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Oral history interview with Harold Tovish

Interviewee:
Tovish, Harold, 1921-2008  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Pineda, Marianna, 1925-1996  Search this
Extent:
3 Items (sound cassettes (4 hr., 42 min.), analog.)
94 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1997 November 13-1998 April 7
Scope and Contents:
Interview of Harold Tovish, conducted by Robert F. Brown for the Archives of American Art, Smithsonian Institution on November 13, 1997 at his home and studio in Boston, Massachusetts.
Tovish speaks of his kinetic sculpture of the 1960s; his return to kinetic work in the 1970s and early 1980s; his creative process; acceptance of death; his confidence in the role of art and his own work, despite the lack of a traditional broad base of support; his experience as a sculptor-in-residence at the American Academy in Rome, 1966; slow working procedures; his disenchantment with most modern art that employs technology; admiration for the formal economy of Minimalist art and its influence on him; the absence in his work, for the most part, of overtly political themes, yet the presence of moral stances stemming from his Depression-era background and anti-Vietnam War protests; his left wing political views; the artificiality of exhibitions; the desirability of artists organizing for mutual benefit and discourse; the transitory nature of fame; avoidance of friendships with museum curators; comparisons of his teaching experience at Boston University and the Museum of Fine Arts, Boston; his 1990 exhibition at Boston University and Terry Dintenfass Gallery, NYC; self-portraits and variations on them; prints and drawings curator at the Boston Public Library, regarding Boston artists; the neglect of Boston area artists by other Boston art institutions; his 1988 retrospective at the Addison Gallery of American Art; the importance of a balanced and frank working relationship with his late wife, the sculptor Marianna Pineda; the professional mores that infused their generation of artists; the major change in his sculpture in the early 1980s; a subsequent period of drawing in the late 1980s which was triggered by attacks of vertigo; interest in anatomical parts; the infrequency of sculpture exhibits; a consistent thread of "darkness" or apprehensiveness in his work; and his acceptance of his first commission, a monument to the painter John Singleton Copley for Boston's Copley Square. Tovish also recalls Hyman Bloom, William Zorach, Sinclair Hitchings, Philip Guston, Doris Lessing, and others.
Biographical / Historical:
Harold Tovish (1921-2008) was a sculptor in both Boston and Cambridge, Massachusetts.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hr., 42 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Topic:
Sculptors -- Massachusetts -- Boston -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.tovish97
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98781373c-c3eb-4daa-b925-a45f0ef682ac
EDAN-URL:
ead_collection:sova-aaa-tovish97
Online Media:

Oral history interview with Eleanor Sayre, 1993 April 19-1997 January 10

Interviewee:
Sayre, Eleanor A. (Eleanor Axson), 1916-2001  Search this
Sayre, Eleanor A. (Eleanor Axson), 1916-2001  Search this
Interviewer:
Brown, Robert F  Search this
Subject:
Ames, Winslow  Search this
Constable, W. G. (William George)  Search this
Edgell, George Harold  Search this
Forbes, Edward Waldo  Search this
Goya, Francisco  Search this
Hofer, Philip  Search this
Karolik, Maxim  Search this
King, Georgiana Goddard  Search this
Rathbone, Perry Townsend  Search this
Rembrandt Harmenszoon van Rijn  Search this
Rosenberg, Jakob  Search this
Rossiter, Henry P. (Henry Preston)  Search this
Sachs, Paul J. (Paul Joseph)  Search this
Seybolt, George Crossan  Search this
Sizer, Theodore  Search this
Swarzenski, Hanns  Search this
Washburn, Gordon B. (Gordon Bailey)  Search this
Wilson, Woodrow  Search this
Ashmolean Museum  Search this
Bryn Mawr College  Search this
Fogg Art Museum  Search this
Harvard University  Search this
Lyman Allyn Museum  Search this
Museum of Fine Arts, Boston  Search this
Museo del Prado  Search this
Rhode Island School of Design. Museum of Art  Search this
Yale University. Art Gallery  Search this
Type:
Sound recordings
Interviews
Place:
Spain -- History -- 1939-1975
Topic:
Jewish refugees -- Germany  Search this
Museum curators -- Massachusetts -- Boston -- Interviews  Search this
World War, 1939-1945  Search this
Record number:
(DSI-AAA_CollID)13089
(DSI-AAA_SIRISBib)215869
AAA_collcode_sayre93
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215869
Online Media:

Oral history interview with Eleanor M. Garvey, 1997 February 28-June 13

Interviewee:
Garvey, Eleanor M. (Eleanor Martha), 1918-  Search this
Garvey, Eleanor M. (Eleanor Martha), 1918-  Search this
Interviewer:
Brown, Robert F  Search this
Subject:
Abbot, Agnes Anne  Search this
Bentinck-Smith, William  Search this
Campbell, Alexander  Search this
Campbell, Louisa Dresser  Search this
Coffey, Katherine  Search this
Conant, Kenneth J.  Search this
Der Nersessian, Sirarpie  Search this
Freedberg, S. J. (Sydney Joseph)  Search this
Hofer, Philip  Search this
McAndrew, John  Search this
O'Gorman, James F.  Search this
Richardson, H. H. (Henry Hobson)  Search this
Sawyer, Charles Henry  Search this
Winship, George Parker  Search this
Clark University (Worcester, Mass.)  Search this
Houghton Library  Search this
Newark Museum  Search this
Wellesley College  Search this
Worcester Art Museum  Search this
Type:
Interviews
Sound recordings
Topic:
Artists' books  Search this
Book design  Search this
Illustrated books -- 19th century  Search this
Illustrated books -- 20th century  Search this
Women museum curators  Search this
Record number:
(DSI-AAA_CollID)12667
(DSI-AAA_SIRISBib)216049
AAA_collcode_garvey97
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216049
Online Media:

Oral history interview with Harold Tovish, 1997 November 13-1998 April 7

Interviewee:
Tovish, Harold, 1921-2008  Search this
Tovish, Harold, 1921-2008  Search this
Interviewer:
Brown, Robert F  Search this
Subject:
Pineda, Marianna  Search this
Type:
Sound recordings
Interviews
Topic:
Sculptors -- Massachusetts -- Boston -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12651
(DSI-AAA_SIRISBib)216433
AAA_collcode_tovish97
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216433
Online Media:

Oral history interview with Jeanne L. Wasserman, 1993-1994

Interviewee:
Wasserman, Jeanne L., 1915-2006  Search this
Wasserman, Jeanne L., 1915-2006  Search this
Interviewer:
Brown, Robert F  Search this
Subject:
Agam, Yaacov  Search this
Beale, Arthur  Search this
Cook, Christopher Capen  Search this
Coolidge, John  Search this
Hyde, Andrew C. (Andrew Cornwall)  Search this
Indiana, Robert  Search this
Mangravite, Peppino  Search this
Messer, Thomas M.  Search this
Oldenburg, Claes  Search this
Plaut, James S. (James Sachs)  Search this
Prokopoff, Stephen S.  Search this
Rickey, George  Search this
Ross, David A.  Search this
Saint-Phalle, Niki de  Search this
Stieglitz, Alfred  Search this
Thurman, Sue M.  Search this
Tinguely, Jean  Search this
Wasserman, Max  Search this
Fogg Art Museum  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Massachusetts Institute of Technology  Search this
Type:
Sound recordings
Interviews
Topic:
Art -- Collectors and collecting -- Massachusetts -- Interviews  Search this
Art museum curators -- Massachusetts -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11984
(DSI-AAA_SIRISBib)216506
AAA_collcode_wasser93
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216506
Online Media:

