The papers of writer, art critic and collector Bernard Harper Friedman, 1926-2011, bulk 1943-2010, measure 30.6 linear feet. Extensive professional and personal correspondence, 41 diaries, a large number of his published and unpublished writings, and subject files document Friedman's career as a writer, relationships with cultural institutions and art world figures, and his personal life. Also included are biographical materials, interviews, printed material, 5 scrapbooks and photographs.
Scope and Contents:
The papers of writer, art critic and collector Bernard Harper Friedman, 1926-2011, bulk 1943-2010, measure 30.6 linear feet. Extensive professional and personal correspondence, 41 diaries, a large number of his published and unpublished writings, and subject files document Friedman's career as a writer, relationships with cultural institutions and art world figures, and his personal life. Also included are biographical materials, interviews, 5 scrapbooks, and photographs.
Biographical materials include educational records, documentation of Friedman's World War II service in the U.S. Navy, and birth, marriage, and death certificates.
Correspondence is with friends, family, artists, art world figures and institutions, writers, publishers, and literary agents. Among the correspondents are: John I. H. Baur, Harry Bertoia, Flora Biddle, Norman Bluhm, James Brooks, Fritz Bultman, Leo Castelli, William N. Copley, Jim Dine, Helen Frankenthaler, Brendan Gill, Robert Goodnough, Cleve and Francine Gray, Howard Kanovitz, Grace Knowlton, Stanley Kunitz, Conrad Marca-Relli, Mercedes Matter, Fred W. McDarrah, Rory McEwen, Robert Motherwell, Arnold Newman, Barnett Newman, Dorothy Norman, Alfonso Ossorio, Provincetown Fine Arts Work Center, Robert Richenburg, Barney Rosset, Philip Roth, Judith Rothschild, Irving Sandler, Salvatore Scarpitta, Jon Schueler, Sidney Simon, David Slivka, Clyfford Still, Myron Stout, Calvin Tompkins, and David Windham.
There are transcripts of interviews with B. H. Friedman, his daughter and wife conducted by the Yale University School of Medicine's "Adult Development Study," and 2 recordings of interviews with Friedman for radio broadcast.
Writings by Friedman include manuscripts of novels, short stories, plays, articles, monographs, and art criticism, some published versions of his work, and a variety of notes. Also found are recordings of lectures by B. H. Friedman and panel discussions in which he participated. Other authors represented are John Cage, W. B. Henry, and Jon Schueler. Friedman's diaries, 1948-1993 (41 volumes) record activities, thoughts, and events.
Subject files compiled by Friedman reflect professional and personal interests, activities, and projects. Many concern publicity for published writings or efforts to find publishers. Especially well documented is his interest in Jackson Pollock, Timothy Leary, and Alfonso Ossorio, and his affiliation with the Whitney Museum of American Art.
The majority of printed material is about or mentions Friedman. Five scrapbooks consist mainly of printed material.
Most photographs are of B. H. and Abby Friedman, their family, and friends. Among the individuals pictured are: Elise Asher, Cary and Norman Bluhm, Sandy Friedman, Joellen Hall, Doug Huebler, Howard Kanowitz, Stanley Kunitz, Lee Krasner, Sheridan Lloyd, Barnett and Annalee Newman, Alfonso Ossorio, Magda Salvesen, Salvatore Scarpitta, John Schueler, and Myron Stout. A photograph album records scenes from a 1979 performance of Whispers, a stage adaptation by Alan Wynroth from Friedman's novel of the same title.
