The papers of New York gallery owner and art dealer David Herbert measure 5.8 linear feet and date from circa 1909-1996, with the bulk of the material dating from 1945-1995. Herbert's papers document his years working for Betty Parsons Gallery, Sidney Janis Gallery, Graham Gallery, and others; the operation of the David Herbert Gallery from 1959-1962; Herbert's partnerships and agreements with Richard Feigen and others; and his activities as an independent dealer. Records include biographical material, correspondence, notebooks, subject files, artist files, exhibition files, business records, printed material, and photographs.
Scope and Contents:
The papers of New York gallery owner and art dealer David Herbert measure 5.8 linear feet and date from circa 1909-1996, with the bulk of the material dating from 1945-1995. Herbert's papers document his years working for Betty Parsons Gallery, Sidney Janis Gallery, Graham Gallery, and others; the operation of the David Herbert Gallery from 1959-1962; Herbert's partnerships and agreements with Richard Feigen and others; and his activities as an independent dealer. Records include biographical material, correspondence, notebooks, subject files, artist files, exhibition files, business records, printed material, and photographs.
Biographical material includes address books and calendars, educational records, records of Herbert's military service in the United States Naval Construction Battalion in Japan, and resume's charting his career.
Correspondence is with Herbert's parents, friends, business colleagues, and artists. It includes documentation of Herbert's partnership with Richard Feigen, and his cooperative work with Irving Blum and Walter Hopps of Ferus Gallery in Los Angeles, and Robert Fraser in London. Also documented are Herbert's relationship with Jaime Andrade and Andrade's family, and a lawsuit Herbert brought against Aaron Berman relating to the ownership of an Ellsworth Kelly drawing. There are scattered letters and postcards from artists and collectors, including Martin Blaszko, Lloyd Cotsen, Martin Hoffman, Ray Johnson, Josephine Merck, Alfonso Ossorio, Paul Sorel, and Clyfford Still.
Notebooks provide brief notes on Herbert's day-to-day business dealings. Subject files, consisting primarily of printed material, document Herbert's interests in several art world figures, subjects such as ancient art, and travel to locations such as Ecuador, Puerto Rico, and Greece.
Exhibition files include installation shots and catalogs for many of the exhibitions held at the David Herbert Gallery between 1959 and 1962.
Artist files document Herbert's interest in individual artists, such as William Draper, Ellsworth Kelly, Franz Kline, Sven Lukin, Edgar Negret, Louise Nevelson, Anthony Padovano, Eduardo Ramirez, and Jeanne Reynal, through printed material, photographs of artwork, scattered artist letters, and sales documentation.
Business records document the financial details and overall goals of Herbert's various business ventures. There is a sales book for Betty Parsons Gallery and Sidney Janis Gallery; Herbert's appraisal, consignment, commission, sales, and loan records; Herbert's business plans and projections; financial statements from the David Herbert Gallery; sales records for Graham Gallery; and records of Herbert's partnership with Douglas McKelvy.
Printed material includes announcements and catalogs from galleries Herbert worked for or collaborated with, including Graham Gallery, Betty Parsons Gallery, Feigen/Herbert Gallery, Stewart Neill Gallery, and Robert Fraser Gallery. Also found are obituaries and other new clippings of interest to Herbert.
Photographs are of Herbert, family members, and friends and colleagues, including his companion, Jaime Andrade, Leonora Carrington, William Draper, Jon Carsman, Hans Namuth, and Leon Polk Smith. Many are color snapshots collected in two photographs albums. Also found are photographs taken in Japan and Iwo Jima in 1945-1946 of street scenes, Naval Construction Battalion facilities, and Herbert's army colleagues and friends.
Arrangement:
The collection is arranged as nine series.