Oral history interview with Eleanor Sayre

Interviewee:
Sayre, Eleanor A.  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Ashmolean Museum  Search this
Bryn Mawr College -- Students  Search this
Fogg Art Museum  Search this
Harvard University -- Students  Search this
Lyman Allyn Museum  Search this
Museo del Prado  Search this
Museum of Fine Arts, Boston  Search this
Rhode Island School of Design. Museum of Art  Search this
Yale University. Art Gallery  Search this
Ames, Winslow  Search this
Constable, W. G. (William George), 1887-1976  Search this
Edgell, George Harold, b. 1887  Search this
Forbes, Edward Waldo, 1873-1969  Search this
Goya, Francisco, 1746-1828  Search this
Hofer, Philip, 1898-1984  Search this
Karolik, Maxim  Search this
King, Georgiana Goddard, 1871-1939  Search this
Rathbone, Perry Townsend, 1911-2000  Search this
Rembrandt Harmenszoon van Rijn, 1606-1669  Search this
Rosenberg, Jakob, 1893-  Search this
Rossiter, Henry P. (Henry Preston), b. 1885  Search this
Sachs, Paul J. (Paul Joseph), 1878-1965  Search this
Seybolt, George Crossan, 1914-1993  Search this
Sizer, Theodore, 1892-1967  Search this
Swarzenski, Hanns, 1903-1985  Search this
Washburn, Gordon B. (Gordon Bailey), 1904-1983  Search this
Wilson, Woodrow, 1856-1924  Search this
Extent:
213 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Place:
Spain -- History -- 1939-1975
Date:
1993 April 19-1997 January 10
Scope and Contents:
An interview of Eleanor Sayre conducted 1993 April 19-1997 January 10, by Robert F. Brown, for the Archives of American Art.
Sayre talks about her early childhood in Williamstown and Cambridge, Mass.; her family background; visits to the White House with her maternal grandfather, Woodrow Wilson; living abroad while her father was in government service in Bangkok, then Siam (now Thailand), Paris, and Switzerland, with extensive recollections of her brothers and schooling in Europe.
Attending Winsor School in Boston; her mother's death; her years at Bryn Mawr College, including her switch to art history from political science; Georgianna Goddard King as an influential teacher; an internship under Laura Dudley at the Fogg Art Museum's Print Room and the lasting effect of this experience.
Being a graduate student in fine arts at Harvard and the importance of Edward Forbes and Paul Sachs as teachers; her decision not to pursue a PhD; working with Jakob Rosenberg; helping to get young Jews out of Europe; her position as assistant for exhibitions at Yale University Art Gallery under Theodore Sizer; the trauma of her father's internment by the Japanese in the Philippines, where he was High Commissioner and his rescue; and her decision to turn down a military intelligence job in order to work with German Jewish refugees.
Her brief tenure at Lyman-Allyn Museum, Conn., under Winslow Ames; her years in the education department under Lydia "Ma" Powel at the Museum of Art of the Rhode Island School of Design with Gordon Washburn as director; and working closely with Heinrich Schwartz on prints and drawings.
The liberal tradition of her father's wealthy family; her father; being brought to the Museum of Fine Arts, Boston by its curator of prints, Henry Rossiter and on the charming collector and benefactor, Maxim Karolik; MFA curator of paintings, William George Constable; and George Harold Edgell, MFA director.
The collector, Philip Hofer, who by putting his Goya proofs on loan at the MFA, led to Sayre's life-long study of the artist; her research on Goya in Spain; raising of a large sum from Boston businesses to purchase Hofer's prints for the MFA, and the MFA's eminence by the 1960s in Goya's graphic work; the disgusting repression of dissent in Franco-era Spain; Goya's passionate self-assertion, which is what principally attracted Sayre to his work, and his conceptual process and method of work.
Earlier years at the MFA, Boston, including the accessibility of the print department's study rooms; Edwin J. Hipkiss, curator of American decorative arts; the Christmas poetry and prints exhibitions designed as profound learning experiences for a broad public; and being chosen as successor to Rossiter; and further comments on Maxim Karolik.
W.G. Russell Allen and other collectors who gave their collections to the MFA; her efforts to effectively present art to the broad public; her methods of appealing to the public coalescing at the MFA in 1989 with the "Goya and the Spirit of the Enlightenment" exhibition; and an exhibition of the work of Beatrix Potter.
Spain under the dictator, Francisco Franco; her first study in Spain of Goya's drawings and her urging the Prado Museum to conserve its drawings; the Prado's director, F. Sanchez-Canton; her research on prostitution at the Ministry of Justice; being decorated for her recommending the preservation of Goya's art and the marvelous private collections of Goya in Spain; and her obsession with interpreting the meaning of Goya's work.
The MFA, Boston, under the directorship of Perry Rathbone, who wanted many more people involved than had his predecessor, George Harold Edgell, who ran it like a Boston Brahmin Club; Rathbone's accomplishments; his downfall and that of his assistant (and curator of European decorative arts and sculpture) Hanns Swarzenski in bringing a so-called Raphael into this country by irregular means, which led to Rathbone and Swarzenski's firing by George Seybolt, the trustee president; Rathbone's reluctance to hire women curators and Sayre's finally becoming curator of prints and drawings in 1967; her philosophy as curator; on Hanns and Brigitte Swarzenski as dear friends; her exchange of positions with the curator of the Ashmolean Museum, Oxford, where she put their valuable but neglected print collection in order.
The exhibition and catalog, "Rembrandt: Experimental Etcher," (1969) in collaboration with the Pierpont Morgan Library; general views on exhibitions; co-authoring the exhibition catalog "Goya and the Spiris of Enlightenment" (1989); her contributions to Goya research; her current research and writing on Goya's Capaprichos print series; and her satisfaction in having spent her career in art museums.
Biographical / Historical:
Eleanor A. Sayre (1916-2001) was a curator and art historian from Boston, Mass.
General:
Originally recorded on 8 sound cassettes. Reformatted in 2010 as 15 digital wav files. Duration is 11 hrs., 21 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:
Art historians -- Interviews  Search this
Printmakers  Search this
Topic:
Jewish refugees -- Germany  Search this
Museum curators -- Massachusetts -- Boston -- Interviews  Search this
World War, 1939-1945  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.sayre93
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94605f5ed-1c72-4e2f-92d1-4d6a22a3eaa2
EDAN-URL:
ead_collection:sova-aaa-sayre93
Online Media:

Oral history interview with Eleanor M. Garvey

Interviewee:
Garvey, Eleanor M.  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Clark University (Worcester, Mass.)  Search this
Houghton Library  Search this
Newark Museum  Search this
Wellesley College  Search this
Worcester Art Museum  Search this
Abbot, Agnes Anne, 1897-1992  Search this
Bentinck-Smith, William, 1914-  Search this
Campbell, Alexander  Search this
Campbell, Louisa Dresser, 1907-1989  Search this
Coffey, Katherine, d. 1972  Search this
Conant, Kenneth J.  Search this
Der Nersessian, Sirarpie, 1896-1989  Search this
Freedberg, S. J. (Sydney Joseph), 1914-1997  Search this
Hofer, Philip, 1898-1984  Search this
McAndrew, John  Search this
O'Gorman, James F.  Search this
Richardson, H. H. (Henry Hobson), 1838-1886  Search this
Sawyer, Charles Henry, 1906-2005  Search this
Winship, George Parker, 1871-1952  Search this
Extent:
76 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1997 February 28-June 13
Scope and Contents:
An interview of Eleanor M. Garvey conducted 1997 February 28-June 13, by Robert F. Brown, for the Archives of American Art in Garvey's office, Houghton Library, Harvard University, Cambridge, Massachusetts.
Garvey discusses her childhood in Worcester, Massachusetts; majoring in art history at Wellesley College under Serape der Nersessian, Alexander Campbell, Agnes Abbott, and Kenneth Conant; study of education at Clark University, with drawing classes at the art school of the Worcester Art Museum; and the extremely useful experience working at the Museum under Charles Sawyer and Louisa Dresser.
Working as an art librarian and museum curator at Wellesley College (1947-1952), and art history professors John McAndrew, Sidney Freedberg, James O'Gorman; moving on to the Newark Museum (1952-1953) and its collections and administration under Katherine Coffey.
Joining the Dept. of Printing and Graphic Arts of the Houghton Library in 1953 beginning as secretary to curator Philip Hofer; Hofer's work on illustrated books; the development of the Houghton Library from the so-called "Treasure Room" of the main Harvard Library under the direction of George Parker Winship; Garvey's close relationship with William Bentinck-Smith, a Houghton patron and an authority on type design; the status of women professionals at Harvard.
Continued discussion of Houghton patron William Bentinck-Smith; publications and exhibitions while at Houghton, including: "The Artist and the Book, 1860-1960" (1961), "The Turn of a Century, 1885-1970" (1970), "Henry Hobson Richardson and His Office: Selected Drawings" (1974), and "Artists of the Book in Boston, 1890-1910" (1988), as well as her current project producing a catalog of 18th century Venetian illustrated books and her involvement in seminars on artists' books.
Biographical / Historical:
Eleanor M. Garvey (1918- ) is a curator and writer from Cambridge, Massachusetts.
General:
Originally recorded on 3 sound cassettes as X digital wav files. Duration is 3 hrs., 30 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:
Museum curators -- Massachusetts  Search this
Topic:
Artists' books  Search this
Book design  Search this
Illustrated books -- 19th century  Search this
Illustrated books -- 20th century  Search this
Women museum curators  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.garvey97
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ace508c0-0cbf-4909-a16d-8ab7a5e20be4
EDAN-URL:
ead_collection:sova-aaa-garvey97
Online Media:

Oral history interview with Jeanne L. Wasserman

Interviewee:
Wasserman, Jeanne L.  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Fogg Art Museum  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Massachusetts Institute of Technology -- Art collections  Search this
Agam, Yaacov, 1928-  Search this
Beale, Arthur  Search this
Cook, Christopher Capen, 1932-  Search this
Coolidge, John, 1913-1995  Search this
Hyde, Andrew C. (Andrew Cornwall), 1941-  Search this
Indiana, Robert, 1928-  Search this
Mangravite, Peppino, 1896-  Search this
Messer, Thomas M.  Search this
Oldenburg, Claes, 1929-  Search this
Plaut, James S. (James Sachs), 1912-1996  Search this
Prokopoff, Stephen S.  Search this
Rickey, George  Search this
Ross, David A., 1949-  Search this
Saint-Phalle, Niki de, 1930-2002  Search this
Stieglitz, Alfred, 1864-1946  Search this
Thurman, Sue M., 1927-2012  Search this
Tinguely, Jean, 1925-  Search this
Wasserman, Max, 1913-1986  Search this
Extent:
5 Items (sound cassettes (7 hrs., 30 min.), analog.)
125 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1993-1994
Scope and Contents:
Interview of Jeanne L. Wasserman, conducted by Robert F. Brown for the Archives of American Art, Smithsonian Institution, in Cambridge, MA from January 28, 1993-July 19, 1994.
Wasserman speaks of her parents' cultural interests; first becoming interested in sculpture after visiting a Rodin exhibition in Paris with her family; visiting art galleries and studying painting in New York City as a young woman; her education at Fieldston and Radcliffe; trying to get a job in New York after college; working in advertising; meeting her husband, Max, and building a business with him; beginning to collect art; putting together a collection for the condominium project, 180 Beacon; the opening of 180 Beacon; working on a condominium project in the Virgin Islands; curating sculpture exhibitions at the Fogg Museum and at Wellesley; writing the catalogue for a Daumier exhibition at the Fogg; serving on the board of the Institute of Contemporary Art, Boston; organizing forums on contemporary art with the Council of the Arts at MIT; becoming involved with Harvard's Institute for Learning in Retirement; and notable purchases of work by Daumier, Rodin, Degas, Giacometti, de Chirico, Nicolas Schöffer, Henry Moore, and others. Wasserman also recalls Alfred Stieglitz, Peppino Mangravite, Elie Nadelman, Hyman Swetzoff, Joseph Hirshhorn, Erica Brausen, René and Charles Gimpel, Louise Nevelson, Niki de Saint Phalle, Jean Tinguely, Robert Indiana, Claes Oldenburg, Denise René, Yaacov Agam, George Rickey, George Segal, David Ross, Milena Kalinovska, Jacques de Caso, Yulla Lipchitz, Vera List, Jim Cuno, and others.
Biographical / Historical:
Jeanne L. Wasserman, (1915-2006) was a museum curator and art collector from Boston, Massachusetts.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 7 hrs., 12 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.
Topic:
Art -- Collectors and collecting -- Massachusetts -- Interviews  Search this
Art museum curators -- Massachusetts -- Interviews  Search this
Function:
Art museums -- Massachusetts
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.wasser93
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw986441a19-aace-4232-9861-425a5650f36d
EDAN-URL:
ead_collection:sova-aaa-wasser93
Online Media:

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

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

Oral history interview with Dows Dunham, 1971 October 19

Interviewee:
Dunham, Dows, 1890-1984  Search this
Dunham, Dows, 1890-1984  Search this
Interviewer:
Brown, Robert F  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Museum curators -- Massachusetts -- Boston -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12636
(DSI-AAA_SIRISBib)212642
AAA_collcode_dunham71
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212642

Gabriella De Ferrari papers, 1931-2011, bulk 1975-2011

Creator:
De Ferrari, Gabriella, 1941-  Search this
New School University  Search this
De Ferrari, Gabriella, 1941-  Search this
Subject:
Katz, Ada  Search this
Katz, Alex  Search this
Gund, Agnes  Search this
Gray, Francine du Plessix  Search this
Cuno, James B.  Search this
Castelli, Leo  Search this
Brenson, Michael  Search this
Sischy, Ingrid  Search this
Segal, Martin  Search this
Seator, Glen  Search this
LeWitt, Carol  Search this
LeWitt, Sol  Search this
Pan-American Society of New England  Search this
Wadsworth Atheneum  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Busch-Reisinger Museum  Search this
Type:
Photographs
Scrapbooks
Diaries
Illustrated letters
Video recordings
Sound recordings
Interviews
Topic:
Women art historians  Search this
Women museum curators  Search this
Women authors  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)16023
(DSI-AAA_SIRISBib)306634
AAA_collcode_defemari
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_306634
Online Media:

W.G. Constable papers, 1905-1983, bulk 1920-1976

Creator:
Constable, W. G. (William George), 1887-1976  Search this
Constable, W. G. (William George), 1887-1976  Search this
Subject:
Phillips, Duncan  Search this
Stout, George L. (George Leslie)  Search this
Canaletto  Search this
Perry, Ralph  Search this
Sachs, Paul J. (Paul Joseph)  Search this
Hencken, Hugh O'Neill  Search this
Vasalle, Rudolph  Search this
Brandt, Mortimer  Search this
Links, J. G.  Search this
Ivins, William Mills  Search this
Frick, Helen Clay  Search this
Gluck, Helen  Search this
National Gallery of Canada  Search this
Watts Gallery  Search this
Christie, Manson & Woods International Inc.  Search this
Fogg Art Museum  Search this
Museum of Fine Arts, Boston  Search this
American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas  Search this
Germany (Territory under Allied occupation, 1945-1955 : U.S. Zone). Office of Military Government  Search this
Art Gallery of Toronto  Search this
United States. Internal Revenue Service  Search this
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Place:
Germany (Territory under Allied occupation, 1945-1955)
Topic:
Art, European  Search this
Art -- Study and teaching  Search this
Museum curators -- Massachusetts -- Boston  Search this
Art -- Collectors and collecting  Search this
Cultural property -- conservation and restoration -- Germany  Search this
Cultural property -- Conservation and restoration -- Italy  Search this
Art -- Conservation and restoration  Search this
Museum curators -- England  Search this
World War, 1939-1945 -- Art and the war  Search this
Theme:
Art Theory and Historiography  Search this
Record number:
(DSI-AAA_CollID)9387
(DSI-AAA_SIRISBib)211584
AAA_collcode_conswmgp
Theme:
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211584
Online Media:

Oral history interview with Peter and Paula Lunder

Interviewee:
Lunder, Peter H.  Search this
Lunder, Paula Crane  Search this
Interviewer:
McElhinney, James Lancel, 1952-  Search this
Names:
Art Collectors: A Project in Partnership with the Center for the History of Collecting in America at The Frick Collection  Search this
Boston Red Sox (Baseball team)  Search this
Colby College. Museum of Art  Search this
Norton Gallery and School of Art  Search this
Smithsonian American Art Museum  Search this
Sterling and Francine Clark Art Institute  Search this
Abbott, Jere  Search this
Bixler, Julius Seelye, 1894-1985  Search this
Broun, Elizabeth  Search this
Cantor, Jay E.  Search this
Colville, Thomas L.  Search this
Corwin, Sharon  Search this
Gourley, Hugh J.  Search this
Greenbaum, Michael D.  Search this
Gurney, George  Search this
Stern, Max, 1903-1980  Search this
Twombly, Cy, 1928-  Search this
Walton, Alice, 1949-  Search this
Extent:
5 Items (sound files (2 hr., 41 min.) Audio, digital, wav)
64 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2017 October 19-20
Scope and Contents:
An oral history interview with Peter and Paula Lunder conducted 2017 October 19-20, by James McElhinney, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at Colby College in Waterville, Maine.
Mr. and Ms. Lunder discuss their time living in Waterville and Dexter, Maine and Mr. Lunder's work as a partner at the Dexter Shoe Company; their exposures to art and culture while growing up in Boston and Chicago; their initial interests in art collecting and the shift of their focus from European art to American art; their associations with Hugh Gourley and other directors and curators at the Colby College Museum of Art; the relationships they made with fellow art collectors, museum curators, art dealers and gallery owners while growing their collection and when working on finding a home for their collection; their relationship with the former director of the Smithsonian American Art Museum Betsy Broun; Mr. Lunder's initial interest in Southwestern art and the development of their collection to include a wide range of American art; and Mr. Lunder's partial ownership of the Boston Red Sox beginning in 1977. Mr. and Ms. Lunder also describe living part-time in Florida and their patronage of the Norton Museum of Art in West Palm Beach; their desire to endow their collection to a Northeast regional museum in Maine; their belief in the importance of art conservation and their focus on having the collection be used for teaching; Ms. Lunder's work as a volunteer docent at the Colby Art Museum; and their work with the Clark Art Institute to support a place for art conservation in the region. Mr. and Ms. Lunder also recall Max Stern; Jere Abbott; Bro Adams; Thomas Colville; Margaret MacDonald; Sharon Corwin; Ann and Gil Maurer; Alice Walton as well as Jay Cantor; Seelye Bixler; Michael Greenbaum; George Gurney; Cy Twombly; Stephen Hannock; Doug Baxter; Christa Gaehde; and Michael Conforti, among others.
Biographical / Historical:
Peter Lunder (1933-) and Paula Lunder (1934- ) are art collectors and philanthropists in Boston, Massachusetts. James McElhinney (1952- ) is a painter and educator of New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Topic:
Art -- Collectors and collecting -- Massachusetts -- Boston -- Interviews  Search this
Philanthropists -- Massachusetts -- Boston -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.lunder17
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b99a4024-ecd7-4cff-a300-7ac51b4e7245
EDAN-URL:
ead_collection:sova-aaa-lunder17
Online Media:

Oral history interview with Dows Dunham

Creator:
Dunham, Dows, 1890-  Search this
Interviewer:
Brown, Robert F.  Search this
Extent:
26 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1971 October 19
Scope and Contents:
An interview of Dows Dunham conducted 1971 October 19, by Robert Brown, for the Archives of American Art.
Discusses his development of an interest in art as a young man and his interest in Egyptian art.
Biographical / Historical:
Dows Dunham (1890-1984) was a curator at the Museum of Fine Arts in Boston, Massachusetts.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 1 hr., 33 min.
Provenance:
This interview is part of the Archives' 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.
Topic:
Art, American  Search this
Museum curators -- Massachusetts -- Boston -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.dunham71
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9acbc2272-e72e-436a-b5a4-f6959d660ec9
EDAN-URL:
ead_collection:sova-aaa-dunham71

E.P. (Edgar Preston) and Constance Richardson papers

Creator:
Richardson, Edgar Preston, 1902-1985  Search this
Richardson, Constance, 1905-  Search this
Names:
Castano Galleries (Boston, Mass.)  Search this
Detroit Institute of Arts  Search this
Henry Francis du Pont Winterthur Museum  Search this
Historical Society of Pennsylvania  Search this
Macbeth Gallery  Search this
National Collection of Fine Arts (U.S.)  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Philadelphia Museum of Art  Search this
White House (Washington, D.C.)  Search this
Peale family  Search this
Allen, Joseph  Search this
Allston, Washington, 1779-1843  Search this
Andrews, Wayne  Search this
Aram, Siegfried F.  Search this
Bishop, Isabel, 1902-1988  Search this
Bostick, William A.  Search this
Bouché, Louis, 1896-1969  Search this
Boyd, Julian P. (Julian Parks), 1903-  Search this
Castano, Giovanni, 1896-1978  Search this
Cohn, Harold  Search this
Copeland, Lammot du Pont  Search this
Culver, Charles B. (Charles Beach), 1908-1967  Search this
Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this
Flexner, James Thomas, 1908-2003  Search this
Frankenstein, Alfred V. (Alfred Victor), 1906-1981  Search this
Fredericks, Marshall M., 1908-1998  Search this
Freeman, Michael W.  Search this
Garrison, Eve Josephson, 1903-2003  Search this
Groce, George C., 1899-  Search this
Hardy, Jeremiah Pearson, 1800-1889  Search this
Heil, Walter, 1890-1973  Search this
Hopper, Edward, 1882-1967  Search this
Jungwirth, Irene G. (Irene Gayas), 1913-  Search this
Krentzin, Earl, 1929-  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lee-Smith, Hughie  Search this
Lewis, W. S. (Wilmarth Sheldon), 1895-1979  Search this
Lynes, Russell, 1910-1991  Search this
Marsh, Reginald, 1898-1954  Search this
Mast, Gerald, 1908-1971  Search this
McDermott, John Francis, 1902-  Search this
Middeldorf, Ulrich Alexander, 1901-  Search this
Morse, John D., 1906-  Search this
Moser, Liselotte, 1906-1983  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Oliver, Andrew, 1906-  Search this
Peale, Charles Willson, 1741-1827  Search this
Pleasants, J. Hall (Jacob Hall), 1873-1957  Search this
Ripley, Sidney Dillon, 1913-2001  Search this
Rockefeller, John D., 1906-  Search this
Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this
Rutledge, Anna Wells  Search this
Sellers, Charles Coleman, 1903-  Search this
Sheeler, Charles, 1883-1965  Search this
Simper, Fred, 1914-  Search this
Simpson, Corelli C. W.  Search this
Soria, Regina, 1911-  Search this
Spark, Victor D. (Victor David), 1898-1991  Search this
Speck, Walter, 1895-  Search this
Stevens, William B.  Search this
Valentiner, Wilhelm Reinhold, 1880-1958  Search this
Vose, Robert C. (Robert Churchill), 1911-1998  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Wedda, John  Search this
Woolfenden, William E. (William Edward), 1918-1995  Search this
Wyeth, Andrew, 1917-2009  Search this
Extent:
28.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Manuscripts
Interviews
Diaries
Transcripts
Sketches
Lectures
Place:
Detroit (Mich.)
Date:
1814-1996
bulk 1921-1996
Summary:
The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.
Scope and Contents:
The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.