Arrangement:
This collection is arranged as 9 series:
Missing Title
Series 1: Biographical Materials, 1926-2011 (Box 1; 0.2 linear feet)
Series 2: Correspondence, 1946-2011 (Boxes 1-15; 14.7 linear feet)
Series 3: Interviews, 1969-2001 (Box 15; 0.2 linear feet)
Series 4: Writings, 1940s-2010 (Boxes 16-23; 8 linear feet)
Series 5: Diaries, 1948-1993 (Boxes 24-25; 1.75 linear feet)
Series 6: Subject Files, 1940-2010 (Boxes 25-30; 4.45 linear feet)
Series 7: Printed Material, 1954-2010 (Box 30-31; 0.2 linear feet)
Series 8: Scrapbooks, 1960-2006 (Boxes 30-32; 0.8 lilnear feet)
Series 9: Photographs, circa 1950s-2008 (Box 30; 0.4 linear feet)
Biographical / Historical:
Bernard Harper Friedman (1926-2011), a writer best known as the author of the first biography of Jackson Pollock, was also an art critic and art collector involved in the cultural life of New York City.
Bernard Harper Friedman, known professionally as B. H. Friedman, was called Bob by family and friends. After interrupting his studies at Cornell University to serve in the U.S. Navy during World War II, he graduated in 1948 with a degree in English. Friedman and his new bride, fellow student Abby G. Noselson (1926-2003), returned home to New York City and he began a real estate career in his uncles' firm, Uris Buildings Corporation. While a businessman, Friedman spent much of his spare time writing. He produced fiction, plays, and criticism; Friedman's articles on art, literature and music appeared in a wide variety of periodicals. During this period, Friedman also pursued his interests in jazz, collecting abstract art, and psychedelic drug experiences with Timothy Leary.
His first published novel, Circles, about the Abstract Expressionist milieu, appeared in 1962. A year later, B. H. Friedman became a full-time writer. For nearly 20 years, he divided his time between New York City and Provincetown, Massachusetts, where he was affiliated with the Fine Arts Work Center as a director and consultant. During this period, he published several novels and two biographies: Jackson Pollock: Energy Made Visible and Gertrude Vanderbilt Whitney, written with Flora Biddle. More novels and short story collections were published, and staged readings of seven plays were presented between 1987 and 2007. Tripping, a memoir of using psychedlics with Timothy Leary, appeared in 2006.
A founding member of Fiction Collective, a nonprofit publishing group run by and for writers, Friedman was also a member of several national writers' organizations. He served as a trustee of the Whitney Musuem of American Art, 1961-1968, and then as honorary trustee. B. H. Friedman died from complications of pneumonia on January 4, 2011 in New York City.
Related Materials:
Also available is an oral history interview with Bernard Harper Friedman, 1972 November 10, conducted by Paul Cummings for the Archives of American Art.
Provenance:
The Bernard Harper Friedman papers were donated to the Archives of American Art in 2012 by his daughter, Daisy Friedman.
Restrictions:
The collection is ACCESS RESTRICTED; written permission is required. Use of original materials 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 -- New York (State) -- New York Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York Search this
This collection measures 7.7 linear feet, dates from circa 1870 to 1992, and documents the life and career of painter Ross Moffett and, to a lesser extent, the life and career of his wife, painter, lithographer, etcher, and illustrator, Dorothy Lake Gregory Moffett. The collection includes correspondence, photographs, artwork including sketchbooks, and printed material including published writings, newspaper clippings, press releases, and exhibition catalogs.
Scope and Content Note:
The Ross and Dorothy Lake Gregory Moffett papers measure 7.7 linear feet and date from circa 1870 to 1992. Because Dorothy Moffett's papers were received separately they are filed together in Series 13. Series 1-12 deal primarily with the life and career of Ross Moffett. The collection documents Ross Moffett's participation in the Provincetown community as an artist and resident through correspondence, photographs, sketchbooks and printed material, including published writings, news clippings, press releases, and exhibition catalogs. The papers of Dorothy Moffett include family letters, photographs, a journal and original artwork providing scattered documentation of her life and career as an a printmaker and illustrator.
General correspondence primarily focuses on news and financial affairs of the Moffett family farm in Iowa. Also included are letters from Provincetown artist, Edwin Dickinson, and a small amount of correspondence with other artists, collectors and dealers.
Files documenting specific projects that Ross Moffett was involved with are arranged separately and include correspondence, printed material and photographs. Project files have been established for the following projects: the publication of Art in Narrow Streets, the Eisenhower mural, the Cape Cod National Seashore Park and the renovation of the Center Methodist Church.
