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COLLECTION Identifier: HC 3

Papers of Paul J. Sachs, 1903-2005


These papers of Fogg Museum associate director Paul J. Sachs document his administration of the museum, his teaching career at Harvard, and related professional activities. The papers consist primarily of correspondence and also include photographs, printed material, clippings, architectural drawings, reports, financial records, letters of introduction, insurance records, maps, funding appeals, minutes, memoranda, exhibition brochures, page proofs, and press releases.


  • 1903-2005


Conditions on Access:

Access: Access to most of the Sachs materials is unrestricted. Access to sensitive or financial materials may be closed to research as noted in the finding aid.

Copyright: The President and Fellows of Harvard College hold any copyright in Sachs' papers. Copyright in some papers in the collection may be held by their authors, or the authors' heirs or assigns. Researchers must obtain the written permission of the holder(s) of copyright and the Harvard Art Museum Archives before publishing quotations from any material in the collection.

Conditions on Use:

Copying: Papers may be copied in accordance with the Harvard Art Museum Archives usual procedures.


43 linear feet (99 file boxes, oversize materials)

The papers in this collection document Paul Sachs' career at the Fogg Museum and in Harvard's Department of Fine Arts, his national and international travels, his role as a mentor to students and colleagues, his involvement on numerous boards and committees, and various other personal and professional endeavors and interests. The papers date from 1903 to 2005, with the bulk spanning the years 1915-1948, and consist primarily of sent and received correspondence. They also include photographs, printed material (including auction catalogs), newspaper clippings, blueprints and other architectural drawings, reports, financial records, letters of introduction and recommendation, field reports, lists, insurance records, maps, appeals for funding, meeting minutes, memoranda, certificates, invitations, exhibition brochures, page proofs, press releases, telegrams, and radiograms.

All materials in the collection have been re-housed into archival folders and boxes. Folders and their contents have been kept in their original order, and overstuffed folders have been divided among several folders for the sake of preservation and numbered to indicate that they represent a part of a larger whole (for example: "folder 1 of 2"). The original folder titles have been retained; any added information has been enclosed in square brackets by the processing archivist. The folders are filed alphabetically by title, and in most instances the papers within each folder are filed either in chronological or reverse chronological order. Occasionally the papers in a folder are filed alphabetically instead of chronologically.

Many of the folder titles in the collection consist of a personal name, followed by either "scholar" (or the abbreviation "sch."), "dealer," "museum course," "collector" or "artist." These categories indicate the primary capacity and context in which Sachs knew and interacted with each individual, but in many cases museum course students went on to become scholars, collectors were also dealers, and so forth. Dealers include both art dealers and booksellers. Some notes in the collection suggest that the folders were at one time filed separately according to these categories; i.e. all dealer files were kept together, artist files kept together elsewhere, collector files kept somewhere else, and so forth. It is unknown at what point these separate categories were interfiled to create the current arrangement, in which all are filed together. It is also indicated, via Sachs' own handwritten memoranda and margin notes, that he weeded the correspondence during the 1950s, disposing of what he considered unnecessary or redundant material.

Some folders contained notes of unknown origin and documents clearly added after Sachs' death, including archivists' memoranda. These added materials have been removed from the papers and maintained in separate files in the archives; they may be consulted upon request. The dates of these materials has been preserved in the folder titles, as a cue to researchers that added materials from a given folder can be found in a separate location. Researchers should also note that folder titles are not always entirely accurate or reflective of content. In cases where the folder title and content differ significantly, a note has been added at the folder level of the finding aid. Many folders contain correspondence with individuals not mentioned in the folder title. For this reason, the processing archivist has made notes about various individuals' correspondence in the collection; these notes are held in the archives and may be consulted upon request. While they are not exhaustive, they may be helpful in locating materials.

Acidic documents have been isolated with archival paper and in some cases enclosed in mylar. Fragile materials have been enclosed in mylar. Oversize materials have been filed in an oversize box and cabinet; separation sheets indicate their removal. These oversize materials may be consulted upon request, and their location is indicated in the detailed container list that follows. Some of the collection suffered water damage in a flood of the archives in 1998; as a result, many of the papers are wrinkled, some ink has run, and some are stuck together and in need of treatment by conservators.

The correspondence covers many topics, reflecting Sachs' involvement and interest in a wide range of activities. Topics covered include the following, among many others: the direction and staffing of museums and other cultural institutions; the sale, purchase and exhibition of works of art; the content and editorial management of scholarly publications; travel and the visitation of museums and private collections; collectors and collecting; books, libraries and typography; university education in art history and the fine arts; and the effects of the first and second World Wars on individuals and communities, including refugee scholars. Many of the folders contain a mixture of correspondence and other materials. Sachs retained a carbon copy of outgoing letters, and there are often handwritten drafts of letters, as well as transcriptions of received letters that are particularly difficult to read.

Almost every year between 1915 and 1938, Sachs traveled to Europe, where he met with friends, colleagues, dealers and collectors; purchased works of art; and visited museums and private collections. These travels were beneficial not only because they frequently resulted in acquisitions for the Fogg Museum's collection, but also because they enabled Sachs to develop and maintain a remarkably wide and important network of contacts around the world. Sachs also made purchases for his personal collections during his European travels, many of which were eventually donated to the Fogg. Many letters in this collection were written while Sachs was abroad and contain accounts of what he was seeing and doing as he traveled.

Sachs' network of contacts and relationships, fostered by his work at the museum, his teaching and his travels, included art collectors and dealers, booksellers, art historians and other scholars, museum curators and administrators, publishers, former students, and friends and colleagues from other fields. He also maintained contacts in the realms of business and finance as a result of his years at Goldman Sachs and his family connections. These papers include correspondence with hundreds of individuals from across this network and reveal Sachs' influential role as advisor, mentor and colleague. He advised colleagues throughout the U.S. on matters of acquisitions and staff for both public and private art collections and was often called upon to recommend personnel for open positions. Sachs successfully placed hundreds of former students in positions and continued to advise them as their careers progressed. He was respected for his ability to judge individuals' strengths and weaknesses, as well as his understanding of the needs of an extensive range of organizations and his practical background in business administration. Sachs was often called upon for recommendations and opinions, notably in regard to potential grants and other funding, by both the Carnegie and Guggenheim Foundations.

