An interview of Albert Reese conducted 1971 Jan. 7-13, by Paul Cummings, for the Archives of American Art.

The estate papers of New York tonalist painter Henry Ward Ranger, measure one linear foot and date from 1888-circa 1999, with the bulk of the material dating from 1904-1954.The collection primarily documents the settlement of Ranger's contested will and the administration of his estate, but also provides scattered biographical information on Ranger's life, provenance information about his work, and documentation of the significance of his estate gift to the National Academy of Design. Records include appraisal information including an estate ledger, correspondence and memoranda including two letters from Ranger, court documents, financial and real estate records, news clippings, and two photographs and eight negatives of Ranger.

An interview of Stephen Radich conducted 1972 Feb. 18-29, by Paul Cummings, for the Archives of American Art. Radich speaks of his childhood in California, school at Columbia in advertising, his positions at various New York City art galleries, and collecting trends in contemporary art.

An interview of Leo Rabkin conducted 1968 Dec. 4, by Paul Cummings, for the Archives of American Art. Rabkin speaks of his youth in Cincinnati in a Russian-Jewish family; his early study of music; teaching; his watercolor techniques; prints on plastic; the importance of the box in his life; his concern with light; his collections of wood furniture ...

The records of Printed Matter, Inc., a non-profit artists' book publisher and distributor in New York, measure 24.9 linear feet and date from 1970 to 1990. Documentation on this organization includes artist, distributor, and client files; inventory records; legal and administrative records; general correspondence; ledgers, invoices, and other financial records; files arranged by subject; and architectural drawings of the interior office space. The administrative correspondence scattered across the various series shows Printed Matter's philosophy, operations, and relationships to artists. Many early notes and minutes are in Sol LeWitt's handwriting. Among the names to be found in the files are former staff members Edith deAk, Mike Glier, Nancy Linn, Ingrid Sischy, and Nancy Princenthal; founders Sol LeWitt and Lucy Lippard; and contracted artists, such as Douglas Davis, Heidi Fasnacht, Jenny Holzer, Douglas Huebler, Louise Lawler, Richard Nonas, Martha Rosler, Ed Ruscha, Art Spiegelman, Michelle Stuart, Athena Tacha, and Lawrence Weiner.

An interview of Marjorie Phillips conducted 1974 June 27, by Paul Cummings, for the Archives of American Art. Phillips speaks of the Art Students League; marriage to Duncan Phillips and starting a gallery in the family house, exhibitions, purchases of art work; forming the collection; influence of the Phillips Collection; her book Duncan Phillips a...

An interview of Margaret Elder Philbrick conducted 1971 Nov. 2, by Robert Brown, for the Archives of American Art. Philbrick speaks of her childhood, the development of her interest in art, her education at the Massachusetts College of Art, her first involvement with etching, serigraphy and colograph printmaking, her theories and use of color and l...

The glass plate negatives of the Provincetown Art Colony measure 0.44 linear feet and 0.116 GB and date from 1916 and include images believed to have been taken for A. J. Philpott's August 1916 Boston Globe article entitled "Biggest Art Colony in the World at Provincetown." In addition to the twelve glass plate images of artists at work in Provincetown, including George Elmer Browne and E. Ambrose Webster, the collection includes the original negative box, a circa 2006 photocopy of Philpott's article, and digital copies of the glass plates.

An interview of Pietro Pezzati conducted 1971 July 15, by Robert F. Brown, for the Archives of American Art. Pezzati speaks of his youth and the influence of Italian parents; the development of his artistic interests; his education at the Child-Walker School and studying under Charles Hopkinson; influences of European art; his philosophy of portrai...

An interview of Gabor Peterdi conducted 1971 Apr. 29, by Paul Cummings, for the Archives of American Art. Peterdi speaks of his youth in Hungary and his early desire to be a painter, Paris and his first encounter with surrealism, studying printmaking with Stanley William Hayter and the Paris art scene in the 1930s. He comments on coming to the U.S....