Fine Arts Collections

The Fine Arts Collections of the Art, Design & Architecture Museum present visitors with the opportunity to participate in the history of art, design and architecture through direct and close interaction with paintings, sculptures, works on paper, and objects which range from major works by renowned masters to provocative pieces by leading contemporary artists. As a teaching museum, the AD&A Museum strives for on-going and vigorous use of its collections in order to facilitate exploration of the visual arts by those both in and outside the University of California, Santa Barbara community. Rotating selections from the AD&A Museum’s permanent collection may be viewed at the museum or in one of our satellite spaces. The AD&A Museum welcomes the opportunity to loan objects from its collection to fellow institutions and encourages visitors to view works of interest from the Fine Arts Collections by appointment.  Please call the AD&A Museum at (805) 893-2951 or contact curator Elyse Gonzales for more information.

Descriptions of the named fine arts collections held by AD&A Museum, each of which reflects the thoughtful, provocative and visionary collections of individuals who have donated to the museum over the past half-century, can be read by clicking on the images below.  Advanced search of the collections is available.

The Peter and Virginia Bancroft Collection of Vintage PhotographsFrom the Bancroft Collection of Vintage Photographs, Gift of Dr. Peter and Virginia Bancroft, 1995.123

A collection of 580 daguerreotype, ambrotype, and tintype images taken between 1840-1880, the Peter and Virginia Bancroft Collection has as its emphasis the American experience during the Civil War. Images of both Confederate and Union soldiers, as well as men, women and children, are rare examples which date from the earliest years of photography. Many of the images are housed in extraordinary cases made of paper, leather, metal, mother of pearl, and other materials. The presentation of the images in their cases makes the collection a unique resource for the study of the history of photography. In addition, America’s journey westward in the mid-nineteenth century is chronicled in images of Western locations such as Bisbee and Tombstone (Arizona), Calico City (California), and the Chilkoot Pass in Alaska where the burgeoning mining industry is chronicled.

 

The Barry Berkus Family Collection

 

The Barry Berkus Family Collection contributes to the strength of the Museum's holdings of twentieth century works on paper. Made in 2006, the Berkus gift provided the museum with twenty-one works on paper by artists working primarily in the United States in the 1980s and 1990s, including: Robert Motherwell, William Wegman, Robert Rauschenberg, and Carrie Mae Weems. Berkus, an architect who worked in Southern California, designed the UC Santa Barbara’s Mosher Alumni Building.

 

The Feitelson Collection of Old Master DrawingsGift of the Lorser Feitelson and Helen Lundeberg Feitelson  Arts Foundation, 1985.140

The paintings of American artist Lorser Feitelson, along with his wife and fellow artist Helen Lundeberg Feitelson, have been increasingly recognized for their contribution to the development of American abstract painting in the mid-twentieth century. Feitelson, whose own work is now included in the collections of the Los Angeles County Museum of Art, the Smithsonian American Art Museum, the San Francisco Museum of Modern Art, the Whitney Museum of American Art, and the Museum of Modern Art, was also an avid collector of more than 190 Old Master drawings that were bequeathed to AD&A Museum. Feitelson’s collection is of value not only as a tool for education and enjoyment; it also serves as a window into Feitelson’s views on old master drawing techniques and media. The mounts, as the late UC Santa Barbara Professor of Art History Alfred Moir wrote, “are covered with Lorser’s notes, speculating, comparing, documenting them, recording other peoples’ comments on them, pursuing recently published discoveries about their authors.”  A catalog of selected work from the Collection was published in 1983, the text of which was the result of a graduate seminar at the UC Santa Barbara which focused on attributions and provenance. The Feitelson Collection conveys to all visitors the vital role of drawing and draftsmanship in artistic production prior to the mid-nineteenth century.

The Fernand Lungren BequestFernand Lungren Bequest, 1964.656

In 1959, The Fernand Lungren Bequest became the first group of paintings acquired by the AD&A Museum for its permanent collection. Fernand Harvey Lungren (1857-1932) was among Santa Barbara’s most distinguished artists of the early twentieth century. Although he began his career as part of the circle of the American artist William Merritt Chase and spent an extended period in Paris where he was influenced by the work of James McNeill Whistler, it was Lungren’s journey to the American Southwest that most profoundly affected him. Sponsored by the Santa Fe Railroad which wished to commission images of the Southwest to entice eastern tourists, Lungren made his first excursions west in the early 1890s. By the 1920s, Lungren’s Santa Barbara studio became a center for the local arts scene where the artist displayed his Native American artifacts alongside canvases depicting the glowing, solitary beauty of the American desert. The Fernand Lungren Collection belongs to the art historical heritage of Santa Barbara and has particular meaning for the AD&A Museum which functions as a hands-on, teaching museum. It was Lundgren’s intent that his collections be given to “people of the City of Santa Barbara” for public enjoyment and edification. In his will, the artist bequeathed his painting collection, a body of 188 paintings and 131 drawings, to the Santa Barbara Teachers’ College, the forerunner to the UC Santa Barbara, and his collection of Native American artifacts to the Santa Barbara Museum of Natural History. It was Lungren’s wish that the gift of his collection “will result in as much pleasure to the community as I have in making it.” In the early 1960s, the collection was physically transferred to UC Santa Barbara and, in line with the artist’s pedagogical intent of exhibition and teaching, works from the Fernand Lungren Collection are experienced by students, faculty and community members at AD&A Museum today.