Missing Title
Series 1: Biographical Material, 1920-circa 1995 (0.7 linear feet; Box 1)
Series 2: Correspondence, 1942-1996 (1 linear foot; Boxes 1-2)
Series 3: Notebooks, circa 1950s-circa 1995 (0.3 linear feet; Box 2)
Series 4: Subject Files, 1950s-1992 (0.4 linear feet; Boxes 2-3)
Series 5: Exhibition Files, 1959-1963 (0.25 linear feet; Box 3)
Series 6: Artist Files, 1950s-1993 (0.75 linear feet; Boxes 3-4)
Series 7: Business Records, 1950s-1992 (0.6 linear feet; Box 4)
Series 8: Printed Material, 1949-circa 1995 (1.4 linear feet; Boxes 5-7)
Series 9: Photographs, circa 1909-circa 1990 (0.4 linear feet; Box 7)
Biographical / Historical:
New York gallery owner and art dealer David Herbert (1920-1995, born David Herbert Schmerer), worked for a number of important galleries in New York, had his own eponymous gallery from 1959-1962, operated as a private dealer, and was in partnership with dealer Richard Feigen from 1962-1964.
Herbert served in the United States Naval Construction Battalion from 1943-1946 and was posted to Japan in 1945-1946. After receiving a BA in art history from Syracuse University in 1951, he worked for Betty Parsons Gallery (1951-1953) and Sidney Janis Gallery (1953-1959), selling the work of contemporary American painters and sculptors, handling publicity, and installing exhibitions.
Herbert forged strong connections with artists and collectors alike, and was instrumental in launching the careers of a number of important artists. One such artist was Ellsworth Kelly, whom he recommended to Parsons, triggering Kelly's New York career. He opened the David Herbert Gallery in 1959, with investment from Douglas McKelvy, promoting the works of artists including Willem de Kooning, Franz Kline, Jackson Pollock, and Louise Nevelson, to leading collectors and museums.
Herbert often worked in cooperation with colleagues Irving Blum and Walter Hobbs in Los Angeles, and Robert Fraser in London. After closing his gallery in 1962, Herbert entered a partnership with dealer Richand Feigen, operating the Feigen/Herbert Gallery from 1962-1964. From 1964-1969 he worked as a private dealer specializing in twentieth century works of art and serving as a consultant to collectors, museums, artists, and corporate interests. From 1969-1975 he was Director and Art Salesman of contemporary and 19th Century American Art at Graham Gallery. Herbert subsequently continued as a private dealer from 1975 until his death.
Herbert traveled extensively, visiting museums, collectors, and galleries in England, France, Italy, Greece, Spain, Colombia, Peru, Ecuador, Hawaii, and Japan. Through Edgar Negret, whom Herbert represented, he met Jaime Andrade, who became his assistant at the Feigen/Herbert Gallery in 1963. In turn Andrade shared with Herbert an interest in pre-Columbian art and contemporary Spanish and Latin America art, hosting multiple visits to his native Ecuador by Herbert and others, including artist William Draper.
Andrade served as executor of Herbert's estate, following Herbert's death in 1995.
Provenance:
The David Herbert papers were given to the Archives of American Art by Jaime Andrade, Herbert's companion, in 1999.
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:
Gallery owners -- New York (State) -- New York Search this
Art dealers -- New York (State) -- New York Search this
Topic:
Art, Modern -- 20th century -- New York (State) -- New York Search this
Genre/Form:
Photographs
Citation:
David Herbert papers, circa 1909-1996. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Roy Moyer, 1975 September 17-23. Archives of American Art, Smithsonian Institution.
University of California, Los Angeles. Library Search this
Type:
Interviews
Sound recordings
Place:
New York (N.Y.) -- Description and views
Arizona -- Description and travel
California -- description and travel
China -- description and travel
Greece -- description and travel
Italy -- description and travel
Nepal -- description and travel
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Cindy Kolodziejski, 2007 May 5-16. Archives of American Art, Smithsonian Institution.
An interview of Cindy Kolodziejski conducted 2007 May 5-16, by Frank Lloyd, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the Frank Lloyd Gallery, in Santa Monica, California.
