Archives Directory for the History of Collecting in America
Archives related to: Childs, Charles
| title | Oral history interview with Charles Childs, 1972 Apr. 18-May 12 | repository | Archives of American Art |
| description | An interview of Charles Childs conducted by Robert F. Brown for the Archives of American Art. Childs speaks of his childhood and the development of his interest in art; his first involvement with printmaking; studying at Normal Art School; working at Goodspeed's Print Shop; the art scene in Boston in the 1920s and 1930s; his theories and approaches to art collecting; the development of the Boston Arts Festival; and his involvement with the Institute of Contemporary Art. He recalls John Taylor Arms, Samuel Chamberlain, Maxim Karolik, and George Wales. Bio / His Notes: Art dealer, art collector; Boston, Mass. General Note: Parts 3 & 4 of Childs interview is under Walter Feldman on tape 2. |
| extent | Sound recordings: 2 sound tape reels ; 5 in. Transcript: 70 p. (on one microfilm reel) reel 3196 |
| formats | Interviews Sound Recording Transcript Microfilm |
| access | Transcript: Patrons must use microfilm copy. |
| record source | http://www.siris.si.edu/ |
| acquisition information | 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. |
| updated | 03/16/2023 10:29:58 |
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| title | Kraushaar Galleries records, 1901-1968 (bulk 1926-1968) | repository | Archives of American Art |
| description | ** Material relating to Charles Childs found in Box 37, Folder 14. The records of the Kraushaar Galleries consist primarily of correspondence between John and Antoinette Kraushaar and the painters, sculptors and other artists whom they represented or whose work they handled, private collectors, galleries, museums, and other art institutions in the United States, South America, Canada, and Europe. Also found are exhibition catalogs, artwork, photographs of artwork, financial and insurance records, receipts, and miscellaneous notes. The collection reflects all activities conducted in the day-to-day operation of the business and relates to the acquisition, loan, sale, and exhibition of art by twentieth-century American artists and European artists of the nineteenth and early twentieth centuries. The records document specific arrangements for loans and exhibitions, artist-dealer relations, relationships with public and private collectors, interaction with art dealers, and routine requests for information. Correspondents include artists Humbert Albrizio, Bernard Arnest, Peggy Bacon, Gifford Beal, Reynolds Beal, Louis Bouché, Russell Cowles, Leonard DeLonga, Charles Demuth, Kenneth Evett, William Dean Fausett, Vaughn Flannery, William Glackens (and his widow, Edith, following his death in 1938), Ernst Halberstadt, Tom Hardy, John Hartell, John Heliker, Gaston Lachaise, Robert Laurent, James Lechay, Harriette Miller, Carl Morris, James Penney, Charles Prendergast (regarding his work and work of his brother, Maurice), Boardman Robinson, Henry Schnakenberg, John Sloan, Vernon Smith, and Esther Williams; collectors Preston Harrison, Duncan Phillips, Elizabeth S. Navas (regarding her work to assemble the Roland P. Murdock Collection of the Witchita Art Museum) and others; and institutions, among them the Art Institute of Chicago, Carnegie Institute, Cleveland Museum of Art, Lehigh University (Ralph L. Wilson), Museum of Modern Art, New Britain Institute (Alix W. Stanley), Toledo Museum of Art, University of Nebraska Art Dept. (Dwight Kirsch), and the Whitney Museum of American Art; and European art dealers, such as Alex. Reid & Lefevre, Ltd., Ernest Brown and Co., Etienne Bignou, Paul Guillaume, J. Allard, and others. The Photographs series consists of 222 undated photographs of works of art taken by various studios, presumably shown to customers and used by Kraushaar Galleries for advertising. (These are in addition to photographs contained within Series 1-3). The artwork consists of 2 items: an print, ca. 1926, from Marguerite and William Zorach conveying a Chrismas greeting, and a print by an unidentified artist, ca. 1938. REELS NKR 1-NKR 3: Records lent for microfilming in 1956 include: a clipping book, 1907-1930, containing primarily reviews of exhibitions; loose clippings, 1930-1946; photographs of paintings shown, photographed by Peter A. Juley & Son and by Colten; and a group of photographs and clippings related to George Luks. |
| extent | 53.5 linear feet |
