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Helen Shlien Gallery records

Creator:
Helen Shlien Gallery (Boston, Mass.)  Search this
Names:
Shlien, Helen  Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1978-1983
Scope and Contents:
Correspondence, sales records, exhibition records, artist's biographical statements; and artists' files, containing correspondence, slides and photographs of works of art and exhibition material.
Biographical / Historical:
Art gallery; Boston, Mass. Est. 1978. Located at 348-352 Congress St. Moved in 1983 to 14 Newbury St. Closed 1985.
Provenance:
Donated 1994 by gallery owner Helen Shlien.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Function:
Art galleries, Commercial -- Massachusetts
Identifier:
AAA.heleshli
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b25cceec-4a49-458b-b009-d27fbb141688
EDAN-URL:
ead_collection:sova-aaa-heleshli

Castano Galleries records

Creator:
Castano Galleries (Boston, Mass.)  Search this
Names:
Beam, Philip C.  Search this
Castano, Giovanni, 1896-1978  Search this
Chrysler, Walter P. (Walter Percy), 1909-1988  Search this
Danes, Gibson A.  Search this
Denghausen, Franz H., 1911-  Search this
Goodrich, Lloyd, 1897-1987  Search this
Grandin, Isabella  Search this
Hale, Lilian Westcott, 1880-1963  Search this
Hofer, Philip, 1898-1984  Search this
Rathbone, Perry Townsend, 1911-2000  Search this
Richardson, Edgar Preston, 1902-1985  Search this
Sachs, Paul J. (Paul Joseph), 1878-1965  Search this
Venturi, Lionello, 1885-1961  Search this
Extent:
30 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1907-1983
Scope and Contents:
20 feet, chiefly gallery records and some personal papers of gallery owner, Giovanni (John) Castano, including correspondence, legal material, subject files, notes, writings, financial material, photographs, a scrapbook, and printed material.
Included are biographical information about Castano, business correspondence with dealers, museums, clients, collectors, artists, art historians, and others, and some personal correspondence, including a letter from Rome, 1876, from an unidentified writer to an unidentified woman containing a detailed description of a painting in the Barberini, and correspondence related to Castano's work as a scenic artist, 1924-1931. Subject files contain mainly correspondence and lists of work, and relate to Italian Renaissance exhibition, 1938, the Heeramaneck Collection of Persian and Indian Art, a Boldini exhibition, Arthur C. Goodwin, 1945-1952, and a Mancini-Sargent exhibition, 1951.
Financial material includes records of expenses and income; account books; employees' weekly wage book; records of purchases and sales of art work, including part of a bill for a painting by Diaz paid by Knoedler and Co., 1890; appraisals done for individuals, estates and institutions, including the Gorham Corporation, Harvard University murals, the Mrs. T. Morris Murray estate, furnishings of William M. Paxton's studio, ca. 1941, and paintings by Edmund Tarbell, and others; consignments; priced auction catalogs of the Henry F. Sears estate, the Mary A.H. Traiser estate, and miscellaneous price lists.
Also included are a card file on paintings; lists of paintings; inventories; client cards; address and appointment books; mailing lists; gallery journals, 1936-1927; descriptions and notes on paintings and authentications; biographies of artists; writings by and about Castano; and notes by Churchill Wyman on Philip Hale's anatomy lectures.
Photographs are of Castano, his work, artists at work, and various works of art. Original art work consists of sketches for a logo designed by Suzanne Chapman. Included in the exhibition related material is a catalog for Castano's posthumous exhibition.
Also included is a scrapbook containing announcements, clippings on the gallery and Castano, exhibition catalogs, and biographical material compiled by Castano's longtime secretary.
Among the correspondents are: Philip Beam, Walter P. Chrysler, Jr., Gibson Danes, Franz Denghasusen, Lloyd Goodrich (Whitney Museum of American Art), Isabella Grandin, Lilian W. Hale, Philip Hofer (Fogg Art Museum), Perry T. Rathbone (Museum of Fine Arts, Boston), Edgar P. Richardson (Detroit Institute of Arts), Paul J. Sachs (Fogg), and Lionello Venturi.
Biographical / Historical:
Art gallery, Boston, Mass. Founded in 1931 by Giovanni Castano, also known as John Castano. Castano attended the School of the Museum of Fine Arts, Boston, where he was an assistant to Philip Hale. He was a scenic artist for the Boston Opera Company and for the Grand Opera in Cincinnati, Ohio. During the Depression, he returned to Boston where he opened a gallery on Newbury Street specializing in European and American paintings, acted as an agent for Wildenstein and Co., and restored paintings. The gallery had numerous exhibitions of the "Boston School," including A.C. Goodwin, Winslow Homer, Philip Hale, Edmund C. Tarbell, William Paxton and others. The gallery occupied several Newbury St. locations. From 1975 until his death, Castano operated it from his home in Needham.
Other Title:
Giovanni Castano Galleries records, 1907-1983.
Provenance:
Lent for microfilming by Elvira Castano Palmerio, Castano's daughter, 1988.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art appraisers  Search this
Restorers  Search this
Gallery owners  Search this
Topic:
Art -- Collectors and collecting  Search this
Function:
Art galleries, Commercial -- Massachusetts
Identifier:
AAA.castgall
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9aaf203ba-9ce0-45fb-b6c9-808816da0383
EDAN-URL:
ead_collection:sova-aaa-castgall