Kolodziejski speaks of moving in her early childhood from Germany to Arizona and finally to California; the divorce of her parents at a young age and her feelings of abandonment; her desire as a young child to be an artist; the early influence of her grandmother, an art teacher; teaching herself how to draw by copying images and creating still-lifes; an influential art teacher in high school who encouraged her to pursue college-level art classes and attend art school after graduation; her decision to enroll at Otis College of Art and Design; her foundation art classes at Otis and increasing interest in ceramics; choosing ceramics as a medium because of its flexibility and of form and potential for imagery; the value of her art education to her career; earning a Master of Fine Arts degree while teaching at California State University, Long Beach; the union of form, function, and imagery in her work, especially seen in a recent exhibition at the Frank Lloyd Gallery titled "Reversal of Fountain"; using the University of California, Los Angeles, libraries to find images at first, and later searching the internet for inspiration; creating pieces which play with and explore gender issues and sexuality; being reviewed and featured in articles which are especially concerned with issues of the body and femininity; the documentation of her art in various periodicals and texts, including a piece she wrote for Ceramics Monthly concerning her own work; gaining exposure through these articles, which helped to advance her career; the painstaking and technical process required to fashion her works of art; showing at the Garth Clark Gallery very quickly after graduation; traveling to Greece, China, Nepal, New York, and Italy, and being influenced by the exposure to the different art and cultures; recent travels with her daughter to Italy and feeling excited and humbled by the beauty of certain works; giving a talk at the Getty Museum about a show entitled "The Royal Menagerie" featuring the Meissen large-scale porcelain animals; participating in group shows in museums, particularly the "Color and Fire" exhibit which showcased important ceramicists from 1950 to 2000; being awarded various grants and feeling that applying for those awards is a very worthwhile experience for many artists; teaching first at the high school level and then in college; her teaching methods; forming friendships with fellow artists and art teachers; integrating the use of technology into her art-making process by finding and manipulating images on the computer; feeling motivated to produce in a positive way for exhibition deadlines; the support and friendships that developed through exhibiting with the Clark Garth and Frank Lloyd galleries; the encouragement and support she has been shown by her family throughout her career; and categorizing herself first and foremost as an artist rather than a craft artist or ceramicist. Kolodziejski recalls, Lita Albuquerque, Jill Giegerich, Peter Lodato, Barbara Thomason, Roy Dowell, Eugene Sturman, Carol Caroompas, Tony Marsh, Ralph Baccera, Adrian Saxe, Ron Nagle, Roseline Delisle, John Mason, Jo Lauria, David Pagel, Garth Clark, and others.
Biographical / Historical:
Cindy Kolodziejski (1962- ) is a sculptor and painter from Venice, California. Frank Lloyd (1951- ) is a gallery owner from Santa Monica, California.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 4 hr., 10 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.
Photographs made by Janet Longcope during trips to countries around the world. They depict landscapes, buildings, markets, dances, agriculture, arts and crafts, ceremonies, children, cooking, musicians, and transportation. Locations depicted include Afghanistan, Australia, Bhutan, Brazil, Burma, Cambodia, Chile, Colombia, Easter Island, Egypt, Ethiopia, Fiji, Greece, Guatemala, Hawaii, Honduras, Hong Kong, India, Indonesia, Iran, Iraq, Israel, Italy, Japan, Jordan, Kenya, Lebanon, Macao, Malaysia, Mexico, Mongolia, Morocco, Nepal, New Guinea, New Zealand, Pakistan, Peru, Russia, Siberia, Singapore, Solomon Islands, Spain, Sri Lanka, Syria, Taiwan, Thailand, Uzbekistan, Vietnam, Yemen, and Yucatan. Longcope used many of these photographs in lectures.
Biographical/Historical note:
Janet Longcope (1886-1974) was a bookbinder and world traveler who gave informal lectures about her travels. Ater the death of her husband Dr. Warfield T. Longcope in 1953, she visited countries all over the world, returning to some, such as India, as many as nine times.
The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.
Scope and Contents:
The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.
Biographical material consists of awards, certificates, curriculum vitae, biographical outlines, exhibition lists, passports and other material. There is a partial transcript from a radio interview of Anna Walinska. Also included are limited financial records.
Correspondence includes Anna Walinska's letters to her family from her 1954-1955 trip abroad to multiple countries in Asia, the Middle East, and Europe. There is personal and professional correspondence with friends, artists and art institutions. Notable correspondents include Milton Avery, Louise Nevelson, Beata Welsing, Bracha Hacohen, William Littlefield, and Walinska's brother Louis Walinsky.
Writings consist of Walinska's notes, notebooks, lectures, essays, and a handwritten prospectus for Guild Art Gallery. There is one folder of writings by others about Walinska at the end of the series.
There are four travel diaries that describe Walinska's trip around the world from 1954-1955, during which she traveled to many countries, and later trips to locations such as Israel and Trinidad.
