The papers of video artist, printmaker, and sculptor Norie Sato measure 0.6 linear feet and date from 1974 to 1991. Biographical materials, correspondence, lecture, exhibition, and project files, printed material, and writings document Sato's activities to mid-career and her involvement in professional video and artist organizations primarily in Seattle, Washington.
Scope and Contents:
The papers of video artist, printmaker, and sculptor Norie Sato measure 0.6 linear feet and date from 1974 to 1991. Biographical materials, correspondence, lecture, exhibition, and project files, printed material, and writings document Sato's activities to mid-career and her involvement in professional video and artist organizations primarily in Seattle, Washington.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Japanese-born video artist, printmaker, and sculptor Norie Sato (1949- ) is based in Seattle, Washington and is known for her many site-specific installations that interact with their environment.
Sato moved to Seattle in 1972 and received her Master of Fine Arts degree in printmaking from the University of Washington. She is a founder of the Center for Contemporary Art (COCA) in Seattle and a member of the Seattle Arts Commission. Sato received the Washington State Governor's Arts and Heritage Award in 2014, among many other awards.
Provenance:
Donated 1991 by Norie Sato.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Video artists -- Washington (State) -- Seattle Search this
Printmakers -- Washington (State) -- Seattle Search this
Sculptors -- Washington (State) -- Seattle Search this
The scattered papers of painter, designer, and mosaicist Mary Dill Henry measure 0.3 linear feet and date from 1987-1989. Found are biographical material, correspondence, photographic material, and printed material.
Scope and Contents:
The scattered papers of painter, designer, and mosaicist Mary Dill Henry measure 0.3 linear feet and date from 1987-1989. Found are biographical material, correspondence, photographic material, and printed material.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Mary Dill Henry (1913-2009) was a painter, designer, and mosaicist from California and Seattle, Washington, whose work was characterized by geometric abstraction. She studied at the San Francisco Art Institute and worked at Hewlett-Packard drafting engineering renderings. Later, she created mosaics for the outside of the Hewlett-Packard offices. Henry's work is in the collections of the Seattle Art Museum, Tacoma Art Museum, Portland Art Museum, Institute of Design IIT, Microsoft, Safeco, and Hewlett-Packard, among many others.
Provenance:
Henry's friend and patron, Artemas A. Ginzton, donated the Mary Dill Henry papers to the Archives of American Art in 1992.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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.
Quotes and excerpts must be cited as follows: Oral history interview with Ruth Penington, 1983 Feb. 10-11. Archives of American Art, Smithsonian Institution.
An interview of Ruth Penington conducted 1983 Feb. 10-11, by LaMar Harrington, at the artist's home in Seattle, Wash., for the Archives of American Art's Northwest Oral History Project. Penington speaks of her family background; her early interests; her education; the beginnings of the Northwest Printmakers; teaching at the University of California; the change in the definition of art in universities; the influence of Gilbert Rohde; her philosophy of teaching, of art, and of commercialism; various shows and exhibitions she has been involved in; her work methods and her current work.
Biographical / Historical:
Ruth Penington (1905-1998) was an educator, metalworker, and printmaker from Seattle, Wash.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 3 hrs., 48 min.
Provenance:
This interview is part of the Archives' Northwest Oral History Project, begun in 1982 to document the Northwest artistic community through interviews with painters, sculptors, craftsmen, educators, curators, and others, in Oregon, Washington and Montana.
Occupation:
Educators -- Washington (State) -- Seattle Search this
New Deal and the Arts Oral History Project Search this
Extent:
14 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 February 14-20
Scope and Contents:
An interview of Fay Chong conducted 1965 February 14-20, by Dorothy Bestor, for the Archives of American Art.
Chong speaks of working for the WPA Federal Art Project (FAP); printmaking methods used; the effect of the FAP on the city of Seattle and on artists; and his post-FAP career.
Biographical / Historical:
Fay Chong (1912-1973) was a Chinese American painter and printmaker based in Seattle, Washington. Chong was born in Kwangtung, China in 1912. He came to Seattle in 1920.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav files. Duration is 35 min.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- Washington (State) -- Seattle Search this
Printmakers -- Washington (State) -- Seattle Search this
Quotes and excerpts must be cited as follows: Oral history interview with Edward B. Thomas, 1983 April 28-May 10. Archives of American Art, Smithsonian Institution.
Topic:
Prints -- 20th century -- Northwestern States Search this
An interview of Edward B. Thomas conducted 1983 April 28-May 10, by John Olbrantz, at the artist's home in Seattle, Washington, for the Archives of American Art's Northwest Oral History Project. Thomas speaks of his family background and early art experiences; his education at the University of Washington; printmaking and its role in Northwest art; his role as education director at the Seattle Art Museum; the development of the museum under Richard E. Fuller; contributors to the museum; the impact of the 1962 World's Fair; the Northwest art scene; exhibitions at the museum; interaction with the Henry Gallery and other museums; and his future plans. He recalls Guy Anderson, Kenneth Callahan, Morris Graves, and Mark Tobey.