Louis A. Holman papers and Holman's Print Shop records

Creator:
Holman, Louis A. (Louis Arthur), 1866-1939  Search this
Holman's Print Shop  Search this
Goodspeed's Book Shop  Search this
Names:
Andrews, John  Search this
Cole, Timothy, 1852-1931  Search this
Datziel, John Sanderson  Search this
Heintzelman, Arthur William, 1891-1965  Search this
Holman, Richard Bourne, 1903-  Search this
Nash, Ray, 1905-  Search this
Extent:
2.7 Linear feet
Type:
Collection descriptions
Archival materials
Date:
ca. 1870-1977
Scope and Contents:
Letters, writings, a scrapbook, printed material, and files on printmakers documenting Holman's career as a Boston print dealer at Goodspeed's Book Shop and the Holman Print Shop.
Included are correspondence with customers, publishers, family, museums, galleries, and others concerning Holman's business and expertise in the field of prints, ca. 1890-1941; a typescript "What Does a Print Seller Look for in a Print?"; a scrapbook of clippings about the Holman Print Shop, 1931-1937; clippings; advertisements; and exhibition announcements and catalogs.
Also included are artist/subject files containing letters and printed materials on Joseph Andrews, Timothy Cole, John Sanderson Datziel, Arthur Heintzelman and the book Old Maps and Their Makers. Included in the Andrews file is a ledger book, ca. 1851-1869, with clippings on his "Plymouth Rock." The Cole file has letters from and about Cole, cancelled checks, biographical sketches, notes, lists of works, clippings, reproductions of work, a bookplate designed by Cole, and photographs of Cole.
ADDITION (1.4 linear ft.): Biographical material; memorabilia; diaries, 1925-1938, detailing the running of a print dealership; notes, writings, and lectures; business and financial records, among them guestbooks kept by Holman's Print Shop from its founding until its closing, recording signatures, remarks, and several caricatures from noted artists and collectors; printed material; Richard Holman's research file on John Foster's "A Map of New-England," including correspondence with several noted mid-20th century authorities on American printing and printmaking history, in particular Ray Nash; and photographs.
Biographical / Historical:
Illustrator, art editor, and print dealer; Boston, Mass. Holman was born on Prince Edward Island, Canada, and began work in the bookselling and publishing business in Canada. He moved to Boston in 1889, where he attended Cowles Art School and studied with the painter Charles Woodbury. Holman travelled extensively and contributed illustrations and articles to various popular magazines and worked as art editor of New England Magazine and the Youth's Companion. In 1915, he established a print department at Goodspeed's Book Shop, leaving in 1930 to open his own firm, Holman's Print Shop, where he was joined by his son, Richard Bourne Holman, who ran the firm after Louis' death in 1939 until 1977.
Provenance:
Donated 1991 and 1997 by William Greenbaum, a print dealer. According to Greenbaum, other business records of Holman's Print Shop may have been discarded.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Engravers (printmakers)  Search this
Gallery owners  Search this
Art dealers -- Massachusetts -- Boston  Search this
Topic:
Prints, American  Search this
Wood-engraving  Search this
Prints -- Collectors and collecting -- Massachusetts -- Boston  Search this
Prints -- 19th century  Search this
Prints -- 20th century  Search this
Map printing  Search this
Art -- Collectors and collecting  Search this
Function:
Art galleries, Commercial -- Massachusetts
Identifier:
AAA.holmloui
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91ae8cc45-dae8-4359-9c21-1ecda1d9266c
EDAN-URL:
ead_collection:sova-aaa-holmloui

Lilian Swann Saarinen papers

Creator:
Saarinen, Lilian Swann, 1912-1995  Search this
Names:
Cambridge Art Center  Search this
Cranbrook Academy of Art -- Faculty  Search this
G Place Gallery (Washington, D.C.)  Search this
Knoll Associates, inc.  Search this
Massachusetts Institute of Technology -- Faculty  Search this
Midtown Galleries (New York, N.Y.)  Search this
Otava Publishing Company  Search this
Reynal & Hitchcock  Search this
Armitage, Merle, 1893-1975  Search this
Crosby, Caresse, 1892-  Search this
Eames, Charles  Search this
Eames, Ray  Search this
Koch, Carl  Search this
Kreis, Henry, 1899-1963  Search this
Milles, Carl, 1875-1955  Search this
Moholy-Nagy, László, 1895-1946  Search this
Moholy-Nagy, Sibyl, 1905-  Search this
Saarinen, Eero, 1910-1961  Search this
Saarinen, Eliel, 1873-1950  Search this
Saarinen, Loja  Search this
Venturi, Robert  Search this
Weese, Harry, 1915-1998  Search this
Extent:
9 Linear feet
Type:
Collection descriptions
Archival materials
Blueprints
Diaries
Illustrations
Sketches
Photographs
Scrapbooks
Date:
circa 1909-1977
Summary:
The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.
Scope and Contents:
The papers of Cambridge sculptor and illustrator, Lilian Swann Saarinen, measure nine linear feet and date from circa 1909 to 1977. The collection documents Saarinen's career through correspondence with artists, architects, publishers, and gallery owners; writings and notes, including manuscripts and illustrations for children's books and publications; project and teaching files; financial records; artwork, including numerous project sketches; and photos of Saarinen and her artwork. Saarinen's personal life is also documented through diaries and correspondence with friends and family members, including Eero Saarinen, to whom she was married from 1939-1953.

