The Perry H. Wheeler Collection includes the design, client and business records of Perry H. Wheeler, a landscape architect best known for his work on numerous townhouse gardens in the Georgetown neighborhood of Washington, D.C., during the 1960s as well as the redesign of the White House Rose Garden in collaboration with Rachel Lambert ('Bunny') Mellon during the Kennedy administration.
Scope and Contents note:
The Perry H. Wheeler Collection includes the design, client and business records of Perry H. Wheeler, a landscape architect best known for his work on numerous townhouse gardens in the Georgetown neighborhood of Washington, D.C. during the 1960s as well as the redesign of the White House Rose Garen in collaboration with Rachel ('Bunny') Lambert Mellon during the Kennedy adminstration. The collection includes photographic images, plans, drawings, client correspondence, plant lists, invoices, newspaper and magazine clippings, certificates, awards, and invitations. The bulk of the collection and most of the professional papers date from about 1950 to 1965 and relate to various garden design projects by Wheeler, many of them located in the Georgetown neighborhood of Washington, D.C. Of particular note are documents for Wheeler's public design work including the White House grounds, Washington National Cathedral, U. S. National Arboretum, President John F. Kennedy's gravesite in Arlington National Cemetery, and the British and Cambodian Embassies in Washington, D.C. Noteworthy correspondents include President and Mrs. John F. Kennedy, Ladybird Johnson, Mr. and Mrs. Paul Mellon, and Margaret Truman.
There are also over 3,000 35mm slides dating from the 1950s and 1960s that document Wheeler's personal travels to Europe, Africa, South America, the Caribbean, Canada, and the American West.
Biographical/Historical note:
Perry Hunt Wheeler (1913-1989), a Georgia native, began his higher education at Emory University, going on to graduate from the University of Georgia with a Bachelor of Fine Arts degree in 1937. Immediately afterward Wheeler enrolled in Harvard University from which he earned a graduate degree in Landscape Architecture in 1938. After graduation, Wheeler collaborated on garden projects in Atlanta, Georgia with fellow landscape architect Helen Hawkins Clarke. During World War II, Wheeler moved to Washington, D.C. to serve under the Office of Civilian Defense and the Office of Strategic Services Camouflage Division. Following the war, Wheeler worked at Garden House a Georgetown shop where he advised homeowners on tasteful garden design, accessories, and furnishings. By 1948 Wheeler had established a landscape architecture practice in Washington, D.C. His practice grew via word of mouth through Washington's social circles and through a shared office with landscape architect Rose Ishbel Greely, and later with architect Gertrude Sawyer.
In 1947, he formed a 'bachelor household' in Georgetown with James Snitzler. Later, at the invitation of Rachel Lambert "Bunny" Mellon, he and Snitzler created a second home outside of Washington called "Spring Hill" on property owned by Mellon. Shortly after Snitzler's death in 1968, Wheeler moved permanently to Middleburg, Virginia and continued to travel, lecture, and consult with clients. Wheeler semi-retired in 1981 to 'Budfield,' a property in Rectortown, Virginia where he passed away in 1989, leaving his estate to his partner, James M. Stengle.
Wheeler is best known for his work on private gardens in Washington's Georgetown neighborhood. He frequently employed the use of intricate brickwork, low-maintenance planting, and simple water features in creating his charming and functional designs. His most noteworthy commissions outside the private realm include collaboration with Bunny Mellon on the White House Rose Garden, designing a Garden Club of America-commissioned gazebo and its surroundings for the U.S. National Arboretum, and plantings for the National Cathedral and President John F. Kennedy's gravesite in Arlington National Cemetery.
Provenance:
Gift from the estate of James M. Stengle, 1993.
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.
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.
An interview of Edith Halpert conducted 1962-1963, by Harlan Phillips, for the Archives of American Art.
Halpert speaks of her childhood in Russia and growing up in New York City; working at Bloomindale's, Macy's, Stern Brothers, and Cohen Goldman; her marriage to artist Sam Halpert, his health, and living in Paris in 1925; becoming an art student at the Academy of Design and feeling that Leon Kroll was an excellent art teacher until he began to correct her drawings; when George Bridgman thought she was ruining his class; the Lincoln Square Arcade, when she and Ernest Fiener and Robert Brackman would rent Conan's studio evenings and bring in instructors; how Newman Montross influenced her more than anybody about showing her art that she loved; burning all of her work because Kroll said she had no talent; receiving a painting from John Marin; her friendship and working relationship with Abby Rockefeller and other family members.
