Quotes and excerpts must be cited as follows: Oral history interview with Philip Evergood, 1968 Dec. 3. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- New York (State) -- Interviews Search this
An interview of Phillip A. Bruno conducted 2009 January 13-21, by James McElhinney, for the Archives of American Art, at the Archives of American Art, in New York, New York.
Bruno speaks of some his earliest impressions of art while growing up in New York and Paris; attending Columbia University, where he majored in the history of painting and architecture and studied under Meyer Schapiro; his first job at the Weyhe Gallery as a gallery assistant; helping create the Grace Borgenicht Gallery, where he served as director for five years; traveling to Mexico, meeting Jose Cuevas and exhibiting his work at the Edward Loeb Gallery in Paris; traveling to Brazil and meeting a family of naturalist painters who emphasized the importance of painting outdoors, unlike many painters from the New York school; working with Henry Clews and the La Napoule Art Foundation; selling a piece of Salvador Dali jewelry made by Carlos Alamanni to Hugh Hefner, founder of Playboy Magazine; working as director of The World House Gallery and selling works by Fancis Bacon and Max Ernst to clients such as Joseph Hirshhorn and Roy Neuberger; organizing a exhibition of artists shown at the Brussels World Fair in 1958 at World House and meeting George Staempfli through the artist Joan Brown; moving from World House to the Staempfli Gallery in 1960 to work as co-director; the Staempfli Gallery's role in the international art world; an original drawing by Leonard Baskin inscribed to Phillip in 1954; selling the work of artists such as Harry Bertoia, Fritz Koening, and David Park; meeting Henri Matisse in Paris at the age of 21; visiting the studios of Alexander Calder and Mark Rothko; the difference between galleries that can spot new talent and galleries that sell certain artists well; the art market becoming less idealistic and more commercial; the rising importance of auction houses and the possibility of their taking the place of traditional art galleries; the move of the Staempfli Gallery to the SoHo neighborhood and soon after, leaving Staempfli for Marlborough, where he was one of the New York directors for 18 years; his appreciation for the creativity of others, retirement and current plans to write his memoirs. Bruno also recalls Milton Avery, Gabor Peterdi, Hans Muller, Ralston Crawford, Randall Morgan, Charlotte Willard, Dorthy Satterlee, Masayuki Nagare, Claude Bemardin, Kubach-Wilmsen, Louise Nevelson, Cladio Bravo, Lopez Garcia, Alberto Giacometti, The Barnes Foundation, Richard Estes, Alex Katz, and Neil Wlliver.
Biographical / Historical:
Phillip A. Bruno (1930- ) is an art collector and director of Marlborough Gallery, New York, New York.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr., 45 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.
Occupation:
Gallery directors -- New York (State) -- New York Search this
Topic:
Collectors and collecting -- New York (State) -- New York Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview was provided by the Widgeon Point Charitable Foundation.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
The collection consists of two (2) color woodblock prints and eight (8) crayon and pencil drawings made by Inuit residents of Cape Dorset in Nunavut territory, Canada, from 1963-1966. The prints and drawings depict traditional Inuit subjects, including birds, bears, fish and hunting scenes. Many of the items are labeled with titles, dates, and artists' names.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Historical Note:
Cape Dorset is an Inuit community located on Dorset Island in the Qikiqtaaluk region of Nunavut, Canada. Since the 1950s, Cape Dorset, often called the "Capital of Inuit Art," has been a center for Inuit artists, especially in the areas of drawing, printmaking, and carving.
Local Numbers:
NAA MS 1988-27
Related Materials:
The Department of Anthropology object collections holds materials transferred from the Hirshhorn Museum and Sculpture Garden in Accession 370312.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Works of art
Drawings
Prints
Citation:
MS 1988-27 Inuit drawings and prints, National Anthropological Archives, Smithsonian Institution.
United States of America -- Connecticut -- Fairfield County -- Greenwich
Date:
1968
General:
There are 400 pieces of sculpture in the collection; 120 pieces were on the grounds. Pieces were transferred to the Smithsonian's Hirshhorn Museum and Sculpture Garden in Washington, D.C. Picture taken during the Garden Club of America's 1968 Annual Meeting. Side view of house and formal rose garden.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
Quotes and excerpts must be cited as follows: Oral history interview with Abram Lerner, 1975 Dec. 9-1976 Jan. 27. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting -- Washington (D.C.) Search this
Art -- Collectors and collecting -- New York (State) -- New York Search this
Quotes and excerpts must be cited as follows: Oral history interview with Joseph H. Hirshhorn, 1976 Dec. 16. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting -- New York (State) -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Charles Alan, 1970 August 20-25. Archives of American Art, Smithsonian Institution.
Topic:
Set designers -- United States -- Interviews Search this
Metropolitan Museum of Art (New York, N.Y.) Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Robert Beverly Hale, 1984 Mar. 7. Archives of American Art, Smithsonian Institution.
Topic:
Arts administrators -- New York (State) -- New York -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Joan Ankrum, 1997 November 5-1998 February 4. Archives of American Art, Smithsonian Institution.
Metropolitan Museum of Art (New York, N.Y.) Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Raymond J. Horowitz, 2004 Oct. 20-Nov. 5. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting -- New York (State) -- New York -- Interviews Search this
Exposition universelle et internationale (1958 : Brussels, Belgium) Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Phillip A. Bruno, 2009 January 13-21. Archives of American Art, Smithsonian Institution.
Topic:
Collectors and collecting -- New York (State) -- New York Search this
Quotes and excerpts must be cited as follows: Oral history interview with Rosalyn Drexler, 2017 May 17-June 2. Archives of American Art, Smithsonian Institution.