The collection includes correspondence with many art dealers, in the United States and abroad. These include: Martin Birnbaum, Joseph Brummer, G. J. Demotte, Joseph Duveen, Maurice Gobin, César de Hauke, Bernard d'Hendecourt, Alphonse Kann, Dikran Kelekian, Paul Mallon, Gus Mayer, Walter Pach, R. Meyer Riefstahl, Paul Rosenberg, André Seligmann, Jacques Seligmann, Josef Stránský, André Weil, E. Weyhe, and many other individuals at firms including Colnaghi & Obach, Doll & Richards, Durand-Ruel, Durlacher, Knoedler & Co., P. W. French & Co., Parish-Watson & Co., Scott & Fowles, Yamanaka, and Wildenstein & Co. Correspondence with dealers covers a range of topics, from the discussion of objects for sale to negotiations of exchange for purchased objects to loans for exhibitions held at the Fogg Museum and elsewhere. Sachs also provided colleagues and students letters of introduction to these dealers, for use during their travels.

Also of interest is correspondence with scholars from across the globe. Many of Sachs' correspondents were museum curators and/or scholars of art history, but he also maintained correspondence with friends and acquaintances from a range of other disciplines. Among the art historians, curators and other scholars with whom he corresponded are: A. Everett (Chick) Austin, Marcel Aubert, Alfred Barr, Jr., Emil Baerwald, Bernard Berenson, W. G. Constable, Henri Focillon, Hetty Goldman, Belle da Costa Greene, Marcel Guerin, Alfred Hamill, William Ivins, Horace Jayne, Fiske Kimball, Charles Kuhn, Sir Eric Maclagan, Agnes Mongan, Charles Rufus Morey, Adam Paff, Erwin Panofsky, F. Mason Perkins, Arthur Kingsley Porter, Alan Priest, John Rewald, Daniel Catton Rich, Agnes Rindge, Jakob Rosenberg, Theodore Sizer, Georg and Hanns Swarzenski, Daniel V. Thompson, John Walker III and Langdon Warner. Many of these individuals were Sachs' former students.

The collection also includes correspondence with various artists and writers, including: George Grey Barnard, Joseph Coletti, Stuart Davis, Georg Grosz, Marsden Hartley, Charles Hopkinson, Edward Hopper and his wife Josephine, Philip Johnson, Henry Moore, John Singer Sargent, Maurice Sterne, Alfred Stieglitz, Max Weber, Harold Weston and Andrew Wyeth. The papers also include correspondence with Ray Nash, a graphic-arts historian and accomplished typographer, and Bruce Rogers, renowned book designer and typographer, reflecting Sachs' longstanding interest in books, graphic design and typography.

The papers also include correspondence with prominent collectors, including: Robert Woods Bliss, Helen Frick, James Hazen Hyde, Arthur Lehman, Philip Lehman, Robert Lehman, James Loeb, Charles Loeser, Robert Treat Paine, Jr., Duncan Phillips, Luis Plandiura, John D. Rockefeller, Jr., Arthur Sachs, Edward M. M. Warburg, Felix Warburg, Maurice Wertheim and Grenville Winthrop. Sachs gave advice regarding potential acquisitions and the conservation of objects in these private collections; he also frequently advised collectors to give or bequeath their collections to museums and other public institutions. He encouraged students and colleagues to visit private collections and wrote many letters of introduction that enabled them to do so. Along with Edward Forbes, Sachs served as advisor to John D. Rockefeller, Jr. in the selection of artists to create works for Rockefeller Center and in the design and creation of the Cloisters, the branch of the Metropolitan Museum dedicated to the art and architecture of medieval Europe.

Much of the correspondence is related, either directly or indirectly, to "the Museum Course." The collection includes correspondence with hundreds of his former students. It also includes a set of detailed notes from Museum Course lectures and sessions, taken in 1930-1931 by student Calvin Hathaway.

Correspondence throughout the collection relates to both the first and second World Wars. Sachs served as a Major with the Red Cross in Paris during the first world war, and letters in the collection provide insight into his experiences during that time. From the inter-war years, particularly the 1930s and early 1940s, there is significant correspondence about the efforts of Sachs and others to assist refugee scholars and others displaced by the Nazi regime, both financially and in relocating to the United States and securing employment. Sachs advocated for many people, particularly scholars and art historians; he helped them find lecture engagements and appointments as well as teaching positions in American universities. Refugee scholars in whom Sachs took a particular interest include: Otto Benesch, Otto Brendel, Adolph Goldschmidt, Hans Huth, F. W. Lenz, Friedrich von Lorentz, Walter L. Nathan, Alfred Neumeyer, Jakob Rosenberg, Otto Georg von Simson, Clemens Sommer, Georg Steindorff, Charles Sterling, Georg Swarenski and Emanuel Winternitz. There is also correspondence from European museum directors and other professionals about the evacuation of works of art during World War II. During and after the second World War, Sachs was a member of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas, also known as the Roberts Commission.

The correspondence between Sachs and Edward W. Forbes, director of the Fogg Museum, is particularly rich. The two corresponded regularly - at times daily - during the years of their co-directorship of the Fogg, and these letters are full of information about museum affairs and decisions; fund-raising, in particular the joint campaign with the Harvard Business School and Chemistry Department; art objects they had acquired or that were for sale; the student-run Harvard Society for Contemporary Art; museum employees, colleagues and committees; museum-sponsored expeditions in China, "Jugoslavia" and elsewhere; dealers in America and abroad; displaced scholars in need of assistance; Sachs' involvement in the so-called "Albertina Affair," an attempt in 1935 to buy Archduke Albrecht's collection of prints and drawings on behalf of the Boston Museum of Fine Arts and the Fogg Museum; and a wide range of other topics. Correspondence between Sachs and other staff members at the Fogg Museum, notably Frederick Robinson and Mary Wadsworth, provides a good deal of factual and anecdotal information about daily life at the Fogg Museum.