Biographical / Historical:
Edward B. Thomas (1920-1984) was an educator and museum curator from Seattle, Washington.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 9 min.
Provenance:
This interview is part of the Archives' Northwest Oral History Project, begun in 1982 to document the Northwest artistic community through interviews with painters, sculptors, craftsmen, educators, curators, and others, in Oregon, Washington and Montana.
Topic:
Prints -- 20th century -- Northwestern States Search this
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interviews with Robert Bruce Inverarity, 1964 Oct. 29-Nov. 4. Archives of American Art, Smithsonian Institution.
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Malcolm Roberts, 1965 May 26. Archives of American Art, Smithsonian Institution.
An interview with Ron Ho conducted 2017 May 9, by Lloyd Herman, for the Archives of American Art, at Ho's home in Seattle, Washington.
Ho discusses his family background in Kowloon and Canton, China; grandparents' immigration to Hawaii, and Maui. Agricultural family business in Hawaii. Family chores, family traditions, cooking; hobbies and schooling. The changing economies and demographics of Hawaii. Learning music and accordion as a child and learning crafts from his music teacher. Attending Pacific Lutheran in Tacoma, KS; majoring in art education; teaching art in Hoquiam, WA and Bellevue, WA. Attending University of Washington to get his masters' degree. Studying painting and printmaking; meeting jeweler Ramona Solberg, and studying with her. Using found objects in jewelry, and creating work which incorporated his heritage. Making work with dominoes, jade, noodles, etc. Solo exhibits at the Henry Art Gallery and the Wing Luke Museum, Honolulu Museum of Art, Bellevue Arts Museum. Teaching middle and elementary school and getting awards for teaching. Receiving arts awards. Teaching workshops at Pratt Fine Arts Center and Homer Alaska. Traveling to England and Europe. Taking workshops in Japan and Taiwan. Public Art projects, including at the Wing Luke Museum. Making jewelry for his grandmothers. Travel to China, India, Afghanistan. Ho also discusses teachers Alden Mason and Fred Anderson; students Lynne Hull, Luly Yang, Laurie Hall, Kiff Slemmons, Jack Stoops, Lloyd Herman, Michael Monroe.
Biographical / Historical:
Ron Ho (1936-2017) was a jewelry artist and arts educator in Seattle, Washington. Lloyd Herman (1936- ) was the Director of the Renwick Gallery in Washington, D.C.
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:
Educators -- Washington (State) -- Seattle -- Interviews Search this
Jewelers -- Washington (State) -- Seattle -- Interviews Search this
New Deal and the Arts Oral History Project Search this
Names:
New Deal and the Arts Oral History Project Search this
Extent:
28 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 May 26
Scope and Contents:
An interview of Malcolm Roberts conducted 1965 May 26, by Dorothy Bestor, for the Archives of American Art.
Biographical / Historical:
Malcolm Roberts (1913-1990) was a painter and printmaker from Seattle, Wash.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 1 hr., 1 min.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
This series consists of the business and personal correspondence of Edith Gregor Halpert and the Downtown Gallery. For the most part, this series is general business correspondence concerning routine activities of the Downtown Gallery, including the American Folk Art Gallery and the Daylight Gallery, both operated by the Downtown Gallery on the same premises. Included are correspondence with clients, employees, other galleries, and colleagues concerning sales, loans, purchases, appraisals, and so forth; arrangements for shipping, framing, photography, reproduction permissions, and insurance; and gallery housekeeping and improvements, ordering of supplies, and other administrative concerns.
Also included is personal correspondence of Edith Gregor Halpert. There are letters and greeting cards from nieces, nephews, and other relatives; correspondence with longtime friends, including some who were art collectors, museum curators, or museum directors; and correspondence concerning upkeep and improvement of her Newtown, Connecticut, country home and entertaining there.
See Appendix A for a list of selected correspondents from Series 1
Arrangement note:
Letters (with enclosures) are arranged chronologically, with those of the same date alphabetized by name of correspondent; undated material is arranged alphabetically, followed by unidentified correspondents and letters bearing illegible signatures.
Box numbers provided in the Container Listing are approximate.
Appendix A: List of Selected Correspondents in Series 1:
Names and titles indicated in this list are those that appear on the letters. Where appropriate, terms have been standardized and cross-referencing provided. Because filing is not always consistent, researchers are advised to check both the name of an individual and the institution that he or she represented.