The series of printed material, 1918-1992, relates to Ross Moffett's career as an artist and his general interest in art. Photographs primarily focus on scenes of Provincetown and include photographs of works of art by Provincetown artists. Also included are photographs of artwork by Moffett arranged chronologically, Moffett's studio in Provincetown, and installations at the Provincetown Art Association Galleries.
Artwork found in Series 10 and 11 includes drawings by Ross Moffett and 85 annotated sketchbooks, including four by Dorothy Moffett.
The collection also houses research notes and files written by Josephine Couch Del Deo in preparation of a biography of Ross Moffett. These annotations provide useful additional information about Moffett's life.
Papers of Dorothy Lake Gregory Moffett include Gregory family letters, Dorothy's correspondence with her father, and letters from other family and friends. Also found are drawings, lithographs and etchings by Dorothy and photographs of her family and friends.
Arrangement:
The collection is arranged into thirteen series:
Missing Title
Series 1: Biographical Material, circa 1888-1965 (box 1; 1 folder)
Series 2: Correspondence, 1915-1972 (box 1; 0.6 linear ft)
Series 3: Financial Material, 1933-1971 (box 1; 2 folders)
Series 4: Notebook/Notes, undated (box 1; 2 folders)
Series 5: Projects, 1880-1969, undated (boxes 1-2; 1.2 linear ft.)
Series 6: Subject File, 1960-1968 (box 2; 1 folder)
Series 7: Printed Material, 1916-1992, undated (boxes 2-4, 7; 1.5 linear ft.)
Series 8: Photographs, circa 1900-1975, undated (box 4; 15 folders)
Series 9: Slides of Art Association, Iowa Farmland and the Chrysler Museum, circa 1960, undated (box 4; 1 folder)
Series 10: Drawings, circa 1929-1934 (box 5; 1 folder)
Series 11: Sketchbooks, 1913-1969 (boxes 5-8; 2.5 linear ft.)
Series 12: Annotations/Item Descriptions by Josephine Couch Del Deo, undated (box 6; 2 folders)
Series 13: Dorothy Lake Gregory Moffett Papers, circa 1870-1975 (boxes 9-11; 0.7 linear ft.)
Biographical Note:
Ross Moffett (1888-1971) was an important figure in the development of modernism in American Art after World War I. His paintings primarily depict the life and landscapes of the Provincetown, Massachusetts area. Dorothy Lake Gregory Moffett is perhaps best known as a printmaker and illustrator of children's books and magazines.
Born in Iowa in 1888, Moffett trained at the Art Institute in Chicago and studied with Charles Hawthorne during the summer of 1913, in Provincetown, Massachusetts. Moffett then studied at the Art Students League and returned to Provincetown in 1915, to establish himself as an artist. He was one of the founders of the Provincetown Art Association and a leading figure in the art colony for many years. In 1920, Moffett married artist Dorothy Lake Gregory in Brooklyn, New York. Dorothy studied at the Pratt Institute and with Robert Henri and George Bellows in New York, and then went to Provincetown to study with Hawthorne as well.
During the 1920's and 1930's, Ross Moffett's success increased steadily and he had his first one-man show at the Frank Rehn Gallery in New York and also at The Art Institute of Chicago in 1928. He served on several exhibition juries around the country during this time. Between 1936 and 1938, Moffett painted four murals in two Massachusetts post offices for the Federal Works Progress Administration (WPA). Moffett received full membership to the National Academy of Design in 1942.
While Moffett's painting slowed somewhat during World War II he continued his involvement in the arts by maintaining the Provincetown Art Association. He taught briefly at the University of Miami in Ohio from 1932 to 1933, and returned to Provincetown to pursue painting full-time. In the 1950's, Moffett became interested in archaeology and even delivered a few lectures on the subject. During this time he continued to paint and his art reflected his preoccupation with the science of archaeology. In 1954, Moffett was one of two artists selected by the National Academy of Design to paint murals depicting President Dwight D. Eisenhower's life for the Eisenhower Memorial Museum in Abilene, Kansas. Moffett was chosen to portray Eisenhower's civilian life.