Sachs was active in the Harvard community beyond the Fine Arts department and the Fogg Museum. He corresponded regularly about the institutions Dumbarton Oaks and Villa I Tatti, notably with their primary benefactors, Robert Woods Bliss and Bernard Berenson, and he was heavily involved in the donation of both properties to Harvard and related negotiations. He was also a member of the committee formed at Harvard in 1922 to consider the so-called "Jewish Problem." Harvard's then-President, A. Lawrence Lowell, had proposed a quota to restrict the admission of Jewish students to the University, and Sachs was one of three Jews on a thirteen member committee appointed by Harvard's Overseers to study the "problem." This committee rejected Lowell's proposed quota but agreed that "geographic diversity" in the student body was desirable; the resulting geographic distribution requirements for incoming students effectively lowered and limited the percentage of Jews granted admission to Harvard. Sachs received letters from many individuals about the committee and its task, including: Judge Julian Mack, Amy Loveman, President Lowell, George Sarton, Alfred Hamill, Walter Pollack, Julius Rosenwald, Julius Sachs, Herbert Lehman, Paul Warburg and Maurice Wertheim.

Sachs was actively involved in many professional organizations. He served as President of the American Association of Museums and of the Harvard-Princeton Fine Arts Club. He also served as vice-president of the College Art Association and as delegate to the International Congress of the History of Art. Collaboration between Harvard and Princeton resulted in the publication Art Studies: Medieval, Renaissance, and Modern from 1923 to 1931; it was edited by Belle da Costa Greene, and the collection contains much correspondence about this joint publication. There is also significant material about Sachs' role as a founding member of the Museum of Modern Art (MoMA), including correspondence with members of its board and with its first director, Alfred Barr, Jr., who was hired upon Sachs' recommendation. The papers also include correspondence related to Sachs' involvement with the Boston Institute of Contemporary Art.

In addition to letters to and from Sachs, the collection also includes correspondence between Meta Sachs and various individuals, as well as correspondence with the spouses and other family members of various correspondents. These letters are interspersed throughout the collection.

Biographical Note:

Paul Joseph Sachs, the first associate director of the Fogg Museum and a Harvard professor, was born in New York City on November 24, 1878. His parents were Samuel Sachs and Louisa Goldman Sachs; Samuel joined his father-in-law, Marcus Goldman, in the investment banking and management firm that would become Goldman Sachs. The oldest of four children, Paul Sachs had two brothers, Arthur and Walter, and a sister, Ella Sachs Plotz, who died at a young age. He attended the Sachs Collegiate Institution in Manhattan, founded by his uncle Julius Sachs, before attending Harvard University. He graduated from Harvard in 1900 and entered the firm of Goldman Sachs soon after, becoming a partner in 1904. Sachs married Meta Pollack in 1904, and they had three daughters: Elizabeth, Celia and Marjorie. Paul and Meta Sachs were married until her death in 1960.

Sachs retired from banking at the end of 1914, when he accepted Director Edward Waldo Forbes's offer to join the staff of the Fogg Museum as assistant director. He spent the first half of 1915 traveling abroad, primarily in Italy, learning and seeing as much as possible in preparation for his new position at the Fogg. He and his family moved to Shady Hill, the former home of Charles Eliot Norton, in Cambridge, Massachusetts, before the fall term in 1915; they would live in this home until 1949. Sachs stayed at Harvard for the rest of his career, becoming associate director of the Fogg in 1923 and retaining that title until his retirement from the museum in 1944, when he became Honorary Curator of Drawings. Sachs's career also included teaching. He first lectured at Wellesley College in academic year 1916-17 and was appointed Assistant Professor of Fine Arts at Harvard the following year. In 1922 Harvard named Sachs associate professor, and in 1927 he became full professor. He spent the academic year 1932-33 as an exchange professor at the Sorbonne and as a lecturer in French provincial universities. Sachs became chairman of Harvard's division of Fine Arts in 1933, a position he held for many years.

Sachs began teaching his most well-known course, "Museum Work and Museum Problems" (commonly known as "the Museum Course"), in 1921 and taught it almost every year until his retirement. The course covered all aspects of museum work and practice, including the history, philosophy, organization and administration of museums, museum architecture, exhibition installation and display, collection development, donor relations, the cataloguing of objects, the detection of forgeries, and museum policies and ethics. It involved both theory and practice and provided training for administrators, curators, and connoisseurs. He took his students on winter and spring trips to visit museums and private collections in New York, Philadelphia, Washington, D.C., Hartford, Providence, and New Haven. Many of Sachs's students in the course went on to become curators and directors at art museums and cultural institutions across the country, including the Metropolitan Museum of Art, the Museum of Modern Art (MoMA), the Museum of Fine Arts, Boston, the National Gallery, the Wadsworth Athenaeum, and museums in Kansas City, St. Louis, Providence, San Francisco, Buffalo, and Montréal. His students included William Lieberman, A. Everett “Chick” Austin, Walter Path, Edward Warburg, Kirk Askew, Alfred H. Barr, Lincoln Kirstein, Joseph Pulitzer, Jr., as well as Agnes Mongan and John Coolidge, who both served terms as director of the Fogg Museum.

His dual roles as museum administrator and member of the Department of Fine Arts allowed Sachs not only to advise colleagues at other institutions about programs and aims, but also to recommend staff for open positions. He successfully placed hundreds of former students in positions and was once referred to as a "one-man employment agency." Sachs retired from teaching in 1948, becoming Professor Emeritus, but his interest and involvement with former students continued into the last years of his life.

Sachs was author or co-author of several publications. His first published work at the Fogg Museum was an exhibition catalogue, A Loan Exhibition of Early Italian Engravings (Intaglio), printed in 1915. With Agnes Mongan, Sachs co-authored Drawings in the Fogg Museum of Art (three volumes), first published in 1940. He also wrote The Pocket Book of Great Drawings, first published in 1951, and Modern Prints and Drawings, published in 1954. Sachs wrote the introduction to James Thrall Soby's book Modern Art and the New Past, first published in 1957. He began work on an autobiography with the working title Tales of an Epoch in 1947, but it was never published. The Harvard Art Museums Archives holds several drafts of this work and related correspondence. He was also an editor of Art Bulletin from 1919 to 1940.

Sachs served on the administrative committee of Dumbarton Oaks for many years and also on the Board of Syndics of the Harvard University Press. He was a founding member of MoMA in New York City, where he served as a trustee from 1929-38 and as honorary trustee in 1964. Sachs gave MoMA the first drawing to enter its collection and was honored with the naming of the Paul J. Sachs Galleries for Drawings and Prints in 1964. He also served as a trustee of the Museum of Fine Arts, Boston and on the boards of Radcliffe, Smith, and Wellesley Colleges. He served as president of the American Association of Museums and the American Federation of Art, and was a member of the Century Association, Phi Beta Kappa, the American Philosophical Society, the St. Botolph Club, the Club of Odd Volumes, and the Grolier Club, among other scholarly and social organizations. He received numerous honorary degrees during his lifetime, including an honorary degree from the University of Pittsburgh in 1928 and from Princeton University in 1957, as well as honorary doctorates from Harvard in 1942, from Colby College in 1949, and from Yale University in 1953. He was also named an Officer of the French Legion of Honor.

