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Oral History Interview with John Humphrey, 1974 June 25
Oral history interview with John Humphrey, 1974 June 25 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. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview JH: JOHN HUMPHREY PK: PAUL KARLSTROM PK: Well, John, you've been associated with the San Francisco Museum of Art for a long time — probably longer than anybody else who's still around — and I believe you go back to the opening of the museum. On this tape, we'll be talking quite a bit about the growth of the museum as you've observed it. And also, of course, you've been in a good position to observe just what has happened in the Bay Area in terms of the art scene. Could you give us a little bit of your own background and just how you came to be associated with the museum? JH: Well, as a matter of fact, I'm actually a disappointed painter who decided that painting was not for him, and so, in terms of the problem of assuring enough beans on the table, I joined the staff right at the beginning of the museum. PK: What year was that? JH: That was 1935, and at the time, I actually was a packer and an unpacker of exhibitions that were being sent in from elsewhere. I helped put them on the wall and acted as one of the guards, so that I began in a very unacademic way in the arts here in the area. -
California and Western Paintings & Sculpture
CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE Tuesday April 24, 2018 Los Angeles and San Francisco CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE Tuesday April 24, 2018 at 6pm Los Angeles and San Francisco BONHAMS BIDS INQUIRIES ILLUSTRATIONS 220 San Bruno Avenue +1 (323) 850 7500 Los Angeles Front cover: Lot 66 San Francisco, California 94103 +1 (323) 850 6090 fax Scot Levitt Inside front cover: Lot 35 [email protected] Director, Fine Arts Opposite page: Lot 23 7601 W. Sunset Boulevard Vice President Inside back cover: Lot 27 Los Angeles, California 90046 To bid via the internet please visit +1 (323) 436 5425 Back cover: Lot 157 bonhams.com www.bonhams.com/24770 [email protected] PROPERTY COLLECTION PREVIEW Please note that bids should be Kathy Wong NOTICE San Francisco submitted no later than 24hrs Specialist, Fine Arts This sale previews in multiple cities. Friday April 13, prior to the sale. New bidders +1 (323) 436 5415 Please note the property will be 12pm to 5pm must also provide proof of [email protected] available for collection at our Los Saturday April 14, identity when submitting bids. Angeles gallery at the time of the 12pm to 5pm Failure to do this may result in San Francisco auction. Local, out-of-state and Sunday April 15, your bid not being processed. Aaron Bastian international buyer property will 12pm to 5pm Specialist, Fine Arts remain available for collection in LIVE ONLINE BIDDING IS +1 (415) 503 3241 our Los Angeles gallery after the Los Angeles AVAILABLE FOR THIS SALE [email protected] auction. -
Schwartz, Ellen (1987). Historical Essay
VOLUME 1 The Nahl Family tTVt a c ^ _____^ 2 — / * 3 7 ? Z ^ ^ y r f T ^ - l f ------ p c r ^ ----- - /^ V - ---- - ^ 5Y 4 / *y!— ^y*i / L.^ / ^ y p - y v i r ^ ------ 4 0001 California Art Research Edited by Gene Hailey Originally published by the Works Progress Administration San Francisco, California 1936-1937 A MICROFICHE EDITION fssay a/M? ^iMiograp/uca/ iwprov^w^^ts Ellen Schwartz MICROFICHE CARDS 1-12 Laurence McGilvery La Jolla, California 1987 0002 California Art Research Edited by Gene Hailey Originally published by the Works Progress Administration San Francisco, California 1936-1937 A MICROFICHE EDITION uzz'r^ a?? ^z'sfon'ca/ Msay awtf ^zMognip^zca/ ZTMprov^zM^Mfs Ellen Schwartz MICROFICHE CARD 1: CONTENTS Handbook 0003-0038 Volume 1 0039-0168 Table of contents 0041-0044 Prefatory note 0046 Introduction 0047-0058 The Nahl Family 0060-0066 Charles Christian Heinrich Nahl 0066-0104 "Rape of the Sabines" 0045 "Rape of the Sabines" 0059 "Rape of the Sabines" 0092 Hugo Wilhelm Arthur Nahl 0105-0122 Virgil Theodore Nahl 0123-0125 Perham Wilhelm Nahl 0126-0131 Arthur Charles Nahl 0132 Margery Nahl 0133-0140 Tabulated information on the Nahl Family 0141-0151 Newly added material on the Nahl Family 0152-0166 Note on personnel 0167-0168 Volume 2 0169-0318 Table of contents 0171-0172 William Keith 0173-0245 "Autumn oaks and sycamores" 0173 Newly added material 0240-0245 Thomas Hill 0246-0281 "Driving the last spike" 0246 Newly added material 0278-0281 Albert Bierstadt 0282-0318 "Mt. Corcoran" 0282 Newly added material 0315-0318 Newly -