Biographical materials include certificates, awards, and honorary degrees, membership information, personal and family photographs, a few sketches, and a transcript of an oral history Interview with E.P. Richardson conducted by the National Endowment for the Humanities in 1982.

There are acquisitions files for the Richardsons' personal art collection that invoices, photographs, correspondence with galleries and collectors, appraisals, price lists, and artwork examination forms.

Correspondence is with colleagues, art dealers, collectors, museums and museum curators, foreign scholars, organizations, galleries, artists, art historians and critics, publishers, editors, librarians, friends, and family. Topics regard purchasing art for various collections, consultations about art and collecting including authentications and attributions, publishing, general art history, lectures, and personal matters, among other topics. There is correspondence with the Archives of American Art, Castano Galleries, Lawrence Fleischman, James Thomas Flexner, Alfred V. Frankenstein, George Croce, Walter Heil, Earl Krentzin, Wilmarth Lewis, Russel Lynes, John Francis McDermott, Philadelphia Museum of Art, J. Hall Pleasants, Anna Rutledge, Charles Sellers, Smithsonian Institution, Regina Soria, Victor Spark, William Stevens, Robert Vose, William Woolfenden, and many others. Scattered correspondence with artists is with Isabel Bishop, Louis Bouche, William Bostick, Eve Garrison, Edward Hopper, Irene Jungwirth, Yasuo Kuniyoshi, Hughie Lee-Smith, Reginald Marsh, Gerald Mast, Georgia O'Keefe, Charles Sheeler, Walt Speck, and John Wedda, among many others. The greatest extent of correspondence is with Andrew Wyeth, Harold Cohn, and Frederick Simper. There is also personal correspondence with family and friends, and between E.P. and Constance Richardson.

E.P. Richardson's prominence as an art historian, writer, and expert on collecting is well documented through his prolific writings. Materials include drafts, notes, typescripts, and outlines for articles, exhibition catalog essays, and lectures. Also found are research files and publishing documentation for Richardson's books, including Washington Allston: A Study of the Romantic Artist in America (1948), Painting in America (1956), Charles Willson Peale and his World (1983), and American Romantic Painting (1944). There are also miscellaneous notes and four diaries. Two of the diaries comment on the social and cultural life of Detroit; the authenticity of paintings; Richardson's reflections on contemporary American painting, thoughts about museums, dealers, artists, and art historians (especially Wilhelm R. Valentiner); and travel.

Notebooks compiled by Richardson on a wide variety art-related topics cover nearly six decades. There are also numerous research files organized Richardson about individual artists and art history. And, the art collector files contain reference materials about art collectors and their collections including Lamont du Pont Copeland, Michael W. Freeman, Nelson Rockefeller, Mr. and Mrs. Joseph Allen, and the Marquis de Somerlous. There are three index card file boxes containing bibliographic data on published books and articles.

Professional and committee files document Richardson's professional and consulting work for the Art Quarterly, Detroit Institute of Arts, National Collection of Fine Arts, the National Portrait Gallery, the Pennsylvania Academy of Fine Arts, the John D. Rockefeller III collection, Winterthur Museum, the White House, and the Historical Society of Pennsylvania.

Constance C. Richardson's papers include business and professional correspondence with various institutions, most extensively with the Macbeth Gallery. In addition, there is a smaller amount of personal correspondence, photographs and slides of her artworks, printed materials, two illustrated notebooks on her work, and miscellaneous notes. Also included is Constance's artist palette.
Biographical / Historical:
Art historian, museum director, and writer E. P. (Edgar Preston) Richardson (1902-1985) served as director of the Detroit Institute of Arts (1945-1962) and Winterthur Museum (1963-1966). He was also a board member of the Pennsylvania Academy of the Fine Arts from 1966-1977 and, in 1954, co-founded the Archives of American Art, Smithsonian Institution.

E. P. Richardson was born in 1902 in Glens Falls, New York and died in Philadelphia in 1985. He graduated from Williams College in Massachusetts in 1925 and studied painting at the Pennsylvania Academy of the Fine Arts for the three years following graduation. In 1930 he became educational secretary at the Detroit Institute of Arts, was quickly named assistant director in 1933, and served as director from 1945 to 1962. He left Detroit to take the position of director of the Winterthur Museum, where he remained until 1966. Richardson married Constance Coleman in 1931. Born in Berlin, Germany in 1905, Constance Coleman Richardson was an award-winning and widely exhibited realist style painter of American landscapes. She gave up painting in the 1960s and died in 2002.

While at the Detroit Institute of Arts, E. P. Richardson co-founded the Archives of American Art with Lawrence Fleischman, and served as the Archives' first director. Richardson was also art advisor to John D. Rockefeller III for over ten years, editor of Art Quarterly from 1938 to 1967, and a member of various boards, including the Historical Society of Pennsylvania, the Smithsonian Arts Commission, and the National Portrait Gallery. He authored numerous books including ones on artists Washington Allston and Charles Willson Peale, and The Way of Western Art: American Romantic Painting (1939), Painting in America: The Story of Four Hundred and Fifty Years (1956), A Short History of Painting in America (1963), and American Art, an Exhibition of the Collection of Mr. and Mrs. John D. Rockefeller, 3d (1976).
Related Materials:
Related collections among the holdings of the Archives of American Art include an interview with E.P. Richardson dated February 6, 1978 conducted by Linda Downs; and several miscellaneous manuscripts that include an E.P. Richardson Letter to Rockwell Kent, June 15 1959; E.P. Richardson letters to Lawrence Arthur Fleischman, May 13, 1962 and August 22 1954; and a Yasuo Kunioshi letter to E.P. Richardson, July 25 1948.

Additional E.P. Richardson papers are found at the Detroit Institute of Arts and in the archives of the Henry Francis du Pont Winterthur Museum.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel D46) including E.P. Richardson's research material on Jeremiah P. Hardy. These materials are housed at the Smithsonian American Art Museum Library and are not described in the collection container inventory.
Provenance:
Edith Wilkinson first donated a letter to E. P. Richardson from herself in 1957. E.P. Richardson donated papers to the Archives of American Art in 1958 and 1960 and lent materials for microfilming in 1961. Addition material was donated by Constance Richardson in 1985, and by Martha Fleischman in 2003.
Restrictions:
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact References 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:
Authors -- Michigan -- Detroit  Search this
Art historians -- United States  Search this
Topic:
Art -- Collectors and collecting  Search this
Painting, American  Search this
Art, American  Search this
Romanticism  Search this
Art -- History -- Study and teaching  Search this
Genre/Form:
Photographs
Manuscripts
Interviews
Diaries
Transcripts
Sketches
Lectures
Citation:
Edgar P. Richardson papers, 1814-1996, bulk 1921-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.richedga
See more items in:
E.P. (Edgar Preston) and Constance Richardson papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f0a154af-52ef-402b-b06d-60a290eec749
EDAN-URL:
ead_collection:sova-aaa-richedga
Online Media:

Walter Pach papers

Creator:
Pach, Walter, 1883-1958  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
Brummer Gallery (New York, N.Y.)  Search this
Laurel Gallery (New York, N.Y.)  Search this
New York School of Art  Search this
Avery, Milton, 1885-1965  Search this
Barye, Antoine-Louis, 1796-1875  Search this
Brooks, Van Wyck, 1886-1963  Search this
Burroughs, Bryson, 1869-1934  Search this
Charlot, Jean, 1898-1979  Search this
Chase, William Merritt, 1849-1916  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Duchamp, Marcel, 1887-1968  Search this
Duchamp-Villon, Raymond, 1876-1918  Search this
Faure, Elie, 1873-1937  Search this
Henri, Robert, 1865-1929  Search this
Lipchitz, Jacques, 1891-1973  Search this
Marsh, Reginald, 1898-1954  Search this
Matisse, Henri, 1869-1954  Search this
Miró, Joan, 1893-  Search this
Monet, Claude, 1840-1926  Search this
Of, George F. (George Ferdinand), b. 1876  Search this
Ogihara, Moriye  Search this
Orozco, José Clemente, 1883-1949  Search this
Pach, Magda, 1884-1950  Search this
Pach, Nikifora  Search this
Pach, Raymond  Search this
Picasso, Pablo, 1881-1973  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Renoir, Auguste, 1841-1919  Search this
Rivera, Diego, 1886-1957  Search this
Schamberg, Morton L., 1881-1918  Search this
Sloan, John, 1871-1951  Search this
Villon, Jacques, 1875-1963  Search this
Extent:
20.7 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Scrapbooks
Prints
Drawings
Diaries
Travel diaries
Photographs
Date:
1857-1980
Summary:
The papers of New York artist, critic, historian, writer, art consultant and curator Walter Pach, measure 20.7 linear feet and date from 1857-1980. The collection documents Pach's promotion of modernism through his role in the landmark 1913 Armory Show, his relationships with artists and art-world figures and his extensive writings on art. Records include biographical material, correspondence with family, friends and colleagues including noted artists, handwritten and edited versions of manuscripts by Pach, diaries and journals, business records, printed material, scrapbooks, sketchbooks and artwork by Pach and others, and photographs of Pach and his family, friends, and colleagues. The collection also includes 12 linear feet of selections from Walter Pach's library.
Scope and Contents note:
The papers of New York artist, critic, historian, writer, art consultant and curator Walter Pach, measure 20.7 linear feet and date from 1857-1980. The collection documents Pach's promotion of modernism through his role in the landmark 1913 Armory Show, his relationships with artists and art-world figures and his extensive writings on art. Records include biographical material, correspondence with family, friends and colleagues including noted artists, handwritten and edited versions of manuscripts by Pach, diaries and journals, business records, printed material, scrapbooks, sketchbooks and artwork by Pach and others, and photographs of Pach and his family, friends, and colleagues. The collection also includes 12 linear feet of selections from Walter Pach's library.