Biographical material consists of resumes and biographical sketches, as well as a 1951 blueprint for the Eero Saarinen and Associates Office Building in Bloomfield Hills, Michigan.

Correspondence documents Saarinen's personal and professional life through letters to and from Eero Saarinen and other family members, including six letters from Loja Saarinen; correspondence with artists and architects, including Merle Armitage, Charles and Ray Eames, Carl Koch, Henry Kreis, Carl Milles, Laszlo and Sibyl Moholy-Nagy, Robert Venturi, and Harry Weese; and friends and colleagues at the Cranbrook Academy of Art and Knoll Associates. Also documented is Saarinen's business relationship with Midtown Galleries and Caresse Crosby, and publishers and publications including Child Life, Interiors, Otava Publishing Company, and Reynal & Hitchcock, Inc.

Writings and Notes document Saarinen's work on several children's publications, including Picture Book Zoo (1935) and Who Am I? (1946), through correspondence, notes, manuscript drafts, and extensive sketches. This series also includes Saarinen's ideas for other publications and incorporates some early writings and notes, as well as typescripts of her reminiscences about Eliel Saarinen, the Saarinen family, and the Cranbrook Academy of Art.

Diaries consist of bound diary volumes, loose-leaf journal entries, and heavily annotated engagement calendars, documenting Saarinen's personal life, artistic aspirations, and career development from the 1930s-1970s. This material provides a deeply personal view of the emotional landscape of Saarinen's life, her struggles to balance her identity as a working artist with the roles of wife, mother, and homemaker, and the complex, and often competing, relationships within the renowned architectural family into which she married.

Project files document Saarinen's work on book cover designs, federal and post office commissions in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, reliefs for the Crow Island School in Winnetka, Illinois, and other important commissions including the Harbor National Bank Clock in Boston, Massachusetts, the KLM Airlines installation at JFK Airport, the Fountain of Noah sculpture at the Northland Center in Detroit, Michigan, and the interior of Toffenetti's restaurant in Chicago, Illinois. Also documented is her role in designs for the Gateway Arch in St. Louis, with Eero Saarinen.

Teaching files document Saarinen's "Language of Clay Course" which she taught at Cambridge Art Center and the Massachusetts Institute of Technology.

Financial records document exhibition and sales expenses for two exhibitions, including her show at G Place Gallery in 1944.

Printed material consists of clippings about Saarinen and her family, exhibition announcements and catalogs for herself and others, and reference files from the 1930s-1940s, primarily comprising clippings of animals.

Additional printed material documenting Saarinen's career can be found in one of two scrapbooks found in the collection. An additional scrapbook consists of clippings relating primarily to Saarinen's parents.

Artwork comprises extensive sketches, particularly animal and figure sketches, in graphite, crayon, ink, pastel, and watercolor. The sketches demonstrate in particular Saarinen's developing interest in and skill with animal portraiture from her childhood to the 1960s.

Photographs are primarily of artwork and Saarinen's 1944 exhibition at G Place Gallery. Also found are one negative of Saarinen, probably with Eero Saarinen, and a group photo including Lilian, Eero, and Eliel Saarinen with the model for the Detroit Civic Center, circa 1940s.
Arrangement:
The collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, circa 1930s-1960s (3 folders; Box 1, OV 12)

Series 2: Correspondence, 1920-1974 (1.9 linear feet; Boxes 1-2, 8, OV 12)

Series 3: Writings and Notes, 1920s-1973 (1.3 linear feet, Boxes 2-3, 8, OVs 13-16)

Series 4: Diaries, 1930-1973 (1.4 linear feet, Boxes 3-5, 8)

Series 5: Project Files, 1931-1966 (1.7 linear feet, Boxes 5-6, 8, OVs 17-19)

Series 6: Teaching Files, 1966-1970 (3 folders, Box 6)

Series 7: Financial Records, 1940s-1970s (2 folders, Box 6)

Series 8: Printed Material, circa 1930s-1970s (0.2 linear feet, Box 6)

Series 9: Scrapbooks, circa 1909-1974 (2 folders; Boxes 6, 9)

Series 10: Artwork, circa 1920s-circa 1960s (1.7 linear feet, Boxes 6-7, 9-10, OVs 20-27)

Series 11: Photographs, circa 1940s, 1977 (0.5 linear feet, Boxes 7, 11, OV 27)
Biographical / Historical:
Cambridge artist and sculptor, Lilian Swann Saarinen (1912-1995), studied at the Art Students League with Alexander Archipenko in 1928, and later with Albert Stewart and Heninz Warneke from 1934-1936, before moving to Michigan where she studied with Carl Milles at the Cranbrook Academy of Art from 1936-1940. Saarinen was an accomplished skier and a member of the 1936 US Olympic ski team.