She recalls opening the Downtown Gallery, in Greenwich Village, in 1926; a brief history of modern art; many artists helping decorate the new Daylight Gallery in 1930 and the first show being called "Practical Manifestations of Art"; meeting Robert and Sonia Delaunay in France; when she refused to allow Ezra Pound to speak at one of the gallery lectures because of his anti-Semite remarks and William Carlos Williams and Ford Madox Ford argued with her over it; experiencing jealousy and professional attacks from other dealers; the successful "Pop" Hart show and book in 1929; the "Thirty-three Moderns" show in 1930 at the Grand Central Galleries; the Jules Pascin show in 1930; in America, most of the art buyers supporters of culture were women, until the WPA and World War II, when it became fashionable for men to be involved; Ambroise Vollard's advice on selling art; handling the frustrations of working in the art field; friendships with Stuart Davis,Charles Sheeler, and Ben Shahn; how artists work through dry periods in their creativity and the "Recurrent Image" show; a discussion on modern art galleries of New York City, such as Daniel, Knoedler, Ferargil, the New Gallery, 291, the Grand Central, Kraushaar, and Montross; her travels through Pennsylvania and Maine for good examples of folk art for the gallery; the "The Artist Looks at Music" show; the non-competitive spirit of the early modern American artists; of being saved financially in 1940 by selling a William Harnett painting to the Boston Museum and then renting new space for the gallery.
Also, Mitchell Siporin bringing Halpert and Edmund Gurry to Mitchell Field during World War II for a camouflage show and consequently Downtown Gallery artists and others were enlisted in the camouflage corps for the U.S. Air Force; Charles Sheeler and his wife find Halpert a house in Newtown, Conn.; her decision in 1933 to push folk art for acquisition by the William Rockhill Nelson Gallery in Kansas City, Missouri; her great concern about what to do with her folk art literature collection; dismay and that no one writes about the history of folk art and those responsible for its creation and popularity; Louis Stern hiring her to organize a municipal exhibit in Atlantic City, N.J., with Donald Deskey designing the furniture and Holger Cahill managing the publicity; Joe Lillie helping her meet Fiorello La Guardia and Joe McGoldrick in 1934 about a municipal show in New York City, but it is moved to Radio City Music Hall through Nelson Rockefeller; the "Salons of America" show; wanting articles written about art for love rather than art for investment; working with Aline Saarinen on her book, "Proud Possessors;" letters from Stuart Davis, William Zorach and others that hurt her feelings; enjoying giving educational lectures and considering retirement because of ill health; the desire to write a book on the history of trade signs in folk art; feeling that the young artists are being ruined by too much support without working for it; planning to write a book entitled, "Unsung Heroes," about artists brave enough to experiment; organizing a show in Russia at her own expense; later representing the U.S. in art at the "American National Exposition"; the agitators and success of the exposition; Alfred Stieglitz and Georgia O'Keeffe.
Halpert also recalls Juliana Force, Gertrude Vanderbilt Whitney, Yasuo Kuniyoshi, Buckminster Fuller, George Luks, Edsel Ford, Max Weber, Danny Diefenbacker, Hamilton Easter Field, Frank Stella, Glenn Coleman, Margaret Zorach, Diego Rivera, Frida Kahlo, Henry Mercer, Romany Marie, Edward G. Robinson, Paul Mellon, Charles Pollet, Alex Brook, Lunca Curass, Dorothy Lambert, Duncan Candler, Frank Rhen, Louis Rittman, Bea Goldsmith, Arthur Craven, Robert Frost, Philip Wittenberg, Caesar de Hoke, Richard deWolfe Brixey, Seymour Knox, Walt Kuhn, Elisabeth Luther Cary, Charles Locke, Duncan Fergusson, Mrs. Solomon Guggenheim, Bob Tannahill, David Thompson, Marsden Hartley, Erwin Barrie, Robert Laurent, Conger Goodyear, Henry McBride, Edward Hopper, Charles Daniel, William Merritt Chase, Charles Hopkinson, Thomas Hart Benton, Frank Crowninshield, Alfred Barr, Lord Duveen, Jacob Lawrence, John Marin Jr., Karl Zerbe, Franz Kline, Arthur Dove, Julian Levy, Jack Levine, Valentine Dudensing, Peggy Bacon, Stefan Hirsch, Gertrude Stein, Isamu Noguchi, Jasper Johns, Chaim Soutine, B. K. Saklatwalla; Fernand Leger, Pablo Picasso, Ben Shahn, Charles Demuth, Alexander Calder, Jackson Pollock, Edward Steichen, Carl Sandburg, Clement Greenberg, and others.