The Watershed: a Biography of Johannes Kepler
The Watershed By Arthur Koestler Spanish Tertament Gladiators Darkness at Noon Scum of the Earth Arrival andDeparture The Yogi and the Commissar Twilight Bctr Thieves in the Night Insight andOutlook The Structure of a Miracle Age of Longing Promise and Fulfillment .Arrow in the Blue The InvisibleWriting Trail of the Dinosaur Reflections on Hanging The Sleepwolkers ARTHUR KoESTLER, born in Budapest in 1905 and edu cated in Viemia, began his writing career as an editor of a German and Arabian weekly newspaper in Cairo. This led to his becoming the Near East correspondent for the Ullstein newspapers of Berlin. Future assign ments included the Graf Zepplin's flight over the Arctic in 1931 and the Civil War in Spain, where he was im prisoned, sentenced to death, and finally pardoned by the rebels. An active communist from 1931 to 1938, Koestler achieved world fame with DARKNESS AT NooN ( 1941), his explosive anti-communist novel. He now lives in England. A more comprehensive biography ap pears in John Durston's Foreword. THE WATERSHED A Biography of Johannes Kepler .Arthur Koestler Foreword by John Durston ILLUSTRATED BY R. PAUL LARKIN Published by Anchor Books Doubleday & Company, Inc. Garden City, New York LibrtJT)' of Congress Catalog Card Number 6o-13537 Copyright© 1960 by EducatiorudServices Incorporated From THE SLEEPWALKERS © Arthur Koestler 1959 by prmnjssion of the author and The Macmillan Company, New York and Hutchinson & Co. (Publishers) Ltd. All Rights Reserved Printed in the United Statesof Americtt THE SCIENCE STUDY SERIES The Science Study Series offers to students and to the general public the writing of distinguished authors on the most stirring and fundamental topics of physics, from the smallest known particles to the whole universe. -
California Art Club Newsletter
CALIFORNIA ART CLUB NEWSLETTER Still Life Painting in California A Continuous Transformation by Elaine Adams till life, contrary to its name, is a educational text, Masters of Taste: Genre and Still form of artistic expression that constantly Life Painting in the Dutch Golden Age, published by Sevolves. Objects change through time, as they the Albany Institute of History and Art, “During the vary in style and purpose or even become obsolete. seventeenth century, Netherlanders bought directly Cultural tastes and interests also change including from artists’ studios, from art dealers or bookshops, what is revered and enjoyed as part of nature’s or from temporary stands set up at Kermis (street bounties. One may fairs). …even most consider still lifes as small towns could boast societal statements at least a few resident locked in time. Still life painters. In fact, some paintings often show Dutch communities had the natural world com- more artists than they bined with that of the did butchers.” manmade—flowers in Just as French terms a vase, fruit in a bowl, are often applied when food on a tray— describing facets of symbols of human Impressionism, in triumphs in domesti- homage to the nine- cating nature and con- teenth century artists taining it for everyday who developed the use and enjoyment. movement, Dutch terms Still Life painting are applied to Still was particularly popu- Lifes, in the language of lar among seventeenth the artists who popular- century Dutch artists ized the genre. The term during what is now “still life,” which can termed as their “Golden also be hyphenated as Age.” After making “still-life,” is itself peace with Spain in derived from the Dutch 1648, the Netherlands word, “stilleven,” became a highly pros- meaning “still model.” perous economy. -
Coit Tower Brochure V4 16 9 032016.Indd