At Cranbrook, Swann met architect Eero Saarinen, whom she married in 1939. She subsequently worked with Saarinen's design group on a variety of projects, including the Westward Expansion Memorial, which later became known as the "Gateway Arch" in St. Louis. Lilian and Eero had a son, Eric, and a daughter, Susie, before divorcing in 1953.

Saarinen, who had developed an affinity for drawing animals in childhood, specialized in animal portraits in a variety of sculptural media. In 1939, she exhibited her sculpture Night, which depicted Bagheera the panther from Rudyard Kipling's Jungle Book, at the World's Fair. The sculpture was placed in the Boston Public Garden in 1986. In the 1930s and 1940s Saarinen was commissioned to work on a variety of architectural projects, including reliefs for post offices in Bloomfield, Indiana, Carlisle, Kentucky, and Evanston, Illinois, and the Crow Island School in Winnetka, Illinois. She also executed commissions for the Harbor National Bank in Boston, KLM (Royal Dutch Airlines) at JFK Airport, the Northland shopping Center in Detroit Michigan, and Toffenetti's Restaurant in Chicago.

Saarinen was a contributing author and illustrator for a variety of publications, including Child Life, Interiors and Portfolio: An Intercontinental Quarterly. In 1935 she illustrated Picture Book Zoo for the Bronx Zoo and in 1946 Reynal & Hitchcock, Inc. published Who Am I?, a children's book which Saarinen wrote and illustrated.

Saarinen taught ceramic sculpture to soldiers for the Red Cross Arts and Skills Unit rehabilitation program in 1945, served on the Visiting Committee to the Museum School at the Museum of Fine Arts, Boston, from 1959-1964, where she taught ceramics, and later taught a course entitled "The Language of Clay" at the Cambridge Art Center and the Massachusetts Institute of Technology. One of Saarinen's private students at Cambridge was her cousin, Edie Sedgwick.

Saarinen died in Cohasset, Massachusetts, in 1995 at the age of 83.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reels 1152 and 1192) including a scrapbook containing clippings, copies of letters and telegrams received, and reproductions of Saarinen's work. There is a copy of Saarinen's book, "Who Am I?", and three albums containing photographs of Saarinen, photographs and reproductions of her work, a list of exhibitions, quotes about her, and writings by her about sculpture. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
Lilian Swann Saarinen donated the collection in 1975. She lent additional materials for microfilming in 1976.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The 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.
Occupation:
Sculptors -- Massachusetts -- Cambridge  Search this
Topic:
Women artists  Search this
Art -- Study and teaching  Search this
Illustrated books, Children's  Search this
Gateway Arch (Saint Louis, Mo.)  Search this
Sculpture, Modern -- 20th century -- United States  Search this
Illustrators -- Massachusetts  Search this
Art, Municipal  Search this
Women sculptors  Search this
Women illustrators  Search this
Function:
Art commissions
Genre/Form:
Blueprints
Diaries
Illustrations
Sketches
Photographs
Scrapbooks
Citation:
Lilian Swann Saarinen papers, circa 1909-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.saarlili
See more items in:
Lilian Swann Saarinen papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97f1e4305-3886-479a-9db7-48c98fd8d2dd
EDAN-URL:
ead_collection:sova-aaa-saarlili
Online Media:

Max Bohm papers

Creator:
Bohm, Max, 1868-1923  Search this
Names:
Beachcombers (Organization)  Search this
Salmagundi Club  Search this
Bohm, Zella Newcomb  Search this
Hunt, Clyde du Vernet  Search this
Locke, Esther Bohm, d. 1913  Search this
Longyear, Mary Beecher, 1851-1931  Search this
Macbeth, Robert W. (Robert Walker), 1884-1940  Search this
Macbeth, William, 1851-1917  Search this
Extent:
5.6 Linear feet
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Sketchbooks
Sketches
Paintings
Photographs
Drawings
Diaries
Place:
France -- description and travel
Date:
1873-1970
bulk 1880-1959
Summary:
The papers of painter Max Bohm measure 5.6 linear feet and date from 1873-1970, with the bulk of the material dating from 1880-1959. Biographical material includes a file concerning the Provincetown artist's club The Beachcombers. Also found is detailed family correspondence, as well as general correspondence that includes exchanges with patron Mary Beecher Longyear and dealer William Macbeth. The papers contain scattered business records; five diaries written by Bohm's wife Zella; other notes and writings; art work including fifteen sketchbooks, loose drawings, and oil paintings; printed material; and photographs of Bohm, his family, and colleagues including artists attending a Salmagundi dinner. There is also a motion picture film Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It.
Scope and Contents:
The papers of painter Max Bohm measure 5.6 linear feet and date from 1873-1970, with the bulk of the material dating from 1880-1959. Biographical material includes a file concerning the Provincetown artist's club The Beachcombers. Also found within the papers is detailed family correspondence, as well as general correspondence that includes exchanges with patron Mary Beecher Longyear and dealer William Macbeth. Also found are scattered business records; five diaries written by Bohm's wife Zella; other notes and writings; art work including sketchbooks, loose drawings, and oil paintings; printed material; and photographs of Bohm, his family, and colleagues including artists attending a Salmagundi dinner. There is also a motion picture film Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It.