Biographical material includes a copy of Pach's birth certificate and two passports for Walter and Magda Pach, in addition to address books, association membership cards and certificates.

Correspondence is both personal and professional. Family correspondence includes letters from Pach's son, Raymond, his first wife Magdalene (Magda), and his second wife Nikifora, whom he married in 1951 following the 1950 death of Magda. General correspondence includes letters from artists including Jean Charlot, Arthur B. Davies, Marcel Duchamp, Raymond Duchamp-Villon, Jacques Lipchitz, Henri Matisse, Claude Monet, Maurice Prendergast, Diego Rivera, Morton Livingston Schamberg, John Sloan, and Jacques Villon; and other art-world figures including writers Van Wyck Brooks and Elie Faure, and Bryson Burroughs, curator of painting at the Metropolitan Museum of Art.

The Writings series represents an extensive collection of hand-written manuscripts, typescripts, annotated drafts and notes for published and unpublished writings by Pach, including lectures, monographs such as Queer Thing, Painting and Ananias, or The False Artist, and journal and newspaper articles such as "Pierre-Auguste Renoir" (1912).

Diaries and journals include one of particular note recording Pach's trip to Europe circa 1903-1904, with William Merritt Chase's class.

Business records include 2 notebooks recording sales at the Armory Show in New York, Boston and Chicago, a record book with handwritten lists of paintings owned and sold by Pach in the early 1930s, and two books, one maintained by Nikifora Pach, recording pictures sold, lectures and publications by Pach from the early 1900s to the early 1960s.

Printed material documents Pach's career through exhibition catalogs of Pach's solo and group exhibitions, news clippings about Pach, including reviews of his writings on art, and an almost comprehensive collection of copies of Pach's published journal and newspaper articles.

Scrapbooks include a book of reviews and original letters pertaining to Pach's book Ananias or the False Artist, and a scrapbook documenting Pach's activities during the 1920s which included his first one-man show at the Brummer Gallery in New York and the publication of his books Masters of Modern Art and Raymond Duchamp-Villon.

Artwork inlcudes a small group of drawings and three sketchbooks by Pach. Also of note are two print portfolios published in 1947 by the Laurel Gallery which include an essay and an etching by Pach, in addition to hand-pulled prints by artists such as Milton Avery, Reginald Marsh and Joan Miro.

Photographs are of Pach from childhood through to the 1950s, in addition to Magda and Raymond Pach and other family members, artists, colleagues and friends. Included are photographs of William Merritt Chase's class and Robert Henri's class at the New York School of Art, circa 1904, and photos of artists including Robert Henri, Moriye Ogihara, and Pablo Picasso. Photographs of artwork by Pach and other artists can also be found here including Mexican mural projects by José Clemente Orozco and Diego Rivera, and works by Antoine-Louise Barye and George Of.

Selections from Pach's library include works written by or translated by Pach, and items central to Pach's interests and work.
Arrangement note:
The Walter Pach papers are arranged as ten series.

Missing Title

Series 1: Biographical Material, 1884-circa 1950s (Box 1, 9; 9 folders)

Series 2: Correspondence, 1883-1980 (Box 1-3, FC 23; 2.1 linear feet)

Series 3: Writings, 1899-circa 1950s (Box 3-5; 2.5 linear feet)

Series 4: Diaries and Journals, 1903-circa 1950s (Box 5; 5 folders)

Series 5: Business Records, circa 1913-circa 1960s (Box 5-6; 0.3 linear feet)

Series 6: Printed Material, circa 1900-1977 (Box 6-7, 9; 1.3 linear feet)

Series 7: Scrapbooks, circa 1890-circa 1940s (Box 7, 9; 0.4 linear feet)

Series 8: Artwork, circa 1860-circa 1950s (Box 7, 10; 0.4 linear feet)

Series 9: Photographs, 1857-1959 (Box 7-8, 10; 1.4 linear feet)

Series 10: Selections from Walter Pach's Library, 1880-1963 (Box 11-22; 12 linear feet)
Biographical/Historical note:
New York artist, critic, writer, art consultant, and curator, Walter Pach (1883-1958) was an influential promoter of modern art and was instrumental in organizing the landmark Armory Show in 1913.

Walter Pach was born in New York City, July 11, 1883. His father, Gotthelf Pach, was a prominent commercial photographer who, along with his family, ran the New York firm of Pach Brothers. The company did the bulk of the photographic work for the Metropolitan Museum of Art, and the young Pach often accompanied his father on museum assignments. In 1903, Pach graduated from the City College of New York with a degree in art. He also studied with Robert Henri at the New York School of Art and went abroad to paint with William Merritt Chase in the summers of 1903 and 1904.

In 1906 Pach presented his first art history lecture at the Westfield State Normal School in Westfield, Massachusetts.

In 1907, Pach went to France and as an artist and critic moved among the Parisian avant-garde and became part of the Gertrude and Leo Stein circle. Gertrude Stein's "Portrait of Walter Pach was painted in 1908. Pach wrote extensively about modern art and through his numerous books, articles, and translations of European art texts, brought an emerging modernist viewpoint to the American public. In 1908 he wrote the first article published in America on Cézanne, and also wrote on such established artists as Claude Monet, whom he interviewed in 1908 for Scribner's Magazine..

Pach organized exhibitions of contemporary art for important New York City galleries of the period, as well as the landmark exhibition of 1913, "The International Exhibition of Modern Art," commonly known as the Armory Show. Along with painters Arthur B. Davies and Walt Kuhn, he brought together leading contemporary European and American artists. Pach served with Kuhn as administrator, publicist and gallery lecturer for the Armory Show Chicago for the run of the exhibition.

Pach helped to form major collections for John Quinn and Walter Arensberg. He was also instrumental in securing individual works of art for museums, such as a portrait for the Louvre Museum by American master Thomas Eakins, and Jacques-Louis David's Death of Socrates for the Metropolitan Museum of Art.

Pach married artist Magdalene Frohberg in February 1914, and their son Raymond was born at the end of that year. The Pachs lived primarily in New York, but spent time abroad from 1928 to 1932. Intermittently, they lived on the West Coast, where Pach taught at the University of California at Berkeley. In the 1920s he taught at the University of Mexico on a Shilling Fund grant, lecturing and writing on Native American art and developing a strong interest in Pre-Columbian art. He took an active interest in organizing exhibitions and raising money for a museum to be dedicated to the indigenous art of the Americas. In addition, he was a friend of José Clemente Orozco and Diego Rivera and helped organize the Mexican chapter of the Society of Independent Artists, the New York-based organization he founded in 1917 with Walter Arensberg and Marcel Duchamp.

While not well known today as a painter, Walter Pach devoted much of his creative effort to painting. He considered himself both an artist and a writer, even though friends like art historian Bernard Berenson urged him to devote all his time to writing. Among his writings are monographs on a wide range of subjects, social commentary on the art world, and a book on museum structures. Among his first publications were a series of brochures produced for the 1913 Armory Show, including Odilon Redon and, in the same year, A Sculptor's Architecture, a book about the work of Raymond Duchamp-Villon, a close friend whom he admired greatly. In 1923, Pach wrote Georges Seurat, a book later cited by art historian John Rewald as an important early text on the artist. Masters of Modern Art and the monograph Raymond Duchamp-Villon were published the following year, and in 1928 Pach's well-known indictment of opportunistic artists and corruption in the art world, Ananias, or The False Artist, created a stir in art circles. Pach considered Vincent Van Gogh to be a seminal figure in the development of modern art and was the first historian to lecture on him in America. In 1936, he published his well-received monograph, Vincent Van Gogh. His recollections of a life spent in art, Queer Thing, Painting appeared in 1938. Ingres was published in 1939, as well as Masterpieces of Art, written for the 1939 New York World's Fair, for which Pach was exhibition director. His Art Museum in America, published in 1948, called into question the relevance, responsibility, and future direction of the American art museum. He long championed the artists of Mexico and published an essay on Diego Rivera in 1951 for the National Museum of Fine Arts, Mexico, for its 50-year retrospective exhibition on the artist. The Classical Tradition in Modern Art, Pach's last book, was published posthumously in 1959.

Pach's fluency in French, German, and Spanish allowed him to understand and interpret new avant-garde ideas developing in Europe and to translate them for an English-speaking audience. His language skills also allowed him to communicate personally with many noted artists in Europe and Mexico and to mediate between gallery dealers and museum curators on their behalf. His correspondence with major figures in 20th-century art are a fascinating and important source of information, not only about the artists themselves but about the art world in general during the first half of this century.

Chronology of Exhibitions and Writings

1908 -- "Cézanne," by Walter Pach, the first American article on the subject, published in December issue of Scribner's.

1911 -- "Albert P. Ryder," by Walter Pach, published in January issue of Scribner's.

1912 -- Met with Arthur B. Davies and Walt Kuhn to begin preparations for the Armory Show. Was responsible for the exhibition's European operations. Completed Portrait of Gigi Cavigli (exhibited at the Armory Show the following year). "Pierre-Auguste Renoir," by Walter Pach, published in May issue of Scribner's.