Sachs was an avid connoisseur and collector of art who assembled an important personal collection. He is best known for his love of fine drawings, particularly those of Degas. He was a visionary collector, and one of first Americans to buy the work of Picasso and Matisse. Sachs was receptive to contemporary art at a time when many were definitively against it. He loaned and donated hundreds of objects to the Fogg Museum during his lifetime and bequeathed his own collection of prints and drawings to the museum. At his death, he had given or bequeathed approximately 2,700 works of art, 4,000 books, and many thousands of photographs to the Fogg Museum and the Harvard College Library. Sachs also played a major role in the incorporation of both Dumbarton Oaks and Villa I Tatti into Harvard University; his friendships with Robert Woods Bliss and with Bernard Berenson, cultivated over many years, facilitated these alliances.

Sachs was involved in a range of philanthropic endeavors throughout his life. He was a speaker for the First Liberty Loan campaign and Chief of Staff in the License Division of the Massachusetts Food Administration before serving as a major with the Red Cross in Paris during World War I, and he assisted countless displaced scholars and other refugees in the years leading to World War II. Sachs and Forbes were nicknamed the "exuberant mendicants" by Harvard president A. Lawrence Lowell for their efforts to raise funds and build an endowment for the Fogg Museum; the construction of the new Fogg Museum on Quincy Street, which opened to the public in 1927, was largely the result of their fund-raising work. Over many years, Sachs also played a quiet but significant role in building the collections of Harvard College Library. Beyond these gifts to Harvard, he gave art objects and books to a wide range of cultural institutions and made financial contributions to many fellowships and funds. He lent books from his personal library; wrote countless letters of introduction for friends, students and colleagues; gave generously of his ideas and time to those who needed assistance; loaned works of art from his personal collection for exhibitions in the United States and abroad; and in many instances anonymously financed the travels and studies of others. Sachs and his family openly welcomed guests into their home on an almost daily basis, and Sachs's philanthropy continued into the last years of his life.

Paul J. Sachs died on February 17, 1965, in Cambridge, Massachusetts.

Immediate Source of Acquisition

The papers were left at the Fogg Museum by former associate director Paul J. Sachs.

Related Material

There are additional papers of Paul J. Sachs in the Harvard Art Museums Archives and the Harvard University Archives. There are also materials from Sachs in the archives of the Museum of Modern Art in New York, NY, the Columbia University Libraries' Oral History Research Office, and the Getty Research Institute.

Box and Folder locations

  1. Box 1: Folders 1-29
  2. Box 2: Folders 30-53
  3. Box 3: Folders 54-76
  4. Box 4: Folders 77-101
  5. Box 5: Folders 102-125
  6. Box 6: Folders 126-148
  7. Box 7: Folders 149-174
  8. Box 8: Folders 175-204
  9. Box 9: Folders 205-229
  10. Box 10: Folders 230-245
  11. Box 11: Folders 246-268
  12. Box 12: Folders 269-287
  13. Box 13: Folders 288-303
  14. Box 14: Folders 304-325
  15. Box 15: Folders 326-347
  16. Box 16: Folders 348-369
  17. Box 17: Folders 370-385
  18. Box 18: Folders 386-406
  19. Box 19: Folders 407-423
  20. Box 20: Folders 424-437
  21. Box 21: Folders 438-456
  22. Box 22: Folders 457-469
  23. Box 23: Folders 470-481
  24. Box 24: Folders 482-493
  25. Box 25: Folders 494-505
  26. Box 26: Folders 506-528
  27. Box 27: Folders 529-547
  28. Box 28: Folders 548-567
  29. Box 29: Folders 568-594
  30. Box 30: Folders 595-615
  31. Box 31: Folders 616-630
  32. Box 32: Folders 631-645
  33. Box 33: Folders 646-663
  34. Box 34: Folders 664-682
  35. Box 35: Folders 683-701
  36. Box 36: Folders 702-726
  37. Box 37: Folders 727-741
  38. Box 38: Folders 742-759
  39. Box 39: Folders 760-779
  40. Box 40: Folders 780-795
  41. Box 41: Folders 796-810
  42. Box 42: Folders 811-830
  43. Box 43: Folders 831-852
  44. Box 44: Folders 853-870
  45. Box 45: Folders 871-882
  46. Box 46: Folders 883-901
  47. Box 47: Folders 902-920
  48. Box 48: Folders 921-939
  49. Box 49: Folders 940-961
  50. Box 50: Folders 962-985
  51. Box 51: Folders 986-1008
  52. Box 52: Folders 1009-1034
  53. Box 53: Folders 1035-1056
  54. Box 54: Folders 1057-1082
  55. Box 55: Folders 1083-1101
  56. Box 56: Folders 1102-1123
  57. Box 57: Folders 1124-1150
  58. Box 58: Folders 1151-1170
  59. Box 59: Folders 1171-1186
  60. Box 60: Folders 1187-1217
  61. Box 61: Folders 1218-1231
  62. Box 62: Folders 1232-1261
  63. Box 63: Folders 1262-1276
  64. Box 64: Folders 1277-1296
  65. Box 65: Folders 1297-1322
  66. Box 66: Folders 1323-1336
  67. Box 67: Folders 1337-1354
  68. Box 68: Folders 1355-1371
  69. Box 69: Folders 1372-1392
  70. Box 70: Folders 1393-1417
  71. Box 71: Folders 1418-1439
  72. Box 72: Folders 1440-1464
  73. Box 73: Folders 1465-1489
  74. Box 74: Folders 1490-1518
  75. Box 75: Folders 1519-1541
  76. Box 76: Folders 1542-1571
  77. Box 77: Folders 1572-1598
  78. Box 78: Folders 1599-1614
  79. Box 79: Folders 1615-1630
  80. Box 80: Folders 1631-1648
  81. Box 81: Folders 1649-1660
  82. Box 82: Folders 1661-1688
  83. Box 83: Folders 1689-1717
  84. Box 84: Folders 1718-1731
  85. Box 85: Folders 1732-1746
  86. Box 86: Folders 1747-1765
  87. Box 87: Folders 1766-1782
  88. Box 88: Folders 1783-1798
  89. Box 89: Folders 1799-1816
  90. Box 90: Folders 1817-1830
  91. Box 91: Folders 1831-1855
  92. Box 92: Folders 1856-1885
  93. Box 93: Folders 1886-1901
  94. Box 94: Folders 1902-1921
  95. Box 95: Folders 1922-1940
  96. Box 96: Folders 1941-1968
  97. Box 97: Folders 1969-1990
  98. Box 98: Folders 1991-2013
  99. Box 99: Folders 2014-2037
  100. Box 100: Oversize materials