SCULPTURE COIT TOWER PIONEER PARK Above the main entrance to the tower is a cast con- Coit Tower, a fluted, reinforced concrete column, rises The green summit of Telegraph Hill is called Pioneer crete, high-relief plaque of the phoenix with out- THE STORY OF 212 feet above Telegraph Hill and offers magnificent Park, so named for the group of public spirited cit- stretched wings, sculpted by Robert B. Howard. This views of the Bay Area from an observation gallery izens who bought the land and gave it to the city mythical bird, reborn in fire, is a symbol of San Francis- at its top. Its architect was Henry Howard, working in 1876. Because of its commanding views, the hill co, whose history is punctuated by many catastrophic COIT for the firm of Arthur Brown, Jr., which created San housed a signal station in 1849 to relay news of ships blazes. In the center of the parking plaza stands a 12’ TOWER bronze statue of Christopher Columbus by Vitorio Di Francisco’s City Hall and Opera House. Contrary entering the Bay to the business community along Colvertaldo. It was given to the city by its Italian com- to popular belief, it was never intended to resemble Montgomery Street, hence the name Telegraph Hill. munity in 1957. And Its Art a firehose nozzle. Howard’s simple, vertical design San Francisco’s contact with the world then was by Frescoes depicting“Life in California...1934.” was selected because it best created a monumental sea, and all arrivals were important events. In the SOCIAL REALISM AND statement within the small site and small budget of 1880s, the site briefly contained an observatory and A legacy of 25 Artists of Social Realism and their Assistants. -
John Edward Walker
654 He was listed by the New York Times in 1914 as one of the dozen “notable” artists of Carmel.4 That fall his work was included in the Exhibition of Carmel and Southern California Artists at the Rabjohn & Morcom Gallery in San Francisco.5 A year later the Carmel Pine Cone reported that his paintings were selling well in that city.6 During the summer of 1916 he advertised his studio “by appointment only” at the “Schlingman Cottage” on Casanova Street between Seventh and Eighth Avenues.7 He taught art to select students in Carmel, but there is no evidence that he was an instructor at the Arts and Crafts Club Summer School. In 1913 he contributed the painting Coast View to the Seventh Annual Exhibition of that Club.8 As a Carmel resident his canvas was allowed into the award competition for that year. For the Club’s Tenth Annual in 1916 he submitted four pieces: Glow at Evening, Oaks in Spring, Happy Valley and Sand Dune-Carmel. Of these Blanche Marie d’Harcourt, art critic for The Wasp of San Francisco, declared that he “interprets Nature in her most poetical moods.”9 That December she reported that this “modest young Englishman” was hard at work “painting many scenes up the Carmel Valley.”10 In May of 1917 Walker assembled fifteen of his “small and modest” Carmel seascapes for exhibition at the Kanst Gallery in Los Angeles.11 The art critic for the Los Angeles Times, Antony Anderson, found the painter to be “a trifle over-conscientious” in depicting detail, too wordy in his titles and lacking in California’s bright colors, but he praised his drawing skills and genuine emotion.12 In a similar assessment of his “oil sketches” that June at the Schussler Brothers Gallery of San Francisco Anna Cora Winchell, the art critic of the San Francisco Chronicle, observed that the British painter depicted:13 . -
Remericspencer00mackrich.Pdf
