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Collectors Forum Art Acquisitions History 1991-2014
Collectors Forum Art Acquisitions History 1991-2014 David Giese Niche from the Perambulatory of Virtue 1988-89 concrete, paint, mixed media Collectors Forum Purchase 1991 Collectors Forum Art Acquisitions History 1991-2014 Kerry Moosman Untitled, 1991 polished earthenware Collectors Forum Purchase 1991 Collectors Forum Art Acquisitions History 1991-2014 Gaylen Hansen Dog in a Garden Trying to Look Ferocious 1981, oil on canvas Collectors Forum Purchase 1992 Collectors Forum Art Acquisitions History 1991-2014 Dennis Evans Yin Yang, 1992 mixed media, encaustic on canvas with stenciled text 4 suspended tablets Collectors Forum Purchase 1994 Collectors Forum Art Acquisitions History 1991-2014 Stephen Schultz Axis, 1988, oil on canvas Collectors Forum Purchase 1994 Collectors Forum Art Acquisitions History 1991-2014 Fay Jones Self Portrait: Braque Boxing, 1992 acrylic on paper Collectors Forum Purchase 1995 Collectors Forum Art Acquisitions History 1991-2014 Romey Stuckart The Bone Yard, 1989 oil on canvas Collectors Forum Purchase 1995 Collectors Forum Art Acquisitions History 1991-2014 Brent Smith Multnomah Falls, Oregon 1992, Type C monoprint Collectors Forum Purchase 1995 Collectors Forum Art Acquisitions History 1991-2014 Gregory Grenon I Am Burning, 1994 reverse painting, oil on plexigas Collectors Forum Purchase 1996 Collectors Forum Art Acquisitions History 1991-2014 Richard Notkin Hexagonal Curbside Teapot #19, Yixing Series, 1993 ungrazed stoneware Collectors Forum Purchase 1996 Collectors Forum Art Acquisitions History 1991-2014 -
Oral History Interview with Edward B. Thomas, 1983 April 28-May 10
Oral history interview with Edward B. Thomas, 1983 April 28-May 10 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 Preface The following oral history transcript is the result of a tape-recorded interview with Edward B. Thomas on April 28 & May 10, 1983. The interview took place in Seattle, Washington, and was conducted by John Olbrantz for the Archives of American Art, Smithsonian Institution. Interview DATE: APRIL 28, 1983 [Tape 1] JOHN OLBRANTZ: Ed, can you tell me a little bit about your background, where you were born, your early childhood experiences, your parents, who your father was, who your mother was, how they came to live in this part of the country? EDWARD THOMAS: Well, I was born in Cosmopolis, Washington, and many times when I've come through customs, when I was much younger and especially at the Mexican border, they would say, "Where were you born?" and I'd say, "Cosmopolis, Washington," they'd say, "Look, bud! Don't get funny with us." (laughter) But there actually is such a place as Cosmopolis, Washington. Nobody had any particular influence upon me, I would say, in my younger years as far as becoming interested in art, and particularly teaching art. I had a very severe illness when I was four and five years old and was confined to bed a lot, and so people brought me tablets and color crayons and pencils and stuff like that. -
Contemporary American Painting and Sculpture
AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J. -
2636-011 Seattle Art Museum Records