Biographical / Historical:
Edith Halpert (1900-1970) was an art dealer from New York, N.Y.
General:
Originally recorded on 7 tape reels. Reformatted in 2010 as 27 digital wav files. Duration is 32 hrs., 27 min.
Provenance:
This interview is part of the Archives of American Art 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. The transcript was microfilmed in 1996.
Occupation:
Art dealers -- New York (State) -- New York Search this
Quotes and excerpts must be cited as follows: Oral history interview with Edith Gregor Halpert, 1962-1963. Archives of American Art, Smithsonian Institution.
The Gustave Harrow legal records relating to the Estate of Mark Rothko measure 34.6 linear feet and date from 1957-1986. The records document the case brought by the New York State Attorney General's Office as cross-petitioner to the case brought by Rothko's daughter Kate, against the executors of Rothko's estate, Frank Lloyd and the Marlborough Gallery, for mismanagement and self-dealing. There are also records related to Harrow's writings about the case. Lastly, included in the collection are materials relating to art law issues in connection with the Metropolitan Museum of Art.
Scope and Contents:
New York State Attorney General Gustave Harrow's records relating to the Estate of Mark Rothko consist of legal and other documentation of the state's case in connection with the Mark Rothko Estate and Foundation, from Surrogate Court through appeals, as well as from Harrow's writings about the case, both during and after the trial. Various trial documents include affidavits, briefs, EBTs (examination before trial) trial transcripts, motions, depositions, notes and clippings, and miscellaneous records related to the case and post-trial activities. Also found are reference materials, Harrow's writings in connection with the case.
Unrelated to the Rothko case are Harrow's research materials for possible legal actions by the state in connection with Walter Annenberg's proposed donation of a Communication Center to the Metropolitan Museum of Art, and with other issues including donations, object authenticity and the Packard Collection.
Arrangement:
The collection is arranged in 7 series.
Missing Title
Series 1: General Files, 1957-1981, undated
Series 2: Motions, 1971-1979, undated
Series 3: Decisions, 1970-1979, undated
Series 4: Appeals Documents, 1972-1979, undated
Series 5: Miscellaneous Case and Post-Trial files, 1972-1984, undated
Series 6: Reference Materials, Notes and Writings, 1970-1986
Series 7: Metropolitan Museum of Art / Walter Annenberg Etc., 1971-1981, undated
Biographical / Historical:
Gustave Harrow was a New York State Assistant Attorney General, and an adjunct professor in the Graduate Program in Arts Administration at NYU. Abstract Expressionist Artist Mark Rothko died on February 25, 1970 leaving the bulk of his estate, including 798 paintings (the greater part of his life's work) to the Mark Rothko Foundation which he had created shortly before his death. His daughter Kate [Rothko Prizel] brought suit against the estate executors and Marlborough Gallery for self-dealing, fraud, and conspiring with Marlborough owner, Frank Lloyd to waste the assets of the estate. The state of New York Attorney General's Office, represented by Harrow, joined the case as a cross-petitioner on behalf of the people of New York's interest as beneficiaries of the charitable Foundation. The case resulted in the return of most of the paintings, the removal of the executors (accountant Bernard Reis, artist Theodoros Stamos, and anthropology professor Morton Levine), and a $9.2 million judgment against them and Frank Lloyd. The case had a lasting effect on laws dealing with artists' estates, and Harrow was instrumental in framing a bill that aimed at reducing fraud in the fine arts market. Harrow wrote about the Rothko Estate case in several articles and in the 1979 book Art, the Artist, and the Consequences of Rothko: Lasting Legal Impressions from the Estate of Great Artist.
