Archives Directory for the History of Collecting in America

Archives related to: Karolik, Maxim

titleMaxim Karolik papers, ca.1921-1973.
repositoryArchives of American Art
descriptionLetters, in Russian, to his sister, Freda Goulka; articles; photographs; announcements; a sketch of Karolik; phonograph recordings and a 7" tape (untranscribed) of a lecture delivered by Karolik at Bowdoin College February 20, 1963 entitled "Collecting with Purpose--for What?" and a phonograph recording of arias and operas sung by Karolik in 1956. Also included is a transcribed interview of Karolik conducted by an unidentified interviewer, undated.
extent0.4 linear ft.
formatsSound Recording Correspondence
access Unmicrofilmed: use requires an appointment and is limited to Washington, D.C. storage facility.
record sourcehttp://www.siris.si.edu/
acquisition informationWritten materials gift of Mrs. Alfred Bester, whose relationship to Karolik is unclear. Phonograph records donated by the Museum of Fine Arts, Boston through Karolik. The tape of his lecture was donated 1972 by Nathaly Baum.
updated03/16/2023 10:29:50
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titleArtist file: Karolik, Maxim; miscellaneous uncataloged material.
repositoryThe Museum of Modern Art
descriptionPamphlet files.
The folder may include announcements, clippings, press releases, brochures, reviews, invitations, small exhibition catalogs, and other ephemeral material

Location
MoMA Queens Artist Files

Call Number
KAROLIK, MAXIM
extent1 folder
formatsAnnouncements Clippings Ephemera
accessContact repository for restrictions and policies.
record sourcehttps://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991010841949707141
updated11/29/2022 15:49:50
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titleDowntown Gallery records, 1824-1974 (bulk dates 1926-1969).
repositoryArchives of American Art
descriptionCorrespondence, artists files, notebooks, business records, writings, miscellaneous records, printed matter, and photographs. Some of Halpert's personal papers are intermingled with the gallery records.

REELS 5488-5545: Correspondence, 1926-1974, about gallery business and routine administrative affairs, as well as personal letters from relatives and friends. Among the correspondents are collectors Edgar and Bernice Chrysler Garbisch, Maxim Karolik, William H. Lane, Abby Aldrich Rockefeller, Beram K. Saklatwalla, Robert Tannahill, and Electra Havemeyer Webb; dealers Robert Carlen, Felix Landau Gallery, Boris Mirski Gallery, and Isabel Carleton Wilde; and many curators, museum directors, and other colleagues.

REELS 5545-5558: Artist Files, 1917-1970, consist mainly of correspondence with Halpert and the Downtown Gallery and may include biographical notes, writings, press releases, original artwork, exhibition information, and printed matter. Included are: Rainey Bennett, Raymond Breinin, Morris Broderson, Paul Burlin, Ralston Crawford, Stuart Davis, Charles Demuth, Isami Doi, William Dole, Arthur G. Dove, David Fredenthal, Samuel Halpert, George Overbury ("Pop") Hart, Marsden Hartley, Bernard Karfiol, Yasuo Kuniyoshi, Jacob Lawrence, Wesley Lea, Jack Levine, Edmund Lewandowski, John Marin, Reuben Nakian, Georgia O'Keeffe, Robert Chesley Osborn, Jules Pascin, Abbott Pattison, Abraham Rattner, Ben Shahn, Charles Sheeler, Mitchell Siporin, Niles Spencer, Edward Stasack, John H. Storrs, Reuben Tam, Yu-ho Tseng, Max Weber, William Zorach, and Karl Zerbe.