| formats | Clippings Correspondence Financial Records Photographs Catalogs |
| access | Microfilmed portion must be consulted on microfilm. Use of unmicrofilmed portion requires an appointment. Authorization to publish, quote or reproduce requires written permission from: Katherine Kaplan, Kraushaar Galleries, 724 Fifth Avenue, New York, NY 10019 |
| record link | http://www.aaa.si.edu/collections/kraushaar-galleries-records-7781 |
| record source | http://www.siris.si.edu/ |
| finding aid | Published finding aid: A Finding Aid to the Records of the Kraushaar Galleries by Stephanie L. Ashley. Electronic finding aid available at http://www.aaa.si.edu/collections/findingaids/kraugall.htm |
| acquisition information | Material on reels NKR 1-NKR 3 lent for microfilming 1956 by Kraushaar Galleries. The unfilmed photographs were donated in 1959 by the Galleries and merged with 50 ft. of records donated by Kraushaar Galleries, 1994 and 1996. |
| updated | 11/12/2014 11:30:16 |
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| title | Oral history interview with Josephine Marie Caruso Castano regarding Giovanni (John) Castano, 1991 May 17 | repository | Archives of American Art |
| description | An interview of Josephine Marie Caruso Castano regarding her husband, painter and art dealer Giovanni (John) Castano, conducted by Robert Brown for the Archives of American Art. Castano discusses her childhood and marriage to Giovanni (John) Castano; his career in Cincinnati as a scene painter for the local opera company; moving to Boston circa 1930; his career there as an art dealer, owner of Castano Galleries, and an agent for Wildenstein and Knoedler's; his work as a teacher and painting restorer; the sculptor Franz Denghausen; and passing references to various painters, museum personnel, and art dealers. 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 administrators. |
| extent | Sound recording: 1 sound cassette. Transcript: 23 p. |
| formats | Sound Recording Interview |
| access | none |
| record link | http://www.aaa.si.edu/collections/interviews/oral-history-interview-josephine-marie-caruso-castano-regarding-giovanni-john-castano-12733#transcript |
| record source | http://www.aaa.si.edu/ |
| finding aid | Finding aid and Transcript available online |
| acquisition information | 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 administrators. |
| updated | 11/12/2014 11:30:16 |
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| title | Oral history interview with S. Morton Vose, 1986 July 24-1987 April 28. | repository | Archives of American Art |
| description | An interview of S. Morton Vose conducted by Robert F. Brown for the Archives of American Art. Vose speaks of the pervasive effect of his family's art gallery upon his life; studying languages at Harvard College; his affiliation with the gallery from 1927 on; the increasing emphasis on American painting during his career at the Vose Gallery, and the gradual deemphasis on European work. He reminisces about some Vose Gallery clients, especially Maxim Karolik, and some art dealers; he discusses a traveling exhibition he was involved in; he speaks of the gallery's relations with prominent museum personnel, such as William Reinhold Valentiner and E.P. Richardson. Vose also discusses the pitfalls of appraising art collections, his father's last years, and the firm's move, and his recent work on a Dictionary of American Painters. He recalls William Morris Hunt, Thomas Robinson, Leopold Seyffert, Catherine Morris Wright, Maxim Karolik, Elizabeth Paxton, Paul Sample, John Whorf, Hermann Dudley Murphy, Winslow Homer, James Fitzgerald, Arthur Healey, and many others. Bio / His Notes: Art dealer, art historian; Brookline, Mass. |
| extent | Sound recording: 4 sound cassettes. Transcript: 87 p. |
| formats | Interview Transcript Online Transcript |
| access | Contact repository for restrictions and policies. |
| record source | http://www.siris.si.edu/ |
| finding aid | Transcript is available on the Archives of American Art's Web site. |
| acquisition information | These interviews are 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. |
| updated | 11/12/2014 11:30:16 |
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| title | Oral history interview with Robert Taylor, 1980 Mar. 13-1990 June 7 | repository | Archives of American Art |
