Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
An interview of John Roloff conducted 2009 August 17-18, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Roloff's studio, in Oakland, California.
Roloff speaks primarily about the intersection of art and science; his desire to look at these disciplines from multiple perspectives in his work; the relationship between materials and their geological histories; his exploration and exposure of the physical processes associated with the making of art objects; Roloff talks at length about ceramics; the chemical properties of the clays and glazes; their connection to geological landscapes; and their transformation through the firing process; moreover, he discusses site specific works; the importance of location in giving context to a piece; as well as referencing a site through site based materials; furthermore, he expounds his theory of anthroturbation; discusses the parallels between man-made and natural structures; and ruminates about his work's visual engagement with ecological systems; Additionally, Roloff converses about several formative childhood experiences; how they shaped his later artistic interest and evolved into thematic elements in his work; studying marine geology at University of California-Davis; taking a ceramics class with Robert Arneson; becoming a dual art and science major; the spirit of experimentation at UC-Davis, which led to his early ceramic discoveries; pursuing graduate work at Humboldt University; teaching at the University of Kentucky-Lexington; developing his Exile and Rower series; showing his sculptures at Lester Gallery and Fuller Goldeen Gallery in California; his shift from studio work to landscape/installations; the development of his Ship and Kiln series; as well as his later photographic work; Roloff also recalls Stephen Kaltenbach, Deborah Butterfield, Peter Voulkos, Jim Melchert, Dennis Oppenheim, Joseph Beuys, Kenneth Baker, in addition to the following galleries: Lance Fang, Paule Anglim and Reese Paley.
Biographical / Historical:
John S. Roloff (1947- ) is a sculptor and ceramicist and lives and works in Oakland, California. Roloff also taught at the San Francisco Art Institute and Mills College.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 13 digital wav files. Duration is 8 hr., 50 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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Loren Madsen papers, 1969-2019. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of the collection was provided by Gerald and Bente Buck.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Loren Madsen papers, 1969-2019. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of the collection was provided by Gerald and Bente Buck.
The Diana Fuller papers and gallery records measure 67.9 linear feet and date from 1958 to 2004. The records shed light on the operations of Hansen-Fuller Gallery, Hansen-Fuller-Goldeen Gallery, Fuller-Goldeen Gallery, and Fuller-Gross Gallery through administrative files, correspondence files, artists' files, dealer and institution files, exhibition and event files, financial records, printed materials, photographic materials, as well as some audiovisual and born digital materials. Diana Fuller's papers concern her work with the Bay Area Consortium for the Visual Arts, her book, Art/Women/California, 1950-2000: Parallels and Intersections (2002), and include scattered project files, photographic materials, and more. Also present are correspondence files, artists' files, exhibition material, and financial records generated by Arts Unlimited and Hansen Galleries.
Scope and Contents:
The Diana Fuller papers and gallery records measure 67.9 linear feet and date from 1958 to 2004. The records shed light on the operations of Hansen-Fuller Gallery, Hansen-Fuller-Goldeen Gallery, Fuller-Goldeen Gallery, and Fuller-Gross Gallery through administrative files, correspondence files, artists' files, dealer and institution files, exhibition and event files, financial records, printed materials, photographic materials, as well as some audiovisual and born digital materials. Diana Fuller's papers concern her work with the Bay Area Consortium for the Visual Arts, her book, Art/Women/California, 1950-2000: Parallels and Intersections (2002), and include scattered project files, photographic materials, and more. Also present are correspondence files, artists' files, exhibition material, and financial records generated by Arts Unlimited and Hansen Galleries.
Administrative files include job descriptions, inventories of artwork, addresses, and contact lists; papers relating to foundries, photographers, framers, and printers; advertising records, property records, travel files, and one gallery guestbook. Correspondence files document the galleries' relationship with collectors, clients, art organizations, and consultants. The files include some sales records, agreements, printed material, and photos of artwork as well. Artists' files include biographical information, artist statements, correspondence, client lists, exhibition materials, loan and consignment records, and more. Among the artists featured extensively is Beth Van Hosen, William T. Wiley, Roy DeForest, Robert Arneson, Tom Holland, Robert Hudson, Marilyn Levine, and Joan Brown.