REELS 5558-5603: Notebooks, 1935-1969, referred to as "American Folk Art Gallery Notebooks," "Artists Notebooks," and "Publicity Notebooks" contain photographs, catalog descriptions, notes, and printed matter compiled by gallery staff for reference purposes. "American Folk Art Notebooks" include: oil paintings, watercolors, drawings, lithographs, fraktur, paintings on velvet, embroideries, paintings on glass, tinsels, Shaker furniture, and sculpture. "Publicity Notebooks" include: group shows at Downtown Gallery and other locations, American Print Makers exhibitions, American folk art exhibitions at Downtown Gallery and other locations; and, miscellaneous publicity. "Artists Notebooks" include: Rainey Bennett, Raymond Breinin, Morris Broderson, Alexander Brook, Paul Burlin, Nicolai Cikovsky, Glenn O. Coleman, Ralston Crawford, Stuart Davis, Charles Demuth, Isami Doi, Arthur G. Dove, David Fredenthal, O. Louis Guglielmi, Samuel Halpert, William M. Harnett, George Overbury ("Pop") Hart, Marsden Hartley, Bernard Karfiol, Yasuo Kuniyoshi, Jacob Lawrence, Wesley Lea, Julian E. Levi, Jack Levine, John Marin, George L. K. Morris, Reuben Nakian, Georgia O'Keeffe, Robert Chesley Osborn, Jules Pascin, Abbott Pattison, Horace Pippin, Joseph Pollet, Abraham Rattner, Ben Shahn, Charles Sheeler, Mitchell Siporin, Niles Spencer, Edward Stasack, William Steig, Joseph Stella, Alfred Stieglitz, John H. Storrs, Reuben Tam, Yu-ho Tseng, Dorothy Varian, Carl Walters, Max Weber, Jack Zajac, Karl Zerbe, Marguerite Zorach, and William Zorach.

REELS 5603-5636: Business Records, 1925-1974, consist of exhibition, stock, sales, transit, and insurance records; lists of artwork and clients, legal documents, minutes, research files, and architectural plans.

REELS 5636-5638: Writings, 1917-1968, by Edith Gregor Halpert, include articles on American folk art, speeches, short stories, school notebooks, and "Daily Thoughtlets" compiled at age 17; also, writings by others on art topics.

REELS 5638-5639: Miscellaneous, ca. 1835-1970, contains biographical material, and works of art by Edith Gregor Halpert and other artists. Artifacts are wooden weather vane molds with supporting documentation, and awards presented to Halpert. Audiovisual materials are motion picture film for a Westinghouse Broadcasting Corp. produced television series, "America: The Artist's Eye," 1961-1963; film of Charles and Musya Sheeler at home, and Charles Sheeler at work in his studio, ca. 1950; and a sound recording of a 1962 talk about collecting by Maxim Karolik.

REELS 5640-5647: Printed Matter, 1984-1969, includes exhibition catalogs, announcements, invitations, press releases, and miscellaneous items produced by Downtown Gallery. Other printed matter consists of news clippings about Halpert, Downtown Gallery, the Edith Gregor Halpert Collection, and clipping files on art-related topics. Also, newsletters, press releases, and publications of arts organizations, and reproductions of works of art. A selection of 25 vols. from Halpert's personal library has been retained.

REELS 5647-5654: Photographs, ca. 1880s-1960s, of Edith Gregor Halpert, Samuel Halpert, family and friends, her dog and Newtown, Conn. house. Portraits of artists include: Stuart Davis, Arthur Dove, Louis Guglielmi, George Overbury ("Pop") Hart, Marsden Hartley, Bernard Karfiol, Yasuo Kuniyoshi, Jacob Lawrence, Julian E. Levi, Jack Levine, John Marin, George L. K. Morris, Georgia O'Keeffe, Abbott Pattison, Horace Pippin, Abraham Rattner, Ben Shahn, Charles Sheeler, William Steig, Alfred Stieglitz, Yu-ho Tseng, Max Weber, and William Zorach. Also, works of art, exhibitions, Downtown Gallery, and an award presented to Halpert. Among the photographers represented are: Ansel Adams, Doris Bry, George Karfiol, Carl Kelin, Otto Maya, Arnold Newman, Man Ray, Kay Bell Reynal, Charles Sheeler, Adrian Siegel, Edward Steichen, Alfred Stieglitz, Sochi Sunami, Alredo Valente, Carl Van Vechten, and Max Yavno.