Related Materials:
Among the holdings of the Archives of American Art are the Mark Rothko Foundation records, 1976-1987; Legal records relating to Richard Serra v. United States General Services Administration et al., 1985-1987.
The Archives of American Art interviewed multiple artists as part of the Mark Rothko and His Times Oral History Project. Many of the interviews reference Rothko and his work, and relationships with the artist.
The Legal records relating to Richard Serra v. United States General Services Administration et al., 1985-1987 contains documentation of another lawsuit handled by Gustave Harrow.
Separated Materials:
Another small collection (11 items) of Mark Rothko papers were loaned to the Archives for microfilming on reel 3135. The papers were in the possession of George Carson, husband of Rothko's ex-wife Edith Carson. Carson gave the papers to the Mark Rothko Foundation and gave the Archives of American Art permission to microfilm them. The microfilm is available at Archives of American Art offices and through interlibrary loan but are not described in the container listing of this finding aid.
Provenance:
The Gustave Harrow legal records relating to the Estate of Mark Rothko were donated to the Archives of American Art by Marilynn Karp March 23, 1996. Mr. Harrow had deposited the papers with Ms. Karp, a colleague of Harrow's at New York University where he was an adjunct professor.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recording with no duplicate access copy requires advance notice. 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.
Topic:
Artists -- Legal status, laws, etc. -- United States Search this
Constable, W. G. (William George), 1887-1976 Search this
Container:
Box 22, Folder 8
Type:
Archival materials
Date:
1961-1964
Collection Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and not served to researchers.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
W.G. Constable papers, 1905-1983, bulk 1920-1976. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Digitization of this collection was funded by the Samuel H. Kress Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Constable, W. G. (William George), 1887-1976 Search this
Container:
Box 22, Folder 7
Type:
Archival materials
Date:
1959-1960
Collection Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and not served to researchers.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
W.G. Constable papers, 1905-1983, bulk 1920-1976. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Digitization of this collection was funded by the Samuel H. Kress Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The papers of New York art collector Chester Dale measure 8.4 linear feet and date from circa 1883-2003. Dale amassed one of the world's most complete collections of nineteenth and twentieth century French art, was a collector of eighteenth century American portraitists, and a patron and collector of twentieth American artists including George Bellows and Mary Cassatt. The bulk of the collection dates from 1920 to 1970 and documents Dale's activities through biographical material, correspondence, memoirs and other writings, purchase, sales and estate records, printed material, scrapbooks, and photographs.
Scope and Contents:
The papers of New York art collector Chester Dale measure 8.4 linear feet and date from circa 1883-2003. Dale amassed one of the world's most complete collections of nineteenth and twentieth century French art, was a collector of eighteenth century American portraitists, and a patron and collector of twentieth American artists including George Bellows and Mary Cassatt. The bulk of the collection dates from 1920 to 1970 and documents Dale's activities through biographical material, correspondence, memoirs and other writings, purchase, sales and estate records, printed material, scrapbooks, and photographs.
Biographical material comprises brief genealogical and biographical notes on Dale's father's side of the family; four pieces of miscellaneous artwork; several certificates, membership cards, and programs; circa six unidentified dictaphone recordings; and a home movie of an unidentified social event.
Correspondence provides scattered documentation of Dale's activities as a collector and benefactor, including correspondence relating to gifts to various museums such as the Dallas Museum of Fine Arts and the Metropolitan Museum of Art, as well as posthumous gifts to the Allentown Art Museum and Amherst College. Also documented is Dale's election as president of the National Gallery of Art in 1955. There are several letters to and from Salvador and Gala Dali, copies of two letters from Diego Rivera, and letters from other friends and business associates, including historian Georges Salles. Over one third of the correspondence consists of condolence telegrams and letters sent to Mary Dale following Dale's death. Other correspondence documents Mary Dale's work as exhibition chairman for the Parrish Museum of Art, and includes letters from Andrew, Jamie, and Nicholas Wyeth.
Writings include typed drafts of Dale's memoirs which recall the beginning of his career in banking, and include stories of his early experiences in buying art. Dale credits the highly discerning and influential eye of his first wife, Maud Dale, for guiding him in his early selections, and his memoirs recall his unconventionally direct way of doing business with the Paris art dealers. Two travel diaries record a 1904 trip to Europe, and five trips to Europe and the Caribbean between 1949 and 1953. Writings by others include several essays on Dale by various authors, several essays on art by Maud Dale, and a typed draft of a manuscript on Dale's life by Neil MacNeil.