1913 -- Exhibited 5 paintings and 5 etchings in "The International Exhibition of Modern Art" (Armory Show), which opened in New York City on February 13. Served as administrator, publicist, and gallery lecturer for the Armory Show Chicago with Kuhn for the run of the exhibition. At the close of the show, Matisse, Brancusi, and Pach were hanged in effigy by the students of the School of the Art Institute of Chicago.

1915 -- Publication of The John Quinn Collection, catalog of a collection Pach was instrumental in assembling.

1916 -- Founded Society of Independent Artists in collaboration with Marcel Duchamp, Walter Arensberg, and others. Adviser to collector Walter Arensberg.

1917 -- Designed sets for Wallace Stevens's play, Bowl, Cat and Broomstick, produced at the Neighborhood Playhouse, New York City. Arranged a Gino Severini exhibition at Stieglitz's 219 gallery, New York City.

1918 -- "Universality in Art," by Walter Pach, published in February issue of Modern School. "Jean Le Roy," by Walter Pach, published in October issue of Modern School

1919 -- "The Schamberg Exhibition," by Walter Pach, published in May 17 issue of the Dial. Wrote introduction for Odilon Redon, the catalog for a graphics show at Albert Roulliers Gallery, Chicago.

1920 -- "The Art of the American Indian," by Walter Pach, published in January 20 issue of the Dial. His paintings abandoned the cubist-futurist mode and returned to a more naturalistic style.

1921 -- Publication of History of Art: Ancient Art, volume 1, by Elie Faure, translated by Walter Pach.

1922 -- Lecturer, University of Mexico, where he developed a strong interest in Pre-Columbian art. Lectured at Société Anonyme. Publication of History of Art: Mediaeval Art, volume 2, by Elie Faure, translated by Walter Pach. Contributed a chapter, "Art," to Civilization in the United States: An Inquiry by Thirty Americans, edited by Harold E. Stearns.

1923 -- Publication of Georges Seurat by Walter Pach. Publication of The Art of Cineplastics and History of Art: Renaissance Art, volume 3, by Elie Faure, translated by Walter Pach. "Georges Seurat," by Walter Pach, published in March issue of the Arts.

1924 -- Publication of Masters of Modern Art, by Walter Pach. Publication of Raymond Duchamp-Villon, by Walter Pach. Publication of History of Art: Modern Art, volume 4, by Elie Faure, translated by Walter Pach. "The Greatest American Artist," by Walter Pach, published in January issue of Harper's Magazine.

1926 -- "Graveur Américain," by Léon Rosenthal, an article about Pach's graphics (illustrated with an original etching, New York), published in September issue of Byblis, Miroir des Arts du Livre et de L'Estampe. "Brancusi," by Walter Pach, published in December 1 issue of the Nation. Instructor, New York University. First solo exhibition at Brummer Gallery, New York, New York.

1927 -- "What Passes for Art," by Walter Pach, published in June issue of Harper's Magazine

1928 -- Publication of Ananias, or The False Artist, by Walter Pach. Pach family relocated to Europe.

1929 -- "The Evolution of Diego Rivera," by Walter Pach, published in January issue of Creative Art. "John Ruskin and Walter Pach: Defenders of the Faith," by W.H. Downes, published in August issue of American Museum Art.

1930 -- Publication of An Hour of Art, by Walter Pach. Publication of History of Art: The Spirit of the Forms, volume 5, by Elie Faure, translated by Walter Pach. "Notes sur le classicisme de Delacroix," by Walter Pach, published in June issue of L'Amour de L'Art.

1931 -- Solo exhibition at Kraushaar Gallery, New York City, with review published in March 21 issue of Art News. "Raymond Duchamp-Villon," by Walter Pach, published in May issue of Formes XV.

1932 -- "Le Classicisme de Barye," by Walter Pach, published in November issue of L'Amour de L'Art . Returned to the United States.

1933 -- "Address at the Worcester Opening of International, 1933," by Walter Pach, and "Georges Rouault," by Walter Pach, both published in January issue of Parnassus. "American Art in the Louvre," by Walter Pach, published in May issue of Fine Arts 20. "On Owning Pictures," by Walter Pach, published in August issue of Fine Arts 20. "Rockefeller, Rivera and Art," by Walter Pach, published in September issue of Harper's Magazine.

1934 -- Organized Maurice Prendergast retrospective for Whitney Museum of American Art.

1935 -- Exhibition at Knoedler Gallery, New York City included Walter Pach's Respice, Adspice, and Prospice, a fresco commissioned for the City College of New York by the Class of 1903.

1936 -- Exhibition of watercolors at Kleemann Galleries, New York City. Publication of Vincent Van Gogh, by Walter Pach." The Raphael from Russia," by Walter Pach, published in January issue of Virginia Quarterly Review. "First Portfolio of American Art," by Walter Pach, published in October 3 issue of Art News. Wrote foreword to First Exhibition in America of Géricault, catalog of exhibition at Marie Sterner Gallery, New York City. "The Outlook for Modern Art," by Walter Pach, published in April issue of Parnassus. Article about Pach's City College mural published in February issue of City College Alumnus Magazine.

1937 -- Publication of The Journal of Eugène Delacroix, translated by Walter Pach. Publication of Thomas Eakins, by Walter Pach, catalog of exhibition at Kleemann Gallery, New York City.

1938 -- Publication of Queer Thing, Painting: Forty Years in the World of Art, by Walter Pach. "Delacroix Today," by Walter Pach, published in January issue of Magazine of Art.

1939 -- Publication of Ingres, by Walter Pach. Appointed general director, "Masterpieces of Art" exhibition, New York World's Fair.

1940 -- Publication of Masterpieces of Art, New York World's Fair, 1940, Official Illustrated Catalogue, by Walter Pach.

1941 -- Solo exhibition at Schneider-Gabriel Gallery, New York City.

1942 -- "Newly Discovered Ingres: The Lovers," by Walter Pach, published in October issue of Art in America Exhibition at Whitney Museum of American Art, "Between the Wars: Prints by American Artists, 1914-1941," included Walter Pach's etching Saint-Germain-des-Pres (1911). Lecturer, University of Mexico, Shilling Fund grant.

1943 -- "A Newly Found American Painter: Hermenegildo Bustos," by Walter Pach, published in January issue of Art in America. "Unknown Aspects of Mexican Painting," by Walter Pach, published in October issue of Gazette des Beaux-Arts. Marriage of son, Raymond.

1944 -- "The Eight, Then and Now," by Walter Pach, published in January issue of Art News. "Problemas del arte americano," by Walter Pach, published in December issue of Origenes.

1946 -- "La Barricade in America," by Walter Pach, published in July issue of Art News. "On Art Criticism," by Eugène Delacroix (first published in Revue de Paris, May 1829), translated by Walter Pach for catalog of exhibition at Curt Valentin, New York City.

1947 -- Publication of Picasso, by Juan Larrea, edited by Walter Pach. Publication of "Museums Can Be Living Things," by Walter Pach, in Laurels Number One, Laurel Gallery. Etching, Scopasian Head, by Walter Pach, included in Laurels Number Two, Laurel Gallery.

1948 -- Publication of The Art Museum in America, by Walter Pach. "The Past Lives On," by Walter Pach, parts 1 and 2, published in October and November issues of American Artist.

1949 -- "Thus Is Cubism Cultivated," by Walter Pach, published in May issue of Art News.

1950 -- Contributed a chapter, "The State of the Arts in the Democratic Way of Life: A Postscript," to Perspectives on a Troubled Decade: Science, Philosophy and Religion, 1939-1949, edited by Lyman Bryson, Louis Finkelstein, and R. M. MacIver. Death of wife, Magdalene.

1951 -- "Reaciones entre la cultura nordeamericana y la ombre de Diego Rivera," a major essay by Walter Pach published in Diego Rivera, 50 años de su labor artistica, exposition de normenaje nacional, Museo nacional de artes plasticas, Mexico City. Married Nikifora.

1953 -- "A Modernist Visits Greece," by Walter Pach, reprinted in autumn issue of Archaeology.

1954 -- "John Sloan," by Walter Pach, published in August issue of Atlantic Monthly.

1956 -- "Introducing the Paintings of George Of (1876-1954)," by Walter Pach, published in October issue of Art News.

1958 -- Professor, City College of New York. Died, New York City, following an operation for stomach ulcers.

1959 -- Publication of The Classical Tradition in Modern Art, by Walter Pach.

1986 -- Exhibition, "Walter Pach, A Retrospective," at Asheville Art Museum, Asheville, North Carolina.

1988 -- Exhibition, "The Art of Walter and Magda Pach," at Butler Institute of American Art, Youngstown, Ohio.

1990 -- Exhibition, "Discovering Modernism: Selections from the Walter Pach Papers," at the Archives of American Art, New York City.

1991 -- Exhibition, "The Paintings of Walter Pach," at Forum Gallery, New York City.
Related Materials:
Papers of Walter Pach, 1885-1956, are also located at the Helen Farr Sloan Library & Archives.
Separated Materials note:
When the Archives of American Art acquired the Walter Pach Papers, some portion of his library was also received. The bulk of the library was transferred to the Smithsonian's American Art/Portrait Gallery Library where the items could be properly cataloged, cared for, and used.
Provenance:
The Walter Pach papers were acquired in several installments. After Pach's death his widow, Nikifora Pach, sold Pach's papers to Salander-O'Reilly Galleries. They were purchased by the Archives of American Art in 1988 with a grant from the Brown Foundation, Inc.

Eight family photographs, donated by Raymond Pach, son of Walter Pach, were received in 1990.

In 2012 Francis M. Naumann donated an additional 5.7 linear feet of material to the Archives of American Art.
Restrictions:
Use of original papers requires an appointment.