I. Correspondence, 1926-1974. II. Artist Files, 1917-1970. III. Notebooks, 1835-1970. IV. Business Records, 1925-1974. V. Writings, 1917-1968. VI. Miscellaneous, ca. 1835-1970. VII. Printed Matter, 1824-1969. VIII. Photographs, ca. 1880s-1960s.

Correspondence arranged chronologically; Artist Files arranged alphabetically. Other series are organized into numerous subseries, usually by record type or category, and the arrangement of each is indicated in the series descriptions detailed in the finding aid.
extent109 linear ft. (on 167 microfilm reels) reels 5488-5654
formatsCorrespondence Notes Financial Records Photographs Clippings
accessPatrons must use microfilm copy. NOTICE TO RESEARCHERS: 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 60 years after the date of the sales transaction.
record sourcehttp://www.siris.si.edu/
finding aid "A Finding Aid to the Records of the Downtown Gallery" by Catherine Stover Gaines and Lisa Lynch, Archives of American Art, Smithsonian Institution, Washington, D.C., is available. Electronic versions available at http://www.aaa.si.edu/collections/findingaids/downgall.htm and http://www.aaa.si.edu/findmicrodig/downgall/downgall.html
acquisition informationThe bulk of the records were originally received as a loan in 1957 and 1967 from Edith Gregor Halpert, and microfilmed on reels ND1-ND71. Additions were received incrementally, between 1972 and 1978 from Nathaly Baum, niece of and executor of Halpert's estate, and microfilmed incrementally as well on various reels. In 1998, with funds provided by the Luce Foundation, the collection was reprocessed by Catherine Stover Gaines into one coherent arrangement, and remicrofilmed 1999-2000, totalling 167 reels of film. Most, but not all, of the documents from the early loaned material were subsequently donated.
updated11/12/2014 11:29:57
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titleWilliam Meyerowitz and Theresa F. Bernstein papers, 1915-1978.
repositoryArchives of American Art
descriptionBiographical accounts, letters, notes, writings, art work, scrapbooks, printed material, and photographs document the careers of William Meyerowitz and his wife Theresa Bernstein, both painters and printmakers.

REELS D285-D285a: Letters, 1918-1967, from patrons and colleagues, including John Taylor Arms, Edwin Blashfield, Maxim Karolik, Duncan Phillips, and John Weichsel; exhibition announcements and catalogs, 1920-1967; 35 photographs of art works; a scrapbook, 1923-1944, containing exhibition announcements and catalogs, a clipping, and a photograph of an art work; 16 drawings; 3 prints; a list of Bernstein's work; 2 poems; a 4-page typescript "Reflections on the Art Status" by Bernstein; a typescript concerning painting in America by Oscar Bluemner; miscellaneous manuscripts, undated and 1964; 2 receipts for gifts of art work, 1927 and 1957; and a copy of the by-laws of the Cape Ann Arts Council, 1955.

REEL N69-137: Three exhibition catalogs, 1969, for works of Meyerowitz and Bernstein.

REEL 4866: Biographical accounts; 2 award certificates for Bernstein; letters, 1921-1978, from patrons and colleagues, including Oliver Wendell Holmes, Homer Saint-Gaudens, and Lynd Ward; 3 lists of Bernstein's works; 7 poems; a manuscript "On Portraiture"; a typescript by Bernstein about Meyerowitz' work; 22 drawings; 1 print; a scrapbook of clippings, 1915-1918; a scrapbook, undated and 1931, containing a clipping, a photograph of an art work, and exhibition catalogs; clippings, 1929-1978; a reprint "On the Need of Art" by Meyerowitz, 1944; exhibition announcements and catalogs, 1921-1977; reproductions of art works; a card advertising a summer art course taught by Meyerowitz and Bernstein; 10 photographs of the artists, 1930-1962; and 19 photographs of art works.