General note

  1. Abbott, Jere
  2. Alfred A. Knopf, Inc.
  3. Allen, W.G. Russell
  4. Art Institute of Chicago
  5. Askew, R. Kirk (Ralph Kirk), 1903-1974
  6. Aubert, Marcel, 1884-1962
  7. Austin, Arthur Everett, 1900-1957
  8. Baerwald, Emil
  9. Barr, Alfred Hamilton, 1902-1981
  10. Beam, Philip C.
  11. Benesch, Otto, 1896-1964
  12. Berenson, Bernard,1865-1959
  13. Berenson, Lawrence
  14. Berenson, Mary, 1864-
  15. Binyon, Cicely Margaret Powell, "Mrs. Laurence Binyon"
  16. Birnbaum, Martin, 1878-1970
  17. Bliss, Robert Woods, 1875-1962
  18. Blum, André, 1881-1963
  19. Brooklyn Museum
  20. Buck, Paul Herman, 1899-
  21. Burden, William A.M. (William Armistead Moale), 1906-
  22. Carnegie Corporation of New York
  23. Carrington, Fitz Roy, 1869-1954
  24. Chase, George Henry, 1874-1952
  25. Churchill, Alfred Vance, 1864-1949
  26. Claflin, Agnes Rindge, 1900-1977
  27. Clapp, Frederick Mortimer, b.1879
  28. Cleveland Museum of Art
  29. Cockerell, Sydney Carlyle, Sir, 1867-1962
  30. Conant, James Bryant, 1893-1978
  31. Constable, W.G. (William George), 1887-
  32. Cook, Walter William Spencer
  33. Coolidge, Shepley, Bulfinch & Abbott
  34. Cooper Union for the Advancement of Science and Art
  35. Courtauld Institute of Art
  36. Cunningham, Charles Crehore, 1910-1979
  37. Day, Florence E.
  38. D'Harnoncourt, Rene, 1901-1968
  39. D'Hendecourt, Bernard
  40. Dorner, Alexander, 1893-1957
  41. Douglas, R. Langton
  42. Downtown Gallery (New York, N.Y.)
  43. Drey, A.S.
  44. Drey, A.S., firm, art dealers, Munich
  45. Dudley, Laura
  46. Dumbarton Oaks
  47. Dunham, Donald Carl, 1908-
  48. Durlacher Bros.
  49. Duveen Brothers
  50. Duveen, Joseph Duveen, Baron, 1869-1939
  51. Ede, H.S. (Harold Stanley), 1895-
  52. Ederheimer, (R. Richard), 1878-1959
  53. Edgell, George Harold, 1887-1954
  54. Ehrlich, Evelyn
  55. Eliot, T.S. (Thomas Stearns), 1888-1965
  56. Erffa, Helmut von, 1900-1979
  57. E. Weyhe, Inc.
  58. Feist, Hans, b. 1887
  59. Ficke, Arthur Davison, 1883-1945
  60. Field, William B. Osgood
  61. Finley, David E. (David Edward)
  62. Focillon, Henri, 1881-1943
  63. Forbes, Edward Waldo, 1873-1969
  64. Foucher, A. (Alfred), 1865-1952
  65. Foundoukidis, Euripide, 1894-
  66. Francke, Kuno, 1855-1930
  67. Francis, Henry S.
  68. Freedberg, S.J. (Sydney Joseph), 1914-1997
  69. French & Company (New York, N.Y.)
  70. Friedlaender, Walter F., 1873-1966
  71. Friedlander, Max J., 1867-1958
  72. Friend, Albert Mathias
  73. Frost, Henry Atherton, 1884-
  74. Galerie Durand-Ruel
  75. Ganz, Paul Leonhard
  76. Gardner, Isabella Stewart, 1840-1924
  77. Giedion, S. (Sigfried),1888-1968
  78. Gimpel, René
  79. Glaser, Curt, 1879-
  80. Gnoli, Umberto, 1878-1947
  81. Gobin, Maurice
  82. Goldschmidt, Adolph, 1863-1944
  83. Goodyear, A. Conger (Anson Conger), 1877-1964
  84. Gordon, Douglas Huntly, 1902-
  85. Grace, Frederick R. (Frederick Randolph), 1909-1942
  86. Graphische Sammlung Albertina
  87. Greene, Bella da Costa
  88. Greene, Jerome Davis, 1874-1959
  89. Greenough, Chester Noyes, 1874-1938
  90. Gropius, Walter, 1883-1969
  91. Guérin, Marcel, 1873-1948
  92. Hamill, Alfred E. (Alfred Earnest), 1883-1953
  93. Hanfmann, George Maxim Anossov, 1911-
  94. Harris, Paul Stewart, 1906-
  95. Harshe, Robert B., b. 1879
  96. Harvard Society for Contemporary Art
  97. Harvard University Press
  98. Hatch, John Davis
  99. Hathaway, Calvin S.
  100. Hauke, César M. De
  101. Hegeman-Harris Company
  102. Heil, Walter, 1890-
  103. Held, Julius Samuel, 1905-
  104. Hind, Arthur Mayger,1869-1943
  105. Hirsch, Robert von
  106. Hitchcock, Henry Russell, 1903-1987
  107. Hofer, Philip, 1898-1984
  108. Hope, Henry R. (Henry Radford), 1905-
  109. Hopkinson, Charles, 1869-1962
  110. Hopper, Edward, 1882-1967
  111. Hopper, Josephine
  112. Hovey, Walter Read, b. 1895
  113. Howe, Thomas Carr, 1904-
  114. Huntington, Archer M. (Archer Milton), 1870-1955
  115. Huth, Hans, 1892-
  116. Huyghe, René
  117. Hyde, James H. (James Hazen), 1876-1959
  118. Institute of Modern Art (Boston, Mass.)
  119. Ivins, William Mills, 1881-1961
  120. Jackson, William A. (William Alexander), 1905-1964
  121. James, Macgill
  122. Janson, H.W. (Horst Woldemar), 1913-1982
  123. Jayne, Horace H.F. (Horace Howard Furness), 1898-
  124. Joachim, Harold, 1909-1983
  125. John Simon Guggenheim Memorial Foundation
  126. Kann, Alphonse
  127. Kates, George N. (George Norbert), 1895-
  128. Kelekian, Dikran G.,1868-1951
  129. Keller, Carl Tilden, 1872-
  130. Kennedy, Clarence
  131. Kennedy, Edward G. (Edward Guthrie), 1849-1932
  132. Kent, Henry Watson, 1866-1948
  133. Keppel, David,1877-