Use of archival audiovisual recordings with no duplicate access 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.
Occupation:
Art critics  Search this
Art historians  Search this
Artists  Search this
Topic:
Art schools -- Photographs  Search this
Authors -- New York (State) -- New York  Search this
Art criticism  Search this
Art -- Study and teaching  Search this
Art -- Expertising  Search this
Mural painting and decoration, Mexican  Search this
Curators -- New York (State) -- New York  Search this
Modernism (Art)  Search this
Genre/Form:
Sketchbooks
Scrapbooks
Prints
Drawings
Diaries
Travel diaries
Photographs
Citation:
Walter Pach papers, 1857-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pachwalt2
See more items in:
Walter Pach papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e24017f2-73ab-4bdf-b1e3-d0e53592ca04
EDAN-URL:
ead_collection:sova-aaa-pachwalt2
Online Media:

Gabriella De Ferrari papers

Creator:
De Ferrari, Gabriella  Search this
Names:
Busch-Reisinger Museum  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Pan-American Society of New England  Search this
Wadsworth Atheneum  Search this
Brenson, Michael  Search this
Castelli, Leo  Search this
Cuno, James B.  Search this
Gray, Francine du Plessix  Search this
Gund, Agnes  Search this
Katz, Ada, 1928-  Search this
Katz, Alex, 1927-  Search this
LeWitt, Carol  Search this
LeWitt, Sol, 1928-2007  Search this
Seator, Glen  Search this
Segal, Martin  Search this
Sischy, Ingrid  Search this
Former owner:
New School University  Search this
Extent:
7.7 Linear feet
0.012 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Scrapbooks
Diaries
Illustrated letters
Video recordings
Sound recordings
Interviews
Date:
1931-2011
bulk 1975-2011
Summary:
The papers of art historian Gabriella De Ferrari measure 7.7 linear feet and 0.012 GB and date from 1931-2011, with the bulk of the collection dating from 1975-2011. The collection provides an overview of her activities as an arts administrator, writer, and philanthropist through biographical materials, correspondence, interviews, extensive writings and notes, subject files, printed and digital material, scrapbooks, and photographs.
Scope and Contents note:
The papers of art historian Gabriella De Ferrari measure 7.7 linear feet and 0.012 GB and date from 1931-2011, with the bulk of the collection dating from 1975-2011. The collection provides an overview of her activities as an arts administrator, writer, and a philanthropist through biographical materials, correspondence, interviews, extensive writings and notes, subject files, printed and digital material, scrapbooks, and photographs.

Correspondence with artists, academic administrators, museum directors, curators, literary agents, editors, and publishers is primarily of a social nature, e.g., thank you notes, invitations, and congratulatory letters. Letters include references to De Ferrari's professional activities from circa 1975-circa 2006. There are illustrated letters and handmade birthday cards by De Ferrari, family, and friends. Among the correspondents are Michael Brenson, James Cuno, Francine Du Plessix Gray, Agnes Gund, Alex and Ada Katz, Sol and Carol Lewitt, and Glen Seator.

Writings and notes primarily document Gabriella De Ferrari's career as an author and include numerous drafts and annotated versions of her novels, short stories, memoir, and articles. Subject files include materials chronicling De Ferrari's activities at the Busch-Reisinger Museum, the Institute of Contemporary Art in Boston, and the Pan-American Society of New England. Also documented is her service as a Board of Trustees member, consultant, and advisor to major educational, corporate, and cultural institutions, including the New School University, United Technologies, Inc., and the Wadsworth Atheneum, among others. Interviews of De Ferrari are found on six sound cassettes. Additional audio cassettes and one videocassette are found within her writings.

Photographs are of Gabriella De Ferrari, family members, friends, and colleagues, including Michael Brenson, Leo Castelli, Agnes Gund, Martin Segal, Ingrid Sischy, Sol Lewitt, among others.
Arrangement note:
The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1947-2003 (Boxes 1, 9; 0.3 linear feet, ER01; 0.001 GB)

Series 2: Correspondence, 1964-2011 (Boxes 1-2; 1.3 linear feet, ER02; 0.001 GB)

Series 3: Interviews, 1990-1996 (Box 2; 3 folders)

Series 4: Writings and Notes, 1950-2010 (Boxes 3-6; 3.6 linear feet, ER03-ER10; 0.011 GB)

Series 5: Subject Files, 1953-2008 (Boxes 6-7; 1 linear feet, ER11; 0.001 GB)

Series 6: Printed Material, 1961-2011 (Box 7; 0.8 linear feet)

Series 7: Scrapbooks, 1974-1981 (Box 9; 0.3 linear feet)

Series 8: Photographs, 1931-circa 2010 (Box 8, 0.4 linear feet)
Biographical/Historical note:
Art historian Gabriella De Ferrari (1941-) has lived and worked in Boston, Massachusetts and New York City.

Born in Tacna, Peru to Italian parents, De Ferrari graduated with a Bachelor of Arts from Saint Louis University in Missouri in 1963. She went on to receive a Master of Arts from the Fletcher School of Law and Diplomacy, Tufts University in 1966, and in 1981, she earned a Masters of Art in Fine Arts from Harvard University. De Ferrari has held administrative and curatorial positions at major museums and art organizations. At the Institute of Contemporary Art, Boston, she was curator of exhibitions before becoming the Director of the Institute in 1975. From 1978-1982, De Ferrari was Assistant Director of Curatorial Affairs and Programs at the Fogg Museum and the Busch-Reisinger Museum, where her responsibilities included exhibition programs for twentieth century art and coordinating programs for corporate and public fundraising. In 1989, De Ferrari moved to New York City, where she established herself as a freelance writer. In 1990, her novel, A Cloud on Sand received a Barnes and Noble Discover Award. Gringa Latina, De Ferrari's memoir about her experience living in two cultures was published in 1994.

She has served on the Boards of Trustees and on the advisory committees of many leading institutions, including Colby College, City University Graduate Center Foundation, Harvard University Museum, the New School, and the Wadsworth Atheneum. From 2000-2006, she was the philanthropic advisor to the chairman and CEO of United Technologies Corporation. In 1996, De Ferrari was awarded the New School Medal for Distinguished Service, and in 2008, she received an Honorary Doctorate in Letters from Colby College.

Gabriella De Ferrari continues to reside in New York City.
Provenance:
The papers were donated to the Archives of American Art by Gabriella De Ferrari, in 2011.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access 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.
Occupation:
Art historians -- Massachusetts -- Boston  Search this
Museum curators -- Massachusetts -- Boston  Search this
Museum directors -- Massachusetts -- Boston  Search this
Authors -- Massachusetts -- Boston  Search this
Philanthropists -- Massachusetts -- Boston  Search this
Topic:
Women art historians  Search this
Women museum curators  Search this
Women authors  Search this
Genre/Form:
Photographs
Scrapbooks
Diaries
Illustrated letters
Video recordings
Sound recordings
Interviews
Citation:
Gabriella De Ferrari papers, 1931-2011, bulk 1975-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.defemari
See more items in:
Gabriella De Ferrari papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9501df49d-35e2-4d3a-8c62-f0f164d8bd36
EDAN-URL:
ead_collection:sova-aaa-defemari

W.G. Constable papers

Creator:
Constable, W. G. (William George), 1887-1976  Search this
Correspondent:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Art Gallery of Toronto  Search this
Germany (Territory under Allied occupation, 1945-1955 : U.S. Zone). Office of Military Government  Search this
National Gallery of Canada  Search this
Watts Gallery  Search this
Brandt, Mortimer  Search this
Frick, Helen Clay, 1888-1984  Search this
Gluck, Helen  Search this
Hencken, Hugh O'Neill  Search this
Ivins, William Mills, 1881-1961  Search this
Links, J. G.  Search this
Perry, Ralph  Search this
Phillips, Duncan, 1886-1966  Search this
Sachs, Paul J. (Paul Joseph), 1878-1965  Search this
Stout, George L. (George Leslie)  Search this
Vasalle, Rudolph  Search this
Names:
American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas  Search this
Christie, Manson & Woods International Inc.  Search this
Fogg Art Museum  Search this
Museum of Fine Arts, Boston  Search this
United States. Internal Revenue Service  Search this
Canaletto, 1697-1768  Search this
Extent:
25.7 Linear feet
Type:
Collection descriptions
Archival materials
Place:
Germany (Territory under Allied occupation, 1945-1955)
Date:
1905-1983
bulk 1920-1976
Summary:
The papers of art historian and museum curator W.G. (William George) Constable measure 25.7 linear feet and date from 1905 to 1981, with the bulk of the material from 1920 to 1976. The papers include biographical material; professional and personal correspondence; extensive lectures, writings, and notes; exhibition and book research files; printed materials; and photographs, glass plate negatives, and slides. There is substantive correspondence related to Constable's participation in the American Defense Harvard Group and about the formation of the Roberts Commission, including correspondence with Ralph Perry, Hugh Hencken, Paul Sachs and George L. Stout. There are numerous official reports prepared by Constable after World War II for the U. S. Office of Military Government for Germany.
Scope and Contents:
The papers of art historian and museum curator W.G. (William George) Constable measure 25.7 linear feet and date from 1905 to 1981, with the bulk of the material from 1920 to 1976. The papers include biographical material; professional and personal correspondence; extensive lectures, writings, and notes; exhibition and book research files; printed materials; and photographs, glass plate negatives, and slides. There is substantive correspondence related to Constable's participation in the American Defense Harvard Group and about the formation of the Roberts Commission, including correspondence with Ralph Perry, Hugh Hencken, Paul Sachs and George L. Stout. There are numerous official reports prepared by Constable after World War II for the U. S. Office of Military Government for Germany.

Biographical material includes W.G. Constable's curriculum vitae; club memberships; personal, educational, and military records; three memorial essays and obituaries; five address books; appointment books dating from 1930-1968; and financial records related to personal business travels.

Correspondence is mostly professional and arranged into General, Committee, Condolences, and J.G. Links. General correspondence is with friends, business associates, auction houses, galleries, and museums. The letters cover a wide variety of professional work, such as research projects, letters of inquiry and recommendation, and work done for Christie's and the Internal Revenue Service. Correspondents include Mortimer Brandt, Helen Frick, Helen Gluck, William Ivins, Duncan Phillips, Paul Sachs, and Rudolph Vasalle, among many others.