Bio / His Notes:
Painters and printmakers; New York, N.Y. William Meyerowitz was born in Russia in either 1889 or 1898. Moving to New York in 1908, he studied at the National Academy of Design from 1912-1916. He married Theresa Bernstein in 1918, and travelled in Europe from 1922-1923. During his exhibition at the Corcoran in 1930, he met Oliver Wendell Holmes, who became a patron and a subject for later work.

Theresa Bernstein was born in Philadelphia and studied at the Philadelphia School of Design, the Pennsylvania Academy of the Fine Arts, and continued her studies at the Art Students League in New York. She died on Feb. 13, 2002, and was generally believed to be 111, though she could have been as old as 116.

Reproduction:
Letter from Oliver Wendell Holmes is a photocopy.
extent1.2 linear ft. (on 4 microfilm reels) reels D285-D285a, N69-137, and 4866
formatsCorrespondence Notes Writings Artwork Photographs
accessPatrons must use microfilm copy.
record sourcehttp://www.siris.si.edu/
acquisition informationDonated 1966-1978 by Mr. and Mrs. William Meyerowitz. Microfilmed 1994 with funding provided by the Henry and Lucy Moses Fund, the Lucius N. Littauer Foundation, the Goldie-Anna Charitable Trust, the Samuel Bronfman Foundation, and the Louis and Anne Abrons Foundation.
updated11/12/2014 11:29:57
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titleOral history interview with Charles Childs, 1972 Apr. 18-May 12
repositoryArchives of American Art
descriptionAn 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.
extentSound recordings: 2 sound tape reels ; 5 in. Transcript: 70 p. (on one microfilm reel) reel 3196
formatsInterviews Sound Recording Transcript Microfilm
accessTranscript: Patrons must use microfilm copy.
record sourcehttp://www.siris.si.edu/
acquisition informationThese 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.
updated11/12/2014 11:29:57
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titleOral history interview with S. Morton Vose, 1986 July 24-1987 April 28.
repositoryArchives of American Art
descriptionAn 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.
extentSound recording: 4 sound cassettes. Transcript: 87 p.
formatsInterview Transcript Online Transcript
accessContact repository for restrictions and policies.
record sourcehttp://www.siris.si.edu/
finding aidTranscript is available on the Archives of American Art's Web site.
acquisition informationThese 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.
updated11/12/2014 11:29:57
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titleRobert C. Vose lecture, 1987 May 14
repositoryArchives of American Art
descriptionA lecture delivered by Robert C. Vose at the Somerset Club, Boston Massachusetts, May 14, 1987. Vose recalls some of the major American paintings sold by the Vose Galleries. He speaks of the thirty to forty year cycles in popularity and prices of American paintings, and of leading collectors, particularly Maxim Karolik.

Bio / His Notes:
Art dealer (Boston, Mass.)
extent1 sound cassette.
formatsInterview Sound Recording
accessUntranscribed; use requires an appointment.
record sourcehttp://www.siris.si.edu/
acquisition informationThe lecture was given at the Somerset Club for members of the Archives of American Art. Vose agreed to its being recorded and included in the Archives' collection.
updated11/12/2014 11:29:57
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titleCurator, Lloyd Goodrich: correspondence, 1940-1960, 1940-1949.
repositoryWhitney Museum of American Art
descriptionFor further information see http://library.whitney.org/
extent57 folders (2.5 cubic ft.).
formatsCorrespondence Business Papers Personal Papers Administrative Records
accessContact repository for restrictions and policies. To use the Library, patrons are required to please state their request in the body of an email, in advance, and send the message to library@whitney.org.
record sourcehttp://www.loc.gov/coll/nucmc/
updated11/12/2014 11:29:57
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titleLee H. B. Malone correspondence and miscellaneous subjects, Bernard J Reis, 1949-1960.
repositoryHirsch Library Museum of Fine Arts, Houston
descriptionThe Correspondence and Miscellaneous Subjects files include a body of materials related to the annual convention of the American Federation of Arts which was held in Houston in 1957 (April 3-6) under the joint sponsorship of the Museum of Fine Arts, Houston and the Contemporary Arts Museum. The convention was largely organized by Malone and John de Menil. Correspondents include Daniel Longwell, then President of the American Federation of Arts; Robert David Straus; Stanley Marcus; Harris Masterson; and Jermayne McAgy.