Abate Associates, Inc., 1956
Abbot and Land, 1965
Abbot, B. Vincent, 1944
Abbot, Bernice, 1957
Abbot, John E., 1945, 1948
Abbot Laboratories, 1950, 1952
ABC Employment Agency, 1951
Richard Abel and Co., Inc., 1968
Abendroth, Robert W., 1966-1967
Abercrombie and Fitch Co., 1962
Abilene Museum of Fine Arts, undated, 1949, 1954
Abingdon Square Painters, 1965
Abraham and Straus, 1930, 1960, 1965-1966, 1968
Abraham, Mae C., 1965
Abrahamsen, Mrs. David, 1962
Abramowitz, M., 1958
Harry N. Abrams, Inc., 1958-1960, 1965-1966, 1968-1969
"HemisFair '68," 1968 (see also: "International Exposition, HemisFair '68")
Hemmenway, Catherine C., 1961
Hemmingsen, R. V., 1963
Hemmingson, Victoria, 1965
Henderson, Hanford, 1960
Henderson, Priscilla A. B. (Mrs. A. I.), 1934-1955
Henderson, Ray, 1956
Hendrick, Mrs. James Pomeroy, 1961
Heninger, Helen, undated, 1963, 1969
Henquet, Roger, 1948, 1965
Henri, Robert, 1926-1927
Henry, David T., 1964
Henry, Helen (Mrs. Charles), undated, 1949
Henry, James F., 1958
Henry Street Settlement, 1958, 1962-1963
Hentschel, R. A. A., 1951-1954
Hepburn, Katharine, 1952
Herbert, Elmer, 1962
Herbert, James D., 1962
Herider, Ed. L., 1961
Heritage Gallery, 1960, 1964
Herman, Stanley, 1964
Herman, Vic, 1968
Herring, Audrey L., 1964
Herrington, Nell Ray (Mrs. A. W. S.), 1962, 1965
John Herron Art Institute, undated, 1934, 1949, 1951, 1953, 1957-1958, 1962-1964, 1967 (see also: Art Association of Indianapolis; Art School of the John Herron Art Institute)
Hertslet, G. Gordon, 1962, 1966
Hertz, Richard C., 1965
Hertzberg, Stuart E., 1967-1968
Heschel, Mrs. Abraham, 1961
Hess, Elaine Marie, 1965
Hess, Mrs. Thomas B., 1954
Hetzel, Margaret deL. (Mrs. Joseph L.), 1948
Hewitt, Ada M., 1953
Edwin Hewitt Gallery, 1953
Heydenryk, Henry, 1954, 1960, 1964
Heynick, Carla Marian, 1965
Hickok, M., 1958
Hiddens, Mrs. Earl, 1952
Hiersoux, Arne, 1966
Hi Fi/Stereo Review, 1960
High Museum of Art, 1950, 1955, 1961-1962, 1965-1968 (see also: Atlanta Art Association; Atlanta Art Association and High Museum of Art)
Highway Antique Shop, 1954
R. Hill and Son, Ltd., 1960
Hill, Ralph Nading, 1952, 1962
Hille, Elise B., undated
Hille and Curran, 1954
Hilleman, Alex L., 1956
Hiller, Paula, 1962
Hilles, Mrs. Frederick W., 1956
Hillman, Mrs. Joel, II., 1960
Hillside Hospital Clinic, 1949, 1953
Hillstrom, Richard L., 1958, 1962, 1964-1965
Hilltop Theatre, Incorporated, 1952
Hilsenrath, Yakov R., 1965
Hilson, Catherine [Katy] and/or John S., undated, 1958-1959, 1961-1966
Himel, Irving, 1963
Himmelsfarb, Samuel, 1955
Hines, Felrath, 1961
Hinkhouse, Inc., 1960, 1964
Hirsch, B., 1961
Hirsch, E. W., 1954
Hirschberg, J. Cotter, 1956
Hirschl and Adler Galleries, Inc., 1958, 1960, 1963-1965, 1968
Hirschland, Dr. and/or Mrs. F. H., undated, 1959
Hirschland, Paul Michael, 1945
Hirschburg, Mrs. Roy, undated
S. A. Hirsh Manufacturing Co., 1966
Hirshberg, Henrietta, 1961
Hirshhorn, Mrs. Arthur, 1960
Hirshhorn, Joseph H., 1946, 1948, 1951-1954, 1956, 1960, 1963, 1965
Joseph H. Hirshhorn Collection, 1959-1960, 1962-1963, 1965-1966
[incomplete; without signature], undated, 1953, 1961, 1967, 1968
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Downtown Gallery records are owned by the Archives of American Art, Smithsonian Institution. Rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws. Prior to publishing information regarding sales transactions, researchers are responsible for obtaining written permission from both artist and purchaser involved. If it cannot be established after a reasonable search whether an artist or purchaser is living, it can be assumed that the information may be published sixty years after the date of sale.
Collection Citation:
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing, microfilming and digitization of the microfilm of this collection was provided by the Henry Luce Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.