Personal papers of Robert O. Muller, a Connecticut-based art dealer and collector who, over the course of seventy years, assembled one of the world's finest collections of Japanese prints from the late 1860s through the 1940s. The papers include Muller's correspondence relating to Japanese art, files relating to his and his wife's 1940 honeymoon in Japan during which he forged many contacts with Japanese artists and art dealers and purchased thousands of prints, subject files, catalogs, business transactions, magazine and newspaper clippings, photographs, and notes and drafts for a planned book.
Scope and Contents:
The Robert O. Muller Papers consist of Mr. Muller's correspondence; research and subject files; indexes to his art collection; printed matter; photographs; and a draft manuscript and notes for a planned book. The papers document his art collecting and dealing, his relationships with a wide variety of art shops and other art dealers, his 1940 honeymoon to Japan, and the dealings of his various businesses from the 1940s through to the 1990s.
Arrangement:
This collection is arranged into five series:
Series 1: Correspondence and subject files
Series 2: Catalogs and indexes to Robert-Lee Gallery and Robert O. Muller's Art Collection
Series 3: Draft Manuscript
Series 4: Printed Matter
Series 5: Photographs and slides
Biographical / Historical:
Born in 1911 in Pelham, New York, art collector, dealer, and connoisseur Robert O. Muller assembled a collection of nearly 4,500 late nineteenth- and early twentieth-century Japanese prints throughout his life. As a history student at Harvard University, Mr. Muller's world renowned print collection began to take shape with the purchase of the print 'Kiyosu Bridge" by Kawase Hasui for $5.00 from the Shima Art Company in 1931.
Mr. Muller married Ingeborg Lee in 1940 and their honeymoon in Japan played a critical role in Mr. Muller's development as an art dealer and collector. They spent five months there and met with many important artists and dealers and purchased thousands of prints for both their personal art collection and for commerce.
Upon their return to the States, Mr. Muller purchased the Shima Art Company's assets and started the Robert Lee Gallery with his partner William Lee Comerford in 1940. With the attack on Pearl Harbor, Muller and Comerford closed the Robert Lee Gallery and later reopened it in a different Manhattan location. The Mullers moved to Newton, Connecticut, in 1946 and reestablished the Robert Lee Gallery there. In 1962, Muller purchased a frame shop, Merwin's Art Shop, in New Haven, Connecticut. Although primarily a framing shop, Muller not only befriended many scholars and academics from nearby Yale University but sold Japanese prints from the back room.
From that initial purchase of 'Kiyosu Bridge' in 1931 up until his death in 2003, Robert Muller amassed what many art historians, collectors, and curators regarded as the finest collection of its type in the world. Muller bequeathed his Japanese print collection, archival materials, and library to the Sackler Gallery of Art, Smithsonian Institution.
Much of the biographical information comes from, Printed to Perfection: Twentieth-century Japanese Prints from the Robert O. Muller Collection. (Washington, D.C. : Arthur M. Sackler Gallery in association with Hotei Publishing, c2004)
Further information and clarification from conversations with Dr. James T. Ulak, Deputy Director of the Freer Gallery of Art and Arthur M. Sackler Gallery .
1911 October 5 -- Born in Pelham, New York. Great-grandson of Charles Erhart, cofounder of Charles Pfizer & Company, now Pfizer Inc.
1931 -- Purchased first modern Japanese print, "Kiyosu Bridge", from the Shima Art Company in New York City.
1934 -- Earned Bachelor of Arts degree in History from Harvard University.
1936 -- Traveled to Germany aboard the Hindenberg. During return to United States, visited with and bought many prints from Japanese print collector Thomas Bates Blow in London.
1940 February 3 -- Married Ingeborg Lee and honeymooned in Japan.
1940 September -- Purchased the assets of the Shima Art Co. for $7,000. Remained friends with the former owners, Kazue Sumii and Hango Sumii and their daughter Noriko.
1940 October 21 -- Opened the Robert-Lee Gallery on 69 East 57th Street in Manhattan.
1941 December -- After attack on Pearl Harbor, closed Robert-Lee Gallery. Later reopened at new location at 32 West 57th Street
1941 - 1952 -- Mrs. Muller gave birth to four daughters and one son.
1942-1945 -- Worked for Pfizer Inc.
1946 -- Moved to farmhouse in Newtown, Connecticut and re-established Robert Lee Gallery there one year later.
1962 -- Purchased and ran Merwin's Art Shop in New Haven, Connecticut
1985 -- Handed over management of Merwin's Art Shop to his son Robert L. Muller
2003 April 10 -- Died as a result of Parkinson's Disease.
2003 May -- Bequeathed his collection of Japanese prints, cataloging records, papers, and library to the Smithsonian's Sackler Gallery of Art.