Family correspondence consists of letters exchanged between various Bohm family members during their long periods of separation. Decades of almost daily exchanges of letters offer detailed descriptions of Bohm's activities in pursuit of notoriety as an artist including his frequent travels in Europe and the United States, attendance of art-related and other cultural events, and his thoughts about art, philosophy, and his strong opposition to German aggression in World War I. The often affectionate letters from Bohm's wife Zella describe her concerns over finances and raising the children during Bohm's frequent absences, but also include descriptions of their summers in coastal France.

Professional correspondence consists of scattered letters discussing art-related business with colleagues including Bohm's longtime patron and Christian Science advocate, Mary Beecher Longyear, and Macbeth Gallery owners Robert and William Macbeth.

Scattered business records include price lists for art work, banking records, and miscellaneous receipts.

Five diaries and loose diary pages written by Bohm's wife Zella contain detailed descriptions of daily activities and her observations and thoughts, some drawings, notes, and financial notations. Some of the diaries contain annotations by her daughter, Esther.

Notes and writings include notebooks containing original short stories and miscellaneous sketches by Bohm, lists of art work, miscellaneous notes including several written by Esther Bohm, and miscellaneous writings by and about Bohm including his typescript "An Artist's Philosophy."

Art work consists of fifteen sketchbooks, miscellaneous drawings including a self-portrait, and oil paintings on board and on unstretched canvases including Bohm's studies of works by Titian and Van Dyke, and a painting of a young Esther Bohm looking at the sea. Works by others include a batik design on silk by Zella Bohm, a watercolor by Bohm's aunt, Anna Stuhr Weitz, and an oil portrait of Zella by her granddaughter.

Printed material primarily consists of clippings generated by Bohm's participation in the Paris Salons, in addition to several exhibition announcements and catalogs for Bohm and for others, and reproductions of art work by Bohm and others. There are also 2 copies of a silent, black and white Pathé newsreel titled Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It on 16mm and 35mm film reels.

Photographs are of Bohm and his family, colleagues including Clyde du Vernet Hunt in his studio and a Salmagundi Club "Get Together" dinner, views of the town of Etaples, France, and of works of art by Bohm and others.
Arrangement:
The papers have been organized into 8 series.

Missing Title

Series 1: Biographical Material, 1898-1970 (0.1 linear feet; Box 1, OV 8)

Series 2: Correspondence, 1880-1955 (3.3 linear feet; Boxes 1-4, 7)

Series 3: Business Records, 1910-1930 (0.2 linear feet; Box 4)

Series 4: Diaries, 1887-1916 (0.2 linear feet; Box 4)

Series 5: Notes and Writings, 1882-circa 1970 (0.2 linear feet; Boxes 4, 7)

Series 6: Art Work, 1873-1951 (0.6 linear feet; Boxes 4-5, 7, OVs 8-10)

Series 7: Printed Material and Motion Picture Film, 1886-1957 (0.8 linear feet; Boxes 5-7, FC 11-12)

Series 8: Photographs, 1886-1959 (0.2 linear feet; Boxes 6-7)
Biographical / Historical:
Max Bohm was born on January 21, 1868, in Cleveland, Ohio, the son of Henry and Emilie Bohm.

Bohm began his study of art in 1887 when he accompanied his aunt, Anna Stuhr, on the first of several voyages to France. He studied in artist communities in Brittany and in Paris at the Académie Julian with Boulanger, Lefebvre, and Benjamin Constant. He also traveled to Belgium, The Netherlands, and Germany.

In 1895, Bohm attended an open school of painting in Etaples on the coast of France, and during the winter months he taught painting at a school in London, England. His painting En Mer was awarded the Gold Medal by the Paris Salon of 1897.

While teaching in Etaples in 1898, Bohm married one of his pupils, Zella Newcomb, an art teacher from Carlton College in Minnesota. In 1900, the Bohms traveled to Italy for several months before returning to Minneapolis, Minnesota, where Bohm established a studio. After trying to find affordable studio and living space in New York City, Bohm moved his family back to France in 1902. Bohm established a studio in Paris for two years and during the summer months his wife and children moved to the less expensive and cooler coastal towns of France. Bohm continued to display his work in the annual Paris Salons.

From 1905 until the summer of 1908, the Bohm family lived primarily in England. In 1909, Bohm entered and won the Cleveland Court House mural competition, prompting the family to return to the United States for several months. They returned to Paris the following year, where Bohm established a studio and worked on the Cleveland Court House mural. Again, Bohm's wife and children would live in French coastal towns, while Bohm was on extended visits to Paris, London, or the United States.