The Margaret Mallory BequestMargaret Mallory Collection of African Ethnological Material, 1964.160.318a-c

The Margaret Mallory Bequest comprises two distinct areas of the AD&A Museum holdings. In 1961, Margaret Mallory donated a group of twentieth century and Old Master prints to the museum. In 1964, Mallory made another donation of over 300 African objects to the museum. Thirty-five years later, and one year after Mallory’s death in 1998, the Margaret Mallory Bequest brought additional works on paper from the twentieth century to AD&A Museum. Together with the Ruth S. Schaffner Collection, the Mallory Bequest added to AD&A Museum’s strong collection of contemporary works on paper. Besides her passionate art collecting, Mallory was a filmmaker and founded Falcon Films in 1947 (together with former Santa Barbara Museum of Art director Ala Story) to produce documentary films on art and artists. Mallory was an early supporter of AD&A Museum, active in the tasks of fundraising, acquisitions and public relations which established the AD&A Museum as a vibrant teaching museum.

The Sigmund Morgenroth Collection of Renaissance Medals and PlaquettesSigmund Morgenroth Collection of Renaissance Medals & Plaquettes, 1964.345

Intricately carved reliefs cast in metal or carved in wood, the Morgenroth Collection of medals and plaquettes rivals major collections of similar materials in the National Gallery in Washington DC or the Metropolitan Museum of Art in New York. The medals commemorate important personages and events, an ancient custom which was revived during the Renaissance. Displayed at AD&A Museum in a Wunderkammer or “cabinet of curiosities,” the medals are viewed by visitors as Italian collectors in fifteenth and sixteenth centuries experienced them. The plaquettes, both round and rectangular in format, are just inches in size, featuring delicate bas-relief portraits and scenes of mythological and Christian subject matter. The Morgenroth collection is among the founding collections of the museum and belongs to the art historical heritage of Santa Barbara. These extraordinary medals and plaquettes, amassed by Mr. Morgenroth primarily between 1927 and 1939, received their inaugural exhibition at the Santa Barbara Museum of Art from January to March 1943.

The Ellen and Peter Norton GiftLithograph, Gift of Eileen and Peter Norton, 2000.20

Donated to AD&A Museum in 2000, the Ellen and Peter Norton gift consists of thirty-three watercolors, drawings and prints by twentieth century American artists, including works by Ed Ruscha (Main Street, 1990), Marc Pally, Michael Gonzalez, and Charles LaBelle.

The Laurence Rickels Collection

This collection focuses on the work of contemporary Los Angeles artists in the 1990s and 2000s with a particular emphasis on artists who taught or spent time in residence at UC Santa Barbara. Artists include Nancy Barton, Jane Callister, Russell Crotty, and Hirsch Perlman. Laurence Rickels is a Professor in the Department of German, Slavic and Semitic Studies at UC Santa Barbara.

The Ruth S. Schaffner CollectionGift of Ruth S. Schaffner, 1988.49

Ruth S. Schaffner (1914-1996) was a photojournalist and filmmaker, collector and patron, and art dealer whose galleries in Santa Barbara and Los Angeles introduced many vanguard contemporary artists to southern California, including Robert Therrien, John McCracken, and Larry Bell. Due to Schaffner’s generous gifts of more than one-hundred works of art, the AD&A Museum makes available to its visitors a significant holding of contemporary art with a strong nucleus in works from the mid-1960s and 1970s when Minimalism, Pop, and Conceptual artists effected a rupture in traditional forms. The Schaffner Collection includes works from Judy Chicago, Larry Rivers, Joan Mitchell, and Joseph Beuys. Ruth Schaffner’s gifts exemplify the legacy of support the AD&A Museum has received from the Santa Barbara arts establishment and stand as an example of the community’s vibrant contribution in enriching and enlivening our teaching museum.