Exhibition and event files shed light on solo and group shows held at Fuller galleries, Art Unlimited and Hansen Gallery, and outside galleries, museums, and institutions; art fairs held in the U.S. and abroad, and auctions. Files related to film screenings, tours, luncheons, and other special events held at Fuller galleries are also present. Dealer and institution files consist of correspondence, loan and consignments records, bills of sale, commission agreements and contracts, printed material, price lists, and some photographic materials. Financial records contain account ledgers, invoices and receipts, gallery checks, and sales records. Also present are donation records, appraisal reports, and some financial records from Arts Unlimited and Hansen Gallery.
Diana Fuller's papers include project files, appraisal records, membership records, correspondence, and photographic materials. Records related to the Bay Area Consortium for the Visual Arts consist of administrative records, project files, grant applications, 1989 earthquake disaster relief material, and organization finances. Files relating toParallels and Intersections and its accompanying exhibition contain artist files, author files, correspondence, publishing agreements, drafts, cassette tapes, DVDs, and more.
Arrangement:
The collection is arranged as 7 series.
Series 1: Administrative Records, 1969-1992 (Box 1-3; 2.2 linear feet)
Series 2: Correspondence Files, 1963-1993 (Box 3-8; 5.5 linear feet)
Series 3: Artists' Files, 1959-1993 (Box 8-37; 28.5 linear feet)
Series 4: Exhibition and Event Files, 1967-1993, 2001 (Box 37-45; 8.3 linear feet)
Series 5: Dealer and Institution Files, 1965-1992 (Box 45-51; 6.3 linear feet)
Series 6: Financial Records, 1958-1990 (Box 51-58, 68-70; 7.9 linear feet)
Series 7: Diana Fuller Personal and Professional Papers, 1970s-2004 (Box 58-67; 9.2 linear feet)
Biographical / Historical:
The Diana Fuller galleries were contemporary art galleries in San Francisco, California, from 1969 to 1990. During this period, the gallery changed name and ownership on several occasions: Hansen-Fuller Gallery (1969-1979), Hansen-Fuller-Goldeen Gallery (1979-1982), Fuller-Goldeen Gallery (1982-1986), and Fuller-Gross Gallery (1987-1990). The three gallerists who partnered with Fuller were Wanda Hansen, Dorothy Goldeen, and Brian Gross. Among the artists represented by Fuller galleries were Beth Van Hosen, William T. Wiley, Roy DeForest, Robert Arneson, Tom Holland, Robert Hudson, Marilyn Levine, and Joan Brown. Fuller galleries held performance and conceptual art exhibitions, music performances, screened films, and rented its space out for luncheons and other special events. The gallery also exhibited at art fairs in the U.S. and Europe.
Diana Burgess Fuller is a curator, editor, and filmmaker who was previously a gallerist and art dealer. Diana Burgess worked at Saks Fifth Avenue when she married author Blair Fuller in 1965. Around 1967, she began working for Wanda Hansen's contemporary art gallery, which changed names from Art Unlimited to Hansen Galleries (sometimes Gallery). In 1969, Fuller and Hansen opened the Hansen-Fuller Gallery. That same year, Blair Fuller and novelist Oakley Hall started the Community of Writers at Squaw Valley. Diana Fuller has been involved with Squaw Valley since its inception, and currently serves as director of its screenwriting program. Fuller continued in the retail art business for a short period after closing the gallerey in 1990. In the late 1990s, Fuller began working on the seminal exhibition and book catalog, Art/Women/California, 1950-2000: Parallels and Intersections (2002), documenting more than 90 women artists working in California in the second half of the twentieth century. Fuller was the former president of the Film Arts Foundation and former chair of the Roxie Theater; she currently serves on the board of Artists in Residence Program at Recology.