Speakers and panelists present were Meyer Schapiro; James Johnson Sweeney, subsequently Director of the Museum of Fine Arts, Houston from 1961 to 1967; Stuart Davis; William C. Seitz; Marcel Duchamp; Jimmy Ernst; and Vincent Price.

Transcripts of speeches and panel discussions are included, as well as printed ephemera such as the program booklet for the convention and AFA newsletters.

The files also contain materials related to the 1956 meeting of the Houston Fine Arts Forum (March 9-11) which explored "American Heritage and the Southwest".

Correspondents include Alice Winchester, then editor of the periodical "Antiques"; Ralph E. Carpenter, Jr.; Marshall B. Davidson; Henry Needham Flynt; Maxim Karolik; John Palmer Leeper; and Paul Horgan. The papers contain texts of the talks given at the sessions.

Also featured is Director Malone's 1959 report entitled "Looking Ahead for the Museum of Fine Arts, Houston"; his 1957 accessions plan, with priority lists of works to be acquired for the permanent collection; lists of objects approved for deaccessioning in 1957; and extensive correspondence with galleries and dealers concerning possible accessions. A small amount of Malone's miscellaneous correspondence is also present.

Notes:
In English.
All photographs were removed and placed in the Archives Photograph Collection. Magazine items were removed and placed in Archives Oversize Storage.

Biographical and Historical Notes:
Lee H. B. Malone (1913-1989) served as the first full-time Director of the Museum of Fine Arts, Houston from May 1953 to June 1959. Malone was raised in Europe and educated at Yale University. His years were characterized by the expansion of the Museum's permanent collection and the growth of its facilities, which came to include the monumental Cullinan Hall designed by Ludwig Mies van der Rohe and completed in 1958.
extent1.5 linear ft.
formatsCorrespondence Subject Files
accessContact repository for restrictions and policies.
record linkhttps://hirsch.mfah.org/vwebv/holdingsInfo?bibId=45468
record sourcehttps://hirsch.mfah.org/vwebv/holdingsInfo?bibId=45468
finding aidUnpublished finding aid available in repository.
acquisition informationThe Malone papers form a subgroup of the collective records of the Office of the Director (RG 2), Archives, Museum of Fine Arts, Houston.
updated08/25/2017 16:07:35
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titleOral history interview with Eleanor Sayre, 1993 Apr. 19-1997 Jan. 10.
repositoryArchives of American Art
descriptionAn interview of Eleanor Sayre conducted by Robert F. Brown for the Archives of American Art.

Apr. 19, 1993 session: 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.

May 3,1993 session: 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.

May 17, 1993 session: 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.
June 1, 1993 session: 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.

June 28, 1993 session: 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.

Oct. 22, 1993 session: The collector, Philip Hofer, who by putting his Goya proffs 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.
Aug. 5, 1994: 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.
Aug. 9, 1995 session: 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.

Sept.7, 1995 session: 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.

Jul. 26, 1996 session: 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.

Jan. 10, 1997 session: 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 Note:
Curator, art historian; Boston, Mass. Born 1916.
extent8 sound cassettes (11 1/2 hrs.) : analog.
formatsInterview Sound Recording
accessUntranscribed, use requires appointment.
record sourcehttp://www.siris.si.edu/
acquisition informationThis 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.
updated11/12/2014 11:29:57
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titleThe Dorothy C. Miller Papers, ca. 1930-ca. 1980's, bulk ca. 1942-1969
repositoryThe Museum of Modern Art
descriptionThe processed Dorothy C. Miller Papers include correspondence, photographs, research notes and ephemera.

Biographical/historical note
MoMA curator (1935-1969) and honorary trustee (1984-), art advisor, editor.

Related collections
Related Collections: Dorothy C. Miller Papers, Archives of American Art; Holger C. Cahill Papers, New York Public Library.