The Sedgwick Collection of Old Master PaintingsSedgwick Collection, 1960.7

Acquired by the AD&A Museum in 1960, the Mr. and Mrs. Francis Minturn Sedgwick Collection represents one of the earliest bequests to the Fine Arts Collection with its stated goal of establishing a university museum “comparable to the FitzWilliam Museum at Cambridge and the Fogg Museum at Harvard.” A businessman and sculptor in his own right, Mr. Sedgwick donated twenty canvases by French, Italian, Dutch, Flemish and German artists of the fifteenth to seventeenth centuries, including the striking Renaissance work Portrait of an Infanta by Juan de Flandes, a Flemish artist active in Spain from 1496-1516. The Sedgwick Collection affords visitors the opportunity to experience Renaissance and Baroque paintings in an intimate setting whereby regional developments in style and subject matter can be compared.  In addition, the Sedgwick Collection belongs to the artistic heritage of Santa Barbara. Active in banking, ranching and the arts, Francis Sedgwick’s significant contributions to UC Santa Barbara include his donation of what amounted in 1967 to the largest single private gift in the history of the University. Mr. Sedgwick was instrumental in bringing the Morgenroth Collection of Renaissance Medals and Plaquettes to its home at the AD&A Museum.  Thus, it is fitting that paintings from the Sedgwick Collection and selections from the Sigmund Morgenroth Collection of Medals and Plaquettes, both representing the exemplary Renaissance holdings at AD&A Museum, are on permanent display together in the AD&A Museum’s Renaissance Cabinet or Wunderkammer in the manner of late-sixteenth century princes, scholars, and merchants who presented diverse arrays of objects in small rooms or in wooden cabinets.  

The Ala Storey Print CollectionGift of Mr. and Mrs. Samuel Dorsky through UCSB Art Affiliates to  the Ala Story Print Collection, 1971.161

Ala Storey was the second director of the Santa Barbara Museum of Art, having had enjoyed a successful career as a gallerist in England and then as director of the American British Art Center in New York in the late 1930s. The Ala Storey Print Collection was established initially by Ms. Storey as a collection of forty prints dating from the fifteenth to eighteenth centuries and celebrated its opening reception on March 9. 1967. Friends and associates continued to donate works to the collection in Ms. Storey’s name in order that they be made available for study at AD&A Museum. Thus, the Ala Storey Print Collection, with more than 190 prints spanning five hundred years of art history, truly embodies the spirit of community support and stewardship instrumental to the establishment of AD&A Museum. 

The Ken Trevey Collection of American Realist PrintsGift of Don Trevey to the Ken Trevey Collection of American Realist Prints, 1992.64

The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.

 

The Andy Warhol Foundation for the Visual Arts, Inc.,  The Andy Warhol Photographic Legacy Program

Beginning in 1970, Andy Warhol took scores of photographs which served as the basis for his commissioned portraits, silk-screen paintings, drawings and prints. In 2007, to commemorate its twentieth anniversary, the Warhol Foundation launched the Andy Warhol Photographic Legacy Program. Designed to provide greater access to Warhol’s photographs, the program donated over 28,500 of Warhol’s original Polaroids and gelatin silver prints to more than 180 college and university museums and galleries across the country. 

As a result, the Art, Design & Architecture Museum was the recipient of 105 Polaroids and 51 gelatin silver prints which augments the museum’s existing holdings by Warhol including a shopping bag with a Campbell’s Soup Can screenprint. 

 

 

 

 

 

Credit Lines (from top to bottom): 

Artist unknown, Young woman, post mortem, last half 19th C., Albumen print on ivory, Gift of Dr. Peter and Virginia Bancroft, 1995.123

Francesco Clemente, Italian, b. 1952, I, 1982, woodcut, Gift of Barry A. Berkus and Family, 2006.002.010

Hans Rottenhammer, German, 1564 -1625, Perseus Rescuing Andromeda, 16th - 17th C., Pen and brown ink, wash over black chalk on paper, Gift of the Lorser Feitelson and Helen Lundeberg Feitelson Arts Foundation, 1985.140

Fernand Lungren, United States, 1857-1932, In the High Sierras, ca. 1904-05, Oil on canvas, Fernand Lungren Bequest, 1964.656

African, Kuba peoples of Congo, Muyeem mask, 20th C., Fiber, wood, metal, glass beads cowry shells and leopard skin, Margaret Mallory Collection of African Ethnological Material, 1964.160.318a-c

Albrecht Dürer (after) German, 1471-1528, Willibald Pirckheimer of Eichstatt, 1517, Silver, Sigmund Morgenroth Collection of Renaissance Medals & Plaquettes, 1964.345

Edward Ruscha, United States, b. 1937, Main Street, 1990, Lithograph, Gift of Eileen and Peter Norton, 2000.20

Tom Wudl, United States, b. 1948, Untitled, 1981, Watercolor, Gift of Ruth S. Schaffner, 1988.49

Juan de Flandes, Flemish, ca. 1460-1519, Portrait of an Infanta, 15th C., Oil on panel, Sedgwick Collection, 1960.7

Walter Leistikow, German, 1865-1908, Waldsee (Forest Lake), 19-20th C., Etching, Gift of Mr. and Mrs. Samuel Dorsky through UCSB Art Affiliates to the Ala Story Print Collection, 1971.161

Thomas Hart Benton, United States, 1889-1975, Down the River, 1939, Lithograph, Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints, 1992.64