UNlVERSllY U BRARIJES w UNIVERSITY of WASHI NGTON Spe ial Colle tions 2764 Seattle Art Museum Records Inventory Accession No: 2636-011 Special Collections Division University of Washington Libraries Box 352900 Seattle, Washington, 98195-2900 USA (206) 543-1929 This document forms part of the Preliminary Guide to the Seattle Art Museum Records. To find out more about the history, context, arrangement, availability and restrictions on this collection, click on the following link: http://digital.lib.washington.edu/findingaids/permalink/SeattleArtMuseum2636/ Special Collections home page: http://www.lib.washington.edu/specialcollections/ Search Collection Guides: http://digital.lib.washington.edu/findingaids/search Seattle Art Museum Acc. #?.636-11 Modern Art Department CONTAINER LIST _ Box EXHIBITION FILES 1 LIST OF EXHIBITIONS FROM FILE DRAWER, APRIL 1975 through 1976 May 8 - June B, 1975: University of Washington Masters Theses Exhibition Organized by the Seattle Art Museum and the University of Washington Participants: Bob Magruder, V'lou Oliveira - ceramics Tim Ely, Larry Stair & Dennis Evans - design Margie Ogle, Jeanne Ilgen - metal jewelry Alan Bradley, Peggy Cooley, Jo David, Isabel Hamilton, Steve McClelland, Ithipol Thangchalok - painting Carl Chew, Brad Keil, Barbara McAusland, Sherry Markovitz, M~ke Peterson - printmaking Francie Allen, Stuart Branston, Tom Duchscher, Jim Feroe, Dave Gallagher, Kim Hoffman, Margaret Hays - sculpture Carol Wood, Pat Spatk, Sherry Charles, Melinda PhilJips - textiles May 8 - June 22, 1975: Prints from the Untitled Press Organized by the Wadsworth Atheneum, Hartford, Connecticut Participants: Cy Twombly, Brice Marden, David Bradshaw, Bob Petersen, Robert Whitman, Robert Rauschenberg, Hisachika Taka Hashi April 1 - May 6, 1975: Selections From Seattle Art Museum Permanent Collection Organized by the Seattle Art Museum. -
Oral History Interview with Guy Anderson, 1983 February 1-8
Oral history interview with Guy Anderson, 1983 February 1-8 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 This transcript is in the public domain and may be used without permission. Quotes and excerpts must be cited as follows: Oral history interview with Guy Anderson, 1983 February 1-8, Archives of American Art, Smithsonian Institution. Oral History Interview with Guy Anderson Conducted by Martha Kingsbury At La Conner, Washington 1983 February 1 & 8 GA: GUY ANDERSON MK: MARTHA KINGSBURY [Part 1] GA: Now that it is spring and February and I suppose it's a good time to talk about great things. I know the sun's out, the caterpillars and things coming out soon; but talking about the art scene, I have been reading a very interesting thing that was sent to me, once again, by Wesley Wehrÿ-- the talk that Henry Geldzahler gave to Yale, I think almost a year ago, about what he felt about the state of the New York scene, and the scene of art, generally speaking in the world. He said some very cogent things all through it, things that I think probably will apply for quite a long time, particularly to those people and a lot of young people who are so interested in the arts. Do you want to see that? MK: Sure. [Break in tape] MK: Go ahead. -
Oral History Interview with James Herbert Fitzgerald and Margaret Tomkins, 1965 Oct
Oral history interview with James Herbert Fitzgerald and Margaret Tomkins, 1965 Oct. 27 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 Preface The following oral history transcript is the result of a tape-recorded interview with James and Margaret Fitzgerald on October 27, 1965. The interview took place in Seattle, WA, and was conducted by Dorothy Bestor for the Archives of American Art, Smithsonian Institution. Interview [Bracketed remarks added by James Fitzgerald upon review of transcript.] DOROTHY BESTOR: Well, let's see, before you went to the Art Center [in Spokane] you had gotten a degree here in architecture and you had worked with Thomas Hart Benton? JAMES FITZGERALD: That's right. DOROTHY BESTOR: Had that been any of the WPA things? JAMES FITZGERALD: No. [Tom Benton to my knowledge did not work on any WPA