Committee related correspondence includes letters, memoranda, and reports related to ongoing committee objectives, projects, and routine activities. There is correspondence related to Constable's advisory work with the Art Gallery of Toronto, the National Gallery of Canada, and the Watts Gallery, among other projects. Condolences consists of letters and cards received by Constable's wife, Olivia, after Constable's death. Correspondence with J.G. Links is primarily about the second edition revision of Constable's book Canaletto.

There are over 170 drafts of Constable's notes and outlines for lectures. Topics range from 13th-20th century European and American art to museum conservation, ethics, art education, and art collecting. The series also includes lecture notes from organized touring trips to Canada, Northern Europe, Scandanavia, and Poland.

Writings consist of Constable's published and unpublished articles, articles submitted for the Encyclopedia of World Art, essays, notes, exhibition catalogs, translations, and drafts and research material related to Art Collecting in the United States, Art History and Connoisseurship, and The Painter's Workshop.

Files specifically documenting Constable's advisory role in the World War II American Defense Harvard Group drafting and organizing lists of men with curatorial, museum conservation, or library/archives backgrounds to aid in the protection European most valued cultural artifacts, artwork, and architecture. There are letters documenting the formation of the Harvard Group and its goals and objections. The files also include many of the original lists that were forwarded to the Commission for the Protection and Salvage of Artistic and Historic Monuments in Europe, also known as the Roberts Commission, eventually leading to the formation of the U.S. Army's Monuments, Fine Arts, and Archives division. The series also includes the Harvard Group's manual Safeguarding and Conserving Cultural Materials in the Field, committee minutes, and clippings related to their work. Correspondents include Ralph Perry, Paul Sachs, George L. Stout, and Hugh Hencken.

Constable's work after the war for the U.S. Office of Military Government for Germany is documented through numerous reports, memoranda, letters, and other official documents from the U. S. Army to Constable about surveying the state of German and Italian art institutions after World War II. The series also includes Constable's notebook "Visits in Germany" (1949), and a copy of his report Art and Reorientation: Status and Future of Museums and the Teaching of Art in Western Germany.

Exhibition files contain correspondence, notes, lists, research material, and reports related to exhibitions that Constable organized prior to his employment by and after his retirement from the Boston Museum of Art.

Research files contain materials relevant to Constable's interests and include notes, lists, correspondence, and printed and photographic reference material. These subject areas cover artists, including extensive files on Canaletto and other vedute painters, museum conservation, museums and galleries, private and public art collections, and schools of art.

Printed materials include clippings, programs, book excerpts and other miscellaneous printed materials.

Photographic materials include prints of Constable with friends and family, as well as prints, glass negatives and slides of artwork. There are also prints of the Fogg Art Museum's interiors and exterior and interior shots of Tennessee Valley Authority dam projects.
Arrangement:
The collection is arranged as 10 series.

Missing Title

Series 1: Biographical Materials, 1905-1983 (1.2 linear feet; Box 1-2, OV 28)

Series 2: Correspondence, 1906-1981 (6.2 linear feet; Box 2-8, OV 28-29)

Series 3: Lectures, 1909-1963 (4.6 linear feet; Box 8-12)

Series 4: Writings and Notes, 1910-1974 (2 linear feet; Box 13-14)

Series 5: American Defense Harvard Group, 1942-1946 (0.6 linear feet; Box 15)

Series 6: Office of Military Government for Germany, 1947-1952 (0.3 linear feet; Box 15)

Series 7: Exhibition Files, 1930-1969 (1 linear foot; Box 15-16, OV 29)

Series 8: Research Files, 1922-1976 (7.5 linear feet; Box 16-24, OV 28-29)

Series 9: Printed Material, 1921-1977 (0.5 linear feet; Box 24)

Series 10: Photographic Materials, circa 1940-1960 (1.4 linear feet; Box 24-27, OV 28-29)
Biographical / Historical:
W. G. (William George) Constable (1887-1976) was a museum curator and art historian who worked in England and Boston.

Born in Derby, England, Constable studied for the bar at Cambridge University, but was encouraged to pursue art over law by the Lord Chancellor who told him that law would be too strenuous after a two year convalescence from gassing during World War I. For three years, he studied at the Slade School and the Bartlett School of Architecture. In 1923, he joined the National Gallery of London where he became the Assistant Director in 1929. In 1930, he accepted the first Director's position at the newly formed Courtauld Institute, where he worked to develop one of the first programs on art history. In 1938, Constable became Curator of Paintings at the Boston Museum of Fine Arts and worked there until his retirement in 1957.

Throughout his career as an arts administrator, Constable remained an accomplished lecturer and held appointments as the Slade Professor of Art at Cambridge (1933-1936), Ryerson Lecturer at Yale University (1940), and the Lowell Lecturer at the Lowell Insitute (1958). As a researcher and art historian, he published a steady stream of essays on European and American art connoisseurship, and authored over ten scholarly books, including The Painter's Workshop (1953), Richard Wilson (1953), and Canaletto (1962), the definitive work on the Venetian master.

Constable was a trusted arts advisor and, in this capacity, worked for the Wadsworth Atheneum from 1943-1945. He also worked closely with Lord Beaverbrook to establish the National Gallery of Canada and later consulted for Sotheby's and the U. S. Internal Revenue Service.

In the years leading to World War II, Constable served as an advisor to the American Defense Harvard Group and was later appointed to the Commission for the Protection of Artistic and Historic Monuments in Europe (the Roberts Commission) by President Roosevelt. The Roberts Commission was responsible for the establishment of the U. S. Army's Monuments, Fine Arts, and Archives section. After the war, Constable served the U.S. government as a member of a commission responsible for the recovery of looted art work and the evaluation of the state of the arts in Germany and Italy.

After his retirement from the Boston Museum, Constable continued to research and write, and also served as president of the International Institute of Conservation (1958-1960) and the Renaissance Society of America (1959-1961). From 1957 to 1966, he worked on behalf of Christie's auction house, where he met with prospective clients and provided preliminary valuations of private art works and collections.

On February 4, 1976, Constable died in Cambridge, Massachusetts from natural causes.
Related Materials:
The Archives also holds additional materials related to W.G. Constable, including an oral history interview with Constable conducted by Robert Brown in 1972-1973, and a photograph and clipping of Constable donated by Eleanor Barton in 1982.

Additional W.G. Constable papers are located at archival materials are also located at St. Johns College in Cambridge,England; the Warburg Institute in London, England; the National Gallery in London, England; and the Society for the Protection of Science and Learning in London, England. Photographs of works art collected by Constable are found at the British Studies Center at Yale University. Records relating to his tenure at the Museum of Fine Arts, Boston are housed there.
Provenance:
The papers of W.G. Constable were donated in multiple gifts from 1978 to 1979 and in 1987 to 1988 by his son Giles Constable. Additional material regarding Constable's research on Canaletto was donated by researcher J.G. Links in 1985.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and not served to researchers.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters  Search this
Art historians -- Massachusetts -- Boston  Search this
Art historians -- England  Search this
Topic:
Art, European  Search this
Art -- Study and teaching  Search this
Museum curators -- Massachusetts -- Boston  Search this
Art -- Collectors and collecting  Search this
Cultural property -- Conservation and restoration -- Germany  Search this
Cultural property -- Conservation and restoration -- Italy  Search this
Art -- Conservation and restoration  Search this
Museum curators -- England  Search this
World War, 1939-1945 -- Art and the war  Search this
Citation:
W.G. Constable papers, 1905-1983, bulk 1920-1976. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.conswmgp
See more items in:
W.G. Constable papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96b4e2709-3019-479e-91bd-891fa500a679
EDAN-URL:
ead_collection:sova-aaa-conswmgp
Online Media:

Gateways/Portales: Interview with Pamela Sanchez and Her Sister

Creator:
Anacostia Community Museum  Search this
Names:
Anacostia Community Museum  Search this
Extent:
39 Video recordings (MP4 Video (.MP4), born digital)
1 Sound recording (AIFF Sound (.aif), born digital)
Type:
Archival materials
Video recordings
Sound recordings
Place:
Washington (D.C.)
Baltimore (Md.)
Charlotte (N.C.)
Raleigh (N.C.)
United States
Date:
2016 March 25
Scope and Contents:
Pamela Sanchez talked about her family and where they lived; growing up in Atlanta, Georgia; her experience attending college in Boston, Massachusetts; her arrival in Charlotte, North Carolina and her first impressions; and how Charlotte has changed. Sanchez described the Georgia and North Carolina communities in which she lived. She talked about the origin and growth of her father's company, Norsan Media; the public relations work she does for the company; and how Latino media landscape has changed. Sanchez spoke about the origin and evolution of the festival 'Hola Charlotte,' and described how it was different from other festivals. 'Hola Charlotte,' started in 2012, was the first Latinx Heritage Festival in uptown Charlotte. The festival included a Latin American village which featured authentic clothing, art, music, dance, and culture from a variety of Latin American countries. When the village was added to the festival in 2013, it featured 10 countries; in 2016, the village featured fifteen countries. Sanchez also talked about what makes her happy, proud; lessons she has learned; and what she does for fun. After Sanchez's interview, she and her sister talked about their family (parents from Mexico); growing up in Atlanta; Norsan Media, the company their father started; their father's work ethic; and working in the national sales department of Norsan Media. Clips of this interview were included in 'Local Media' and 'Hola Charlotte' sections of the exhibition.
Interview. Related to exhibition 'Gateways/Portales.' The MP4 video files are grouped with related SMI files, PPN files, XML documents, and BIM files. Dated 20160325.
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Topic:
Hispanic Americans  Search this
Latin Americans -- United States  Search this
Immigrants  Search this
Communities  Search this
Genre/Form:
Video recordings
Sound recordings
Citation:
Gateways/Portales: Interview with Pamela Sanchez and Her Sister, Anacostia Community Museum Archives, Smithsonian Institution.
See more items in:
Gateways/Portales Exhibition Records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa77bb8bf0c-d1aa-437a-a885-6584c6cbc441
EDAN-URL:
ead_component:sova-acma-03-102-ref73

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