Note
Forms part of: Museum of Modern Art (New York, N.Y.). Archives. Records.

Location
MoMA Museum Archives

Call Number
mmym MA
extent15 linear feet
formatsCorrespondence Notes Photographs Clippings Ephemera
accessThe Papers may be seen by appointment at The Museum of Modern Art Archives, 11 West 53rd Street, New York, New York 10019, (212) 708-9436. Access to the papers by qualified researchers is unrestricted, with the exception of certain material in Series III.
record linkhttp://www.moma.org/research/archives/EAD/dcmillerf.html
record sourcehttps://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991009761939707141
finding aidFinding aid in repository, see http://arcade.nyarc.org/record=b588227~S8
acquisition informationTransferred from Miller's NY office at One MacDougal Alley, gift of Dorothy C. Miller, 1986.
updated11/29/2022 15:49:50
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titleCollecting with a purpose - for what? a talk at Bowdoin College
repositoryWhitney Museum of American Art
descriptionFor further information see http://library.whitney.org/
extent1 sound disc : analog, stereo, 33 1/3 rpm. ; 12 in.
formatsSound Recording
accessContact repository for restrictions and policies. To use the Library, patrons are required to please state their request in the body of an email, in advance, and send the message to library@whitney.org.
record sourcehttp://www.loc.gov/coll/nucmc/
updated11/12/2014 11:29:57
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titleKarolik-Codman family papers, 1714-1964
repositoryMassachusetts Historical Society
descriptionThis collection consists of the papers of the interrelated Amory and Codman families of Boston, Massachusetts specifically those of John Amory, Henry Codman, and John Amory Codman. Papers of Martha Catherine Codman and Maxim Karolik also make up a large part of this collection. Included are family correspondence, financial material, genealogical information, and historical documents.

Call Number:
Ms. N-2164

Call Number:
OFFSITE STRORAGE (reel-to-reel tape recordings only)
extent32 boxes, 34 volumes, 3 oversize boxes, 2 XT boxes, and 10 offsite storage boxes.
formatsCorrespondence Financial Records Diaries Sound Recording Photographs
accessContact repository for restrictions and policies.
record sourcehttp://www.masshist.org/findingaids/
acquisition informationGift of the Museum of Fine Arts, Boston, 1974.
updated11/12/2014 11:30:09
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titleFiske Kimball Records, 1908-1955, n.d. (bulk 1925-1954)
repositoryPhiladelphia Museum of Art
descriptionFrom 1925 to 1955, Fiske Kimball (1888-1955) served as director of the Philadelphia Museum of Art, steering the institution from what he described as "a minor provincial position to become one of the leading museums of America."

The Fiske Kimball Records document Kimball's efforts in achieving this transformation in collaboration with the Museum's officers, staff, and the Fairmount Park Commission, and with the assistance of private benefactors and City funding. Comprised primarily of correspondence, these records also include ephemera, clippings, notes, legal documents, reports, minutes, press releases, publications, floor plans, installation drawings, and photographs, mostly of objects, rooms and architectural elements offered for purchase.

Kimball's correspondents include preeminent leaders of art museums, universities, auction houses and professional affiliations, as well as government representatives, private collectors, scholars, and artists. Kimball's often successful courting of potential donors of objects and contributors of funds is well represented, as well as his efforts to secure labor funded by the Works Progress Administration.

In addition to the refinement and expansion of the Museum's holdings, the development of various departments and offices is also documented, and to a lesser extent other related facilities.
extent94.5 linear feet
formatsCorrespondence Clippings Ephemera Legal Papers Photographs
accessThe collection is open for research. Certain fragile material may only be consulted with permission of the Archivist.
record linkhttp://www.philamuseum.org/pma_archives/ead.php?c=FKR&p=hn
record sourcehttp://www.philamuseum.org/archives/findingaids.html
finding aidAvailable online
acquisition informationBequeathed by Fiske Kimball, 1955.
updated11/12/2014 11:30:15
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