murals.] DOROTHY BESTOR: Oh, I though he — well, didn't he get some commissions for Treasury murals? JAMES FITZGERALD: No. [His commissions came from the Whitney Museum, New School for Social Research and the State of Missouri.] DOROTHY BESTOR: Oh. JAMES FITZGERALD: In fact, when I was out in Missouri there wasn't very much of an art project. It was very small, and they didn't do very much at all in real art. DOROTHY BESTOR: So the Spokane one was your first contact with any of the government art projects? JAMES FITZGERALD: [My first contact with government art was in the year 1933 or 1934, when Vic Steinbrauch and I were selected by the Treasury Department Art Program to depict the landscape of the West. -
Modernism in the Pacific Northwest: the Mythic and the Mystical June 19 — September 7, 2014
Ann P. Wyckoff Teacher Resource Center Educator Resource List Modernism in the Pacific Northwest: The Mythic and the Mystical June 19 — September 7, 2014 BOOKS FOR STUDENTS A Community of Collectors: 75th Anniversary Gifts to the Seattle Art Museum. Chiyo Ishikawa, ed. Seattle: Seattle Adventures in Greater Puget Sound. Dawn Ashbach and Art Museum, 2008. OSZ N 745 S4 I84 Janice Veal. Anacortes, WA: Northwest Island Association, 1991. QH 105 W2 A84 Overview of recent acquisitions to SAM’s collection, including works by Northwest artists. Educational guide and activity book that explores the magic of marine life in the region. George Tsutakawa. Martha Kingsbury. Seattle: University of Washington Press, 1990. N 6537 T74 A4 Ancient Ones: The World of the Old–Growth Douglas Fir. Barbara Bash. San Francisco: Sierra Club Books for Exhibition catalogue covering 60 years of work of the Children, 2002. QK 494.5 P66 B37 Seattle–born painter, sculptor, and fountain maker. Traces the life cycle of the Douglas fir and the old–growth Kenneth Callahan. Thomas Orton and Patricia Grieve forest and their intricate web of life. Watkinson. Seattle : University of Washington Press; 2000. ND 237 C3 O77 Larry Gets Lost in Seattle. John Skewes. Seattle: Sasquatch Books, 2007. F 899 S44 S5 Overview of the life and work of artist Kenneth Callahan. Pete looks for his dog Larry in Seattle’s famous attractions. Margaret Callahan: Mother of Northwest Art. Margaret Bundy Callahan and Brian Tobey Callahan, ed. Victoria, S Is for Salmon: A Pacific Northwest Alphabet. Hannah BC: Trafford Publising, 2009. ND 237 C19 C35 Viano. -
Northwest Matriarchs of Modernism
Northwest Matriarchs of Modernism 12 Proto-feminists from Oregon and Washington Mary Henry Pansynclastic Riddle 1966, 48 x 61.5 Courtesy of the Artist and Bryan Ohno Gallery Cover photo: Hilda Morris in her studio 1964 Photo: Hiro Moriyasu Northwest Matriarchs of Modernism Organized by The Art Gym, Marylhurst University 12 Proto-feminists from Oregon and Washington with support from the Regional Arts and Culture Council, the Lamb Foundation, members and friends. The Art Gym, Marylhurst University, Marylhurst, Oregon Kathleen Gemberling Adkison September 26 – November 20, 2004 Doris Chase Museum of Northwest Art, La Conner, Washington January 15 – April 3, 2005 Sally Haley Mary Henry Maude Kerns LaVerne Krause Hilda Morris Eunice Parsons Viola Patterson Ruth Penington Amanda Snyder Margaret Tomkins Eunice Parsons Mourning Flower 1969, collage, 26 x 13.5 Collection of the Artist Photo: Robert DiFranco Northwest Matriarchs of Modernism: Twelve Proto-feminists from Oregon and Washington Copyright 2004 Marylhurst University Post Offi ce Box 261 17600 Pacifi c Highway Marylhurst, Oregon 97036 503.636.8141 www.marylhurst.edu Artworks copyrighted to the artists. Essays copyrighted to writers Lois Allan and Matthew Kangas. 2 All rights reserved. ISBN 0-914435-44-2 Design: Fancypants Design Preface Northwest Matriarchs of Modernism: Twelve presented work created prior to 1970. Most of our Proto-feminists from Oregon and Washington exhibitions either present art created specifi cally grew out of a conversation with author and for The Art Gym, or are mid-career or retrospective critic Lois Allan. As women, we share a strong surveys of artists in the thick of their careers. -
