Adamson, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at the Bresler's home in Rockville, Maryland.
Ms. Bresler discusses being born and growing up in Washington, D.C. in the 1920s and 1930s and their family jewelry store R. Harris and Co.; aspects of being in a Jewish family in D.C. at the time of her childhood; her knitting of doll clothes and collecting of small objects as a child; her education in public schools in the D.C. area and work at the Beauvoir nursery school; her relationship with her husband Charles Bresler; the beginnings of her wooden duck decoy collection with its connections to Maryland; her and her husband's visits to the Easton Waterfowl Festival; her interest in quilts and quilt collecting. Ms. Bresler also describes first becoming interested in wood art after seeing "The Art of Turned Wood Bowls: The Edward Jacobson Collection" at the Renwick Gallery in 1986; the growing of her collection and her associations with fellow wood craft collectors; her affiliations with the Center for Art in Wood in Philadelphia and the Mint Museum in Charlotte, North Carolina; her philanthropic efforts and her and her family's plans for the legacy of her collections; and the commissioning and installation of a large table by Danny Laine. Ms. Bresler also recalls Jean McLaughlin; Senator Joseph McCarthy; Rude Osolnik; Stella Rubin; Martha Connell; Veena Singh; Albert LeCoff. As well as Irv Lipton; Charles Hummel; Nicholas Bell; Mia Hall; Judy Weisman; and David Sengel, among others.
Biographical / Historical:
Fleur Bresler (1926- ) is a collector of American craft and decorative arts in Rockville, Maryland. Glenn Adamson (1972- ) is a curator in Brooklyn, New York.
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:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
An interview with George S. Abrams conducted 2018 January 25-26, and October 25 by Louisa Wood Ruby, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at the Archives of American Art in New York, New York.
Mr. Abrams discusses growing up in Boston, his exposure to art at a young age and the stamp and silver collecting pursuits of his two uncles; his early collecting of American historical documents; his wife Maida's interest in art and her collecting of prints as a young teenager; his pursuit of a law degree at Harvard Law School and his work as a managing editor on the Harvard Crimson; his relationship with Paul Sachs and two of his grandsons at Harvard; his work with a Dutch student group after graduation and his first visits to the Netherlands and his visits to art museums there; the beginnings of his deep appreciation for 16th- and 17th-century Dutch drawings; Maida Abrams' work with the Very Special Arts programs for the United States and Massachusetts; their early collecting visits to dealers and auctions in Europe in the early '60s; and their work with Franklin W. Robinson creating a travelling exhibition of their drawings in 1969.
Mr. Abrams also describes his work for Sonesta International Hotels in the early '70s helping to build a hotel in Amsterdam, and the time he was able to spend travelling to Europe and visit art dealers and auctions there; his feelings about the development of the collecting of Old Master Dutch drawings in America compared with the field's history in Europe; the differences between collecting Old Master drawings and paintings; the Chatsworth Collection auction at Christie's in 1985 and his purchase there of a Rembrandt; the extent of his involvement with the Center for Netherlandish Art at the Museum of Fine Arts in Boston; the gift of 330 Dutch and Flemish drawings to the Harvard Art Museums in 2017; and the future of the Maida and George Abrams Collection and his plans for its legacy.
Mr. Abrams also recalls Hyman Swetzoff; Alfred Brod; Noel Annesley; John Gere; C. F. Louis de Wild; Peter Schatborn; Winslow Ames; Robert Light; Hans Calmann; Senator Ted Kennedy; Egbert Haverkamp-Begemann; Evert Douwes; Herman Shickman; Eugene Thaw; John Steiner; Lodewijk Houthakker; Emile Wolf; Horst Gerson; Adolphe Stein; Dr. C. R. Rudolf as well as Susan Anderson; Konrad Oberhuber; Jakob Rosenberg; Edouard Kopp; Yvonne Tan Bunzl; Kate de Rothschild; Hans Mielke; William Robinson; Eijk and Rose-Marie Van Otterloo; Susan and Matthew Weatherbie; Austeja Mackelaite, among others.
Biographical / Historical:
George S. Abrams (1932- ) is a lawyer and art collector in Boston, Massachusetts. Louisa Wood Ruby (1959- ) is an Art Historian at the Frick Art Reference Library, New York, New York.
General:
Timecode in the second session of this interview transcript is approximate. The auditor was asked to move the timecode to the end of the paragraph and update the timecode accordingly. The timecode was moved, but the time was not updated. Timecodes should be within 30 seconds of where they originally appeared in the transcript.
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:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Topic:
Art -- Collectors and collecting -- Massachusetts -- Boston -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview was provided by Barbara Fleischman.
Photographs of New York City landmarks including the Abigail Adams Smith House , Federal Hall National Memorial, the Frick Collection, Gracie Mansion , Grace Church the Morris-Jumel Mansion the South Street Seaport area's Schermerhorn Row, St. Patrick's Cathedral, and the Vuillard Houses.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Photographs published in Joseph C. Farber's books are still under copyright. Reproduction permission from the Joseph C. Farber's estate is required. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Joseph Farber Papers and Photographs, Archives Center, National Museum of American History. Gift of Dr. Joan C. Farber.
Photographs published in Joseph C. Farber's books are still under copyright. Reproduction permission from the Joseph C. Farber's estate is required. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Joseph Farber Papers and Photographs, Archives Center, National Museum of American History. Gift of Dr. Joan C. Farber.
The collection is open for research. Patrons must use microfilm copy. Use of the unmicrofilmed portion requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The donor has retained all intellectual property rights, including copyright, that they may own.
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:
Erwin Panofsky papers, 1904-1990 (bulk dates 1920-1968). Archives of American Art, Smithsonian Institution.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