Printed Material include clippings about Anna Walinska, group and solo exhibition catalogs, announcements, event invitations, and course catalogs for the Master Institute of United Art in New York City, where Walinska taught painting and drawing classes.
There are three scrapbooks: one scrapbook is about Guild Art Gallery, the second scrapbook is about the Holocaust exhibition, the third oversized scrapbook documents Walinska's career and activities overall.
Artwork consists of two bound sketchbooks as well as drawings and sketches in a variety of mediums from pencil and ink to watercolors and oils.
Photographs are of Walinska, friends, family, artists, artwork, exhibition installations, and other subjects. One album includes photos of Anna Walinska and her travels, along with images of friends and colleagues. The second album includes photographs of Walinska's solo exhibition at Sunken Meadow Gallery (1959). There is also one folder of photocopies of photos of assorted artwork by Walinska.
Arrangement:
The collection is arranged as 8 series.
Series 1: Biographical Material, 1927-2002 (Box 1; 11 folders)
Series 2: Correspondence, 1949-1995 (Box 1; 0.4 linear feet)
Series 3: Writings, circa 1935-circa 1983 (Box 1; 8 folders)
Series 4: Travel Diaries, 1954-1973 (Box 1; 0.2 linear feet)
Series 5: Printed Material, 1942-2002 (Boxes 1-2; 0.4 linear feet)
Series 6: Scrapbooks, circa 1929-1980 (Boxes 2, 4; 0.5 linear feet)
Series 7: Artwork, circa 1929-1963 (Box 3; 5 folders)
Series 8: Photographs, circa 1932-1980 (Box 3; 0.3 linear feet)
Biographical / Historical:
Anna Walinska (1906-1997) was a New York artist, teacher and gallery director who traveled widely and is most well known for her paintings related to the subject of the Holocaust.
Anna Walinska was born in London, England in 1906 to labor organization leader Ossip Walinsky and poet Rosa Newman Walinska. She had two siblings, Emily and Louis. The family immigrated to New York City in 1914, and Anna Walinska began studying at the Art Students League in 1918. In 1926, she travelled to Paris and studied art at the Academie de Grande Chaumier with Andre L'Hote. France was her primary residence until 1930.
In 1935, Walinska and artist Margaret Lefranc co-founded the Guild Art Gallery at West 57th Street in New York and gave Arshile Gorky his first solo exhibition in the city. The gallery closed its doors in 1937. In 1939, Walinska was the Assistant Creative Director of the Contemporary Art Pavilion at the New York World's Fair. During this time, Walinska also pursued her own art and exhibited work in numerous group shows.
From 1954 to 1955, Walinska traveled around the world, visiting the capitals and major cities of many countries in Asia, the Middle East and Europe. Places she went included Japan, Burma (now known as Myanmar), Pakistan, Greece, Italy, France and Spain. During her four month stay in Burma, she painted a portrait of Prime Minister U Nu and she later became a highly respected portrait artist who painted numerous illustrious subjects such as First Lady Eleanor Roosevelt, artists Louise Nevelson and Mark Rothko, and many others.
In 1957, Walinska became the artist-in-residence at the Riverside Museum where she also taught and exhibited with other artists. That same year, she had her first retrospective at the Jewish Museum in New York City.
Walinska exhibited widely and often. Holocaust: Paintings and Drawings, 1953-1978, which opened at the Museum of Religious Art at the Cathedral of St. John the Divine in New York City, is probably the most well-known of her exhibitions and it traveled across the country to several other sites such as the War Memorial Building in Baltimore and Mercy College of Detroit. Works from this exhibition were acquired by multiple museums to become part of their permanent collections.
Walinkska died on December 19, 1997 at the age of 91 in New York City. In 1999, there was a retrospective of her work titled Echoes of the Holocaust: Paintings, Drawings, and Collage, 1940-1989 held at Clark University's Center for Holocaust Studies. The Onisaburo Gallery at New York's Interfaith Center also held a solo exhibition titled Portraits of Faith (2000). Her art is part of the collections at the Denver Art Museum, National Portrait Gallery, National Museum of Women in the Arts, the Rose Art Museum, and other museums.