In 1960, Moffett became active in the movement to establish the 1400 acres known as the Province Lands as part of the Cape Cod National Seashore Park. After the park was established Moffett wrote and published a history of the first thirty-three years of the Provincetown Art Association in a book titled Art in Narrow Streets, 1964. He continued to serve as a juror for the Provincetown Art Association and was artist-in-residence for the Provincetown Fine Arts Work Center in 1970.
Dorothy Moffett also pursued a successful career in art, and publishers such as Rand McNally used her illustrations for youth magazines and childrens books, such as the classic Green Fairy Book. Her work was exhibited in the Metropolitan Museum, the National Academy, and the Brooklyn Museum, and her Alice in Wonderland series of lithographs was purchased for the permanent collection of the Boston Museum of Fine Arts. Though best known as a printmaker, Moffett also worked in oil.
Ross Moffett died of cancer on March 13, 1971.
Related Material:
Related resources in the Archives of American Art include a sound recording of a transcribed interview with Ross Moffett by Dorothy Seckler, August 27, 1962; and a sound recording of an untranscribed interview with Dorothy Lake Gregory Moffett by Robert F. Brown, September 22, 1972.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel D80) including 150 letters relating to art organizations, museums, and government art projects, news clippings, records of the Provincetown Art Association, and the Emergency Committee for the Protection of Province Lands, and miscellaneous publications. Lent materials were returned to Ross Moffett and are now housed at Syracuse University in Syracuse, New York. This material is not described in the collection container inventory.
Provenance:
Ross Moffett initally lent the Archives of American Art material for microfilming in 1962. The remainder of the collection was donated in 1974 by his widow, Dorothy Lake Gregory Moffett (died 1975), via Ross Moffett's biographer, Josephine Del Deo, who turned the papers over in installments. Archaeological material and artifacts received with the papers were donated to the Robert S. Peabody Museum of Archaeology, Phillips Academy, Andover, Massachusetts.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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 -- Massachusetts -- Provincetown Search this
An interview of Myron S. Stout conducted 1984 March 26-1984 October 3, by Robert F. Brown, for the Archives of American Art.
Stout speaks of his childhood in Texas; teaching in Hawaii; his education in Texas, at Columbia University, in Mexico and at Hans Hofmann's school; moving from New York City to Provincetown in the 1950s; his involvement with the Fine Arts Work Center in Provincetown; his affiliation with the Hansa Gallery in New York City; and the evolution of his work and working methods.
Biographical / Historical:
Myron S. Stout (1908-1987) was a painter of Provincetown, Massachusetts.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 3 hr., 39 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Painters -- Massachusetts -- Provincetown -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
13 letters and 9 clippings relating to the Center. In addition there are three copper engraving plates.
Biographical / Historical:
Art director; Provincetown, Mass. Vanderburgh served as Director of Development for the Provincetown Fine Arts Work Center, a school and fellowship program for developing artists which also had exhibits and published journals regarding resident artists' works.
Provenance:
Donated 1978 by Vanderburgh.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Art directors -- Massachuestts -- Provincetown Search this
Details the Provincetown Art Association's role in the creation and early development of the Center.
Biographical / Historical:
Josephine Del Deo is a writer and the wife of painter and former vice-president of the Fine Arts Work Center, Salvatore Del Deo.
Provenance:
Donated 1986 by Josephine C. Del Deo.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
The papers of artist Michael Mazur measure 22.2 linear feet and 22.83 gigabytes, and date from circa 1936 to 2016, documenting a studio and exhibition practice in addition to teaching and activism activities in both paper and digital formats in the following series: biographical materials, correspondence, studio records, gallery records, project records, affiliations, exhibition records, writings, printed materials, photographic materials, and artwork.
Scope and Contents:
The papers of artist Michael Mazur measure 22.2 linear feet and 22.83 gigabytes, and date from circa 1936 to 2016, documenting a studio and exhibition practice in addition to teaching and activism activities.