Related Materials:
Also found in the Archives of American Art is the Dorothy Goldeen Gallery records.
Provenance:
The collection was donated by Diana Fuller, 1991-1995 and 2022.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern -- 20th century -- California -- San Francisco Search this
Function:
Art galleries, Commercial -- California
Citation:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The records of Dorothy Goldeen Gallery, based in Southern California, measure 18.9 linear feet and 2.52 GB and date from 1960 to circa 2014, with the bulk of the items dating from 1987 to 1996. The Dorothy Goldeen Gallery, operated from 1986-1996 and featured the work of prominent contemporary artists, such as Magdalena Abakanowicz, John Altoon, Fletcher Benton, Howard Ben Tre, Ciel Bergman, Squeak Carnwatch, Dale Chihuly, Duck-Hyun Cho, Roy De Forest, Heidi Fasnacht, Robert Hudson, Terence La Noue, Donald Lipski, Nam June Paik, Ed Paschke, Alan Rath, Zizi Raymond, Pablo Reinoso, among many others. The collection includes correspondence, scattered administration records, exhibition files, extensive artists' files that also include many video recordings, financial and legal records, printed and digital materials, and photographic materials.
Scope and Contents:
The records of Dorothy Goldeen Gallery, based in Southern California, measure 18.9 linear feet and 2.52 GB and date from 1960 to circa 2014, with the bulk of the items dating from 1987 to 1996. The Dorothy Goldeen Gallery, operated from 1986-1996 and featured the work of prominent contemporary artists, such as Magdalena Abakanowicz, John Altoon, Fletcher Benton, Howard Ben Tre, Ciel Bergman, Squeak Carnwatch, Dale Chihuly, Duck-Hyun Cho, Roy De Forest, Heidi Fasnacht, Robert Hudson, Terence La Noue, Donald Lipski, Nam June Paik, Ed Paschke, Alan Rath, Zizi Raymond, Pablo Reinoso, among many others. The collection includes correspondence, scattered administration records, exhibition files, extensive artists' files that also include many video recordings, financial and legal records, printed and digital materials, and photographic materials.
Correspondence is with artists, museums, galleries, and collectors regarding exhibitions, sales, and acquisitions of artwork. Administration records include appraisals, mailing lists, materials related to gallery events, a rolodex, and a list of artist contracts. Exhibition files are found for only a few of the gallery's exhibitions, including American Artists in Jewelry (1987), Private Reserve (1988), Fresh Visions 1 (1989), Fresh Visions 2 (1989), and Multiple Parts (1994).
There are extensive artists' files containing correspondence, printed and digital material, resumes, slides, and photographs documenting the gallery's relationship with and exhibitions of many prominent artists. These files also contain numerous audio and video recordings of interviews with artists, exhibitions, documentaries, and video art.
Financial and legal records mostly consist of sales records of artwork by various artists, in addition to materials on a lawsuit, a sublease for exhibition space, and a few invoices.
Printed materials include Dorothy Goldeen Gallery press releases, exhibition announcements, press reviews, newsletters, clippings, and one videocassette of a broadcast news program.
Photographic materials mostly consist of slides and transparencies of artwork by artists represented by the gallery. There are a few images of the gallery building.
Dorothy Goldeen papers include travel notebooks, itineraries, receipts, and other ephemera from domestic and international trips taken by Goldeen; lecture notes; personal correspondence with artists, associates, and others; and files for several exhibitions from after the Goldeen Gallery closed. Also present are blog posts and a contact list from the art advisory business Goldeen started after closing her gallery.
Arrangement:
This collection is arranged as 8 series.