Related Materials:
The Archives of American Art also has the Guild Art Gallery records, which consists of material related to the gallery that was co-founded by Anna Walinska.
Provenance:
The papers were donated by Anna Walinska in two installations in 1976 and 1981. Rosina Rubin, Anna Walinska's niece, made a third donation of material in 2017.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., research center.
Occupation:
Gallery directors -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
The papers of landscape painter Sanford Robinson Gifford, date from the 1840s through 1900, and circa 1960s-1970s. The bulk of the papers fall between 1855-1881; material from the circa 1960s-1970s consists of photographic copy prints for which the Archives does not have the originals. The small collection measures 0.9 linear feet of scattered documentation of Gifford's life, primarily extensive biographical accounts of his travels in the mid 1850s and late 1860s in the form of bound letters to his father. These serve as detailed journals of his impressions of Europe and the Middle East, the development of his painting, and his relationships with other artists such as Albert Bierstadt and Worthington Whittredge. The collection also contains sketches by Gifford, printed material including catalogs of Gifford's paintings, and photographs of Gifford and others.
Scope and Content Note:
The collection dates from the 1840s through 1900, and circa 1960s-1970s with the bulk of the material falling between 1855-1881. Material from circa 1960s-1970s consists of photographic copy prints of original photographs from the mid to late 1800s for which the Archives does not own the originals. The papers measure 0.9 linear feet and provide detailed documentation of the life of Hudson River School landscape painter, Sanford Robinson Gifford, during the mid 1850s and late 1860s. The papers contain extensive accounts of Gifford's travels in 3 bound volumes of typewritten letters from Gifford to his father. These letters serve as travel journals and provide extensive and vivid descriptions of Gifford's work and experiences in Europe and the Middle East, and document his relationships with a variety of other artists, including Alfred Bierstadt and Worthington Whittredge, during this period.
Additional records provide scattered documenation of other periods of Gifford's life. Letters refer to his travels in the American west and his Civil War service and its effect on his painting. Printed material includes clippings and exhibition catalogs, and includes a catalogue of his paintings published by the Metropolitan Museum of Art in 1881. Artwork by Gifford includes sketches by the artist and prints, engravings and paintings by various others. Original photographs date from 1856-1900 and include images of Gifford during the Civil War. Copyprints for which the Archives does not own the originals date from the circa 1960s-1970s and include two images of a family home in Hudson, New York, where Gifford had a studio in the mid 1860s, a portrait photograph of Gifford, and an image of Gifford on the Hayden expedition.
Arrangement:
The collection is arranged as 4 series:
Missing Title
Series 1: Letters, 1855-1874 (Box 1; 3 volumes, 1 folder)
Series 2: Printed Material, circa 1850s-1881 (Box 2; 4 folders)
Series 3: Artwork, circa 1840s-circa 1870s (Box 2, OV 3; 4 folders)
Series 4: Photographs and Copy Prints, 1856-circa 1900, circa 1960s-1970s (Box 2, 5, OV 4; 11 folders)
Biographical Note:
Sanford Robinson Gifford was born in Greenfield, New York, in 1823. He attended Brown University from 1842-1844 and moved to New York City in 1845 where he studied drawing, perspective and anatomy under the direction of the British watercolorist and drawing-master, John R. Smith. He also studied the human figure in anatomy classes at the Crosby Street Medical college and took drawing classes at the National Academy of Design. In 1846 he visited the Berkshire Hills and the Catskill Mountains, sketching from nature. "These studies," he wrote to O. B. Frothingham in 1874, "together with the great admiration I felt for the works of Cole developed a strong interest in landscape art, and opened my eyes to a keener perception and more intelligent enjoyment of nature. Having once enjoyed the absolute freedom of the landscape painters life I was unable to return to portrait painting."
The American Art Union bought and showed some of Gifford's first pictures in 1847. In 1851 he was elected an associate, and in 1854 an academician, of the National Academy of Design.
Gifford traveled widely to sketch landscapes for future paintings, recording his experiences in letters to his father which he intended would "serve the double purpose of letter and journal, and be an economy of time." He requested that his father number the letters sequentially and keep them together.