Sometime around 1911, Bohm became acquainted with Mrs. Mary Beecher Longyear, a wealthy follower of Mary Baker Eddy and Christian Science. Over the next decade, Mrs. Longyear commissioned many works by Bohm and supported his career. In May of 1912 Bohm's mural, First New England Town Meeting, was installed in the new Cleveland Court House and arrangements were made with Macbeth Galleries to exhibit Bohm's work. Late in 1913, Bohm became involved with the Pan-Pacific International Exposition where his painting Promenade won the Gold Medal in 1915.

During World War I, the Bohm family fled France and temporarily settled in Tuckahoe, New York, and Bohm made frequent visits to his patron, Mrs. Longyear, in Boston. In 1916, the Knoedler Gallery exhibited Bohm's murals for Mrs. Longyear's music room. Also during this time, the family enjoyed spending summers in Provincetown, where Bohm joined The Beachcombers, an organization of artists.

In 1919, the Bohms built a house in Bronxville, New York, for easy access to New York City, while simultaneously purchasing a cottage in Provincetown. While the house was being constructed, Zella and the children became boarders in the home of painter Spencer Nichols, who also lived in Bronxville. During this year, Max Bohm, Jr., entered Harvard University while Mrs. Longyear continued to provide commissions for Max Bohm's art work.

Between 1922 and 1923, Bohm had exhibitions in Greenwich, Connecticut, Washington, D.C., and at the Grand Central Galleries, with his painting En Mer being exhibited at the National Academy of Design.

Max Bohm died on September 19, 1923 in Provincetown, Massachusetts.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 420-421) including biographical material, scattered letters, notes and writings, drawings, clippings, exhibition catalogs, booklets, a scrapbooks, and photographs of Bohm, his family, colleagues, and residences. Loaned materials were returned to the lender and are not described in the collection container inventory.

The original Six Foot Art film was also transferred to 16mm and 35mm film reels in the 1970s, but is not in the collection.
Provenance:
Kathryn Esther Locke and Elizabeth Schwarz, the artist's daughters, lent the material on microfilm reels 420-421 and donated papers in 1972.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The 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.
Occupation:
Painters -- Massachusetts -- Provincetown  Search this
Topic:
World War, 1914-1918  Search this
Art -- Philosophy  Search this
Christian Scientists  Search this
Painting, American -- Massachusetts -- Provincetown  Search this
Genre/Form:
Motion pictures (visual works)
Sketchbooks
Sketches
Paintings
Photographs
Drawings
Diaries
Citation:
Max Bohm papers, 1873-1970, bulk 1880-1959. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bohmmax
See more items in:
Max Bohm papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a9971cac-441d-463e-81f7-e2902adf468f
EDAN-URL:
ead_collection:sova-aaa-bohmmax
Online Media:

MacIvor Reddie papers

Creator:
Reddie, MacIvor, 1899-1966  Search this
Names:
MacIvor Reddie Gallery  Search this
School of Practical Art (Boston, Mass.)  Search this
Extent:
4 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1869-1975
Scope and Contents:
Correspondence, printed material, photographs, biographical data, and sketchbooks.
REEL 940: Personal and official correspondence with attached explanatory notes by Mrs. Reddie; biographical data and reminiscences; a certificate of award; exhibition material, 1953-1966; reproductions of Reddie's work; clippings; and photographs of Reddie and his work.
UNMICROFILMED: 50 sketches and 5 sketchbooks; ca. 300 photographs of Reddie's work and his family; exhibition catalogs from the MacIvor Reddie Gallery and from the School of Practical Art (now the Art Institute of Boston); and clippings on artists, horses, and various topics.
Biographical / Historical:
Educator, watercolorist, landscape, portrait, marine painter, and gallery owner; Cohasset, Mass. Taught at the School of the Museum of Fine Arts, Boston.
Provenance:
Unmicrofilmed material was donated by Mrs. Elizabeth Reddie, Reddie's wife, 1973. Material on reel 940 was lent for microfilming by her, 1975.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
Occupation:
Landscape painters -- Massachusetts  Search this
Marine painters -- Massachusetts  Search this
Watercolorists -- Massachusetts  Search this
Topic:
Landscape painting -- 20th century -- Massachusetts  Search this
Marine painting -- 20th century -- Massachusetts  Search this
Watercolor painting -- 20th century -- Massachusetts  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.reddmaci
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw911f05715-8a61-4203-9bfe-69280e89a270
EDAN-URL:
ead_collection:sova-aaa-reddmaci