2016 Annual Report
MoNAMuseum of Northwest Art 2016 ANNUAL REPORT Annual Report 2016 D.indd 24 9/25/17 11:07 AM 3 From the President MISSION STATEMENT 4 Board & Staff The Museum of Northwest Art connects people with the art, diverse cultures and environments of the Northwest. 5 Exhibitions Visitor Testimonials VISION STATEMENT 10 The Museum of Northwest Art enriches lives in our diverse community by fostering essential 11 Acquisitions conversations and encouraging creativity through exhibitions and educational activities that explore the art of the Northwest. 12 MoNA Store COLLECTIONS & EXHIBITIONS 13 Education MoNA collects and exhibits contemporary art from across the Northwest, including Alaska, British Columbia, California, Idaho, Montana, Oregon and Washington. 15 Year in Review 17 Supporters 22 Volunteers Annual Report 2016 D.indd 1 9/25/17 11:07 AM 17,283 visits 42,866 website visits 100% visited for free 427 155 members volunteers 1,404 32 students visited with permanent collection 76 school tours acquisitions monamuseum.org 2 Annual Report 2016 D.indd 2 9/25/17 11:07 AM FROM THE PRESIDENT It is my great pleasure to share with you some of the successes achieved in 2016, made possible by your generous support. Because of you, more members of our community have experienced Northwest art in all of its facets through museum visits, program participation, and attendance at MoNA events and celebrations. MoNA’s commitment to providing free museum admission has fostered a broader and more engaged audience, making the museum accessible to more first-time visitors than ever before. MoNA, with your support, continues to fund significant investments in programming and collections. -
Northwest Fine Art & Antique Auction
Northwest Fine Art & Antique Auction August 27th, 2009 - 717 S 3rd St, Renton 14% Buyers Premium in Effect Auction Pick-up: Half Hour Following Auction or Friday, 08/28 & Tuesday, 09/01: Noon-5PM Lot Description 21 2 Boxes Loose Richard Lachman Cut Ink Drawings 1 Richard Kirsten "House of Many 22 3ea Richard Lachman Colored Ink Drawings Memories" Acrylic 22x16" 23 Box Richard Lachman Square Ink Drawings 2 Edna Crews "Snowcapped Forest" 24 4ea Richard Lachman Portrait Ink Drawings Watercolor 16x20.75" 25 Richard Lachman Large Sketchbook & 3 James Farr "Infinite Cycle of Renewal" Loose Ink Drawings 1973 Tempera 23.5x18.5" 26 Stack Richard Lachman Ink Drawings - 4 1997 S/N Abstract Etching Sketchbook Pages 5 Norman Lundin "Russian Landscape: 27 5x11' Oriental Rug Morning River" Charcoal/Pastel 26x37" 28 2 Carol Stabile Pastel Framed Paintings 6 K.C. McLaughlin "Exterior with 29 1969 Surrealist Mixed Media Painting Awnings" Dry Pigment 17x25" 34x30" - Signed Riote? 7 Edna Crews "Moonlit Meadow" 30 Signed F.W. Die? "Eye" Ink/Canvas 16x20" Watercolor 16.5x21.5" 31 Fred Marshall A.W.S. "Harbor - Puget 8 Edna Crews "Winter Meadow" Acrylic Sound" 1970 Watercolor 17x20.5" 31.5x23" 32 Fred Marshall Framed Watercolor 9 Richard Lachman "Cocktail Party" 1980 "Landscape with Deer" 16x21" Ink/Paper 16x22" 33 Flora Correa "Weeds Blowing" 1977 Collage 10 Richard Lachman "Dixy & Jaques" 24x12" Mixed Media 18x26" 34 Bonnie Anderson "Bucket of Lemons" Oil 11 Richard Lachman "Day Before Eden" 8x10" Mixed Media 18x26" 35 Bonnie Anderson "Lemon Drop Tree" Oil 12 Natalie McHenry Untitled – 38x14.25" "Marionettes" Watercolor 19x25" 36 Ray Hill Untitled - "Lake Scene" 1969 13 Edna Crews Untitled - "Mystic Bird" Watercolor 14x20" Oil/Board 40x30" 37 Signed S. -