j S. SPENCER AMD COKSTMGE^HACKY HB4IBISCENCES Tape Recorded interviews for the Bancroft Library February - March, -P Y30AK : JO CMA. H2D10H8 . JtoionaS sd- - c- . I hereby assign to the Regents of the University of California for the General Library at Berkeley all rights and title to the manuscript, transcribed from a series of interviews beginning February 2, 191|., and ending ih March, 195^ entitled "E. Spencer and Constance Macky Reminiscences." 7 lo y.cf C^ . :v>.i No part of this manuscript may be quoted for publication except by written permission of the Librarian of the University of California at Berkeley. ' ' INTRODUCTION Sh?- ader ' a Biographies of E. Spencer and Constance Macky can be found in volume 15 (1937) of the California Art Research series produced a* prv: by the . P. A. British colonials in background (he born in New Zealand on November 16, 1880 and she in Australia June 29, 1883), they studied in Paris when modern art was in lusty adolescence and came to San Francisco in time to see the new art make its first major impact here. For over forty years they have been identified with the flourishing art world of this region, as painters, as teachers, and as leaders in art organizations, 'through a series of tape-recorded informal conversations, we have looked at this art world through their eyes. v Our first meeting was on February 2, 195^- in one of the offices of the University of California^ Bancroft Library. The last, in March, was held at the Oakland Art Museum. The young director of that museum, Paul Mills, tookbart in all our dis cussions. -
Still Life Painting in California a Continuous Transformation
CALIFORNIA ART CLUB NEWSLETTER Still Life Painting in California A Continuous Transformation by Elaine Adams till life, contrary to its name, is a educational text, Masters of Taste: Genre and Still form of artistic expression that constantly Life Painting in the Dutch Golden Age, published by Sevolves. Objects change through time, as they the Albany Institute of History and Art, “During the vary in style and purpose or even become obsolete. seventeenth century, Netherlanders bought directly Cultural tastes and interests also change including from artists’ studios, from art dealers or bookshops, what is revered and enjoyed as part of nature’s or from temporary stands set up at Kermis (street bounties. One may fairs). …even most consider still lifes as small towns could boast societal statements at least a few resident locked in time. Still life painters. In fact, some paintings often show Dutch communities had the natural world com- more artists than they bined with that of the did butchers.” manmade—flowers in Just as French terms a vase, fruit in a bowl, are often applied when food on a tray— describing facets of symbols of human Impressionism, in triumphs in domesti- homage to the nine- cating nature and con- teenth century artists taining it for everyday who developed the use and enjoyment. movement, Dutch terms Still Life painting are applied to Still was particularly popu- Lifes, in the language of lar among seventeenth the artists who popular- century Dutch artists ized the genre. The term during what is now “still life,” which can termed as their “Golden also be hyphenated as Age.” After making “still-life,” is itself peace with Spain in derived from the Dutch 1648, the Netherlands word, “stilleven,” became a highly pros- meaning “still model.” perous economy. -
Europack 2004
www.eurovision-spain.com XLIX Festival de eurovisión Estambul – Turquía – 12 y 15 de mayo de 2003 Europack 2004 SEMIFINAL visítanos en www.eurovision-spain.com europack 2003 | pág 1 www.eurovision-spain.com XLIX Festival de eurovisión Estambul – Turquía – 12 y 15 de mayo de 2003 Estimados visitantes y amigos de www.eurovision-spain.com ya tenemos aquí un nuevo festival de eurovisión, en esta ocasión con dos galas, la final y la semifinal , hemos llegado al fin del camino que comenzamos hace casi un año siguiendo todo el proceso de organización del festival, casi 365 intentando ofreceros la mejor información y servicios, porque eurovisión se vive más que un día al año. Como hicimos el año pasado aquí teneis nuestro europack, pero en esta ocasión dividido en dos partes para sigáis el festival con toda la información que necesitéis en cada momento, lista de países, canciones, letras en versión original y traducción al castellano y tablero de puntuaciones total, todo ello para que tan sólo tengas que imprimirlo y empezar a vivir el festival desde ahora. El Europack de la final será publicado una vez se conozcan los finalistas Gracias a todos por vuestro apoyo durante esta temporada eurovisiva y esperamos contar con todos en la nueva que hoy comienza para el festival de la canción de eurovisión. Saludos a todos y gracias en nombre de todos los que hacemos www.eurovisión-spain.com europack 2003 | pág 2 www.eurovision-spain.com XLIX Festival de eurovisión Estambul – Turquía – 12 y 15 de mayo de 2003 Lista de participantes: XLIX Festival de Eurovisión final: 15/05/04 | semifinal: 12/05/04 Sede: Estambul, Turquía - Abdi Ipekci Votación: de 1 a 8, 10 y 12 - (votos alfabéticamente 36-final y 33-semi) Participantes: 14 finalistas + 10 semifinalistas Semifinal nº País Intérprete - canción pts. -