Extensive inventories, estate appraisals, and will disbursement records document the contents of the Chester Dale collection in Series 4. Also found here are receipts for specific purchases of works by Cezanne, Cassatt, Dali, Dufy, Picasso, and others.
Printed material includes catalogs for auction sales annotated with sales prices and other purchase information; catalogs of Dale's collection; and exhibition catalogs and announcements for the Parrish Museum of Art during Mary Dale's tenure as exhibition chairman. Some of the catalogs include essays by Maud Dale. News clippings and magazine articles document press coverage of Dale's activities at home and abroad.
Scrapbooks contain additional printed material, primarily news clippings, documenting press coverage of Chester Dale's life from the 1920s until his death. One of the scrapbooks includes multiple photographs of Dale and others, including a photo of Frida Kahlo and Jose Orozco. An additional scrapbook of photographs and clippings documents Mary Dale's life before and after her marriage to Dale.
Photographs are of Dale, Mary Dale, Maud Dale, family, friends, and colleagues. There are photographs of Dale and Mary Dale with artists including George Braques, Salvador and Gala Dali, Diego Rivera and Frida Kahlo, and Jamie and Nicholas Wyeth; and friends and associates Renee and Claire Batigne, Veronica "Rocky" Cooper and Maria Cooper, Robert Sturgis Ingersoll, Edith Hamilton with Robert Frost, Neil MacNeil, Herbert Mayes, and Paul and Timothy Mellon. There are individual photos and three photograph albums of Dale's various residences and his collection, including photographs taken shortly before his death at his Plaza Hotel apartment showing some of his favorite pictures. Photographers include Rudolph Burkhardt, Irving Cantor, Ivan Dmitri, and Dmitri Kessel. There are also many photographs of exhibition openings and museum events, especially events at the National Gallery of Art, including the presentation of Dale's gift of Dali's The Sacrament of the Last Supper to the museum in 1956, and the occasion of Queen Elizabeth II of England's visit to the museum in 1957. Photographs also include photographs of artwork in Dale's collection.
Arrangement:
The collection is arranged as seven series.
Series 1: Biographical Material, circa 1897-circa 1960, 2003 (Boxes 1, 7-8; FC 20; 0.45 linear feet)
Series 2: Correspondence, 1911-1984 (Box 1; 0.9 linear feet)
Series 3: Writings, 1904-1963 (Boxes 2, 8; 0.55 linear feet)
Series 4: Chester Dale Collection, circa 1930-1968 (Boxes 2-3; 1 linear foot)
Series 5: Printed Material, 1925-circa 1972 (Boxes 3-4, 8, OV 9; 1.2 linear feet)
Series 6: Scrapbooks, circa 1920s-1963 (Box 4, BVs 10-14; 1.2 linear feet)
Series 7: Photographs, circa 1883-1972 (Boxes 4-6, 19, BVs 15-17, OV 18; 3.3 linear feet)
Biographical / Historical:
New York art patron and collector of French and American art Chester Dale (1883-1962), made his fortune as a banker who pioneered the sale of public utility securities. He began purchasing French paintings in the mid-1920s and retired from the investment security business in 1935 in order to focus full time on the acquisition of art.
Dale was encouraged to begin collecting art by his first wife, Maud Dale, who was an artist, a writer, and a former chairman of the Exhibition Committee of the Museum of French Art. With the benefit of his wife's knowledge, passion, and perception, Dale began to lay the foundation of his collection in 1926, and amassed circa seven hundred pictures within ten years. His collection is considered to be one of the most complete collections of nineteenth and twentieth century French art in the world, and includes some of the finest examples of works by Braque, Corot, Delacroix, Degas, Derain, Dufy, Leger, Matisse, and Renoir, as well as by artists representative of the French tradition in art including Modigliani, Picasso, Rivera, and Van Gogh.