Northwest Modernism & Western Fine Art Thursday June 20Th @ 5:00PM
Northwest Modernism & Western Fine Art Thursday June 20th @ 5:00PM 20% Buyers Premium In-House 25% Buyers Premium Online/Phone (425) 235-6345 SILENT AUCTIONS custom made Northwest Designer Craftsmen tansu chest with four drawers and door with Featuring a Large Silent Auction of metal pulls. Burned in mark on interior of Northwest Art & Native Books! drawer. Some scattered light surface wear. 5 Eames for Herman Miller Rosewood Lounge Lots 1,000’s End @ 8:00PM Chair & Ottoman. A vintage 670 & 671 set with black leather cushions. One of a pair Lot Description being offered. Chair 32''x33.5''x32'' and ottoman 17''x26''x22''. Original labels on 1 George Nakashima Studio Lounge Chair bottom dated Nov. 1 1978. Scattered wear to Rocker with Free Arm 32.5"x31"x34". A leather from use and one leather button is custom walnut rocking lounge chair with missing on chair seat. Overall excellent right free edge arm. Hickory wood spindles. condition. Charles and Ray Eames. Burned in mark on bottom with family name 6 Eames for Herman Miller "Time-Life" Stool on tape. Break to one spindle with scattered 15"x13". A vintage walnut stool or bench. light surface wear. Some light surface wear to top. Overall 2 Nakashima Style Free Edge Walnut Coffee excellent condition. Unmarked. Charles and Table 17.5"x79.5"x35". A long free edge Ray Eames. coffee table with trestle base. Unsigned. 7 Eames for Herman Miller Rosewood Lounge Some scattered light surface wear. From the Chair & Ottoman. A vintage 670 & 671 set same collection as the George Nakashima with black leather cushions. -
Carl Hall Gallery
COLLECTION GUIDE Carl Hall Gallery Hallie Ford Museum ofArt1 2 On the Edge PACIFIC NORTHWEST ART FROM THE PERMANENT COLLECTION THE PACIFIC NORTHWEST COLLECTION at the Hallie Ford Museum of Art includes paintings, sculptures, and works on paper created by Oregon artists as well as modern and contemporary works from Washington, Idaho, and Montana. Northwest art has been central to the mission of the Hallie Ford Museum of Art since it was first envisioned in the early 1990s. A long tradition of art instruction at Willamette, beginning in the 1850s and continuing with today’s strong departments of art and art history, provides the context for making regional art one of the primary emphases of this university-linked museum. Selections from the Pacific Northwest collection are exhibited in the Carl Hall Gallery, named for the painter who came to Oregon for basic training during World War II and, following his service in the Pacific, returned to the state he referred to as “Eden again.” He taught painting, drawing, and printmaking at Willamette University for thirty-eight years, retiring in 1986. Although the permanent collection contains some nineteenth-century Oregon art, the Carl Hall Gallery presents Northwest art from the 1930s to the twenty-first century. The title of the installation, On the Edge: Pacific Northwest Art from the Permanent Collection, recognizes the edgy, avant-garde nature of these works within their respective periods—as well as the region’s location on the edge of the continent. The Pacific Northwest collection is made up of works purchased with the Maribeth Collins Art Acquisition Fund and also includes donations of individual works from artists as well as collectors, such as Dan and Nancy Schneider.