Related Materials:
The Sackler Gallery of Art owns the Robert O. Muller Collection of Japanese prints.
Provenance:
Robert O. Muller bequeathed his Japanese print collection as well as his archival records to the Sackler Gallery in 2003.
Restrictions:
Collection is open for research.
Rights:
Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
Robert O. Muller Papers, Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Washington, D.C. Bequest of Robert O. Muller, 2003
An interview of Lia Cook conducted 2006 August 22-29, by Suzanne Baizerman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the artist's studio, in Berkeley, California.
Cook speaks of her childhood in California; studying political science at University of California, Berkeley; being strongly influenced by the textiles of Mexican cultures; studying weaving at Konstfack University College of Arts, Crafts and Design and Handarbetets Vänner in Stockholm, Sweden; attending graduate school at Berkeley under Ed Rossbach; a strong interest in photography; teaching experiences at Haystack Mountain School of Crafts; participating in the Lausanne International Biennial of Tapestry in Switzerland; the impact of the digital Jacquard loom on the development of her work; travels throughout Europe and Japan; commission work; experiences with Allrich Gallery, Hadler/Rodriguez Gallery, and Perimeter Gallery; series Fabric Landscape, Material Pleasure, Point of Touch, Presence/Absence, and Anatomy of a Portrait; her involvement with American Craft Council, European Textile Network, and College Art Association; and the importance of teaching in her life. Cook also recalls Gyongy Laky, Nance O'Banion, Deborah Rappaport, Sheila Hicks, Magdalena Abakanowicz, Peter and Ritzi Jacobi, and others.
Biographical / Historical:
Lia Cook (1942- ) is a textile painter of Berkeley, California. Suzanne Baizerman (1942- ) is an independent curator of Alameda, California.
General:
Originally recorded as 4 sound discs. Reformatted in 2010 as 11 digital wav files. Duration is 2 hr., 23 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.
Interview of Sue Fuller, conducted on April 24, 1975, April 30, 1975, and May 8, 1975, by Paul Cummings, for the Archives of American Art, Smithsonian Institution, at the home of Sue Fuller, in Southampton, New York.
Fuller speaks of her family and childhood in Pittsburgh, including art teachers and friends; her childhood painting lessons; her education in prep school, at Carnegie Tech, and at Columbia Teachers' College; her travels to Europe and Japan; her use of plastics; her work as a teacher, commercial artist, and assistant in Bill Hayter's studio; the influence of John Dewey's philosophy on her teaching style; training with Ernest Thurn, Hans Hofmann, Josef Albers; learning printmaking and calligraphy; the Society of American Etchers; the influence of science and mathematics on her work; and her thoughts on contemporary computer art. Fuller also recalls Bertha Schaefer, Victor D'Amico, Madeleine Lejwa, John Taylor Arms, Abraham Rattner, Louis Schanker, Roberto Matta, and others.
Biographical / Historical:
Sue Fuller (1914-2006) was a sculptor and printmaker from Southampton, New York.
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.
An interview of Merryll Saylan conducted 2006 May 20-June 5, by Glenn Adamson, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the Victoria & Albert Museum, in London, England.
Saylan speaks of her childhood in Los Angeles, California; her early musical education in piano and viola; memories of World War II; her family's political views during the Cold War; meeting her first husband at UCLA; dropping out of school to move to Virginia and Georgia in fulfillment of her husband's military service; experiencing anti-Semitism in Georgia; the challenges of her eldest son's speech problems; traveling to France, Japan, Guatemala, Hong Kong and the Philippines; her interest in Japanese culture; completing her B.A. in design at UCLA and her M.A. in studio art at California State University, Northridge; anti-Vietnam sentiment on campus; early interests in environmental design; her second husband and his friends; her interest in furniture and woodworking; differing approaches to woodworking on the east and west coasts; her views on feminism and working women; her use of color and texture in woodworking; teaching experiences; popular perception of her work; receiving a grant to go to England and her involvement with English and German woodturners; the lack of collector interest in her work; forced absences from working because of illnesses; serving on the boards of the American Association of Woodturners and The Woodturning Center; her involvement in the International Turned Objects Show, the Sculpture Objects & Functional Art Biannual Exposition, and the International Turning Exchange; her thoughts on future work. Saylan also recalls George Foy, Bob Stocksdale, Michael Cooper, Pamela Weir-Quiton, Joanne Rapp, J.B. Blunk, Marvin Lipofsky, Gail Fredell, Wendy Maruyama, Ralph Evans, Del Stubbs, Jerry Glaser, and others.
Biographical / Historical:
Merryll Saylan (1936- ) is a wood artist from San Rafael, California. Glenn Adamson (1972- ) is a museum professional, in London, England.