Biographical materials include documents related to Mazur's early education, trips to Europe, and development as an artist, as well as biographies, degrees and awards, with some materials in digital formats.
Correspondence is primarily professional in nature with institutions and fellow artists, including letters requesting Mazur's participation in exhibitions and other projects. Also included are extensive correspondence advocating for ecological preservation of the Massachusetts Cape Cod where Mazur had a home in Provincetown. Earlier correspondence includes letters with family members and friends. Some correspondence is digital.
Studio records include artwork inventories and documents regarding donations, appraisal and tax deduction information, as well as the artist's website. Gallery records contain correspondence and business documents with various commercial art galleries, including artwork images, mailing lists, price lists and guest books. Project records document various commissions and collaborations including perhaps Mazur's longest ongoing project, artwork, publications and exhibitions engaging with Dante's Inferno. Many of Mazur's professional records are in digital format.
The Affiliations series includes faculty appointments as well as ongoing board service for Fine Arts Work Center in Provincetown and other professional advising and project participation, including a Tamarind Lithography Workshop Fellowship in 1968. Many of the Fine Arts Work Center documents are digital.
Exhibition records document select exhibitions including Mazur's traveling print retrospective. In addition to correspondence and documents and agreements, select digital installation images and documents are also included.
The Writings series includes various essays, letters to the editor, and lectures by Mazur including student work, as well as essays and films discussing the artist's career and contributions, many in digital form. Also included are Mazur's journals kept for the entirety of his career.
Printed materials include exhibition announcements, catalogs and press, select published journals (some of which include contributions by Mazur), and publications for which Mazur has provided the cover artwork.
Photographic materials are both print and digital in nature and capture the breadth of Mazur's art production, organized by medium, genre, artwork series, subject and time period. The arrangement of digital photographs reflects the categories represented on the artist's website archive.
Artwork includes drawings, sketchbooks and watercolor pads, as well as artwork by others including a photographic portrait portfolio of Mazur by Brigitte Durer. Computer study images and source material in digital formats, are also included.
Arrangement:
The collection is arranged as 11 series.
Series 1: Biographical Material, circa 1953-2006 (0.5 Linear Feet: Boxes 1, 21; 0.014 Gigabytes: ER001-ER002)
Series 2: Correspondence, circa 1940-2011 (3.8 Linear Feet: Boxes 1-4, 21, OV23; 0.008 Gigabytes: ER003)
Series 3 : Studio Records, circa 1962-2009 (1 Linear Feet: Box 5; 0.082 Gigabytes: ER004-ER006)
Series 4: Gallery Records, circa 1967-2009 (2 Linear Feet: Boxes 6-7; 0.028 Gigabytes: ER007-ER009)
Series 5: Project Records, circa 1983-2008 (1.3 Linear Feet: Boxes 8-9; 0.3 Gigabytes: ER010-ER015)
Series 6: Affiliations, circa 1966-2008 (0.7 Linear Feet: Box 9; 0.101 Gigabytes: ER016-ER019)
Series 7: Exhibition Records, circa 1958-2008 (0.7 Linear Feet: Box 10; 1.07 Gigabytes: ER020-ER032)
Series 8: Writings, circa 1952-2009 (2.7 Linear Feet: Boxes 10-13; 4.75 Gigabytes: ER033-ER052)
Series 9: Printed Material, circa 1945-2016 (2.1 Linear Feet: Boxes 13-15; 0.114 Gigabytes: ER053-ER054)
Series 10: Photographic Material, circa 1936-2016 (5.9 Linear Feet: Boxes 15-22, OV25-28; 14.26 Gigabytes: ER055-ER114)
Series 11: Artwork, circa 1941-2009 (0.4 Linear Feet: Boxes 20, 22; 2.1 Gigabytes: ER115-ER116)
Biographical / Historical:
Michael Mazur (1935-2009) was a prolific printmaker, painter, draughtsman, sculptor, and educator in Cambridge, Massachusetts, who beyond working across media, treated an equally diverse set of subjects in abstract and figurative traditions.