  134. Keppel, Frederick P. (Frederick Paul),1875-1943
  135. Kevorkian, H.
  136. Kuhn de Prorok, Byron, 1896-
  137. Kimball, Sydney Fiske, 1888-1955
  138. Klein, Jerome
  139. Koehler, Wilhelm Reinhold Walter,1884-1959
  140. Kramarsky, Siegfried
  141. Kronthal, James Speyer
  142. Kuhn, Charles Louis
  143. Landau, Nicolas
  144. Lane, William Coolidge, 1859-1931
  145. Lasker, Mary
  146. Lawrence, Marion, 1901-
  147. Lazarev, Viktor Nikitich,1897-1976
  148. Lee, Rensselaer W. (RensselaerWright), 1898-
  149. Le Garrec, Maurice
  150. Lehman, Arthur
  151. Lehman, Herbert H. (Herbert Henry), 1878-1963
  152. Lehman, Philip, 1861-1947
  153. Lehman, Robert,1892-1969
  154. Lehmann, Karl, 1894-1960
  155. Lehrs, Max, 1855-1938
  156. Lemann, Bernard, 1905-
  157. Levi, Doro, 1898-
  158. Lewisohn, Sam A. (SamAdolph), b. 1884
  159. Lieberman, William S. (WilliamSlattery), 1924-2005
  160. Lilienfeld, Karl, 1885-
  161. Loeb, James, 1867-1933
  162. London, Hannah Ruth, 1894-
  163. Loo, C.T. & Co., New York
  164. Loveman, Amy
  165. Lowell, A. Lawrence (Abbott Lawrence), 1856-1943
  166. Lucas, E. Louise (Edna Louise), b. 1899
  167. Luce, Stephen Bleecker, b. 1887
  168. Lugt, Frits, 1884-1970
  169. M. Knoedler & Co.
  170. M. &R. Stora, Paris
  171. Mack, Julian W. (Julian William),1866-1943
  172. Maclagan, Eric Robert Dalrymple,1879-1951
  173. Magurn, Ruth Saunders
  174. Malone, Dumas, 1892-1986
  175. Mallon, Paul
  176. Manship, Paul,1885-1966
  177. Margules, De Hirsh, 1899-1965
  178. Mariano, Nicky
  179. Marie Harriman Gallery
  180. Marquand, Allan, 1853-1924
  181. Mather, Frank Jewett, 1868-1953
  182. Matisse, Pierre
  183. Mayer, August L. (August Liebmann), b. 1885
  184. Mayer, Gustav
  185. McAndrew, John
  186. McComb, Arthur K. (Arthur Kilgore), 1895-
  187. McIlhenny, Henry P.
  188. Meder, Ferdinand
  189. Meeks, Everett Victor, 1879-1954
  190. Meiss, Millard
  191. Metropolitan Museum of Art (New York, N.Y.)
  192. Michalski, Ernst, 1901-
  193. Middeldorf, Ulrich Alexander, 1901-
  194. Milliken, William Mathewson, 1889-1978
  195. Mills, Edward Lloyd
  196. Minassian, Kirkor
  197. Minneapolis Institute of Arts
  198. Moe, Henry Allen, 1894-1975
  199. Mongan, Agnes
  200. Mongan, Elizabeth
  201. Moore, Charles Herbert, 1840-1930
  202. Moore, Clifford Herschel, 1866-1931
  203. Morey, Charles Rufus, 1877-1955
  204. Morley, Grace, 1900-
  205. Morrison, Richard C.
  206. Mower, Martin
  207. Murdock, Kenneth Ballard, 1895-1975
  208. Musée du Louvre
  209. Museum of Fine Arts, Boston
  210. Museum of Modern Art (New York,N.Y.)
  211. Nash, Ray, 1905-1982
  212. Nathan, Walter Ludwig, 1905-1961
  213. National Gallery of Art (U.S.)
  214. Naumberg, George W.
  215. Naumberg, Nettie G.
  216. Nebehay, Gustav, 1881-1935
  217. Neilson, Katharine Bishop
  218. Neumeyer, Alfred, 1901-1973
  219. Newberry, John S. (John Stoughton), 1910-1964
  220. Newhall, Beaumont, 1908-1993
  221. Nielson, William Allan
  222. Niver, Charles S.
  223. Nock, Arthur Darby, 1902-1963
  224. Offner, Richard, 1889-1965
  225. Oenslager, Donald, 1902-1975
  226. Opdycke, Leonard,1895-1977
  227. Oppenheimer, Henry, 1859 or 60-1932
  228. Pach, Walter, 1883-1958
  229. Paff, Adam Edwin Merriman, 1891-
  230. Paige, David Abbey, 1901-1978
  231. Paine, Robert Treat, 1900-1965
  232. Panofsky, Erwin, 1892-1968
  233. Parker, K.T. (Karl Theodore), 1895-
  234. Parsons, Harold Woodbury
  235. Paul Rosenberg & Co.
  236. Pauli, Gustav, 1866-1938
  237. P. & D. Colnaghi & Co.
  238. Peabody, Francis Weld, 1881-1927
  239. Pennsylvania Museum of Art
  240. Perkins, F. Mason
  241. Perry, Ralph Barton, 1876-1957
  242. Philadelphia Museum of Art
  243. Phillips, Duncan, 1886-1966
  244. Pierpont Morgan Library
  245. Plaut, James S. (James Sachs), 1912-
  246. Pope, Arthur, 1880-1974
  247. Pope, Arthur Upham,1881-1959
  248. Pope, John Alexander, 1906-
  249. Porter, Arthur Kingsley, 1883-1933
  250. Porter, Lucy Kingsley
  251. Post, Chandler Rathfon, 1881-1959
  252. Potter, Alfred Claghorn, 1867-1940
  253. Pottinger, David T. (David Thomas), 1884-1958
  254. Priest, Alan Reed, 1898-1969
  255. Print Council of America
  256. Rae, Edwin Carter
  257. Raemisch, Waldemar, 1888-1955
  258. Rand, Edward Kennard, 1871-1945
  259. Rathbone, Perry Townsend, 1911-
  260. Reinhardt Galleries (New York, N.Y.)
  261. Reisner, George Andrew, 1867-1942
  262. Rewald, John, 1912-1994
  263. Rich, Daniel Catton, 1904-1976
  264. Richter, Gisela Marie Augusta, 1882-1972
  265. Riefstahl, R. Meyer (Rudolf Meyer), 1880-1936
  266. Robinson, Edward, 1858-1931
  267. Robinson, Frederick B.
  268. Rockefeller, Abby Aldrich