In the summer of 1855 Gifford visited England, Scotland and Paris, where he spent the winter of 1855 transforming his English and Scottish sketches into paintings. In the fall of 1856 he rented a studio in Rome and, over the course of the winter, painted pictures that reportedly pleased him "pretty well," including Lake Nemi. During the spring of 1857, Gifford spent time with fellow artists Worthington Whittredge, William H. Beard and Albert Bierstadt before leaving Rome in May with Bierstadt for a walking tour of southern Italy, where they planned to reconnect with Whittredge and Beard. Gifford ended his European tour with a visits to Innsbruck, Munich, Vienna, Prague, Dresden, Berlin and Paris, before returning to the United States at the end of the summer.
On his return Gifford rented studio Number 19 in the Tenth Street Studio Building in New York City, which he retained until his death. Over the next few years he also made frequent summer trips to various northeastern locales including the Catskills, the Adirondacks, the Green Mountains in Vermont, the White Mountains in New Hampshire, Maine and Nova Scotia.
Gifford served in New York's Seventh Regiment when it marched to the defense of Washington in April 1861, and again in 1862 and 1863. Several paintings resulted from this experience, including Sunday Morning at Camp Cameron (1861), Bivouac of the Seventh Regiment at Arlington Heights, Virginia (1861) and Camp of the Seventh Regiment, near Frederick, Maryland, in July 1863 (1864).
In 1868 Gifford returned to Europe, again visiting London and Paris, where he met with friends Jervis McEntee and his wife. He then spent the summer visiting the Alps and Sicily before wintering in Rome. In 1869 he traveled to Egypt where he and a small party hired a boat to take them on a two-month voyage from Cairo down the Nile River. Subsequently, Gifford traveled to the Middle East with Alfred Craven via the Suez Canal, where his itinerary included Syria, Jerusalem, Samaria, Damascus, Greece and Turkey. Gifford arrived in Venice in June 1869 and sailed for the United States at the beginning of September.
In 1870 Gifford visited Colorado with Worthington Whittredge and John Frederick Kensett, and accompanied a United States Geological party under Dr. Hayden in the exploration of Wyoming, Utah, and the Colorado Territories. In the summer of 1873 he visited California, Oregon, British Columbia and Alaska.
Gifford married in 1877 but in 1880 became ill and died of malarial fever and pneumonia at the age of 58. That same year he was honored with the Metropolitan Museum of Art's first monographic retrospective and a memorial catalogue of his known pictures.
Related Material:
Five sketchbooks were loaned by Vassar College in 1966 and the originals were returned to the donor after microfilming on reel D254.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels D254 and 688) including twenty-one sketchbooks, photographs, passports and certificates, an 1888 European travel diary of Mary Louise Willard, wife of Gifford's nephew, Harold, and a 1966 letter. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Edith Wilkinson first donated the Sanford Robinson Gifford papers in 1955 and 1957. James C. Gifford donated copy prints of photographs in 1964. Five sketchbooks were lent for microfilming by the Vassar College Art Library in 1966 and George and Frances Gifford Cummings donated additional material in 1973. In 1974, sixteen sketchbooks, photographs, and other materials were lent for microfilming by Dr. Sanford Gifford, Gifford's great-nephew.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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.
An interview of Roy Moyer, conducted September 17-23, 1975, by Paul Cummings, for the Archives of American Art, Smithsonian Institution at Moyer's New York City apartment.
Moyer speaks of his childhood, parents, and early music and art training in Allentown, Pennsylvania; his education at Columbia University and the University of Oslo; joining the Army during World War II; teaching English in Greece during its civil war; teaching at the University of Toronto; consulting on educational TV programs; working in the Weyhe Gallery; his management practices and overseeing exhibitions, the film program, and various other initiatives as director of the American Federation of Arts; his painting practice; the growth in the number of art organizations in the 1960s and '70s; and his transition to working for UNICEF. Moyer also recalls Lionel Trilling, Meyer Schapiro, Martha Dickinson, Erhard Weyhe, Roy Neuberger, and others.
Biographical / Historical:
Roy Moyer (1921-2007) was a painter and art administrator from New York, New York.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 4 hr., 16 min.
Provenance:
These interviews are 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 others.
Nine photographs taken by Nickolas Boris, possibly of Greece, depicting temples, landscapes, and people.
Provenance:
Provenance is unknown.
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. Contact Reference Services for more information.