Promoting Nation Building and Nation Branding Through Western
Master Thesis Promoting Nation Building and Nation branding through Western European Integration in the Eurovision Song Contest Master Program: Politics and Economics of Contemporary Eastern and Southeastern Europe Thessaloniki, University of Macedonia Author: Theodoros Kitsios M1318 Supervisor: Dr. Fotini Tsimpiridou 0 Declaration in Lieu of Oath I hereby declare, under oath, that this master thesis has been my independent work and has not been aided with any prohibited means. I declare, to the best of my knowledge and belief, that all passages taken from published and unpublished sources or documents have been reproduced whether as original, slightly changed or in thought, have been mentioned as such at the corresponding places of the thesis, by citation, where the extent of the original quotes is indicated. The paper has not been submitted for evaluation to another examination authority or has been published in this form or another. Thessaloniki, 01.10.2013 Theodoros Kitsios 1 Acknowledgements I would like to thank Dr. Fotini Tsimpiridou who supervised, advised and supported me throughout the realization of this thesis. No matter which problems would have come up, she was always open and helpful in her counsel. I am really grateful to her, for giving me the chance to fulfill a dream of my early adolescence, to delve into the Eurovision Song Contest from the perspective I have been enraptured since 1990, when I watched the contest for the first time in my life from the couch of my parents’ house. From that time on, I knew there was something more in this show, than what the television programs suggested to be. -
Exhibit of Painting and Sculpture from 16
*4 HE MUSEUM OF MODERN ART WEST 53RD STREET, NEW YORK EPHONE: CIRCLE 7-7471 FOR RELEASE SATURDAY AFTERNOON DECEMBER 9th AND SUNDAY DECEMBER 10th, 19i53o The Museum of Modern Art, 11 West 53 Street, announces an Exhi bition of Painting and Sculpture from Sixteen American Cities, to open to the public on Wednesday, December 13, and to continue until January 1, 1934. This is the twelfth American show held by the Museum and includes the work of 119 painters and sculptors from all over the country. An unusual feature of it is the large number of women artists represented; tfoeir works comprise almost one-quarter of the total number shown in the Exhibition. As was to be expected, painters throuajiout the United States show in this Exhibition a growing interest in the native scene. Archi tecture, farming, cattle raising, religious ceremonies, landscapes, interiors—nearly all are emphatically characteristic not only of America but in many cases of the sections where the pictures were painted. The regions which seem most artistically self-conscious are the Southwest, represented by Dallas and Santa Fe, and the Southeast, represented by Atlanta. The different sections of the country will be represented in the Exhibition as follows: for the Southeast, Atlanta is sending work by Marjorie Conant Bush-Brown, Julian H« Harris, George Ramey, Robert S. Rogers, Benjamin E. Shute and Douglas Berry Wright. For the East, Baltimore sends work by Simons Brangier Boas, Donald Vincent Coale, Herman Maril, Edward Rosenfeld, Charles Leon Schucker, Selma L. Oppenheimer, and Harold Holmes Wrenn; Boston, work by Frederick Warren Allen, Oliver Chaffee, Joseph Coletti, Carl Gordon Cutler, Howard Gibbs, Jr., Charles Hopkinson, Molly Luce, Charles Hovey Pepper, Mar^arett Sargent, and Vernon Smith; Buffalo, work by Charles E.