General:
Originally recorded on 7 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 6 hr., 9 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.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
View of young man in traveling clothes with staff and wide-brimmed hat. Note the painted Mt. Fuji background. Indoor studio setting.
Biographical / Historical:
Born to a family of textile merchants in Kofu, Yamanashi Prefecture, Kusakabe Kimbei moved to Yokohama in 1859. Although unclear, Kusakabe apprenticed under either Felice Beato and/or Raimond von Stillfried (Bennet, T. (1996) Early Japanese Images. Charles E. Tuttle Company: Rutland Vermont and Tokyo, Japan.) Kusakabe managed a studio in Yokohama, first at Bentendori until 1881, then later at Honcho. His photo studio was well received by many, including foreigners.
Local Numbers:
R221 (Rosin Number)
FSA A1999.35 221
General:
Title taken from label affixed to bottom center of mount.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
View of young man in traveling clothes with staff and wide-brimmed hat. Note the painted Mt. Fuji background. Indoor studio setting.
Biographical / Historical:
Born to a family of textile merchants in Kofu, Yamanashi Prefecture, Kusakabe Kimbei moved to Yokohama in 1859. Although unclear, Kusakabe apprenticed under either Felice Beato and/or Raimond von Stillfried (Bennet, T. (1996) Early Japanese Images. Charles E. Tuttle Company: Rutland Vermont and Tokyo, Japan.) Kusakabe managed a studio in Yokohama, first at Bentendori until 1881, then later at Honcho. His photo studio was well received by many, including foreigners.
Local Numbers:
R222 (Rosin Number)
FSA A1999.35 222
General:
Title taken from print.
Photographer's title and number printed in lower right corner.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Young woman in snow-dusted heavy kimono with head wrap and umbrella. Indoor studio setting.
Biographical / Historical:
Born to a family of textile merchants in Kofu, Yamanashi Prefecture, Kusakabe Kimbei moved to Yokohama in 1859. Although unclear, Kusakabe apprenticed under either Felice Beato and/or Raimond von Stillfried (Bennet, T. (1996) Early Japanese Images. Charles E. Tuttle Company: Rutland Vermont and Tokyo, Japan.) Kusakabe managed a studio in Yokohama, first at Bentendori until 1881, then later at Honcho. His photo studio was well received by many, including foreigners.
Local Numbers:
R252 (Rosin Number)
FSA A1999.35 252
General:
Title taken from print.
Original title and number printed in lower right corner.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
1 Item (Photographic print : on mount 27 x 34.8 cm, hand coloring, image 20.5 x 26.5 cm.)
Type:
Archival materials
Photographs
Photographic prints
Place:
Asia
Fuji, Mount (Japan)
Japan
Japan -- Description and Travel
Date:
[1960 - ca. 1900]
Scope and Contents:
View of stream with fisherman and country road with rickshaw and driver, with Mount Fuji visible in the background.
Biographical / Historical:
Born to a family of textile merchants in Kofu, Yamanashi Prefecture, Kusakabe Kimbei moved to Yokohama in 1859. Although unclear, Kusakabe apprenticed under either Felice Beato and/or Raimond von Stillfried (Bennet, T. (1996) Early Japanese Images. Charles E. Tuttle Company: Rutland Vermont and Tokyo, Japan.) Kusakabe managed a studio in Yokohama, first at Bentendori until 1881, then later at Honcho. His photo studio was well received by many, including foreigners.
Local Numbers:
R258 (Rosin Number)
FSA A1999.35 258
General:
Title taken from print.
Original title and number printed in lower right corner.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Label on verso reads: "A street in Hakone which we visited. You can see some fence in this picture made of bamboo, as shown in No. 1. All of the roofs in this [pict]ure are thatches of grass about 15 inches thick & neatly trimmed. Oftentimes the peak of the roof has a flower bed on it. The effect is very picturesque."
Verso stamped, T. Tokura, Photographer. Miyanoshita, Japan.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
1 Cartes-de-viste (card photographs) (6.4 x 10.5 cm.)
Type:
Archival materials
Cartes-de-viste (card photographs)
Photographs
Cartes-de-visite
Place:
Asia
Japan
Yokohama-shi (Japan)
Japan -- Description and Travel
Date:
1860 - ca. 1880
Scope and Contents:
Albumen print on cartes-de-visite depicting a porch on a Western style with Western and Japanese people. In the foreground garden are more Japanese with a rickshaw. On the back is a studio imprint with "Toocoku," and 東谷製.
清水東谷
Biographical / Historical:
Shimizu Tōkoku was originally a Kanō School painter who opened a photography studio in Yokohama in 1872, followed shortly after by a studio in Tokyo.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