Oral history interview with Bernard Chaet

Interviewee:
Chaet, Bernard  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Boris Mirski Gallery (Boston, Mass.)  Search this
Yale University. School of Art  Search this
Albers, Josef  Search this
Zerbe, Karl, 1903-1972  Search this
Extent:
5 Items (sound files (3 hrs., 30 min.), digital, wav file)
92 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1997 June 18-August 15
Scope and Contents:
An interview with Bernard Chaet conducted 1997 June 18-August 15, by Robert Brown, for the Archives of American Art, at Chaet's home in Rockport, Massachusetts.
Chaet briefly speaks of his life growing up in the Dorchester neighborhood of Boston and his family, in particular his father, before segueing into his early beginnings as an artist and his acceptance into the School of the Museum of Fine Arts; he discusses his training there, as well as the three-year interim after he quit and before he completed his education at Tufts University when he worked alone; he refers to his teacher and the head of the Department of Painting at the School of the Museum of Fine Arts, Karl Zerbe, often, including his falling out with Zerbe, citing this as the reason his quit the school; he recalls his relationship with Boston art gallery owner Boris Mirski, who supported him from an early stage and sent him to Europe when he was young, the evolution of his relationship with Mirski, and the reason for their eventual falling out; Chaet describes his trip to Europe, where he traveled for several months with friends, at length, including the art museums and the suffering he witnessed in Italy and Spain, as well as accidentally meeting Picasso in Antibes, and the influence the trip had on his work; he recalls how he became an art teacher, how he was hired by Josef Albers at Yale, his tenure at Yale, some of the students there, including Chuck Close, Nancy Graves, and Richard Serra, as well as the internal politics and his accomplishments; he discusses his own evolution as an artist, including his use of watercolors, as well as his return to certain themes, such as his painting of cows (and how, more generally, artists do return to themes throughout their lives), and the balance between teaching and being an artist; Chaet mentions the beginnings of Artists Equity and Cold War politics. Chaet also recalls his wife, the artist Ninon Lacey, his former roommate, the artist David Aronson, and art world figures: Hyman Swetzoff, Edith Halpert, Dorothy Adlow, Charles Sawyer, Jackson Pollock, Pablo Picasso, Hyman Bloom, Willem de Kooning, Rico Lebrun, and others.
Biographical / Historical:
Bernard Chaet (1924-2012) was a painter and teacher from New Haven, Connecticut and Rockport, Massachusetts.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 3 hr., 29 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:
This transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Occupation:
Painters -- Connecticut -- Interviews  Search this
Art teachers -- Connecticut -- New Haven -- Interviews  Search this
Topic:
Painters -- Massachusetts -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.chaet97
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ece6734d-fae8-47b2-b7af-301c64a1ccdd
EDAN-URL:
ead_collection:sova-aaa-chaet97
Online Media:

Oral history interview with Margaret N. Lockwood

Interviewee:
Lockwood, Margaret N., 1939-  Search this
Interviewer:
Brown, Robert F.  Search this
Creator:
Impressions Workshop (Firm)  Search this
Names:
Impressions Workshop (Firm)  Search this
Baskin, Leonard, 1922-2000  Search this
Lockwood, George, 1929-  Search this
Extent:
46 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1992 Aug. 27 and Sept. 15
Scope and Contents:
An interview of Margaret Lockwood conducted 1992 Aug. 27 and Sept. 15, by Robert Brown, for the Archives of American Art.
Lockwood discusses her upbringing in a Boston area Irish family and her early interest in writing; meeting and subsequently marrying (1960) George Lockwood, a poet, printmaker and printer; the printmaker Leonard Baskin, for whom Lockwood had worked; founding in 1960 with her husband the Impressions Workshop in Boston and her role there; special projects she undertook; and the quick succession of children (four).
Biographical / Historical:
Margaret N. Lockwood (1939- ), is a writer and owner of Impressions Workshop, a gallery and center for printmaking in Boston, Mass. The workshop was acquired by Stephen Andrus in the late 1960s, who added Impressions Gallery.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 53 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Gallery owners -- Massachusetts -- Boston  Search this
Authors -- Massachusetts -- Boston  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lockwo92
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f5e9c1d9-bbe4-4178-85d9-3811d8ee18f6
EDAN-URL:
ead_collection:sova-aaa-lockwo92
Online Media:

Oral history interview with Peter and Paula Lunder

Interviewee:
Lunder, Peter H.  Search this
Lunder, Paula Crane  Search this
Interviewer:
McElhinney, James Lancel, 1952-  Search this
Names:
Art Collectors: A Project in Partnership with the Center for the History of Collecting in America at The Frick Collection  Search this
Boston Red Sox (Baseball team)  Search this
Colby College. Museum of Art  Search this
Norton Gallery and School of Art  Search this
Smithsonian American Art Museum  Search this
Sterling and Francine Clark Art Institute  Search this
Abbott, Jere  Search this
Bixler, Julius Seelye, 1894-1985  Search this
Broun, Elizabeth  Search this
Cantor, Jay E.  Search this
Colville, Thomas L.  Search this
Corwin, Sharon  Search this
Gourley, Hugh J.  Search this
Greenbaum, Michael D.  Search this
Gurney, George  Search this
Stern, Max, 1903-1980  Search this
Twombly, Cy, 1928-  Search this
Walton, Alice, 1949-  Search this
Extent:
5 Items (sound files (2 hr., 41 min.) Audio, digital, wav)
64 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2017 October 19-20
Scope and Contents:
An oral history interview with Peter and Paula Lunder conducted 2017 October 19-20, 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 Colby College in Waterville, Maine.
Mr. and Ms. Lunder discuss their time living in Waterville and Dexter, Maine and Mr. Lunder's work as a partner at the Dexter Shoe Company; their exposures to art and culture while growing up in Boston and Chicago; their initial interests in art collecting and the shift of their focus from European art to American art; their associations with Hugh Gourley and other directors and curators at the Colby College Museum of Art; the relationships they made with fellow art collectors, museum curators, art dealers and gallery owners while growing their collection and when working on finding a home for their collection; their relationship with the former director of the Smithsonian American Art Museum Betsy Broun; Mr. Lunder's initial interest in Southwestern art and the development of their collection to include a wide range of American art; and Mr. Lunder's partial ownership of the Boston Red Sox beginning in 1977. Mr. and Ms. Lunder also describe living part-time in Florida and their patronage of the Norton Museum of Art in West Palm Beach; their desire to endow their collection to a Northeast regional museum in Maine; their belief in the importance of art conservation and their focus on having the collection be used for teaching; Ms. Lunder's work as a volunteer docent at the Colby Art Museum; and their work with the Clark Art Institute to support a place for art conservation in the region. Mr. and Ms. Lunder also recall Max Stern; Jere Abbott; Bro Adams; Thomas Colville; Margaret MacDonald; Sharon Corwin; Ann and Gil Maurer; Alice Walton as well as Jay Cantor; Seelye Bixler; Michael Greenbaum; George Gurney; Cy Twombly; Stephen Hannock; Doug Baxter; Christa Gaehde; and Michael Conforti, among others.
Biographical / Historical:
Peter Lunder (1933-) and Paula Lunder (1934- ) are art collectors and philanthropists in Boston, Massachusetts. James McElhinney (1952- ) is a painter and educator of 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 -- Massachusetts -- Boston -- Interviews  Search this
Philanthropists -- Massachusetts -- Boston -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.lunder17
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b99a4024-ecd7-4cff-a300-7ac51b4e7245
EDAN-URL:
ead_collection:sova-aaa-lunder17
Online Media:

Oral history interview with Carl Siembab, 1971 July 1

Interviewee:
Siembab, Carl, 1926-2007  Search this
Siembab, Carl, 1926-2007  Search this
Interviewer:
Brown, Robert F  Search this
Subject:
Carl Siembab Gallery  Search this
Type:
Sound recordings
Interviews
Topic:
Art dealers -- Massachusetts -- Boston -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12969
(DSI-AAA_SIRISBib)213090
AAA_collcode_siemba71
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213090

Oral history interview with Bernard Chaet, 1997 June 18-August 15

Interviewee:
Chaet, Bernard, 1924-2012  Search this
Chaet, Bernard, 1924-2012  Search this
Interviewer:
Brown, Robert F  Search this
Subject:
Albers, Josef  Search this
Zerbe, Karl  Search this
Boris Mirski Gallery (Boston, Mass.)  Search this
Yale University. School of Art  Search this
Type:
Sound recordings
Interviews
Topic:
Painters -- Massachusetts -- Interviews  Search this
Record number:
(DSI-AAA_CollID)13280
(DSI-AAA_SIRISBib)216431
AAA_collcode_chaet97
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216431
Online Media:

Oral history interview with Peter and Paula Lunder, 2017 October 19-20

Interviewee:
Lunder, Peter, 1933-  Search this
Lunder, Peter, 1933-  Search this
Interviewer:
McElhinney, James, 1952-  Search this
Subject:
Lunder, Paula Crane  Search this
Stern, Max  Search this
Broun, Elizabeth  Search this
Abbott, Jere  Search this
Gourley, Hugh J.  Search this
Colville, Thomas L.  Search this
Twombly, Cy  Search this
Walton, Alice  Search this
Corwin, Sharon  Search this
Cantor, Jay E.  Search this
Bixler, Julius Seelye  Search this
Greenbaum, Michael D.  Search this
Gurney, George  Search this
Smithsonian American Art Museum  Search this
Norton Gallery and School of Art  Search this
Sterling and Francine Clark Art Institute  Search this
Colby College. Museum of Art  Search this
Boston Red Sox (Baseball team)  Search this
Art Collectors: A Project in Partnership with the Center for the History of Collecting in America at The Frick Collection  Search this
Type:
Interviews
Sound recordings
Topic:
Art -- Collectors and collecting -- Massachusetts -- Boston -- Interviews  Search this
Philanthropists -- Massachusetts -- Boston -- Interviews  Search this
Record number:
(DSI-AAA_CollID)17520
(DSI-AAA_SIRISBib)391113
AAA_collcode_lunder17
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_391113

MacIvor Reddie papers, 1869-1975

Creator:
Reddie, MacIvor, 1899-1966  Search this
Reddie, MacIvor, 1899-1966  Search this
Subject:
MacIvor Reddie Gallery  Search this
School of Practical Art (Boston, Mass.)  Search this
Type:
Sketchbooks
Topic:
Landscape painting -- 20th century -- Massachusetts  Search this
Marine painting -- 20th century -- Massachusetts  Search this
Watercolor painting -- 20th century -- Massachusetts  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)9187
(DSI-AAA_SIRISBib)211382
AAA_collcode_reddmaci
Theme:
Sketches & Sketchbooks
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211382

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