As a child in New York City's Upper East Side Mazur received an early art education at the Bronx's Horace Mann School. He received a bachelor's degree from Amherst College, as well as a bachelor's and master's degrees at the Yale School of Art. Mazur has held teaching positions at Rhode Island School of Design and Brandeis University, as well as a recurring visiting artist position at Harvard University's Carpenter Center. While attending Yale Mazur met his wife, poet Gail Mazur.
In addition to their home in Cambridge, Michael and Gail maintained a home in Provincetown, Massachusetts, where they were deeply involved in the artistic community including the Fine Arts Work Center, as well as environmental issues impacting the region of Cape Cod. He is survived by his wife and his two children Kathe and Dan.
Provenance:
Papers were lent for microfilming 1977 and 1998 by Michael Mazur. Material on microfilm and additional papers donated 2018 by Gail Mazur, Michael Mazur's widow.
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.
Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. 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.
Material collected or kept by the Del Deo's relating to Provincetown art and artists, including Ross Moffet, Karl Knaths, James Wingate Parr, J. Madaline Winslow, Front Street Gallery, and the Provincetown Fine Arts Center (FAWC).
Material pertaining to painter Ross Moffett includes photographs of his family and its farm in Iowa; photographs of Moffett's paintings and drawings; photographs of Moffett's work taken by George Yater; material pertaining to Moffett's lecture "Three Dimensional Organization in Painting"; translations from a publication by Gino Severini; and drawings of Moffett by Shelby Shackelford.
Knaths material consists of two sketchbooks, one with occassional notes (1929) and one, ca. 1952; the sketches are figure and landscape compositions in Knath's characteristic cubist style. Parr material consists of a small album containing clippings, photographs of work, telegrams, and letters (undated and 1946); Winslow material is a letter to Caroline H. Geiger (1938).
Also found are records of the cooperative Front Street Gallery, in which Sal Del Deo was a member for its one-season existence, including information on the "Freedom Riders Exhibition" to benefit the Congress of Racial Equality (CORE); 7 reel-to-reel tape recordings made by Del Deo at the first three sessions of the Provincetown Fine Arts Work Center (FAWC), 1968-1970, including lectures or seminars by Jack Tworkov, Henry Hensche, Karl Knaths, Philip Malicoat, Boris Margo, and Ross Moffett.
Biographical / Historical:
Collectors; Provincetown, Mass. Josephine is the author of Figures in a Landscape : the Life and Times of the American Painter, RossMoffett, 1888-1971. Sal (b. 1928) is a painter and former vice-president of the Fine Arts Work Center.
Provenance:
Donated 1996, 1998 and 2000 by Jo & Sal Del Deo. They received the Moffett material Moffett's widow and used by Del Deo in preparation for her biography on Moffett. The Parr album was received from Robert Cummings, an old friend of Parr's, who had received it from Parr's parents. The Knaths sketchbooks were given by his widow, Helen, to the Del Deos. The Winslow letter was given to Josephine Del Deo by Janice Crouch who had a connection with Geiger or her family, either as a relation or a friend.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Rights:
Reel-to-reel recordings of FAWC lectures and discussions: Authorization to publish, quote or reproduce requires written permission from Salvatore Del Deo. Contact Reference Services for more information.
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:
Artists -- Massachusetts -- Provincetown Search this
Friedman, B. H. (Bernard Harper), 1926-2011 Search this
Container:
Box 11, Folder 49-51
Type:
Archival materials
Date:
1969-1987
Collection Restrictions:
The collection is ACCESS RESTRICTED; written permission is required. Use of original materials requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Bernard Harper Friedman papers, 1926-2011, bulk 1943-2010. Archives of American Art, Smithsonian Institution.
Beginnings : the history of the Fine Arts Work Center, 1964-1969 : manuscript, by Josephine C. Del Deo, 1986 /. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Myron S. Stout, 1984 March 26-October 3. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- Massachusetts -- Provincetown -- Interviews Search this