| description | An interview of Robert Taylor conducted 1980 Mar. 13-1990 June 7, by Robert Brown, for the Archives of American Art, in Marblehead, Mass. Robert Taylor (1925-2009) was an art, literary and music critic, author, educator, and lecturer from Boston, Mass. Wrote for the Boston Herald, 1952-1967, Boston Globe, 1968-1989. Columns for New Boston Review, later appearing in "Atlantic Monthly," were written under pseudonym Count Bibesco. |
| extent | Sound recording: 2 sound tape reels (2 hrs. 30 min.) : analog, 1 7/8 ips. 5 in. Sound recording: 1 sound cassette (90 min) Transcript: 75 p. |
| formats | Sound Recording Interview |
| access | none |
| record link | http://www.aaa.si.edu/collections/interviews/oral-history-interview-robert-taylor-11634#transcript |
| record source | http://www.aaa.si.edu |
| finding aid | FindingaAid and transcript available online |
| acquisition information | 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. 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. |
| updated | 11/12/2014 11:30:16 |
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| title | Polly Thayer interview, 1995 May 12 - 1996 Feb. 1. | repository | Archives of American Art |
| description | An interview of Polly Thayer (Starr) conducted by Robert F. Brown for the Archives of American Art. 5/12/95 session: Thayer talks about her childhood in an upper class Boston family, thriving on drawing in charcoal from casts at the Museum of Fine Arts, Boston, under tutelage of Beatrice Van Ness; her social debut, 1921-1922; a trip in the summer of 1922 to the Orient with her mother and brother where she was caught in the Tokyo earthquake; Philip Hale's method of teaching drawing at the Museum School in Boston, 1923-1924 and, later, privately; Eugene Speicher's urging her to free herself from Hale's teaching; the difficulty of making the transition to painting which; and winning of the Hallgarten Prize of National Academy of Design, 1929. 5/18/95 session: Studying with Charles W. Hawthorne in Provincetown, Mass. in the summer of 1923-1924, which countered the rigidity of her training at the Museum of Fine Arts, Boston School; travels in Spain and Morocco in early 1929, at the time her large painting of a nude, "Circles," won the Hallgarten Prize; the importance to her of a letter in 1929 from the critic, Royal Cortissoz, urging her to not fall into the trap of the Boston School and become formulaic in her work; her first one-person show at Doll and Richards, Boston, which resulted in 18 portrait commissions; her ease with which she did self-portraits early in her career, but not so later; and her difficulty in holding the attention of portrait sitters. 5/30/95 session: Studying with Harry Wickey at the Art Students League, who taught her by boldly re-working her drawings for "plastic" values, which Starr quickly achieved; sketching medical operations and back-stage at theatres, which gave her the dramatic subject matter she sought in the early 1930s; her portraits; getting married in 1933 and the affect on her work; and her work at the Painter's Workshop in Boston with Gardner Cox and William Littlefield. She recalls May Sarton whose portrait she painted in 1936, Charles Hopkinson, and Hans Hofmann. 2/01/96 session: The distractions from painting brought about by marriage, children, acting, an active social life and much travel; her increased involvement in social concerns through her conversion to Quakerism; the simplification of her paintings beginning in the late 1930s and her steady execution of portrait commissions, which took less time; her exhibitions in Boston and New York through the 1940s and the rarity of them after that; being a board member of the Institute of Modern Art, Boston, and its co-founder, Nathaniel Saltonstall; her approach to painting which amounts to seeking the invisible in the visual world; and the onset of glaucoma which has ended her painting career. Biographical Note Painter; Boston. |
| extent | 3 sound cassettes (4 1/2 hrs.) : analog. 89 p. transcript. |
| formats | Interview Sound Recording Transcript Online Transcript |
| access | Contact repository for restrictions and policies. |
| record source | http://www.siris.si.edu/ |
| finding aid | Transcript found on the repository's web site in electronic form. |
| acquisition information | This interview is part of the Archives of American Art Oral History Program, started in 1959 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. |
| updated | 11/12/2014 11:30:16 |
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