  269. Rockefeller, John D. (John Davison), 1839-1937
  270. Rockefeller Foundation
  271. Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979
  272. Rogers, Bruce, 1870-1957
  273. Rogers, Meyric R. (Meyric Reynold), 1893-
  274. Roosval, Johnny, b. 1879
  275. Root, Edward Wales, d. 1956
  276. Rorimer, James J. (James Joseph), 1905-1966
  277. Rosenberg, Jakob, 1893-
  278. Rosenberg, James N. (James Naumburg), b. 1874
  279. Rosenwald, Julius, 1862-1932
  280. Rosenwald, Lessing J. (Lessing Julius), 1891-1979
  281. Ross, Denman Waldo, 1853-1935
  282. Ross, Marvin C. (Marvin Chauncey), 1904-
  283. Rossiter, Henry P. (Henry Preston), b. 1885
  284. Rothenstein, John, 1901-1992
  285. Rousseau, Theodore, 1912-1973
  286. Rowe, Louis Earle
  287. Rowland, Benjamin, 1904-1972
  288. Saarinen, Aline B. (Aline Bernstein), 1914-1972
  289. Saarinen, Eliel, 1873-1950
  290. Sachs, Arthur
  291. Sachs, Meta
  292. Sachs, Paul J. (Paul Joseph), 1878-1965
  293. Sagot-Le Garrec (Gallery)
  294. Saint-Gaudens, Homer, 1880-
  295. Saltonstall, Nathaniel, 1903-1968
  296. Sanborn, Cyrus Ashton Rollins, 1882-1970
  297. Sargent, John Singer, 1856-1925
  298. Sarton, George, 1884-1956
  299. Sarton, May, 1912-1995
  300. Sawyer, Charles Henry, 1906-
  301. Sayre, Eleanor A.
  302. Schapiro, Meyer, 1904-1996
  303. Schemit, Jean
  304. Schniewind, Carl O. (Carl Oscar), 1900-1957
  305. Schnitzler, Hermann, 1905-
  306. Scholle, Hardinge
  307. Schroeder, Eric, 1904-
  308. Scott, Henry Edwards, 1900-
  309. Scott & Fowles (firm)
  310. Seaver, Esther Isabel
  311. Seligmann, Jacques, & Co.
  312. Sessions, Barbara
  313. Sewall, John Ives
  314. Siple, Walter H.
  315. Sirén, Osvald, 1879
  316. Sizer, Theodore, 1892-1967
  317. Smith, Frank C.
  318. Smith, Myron Bement, 1897-1970
  319. Smith, Robert Chester, 1912-1976
  320. Soby, James Thrall, 1906-1979
  321. Spencer, Eleanor P. (Eleanor Patterson)
  322. Sperry, Willard Learoyd, 1882-1954
  323. Standen, Edith Appleton
  324. Starr, Richard F.S. (Richard Francis Strong), 1900-
  325. Sterling, Charles, 1901-1991
  326. Stieglitz, Alfred, 1864-1946
  327. Stillman, Charles Chauncey, d. 1926
  328. Stora, Raphael
  329. Stout, George L. (George Leslie)
  330. Stransky, Josef, 1872-1936
  331. Straus, Herbert
  332. Straus, Irma N.
  333. Straus, Jesse Isidor, 1872-
  334. Straus, Percy Selden, 1876-1944
  335. Straus, Therese
  336. Swarzenski, Georg, 1876-1957
  337. Swarzenski, Hanns, 1903-
  338. Taff, A. Eric
  339. Taylor, Francis Henry, 1903-1957
  340. Thompson, Daniel V. (Daniel Varney), 1902-
  341. Tietze, Hans, 1880-1954
  342. Tozzer, Alfred M. (Alfred Marston), 1877-1954
  343. Tuskegee Institute
  344. Tyler, Royall, 1884-1953
  345. Tyler, William Royall
  346. Upjohn, Everard M. (Everard Miller), 1903-
  347. Upton, Joseph M.
  348. Vaillant, George Clapp, 1901-1945
  349. Valentin, Curt, 1902-1954
  350. Valentiner, Wilhelm Reinhold, 1880-1958
  351. Vanderbilt, Paul
  352. Van Diemen-Lilienfeld Galleries
  353. Venturi, Lionello, 1885-1961
  354. Victoria and Albert Museum
  355. Vignier, Charles, b.1863
  356. Wadsworth Atheneum
  357. Walker, Hudson D. (Hudson Dean), 1907-
  358. Walker, John, 1906-1995
  359. Warburg Institute
  360. Warburg, Aby, 1866-1929
  361. Warburg, Edward M.M.
  362. Warburg, Felix M. (Felix Moritz), 1871-1937
  363. Warburg, Gerald Felix, 1902-1971
  364. Warner, Langdon, 1881-1955
  365. Washburn, Gordon B. (Gordon Bailey), 1904-
  366. Watkins, Franklin Chenault, 1894-1972
  367. Weber, Max, 1881-1961
  368. Webster, Herman A. (Herman Armour), 1878-1970
  369. Wehle, Harry B. (Harry Brandeis), b. 1887
  370. Wells, Edgar Huidekoper,1875-1938
  371. Wertheim, Maurice, 1886-
  372. Weston, Harold, 1894-1972
  373. Wethey, Harold E. (Harold Edwin), 1902-1984
  374. Whitehill, Walter Muir, 1905-
  375. Whittemore, Thomas, 1871-1950
  376. Whiting, F.A. (Frederick Allen), 1873-1959
  377. Whiting, Helen Adele, b. 1885
  378. Wight, Frederick Stallknecht,1902-1986
  379. Wilde, Johannes
  380. Wildenstein and Company (New York, N.Y.)
  381. Wildenstein, Felix, 1883-1952
  382. Wildenstein, Georges
  383. Wiles, Bertha Harris, 1896-
  384. Williams, Hermann Warner, 1908-
  385. Wind, Edgar, 1900-
  386. Winlock, Herbert Eustis, 1884-1950
  387. Winternitz, Emanuel
  388. Winthrop, Grenville Lindall, 1864-1943
  389. Witt, Robert Clermont, Sir, 1872-1952
  390. Wittman, Otto,1911-2001
  391. Wolff, Kurt, 1887-1963
  392. Wood, L. Hollingsworth (Levi Hollingsworth), 1874-1956
  393. Worcester Art Museum
  394. Yale University. Art Gallery
  395. Yamanaka & Company
  396. Yeomans, Henry Aaron, 1877-
  397. Yeomans, Olive