Series 1: Correspondence, 1979-2012 (1.3 linear feet; Box 1-2, 19)
Series 2: Administration Records, circa 1987-circa 2010 (1.2 linear feet; Box 2, 19)
Series 3: Exhibition Files, 1987-1995 (0.4 linear feet; Boxes 2-3)
Series 4: Artists' Files, 1961-2007 (12.3 linear feet; Boxes 3-14, 19-20, OV 17-18, 2.52 GB; ER01-ER02)
Series 5: Financial and Legal Records, 1987-2005 (0.8 linear feet; Box 15)
Series 6: Printed Material, 1986-2014 (0.5 linear feet; Boxes 15-16, 20, 22)
Series 7: Photographic Material, 1960-2005 (0.8 linear feet; Box 16, 20)
Series 8: Dorothy Goldeen Papers, 1976-2013 (1 linear feet; Box 20-21)
Biographical / Historical:
The Dorothy Goldeen Gallery (1987-1996) was an art gallery in Santa Monica, California, founded by Dorothy Goldeen.
Dorothy Goldeen graduated from the University of California, Berkeley, where she studied sculpture and textile design. In 1973, Goldeen began her career in the arts working in San Francisco, California at the Hansen Fuller Gallery which later became Fuller Goldeen Gallery.
In 1987, Goldeen moved to Los Angeles and founded the Dorothy Goldeen Gallery. Historically significant artists such as Magdalena Abakanowicz and Nam June Paik were represented by her gallery as well as influential, emerging Los Angeles artists. Other notable artists include Robert Arneson, Paul Kos, Ed Paschke, and Alan Rath.
In 1996, Goldeen closed her gallery and launched the Dorothy Goldeen Art Advisory in Santa Monica. Goldeen often travels internationally as an art consultant for private and institutional clients, advising them on the acquisition and resale of art.
Related Materials:
The Archives of American Art also has an oral history interview with Dorothy Goldeen conducted by Hunter Drohojowska-Philp in 2014.
Provenance:
The Dorothy Goldeen Gallery records were donated by Dorothy Goldeen to the Archives of American Art in 2003, 2014, and 2021.
Restrictions:
Boxes 19-22 are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
All correspondence: Permission to publish, quote or reproduce requires written permission from Dorothy Goldeen. Contact Reference Services for more information.
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.
Function:
Art galleries, Commercial -- California
Genre/Form:
Interviews
Sound recordings
Video recordings
Citation:
Dorothy Goldeen Gallery Records, 1960-circa 2014, bulk 1987-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
A portion of the processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate copy requires advance notice. One box of letters from Jim Nutt are ACCESS RESTRICTED; use requires written permission.
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:
Ray Yoshida papers, circa 1895-2010, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of the Ray Yoshida papers received Federal support from the Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Collection Citation:
Roy De Forest papers, 1916-2015. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Gerald and Bente Buck. Funding for the digitization of this collection was provided by Gloria Marchant.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Collection Citation:
Roy De Forest papers, 1916-2015. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Gerald and Bente Buck. Funding for the digitization of this collection was provided by Gloria Marchant.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Collection Citation:
Roy De Forest papers, 1916-2015. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Gerald and Bente Buck. Funding for the digitization of this collection was provided by Gloria Marchant.
The collection is access restricted, except for Box 8; written permission is required. Contact Reference Services for more information. Box 8, containing six journals and sketchbooks (volumes 79-84) and slides are not restricted.
Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
Six journals and sketchbooks (volumes 79-84): Authorization to publish, quote, or reproduce requires written permission from Elsa Flores. Microfilm Reels 4578-4587: Authorization to publish, quote, or reproduce requires written permission from Elsa Flores. Contact Reference Services for more information
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:
Carlos Almaraz and Elsa Flores papers, 1946-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
Use of original papers requires an appointment. Use of audiovisual material without a duplicate copy requires advanced notice.
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:
Fletcher Benton papers, 1934-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program.
This collection is access restricted. Use requires written permission. Financial and Legal Records (Series 8) are closed to researchers until they can be processed to a more detailed level. Contact Reference Services for more information.
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:
Holly Solomon Gallery records, circa 1948-2003. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Ellen Lanyon papers, circa 1880-2015, bulk 1926-2013. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