Although primarily interested in French art, Dale also collected and encouraged American artists. He was a patron of George Bellows and Salvador Dali, and had his portrait painted by both artists. Dale presented the Metropolitan Museum of Art and the National Gallery of Art with their first Dali paintings, the latter being The Sacrament of the Last Supper. Dale also purchased works by Mary Cassatt, representative works by "the Eight," and examples of eighteenth century American portraitists John Smibert, Gilbert Stuart and Thomas Sully. In the early 1940s he visited Diego Rivera and Frida Kahlo in Mexico, and Rivera subsequently completed a portrait of Dale in 1945.
Dale served as a trustee to the Metropolitan Museum of Art, the Chicago Art Institute, and the Philadelphia Museum of Art. He made the first of a series of gifts to the National Gallery of Art when it opened in 1941. In 1955 he was elected president of the museum, by which time his collection occupied ten of its galleries. Dale bequeathed the bulk of his remaining collection to the National Gallery in his will. This final gift included eighty of his favorite pictures, which had been located in his Manhattan apartment at the Plaza Hotel up until his death.
A year after the death of Maud Dale in 1953, Dale married Mary Towar Bullard, whom he had employed as his secretary for twenty-five years. Mary Dale oversaw the disbursement of her husband's estate, following Dale's death from a heart attack in 1962.
Related Materials:
Holdings at the Archives of American Art also include the Chester Dale papers concerning George Bellows, 1919-1956, comprising correspondence, a photograph, and invoices relating to Chester Dale's relationship with George Bellows and Dale's interest in artwork by Bellows; and the Chester Dale eulogy, consisting of one 35 minute, 9 second sound tape reel of a eulogy delivered by an unidentified speaker.
Provenance:
The collection was donated in 1972 by Mary Dale, Chester Dale's second wife, and in 1985 by Mary Dale's estate.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D. C., Research Center. Use of archival audiovisual recordings with no duplicate copy requires advance notice.
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.
Chester Dale papers, circa 1883-2003, bulk 1920-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of the Chester Dale papers is provided by The Walton Family Foundation. Funding for the reformatting of the 16mm film reel was provided by the Smithsonian Institution Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Maynard Walker Gallery records, 1923-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Women's Committee.
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Samuel J. Wagstaff papers, circa 1932-1985. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recording with no duplicate access copy requires advance notice. Contact Reference services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Gustave Harrow legal records relating to the Estate of Mark Rothko, 1957-1986, undated. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
An interview of Raymond Horowitz conducted 2004 Oct.20-Nov. 5, by Avis Berman, for the Archives of American Art, in New York, N.Y.
Horowitz speaks of his privileged childhood in New York; the effects of the Depression on his family's finances; attending Columbia University for Law and the anti-Semitism he faced there; his ingratiation into art appreciation through Meyer Shapiro; employment under then-New York City comptroller Joseph McGoldrick; the formation of his law practice; and his marriage to his wife, Margaret Goldenberg. Horowitz also mentions his involvement in left-wing political movements; how he managed relationships with different dealers; his experiences with misattributed artworks and forgeries, particularly his luck in avoiding them; the hobbies of himself and his wife; how he avoids relationships with the artists of his works; sharing information with other collectors; the economics of donating artworks and the subsequent tax breaks; the importance of credit in art purchasing; how he and Margaret conferred on purchases; their affinity for Chase; his habits on lending to exhibitions; the differences between the management of the Metropolitan Museum and the National Gallery; his summer homes in East Hampton and Provincetown; the problems with contemporary art scholarship; and the importance of dealers in affirming the interest in American art. Horowitz spends most of the interview reflecting upon others in the art world whom he has met. He recalls Ira Spanierman, Dan and Rita Fraad, Charles Merill Mount, Victor Spark, Abraham Adler, Nicolai Cikovsky, Phillipe de Montebello, Theodore Stebbins, Jack Levine, Daniel Terra, Joseph Hirshhorn, Norman Hirschl, John Canaday, Doris and Harry Rubin, Paul Mellon, Bill Gerdts, Paul Magriel, Bernard Meyers, and many others.
Biographical / Historical:
Interviewee Raymond Horowitz (1916-2005) was a collector from New York, N.Y. Avis Berman is an art historian from New York, N.Y.
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:
Lawyers -- New York (State) -- New York -- Interviews Search this
American Society of Landscape Architects Search this
Type:
Archival materials
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.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Perry H. Wheeler collection.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Perls Galleries records, 1937-1997. Archives of American Art, Smithsonian Institution.