General note

  1. American Association of Museums
  2. American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas
  3. American Federation of Arts
  4. Archaeological expeditions
  5. Art--Attribution
  6. Art--Collectors and Collecting
  7. Art--Criticism and Interpretation
  8. Art--Exhibitions
  9. Art--Exhibitions--History
  10. Art--Exhibition techniques
  11. Art--History--Study and teaching (Higher)--United States
  12. Art--History--20th Century
  13. Art--Periodicals
  14. Art--Private collections
  15. Art--Societies, etc.
  16. Art--Study and teaching--20th Century
  17. Art--Study and teaching--Massachusetts
  18. Art dealers--France
  19. Art dealers--Italy
  20. Art dealers--United States
  21. Art galleries, commercial
  22. Art historians
  23. Art in universities and colleges
  24. Art museum directors
  25. Art museums--Administration
  26. Art museums--Educational aspects
  27. Art museums--Massachusetts--Cambridge--History
  28. Art objects--Collectors and collecting
  29. Artobjects--Private collections
  30. Art patronage-Massachusetts
  31. Art patrons
  32. Art--Periodicals--Indexes
  33. Art--Private collections
  34. Art publishing
  35. Art--Scholarships, fellowships, etc.
  36. Art--Societies, etc.
  37. Art--Study and teaching--United States
  38. Art--Study and teaching--20th century
  39. Art treasures in war
  40. Artists
  41. Berenson Library
  42. Carnegie Corporation of New York
  43. Cloisters (Museum)
  44. Collectors and Collecting
  45. College art museums--Massachusetts--Cambridge
  46. College teachers--Nazi persecution
  47. Coolidge, Shepley, Bulfinch, and Abbott
  48. Courtauld Institute of Art
  49. Degrees, Academic
  50. Drawing, European--Collectors and collecting
  51. Dumbarton Oaks
  52. Exhibitions
  53. Expeditions
  54. Fogg Art Museum--Administration
  55. Fogg Art Museum--Benefactors
  56. Fogg Art Museum--History
  57. Fund raising
  58. Gazette des beaux-arts
  59. Harvard Society for Contemporary Art
  60. Harvard University--Alumni and alumnae
  61. Harvard University--Anniversaries, etc.
  62. Harvard University--Benefactors
  63. Harvard University--Curricula
  64. Harvard University--Faculty
  65. Harvard University--Germanic Museum
  66. Harvard University--History--20th Century
  67. Harvard University--Libraries
  68. Harvard University--Museums
  69. Holocaust, Jewish (1939-1945)
  70. Humanitarianism
  71. Isabella Stewart Gardner Museum
  72. Lectures and lecturing
  73. Legal assistance to refugees
  74. Museum directors--Massachusetts
  75. Museum exhibits
  76. Museum loans
  77. Museums--Massachusetts
  78. Object--Teaching
  79. Painting, European--Collectors and collecting
  80. Political refugees
  81. Publications
  82. Refugees
  83. Research Grants
  84. Rockefeller Center
  85. Sculpture, European--Collectors and collecting
  86. Stradivarius Quartet
  87. Teacher exchange programs--France
  88. Titles of honor and nobility
  89. Travel--Europe
  90. V-mail
  91. World War, 1914-1918
  92. World War, 1914-1918--War work--Red Cross
  93. World War, 1939-1945--Art and the War

General note

Form/Genre Terms
  1. Annual reports
  2. Architectural drawings
  3. Auction catalogs
  4. Blueprints (reprographic copies)
  5. Certificates
  6. Charts (graphic documents)
  7. Clippings
  8. Condition reports
  9. Contracts
  10. Correspondence
  11. Exhibition catalogs
  12. Field notes
  13. Financial records
  14. Grant proposals
  15. Insurance records
  16. Invitations
  17. Invoices
  18. Letters
  19. Letters of recommendation
  20. Maps
  21. Memorandums
  22. Minutes
  23. Offprints
  24. Page proofs
  25. Photographic postcards
  26. Photographic prints
  27. Postcards
  28. Posters
  29. Receipts (financial records)
  30. Reports
  31. Reprints
  32. Sketches
  33. Stats (copies)
  34. Telegrams
  35. Transcripts

Processing Information:

The collection was processed from May to August 2008 by Laura Morris.

Papers of Paul J. Sachs (HC 3), 1903-2005: A Guide
Harvard Art Museums Archives
Language of description
These papers were processed with the generous support of the Institute of Museum and Library Services and the Getty Foundation.

Repository Details

Part of the Harvard Art Museums Archives Repository

The Harvard Art Museums Archives is the official repository for institutional records and historical documents in all formats relating to the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. Sackler Museum, 1895 to the present. Its collections include papers of individuals and groups associated with the museums' history, including records of past exhibitions, architectural plans, photographs, scrapbooks, and memorabilia, as well as correspondence with collectors, gallery owners, museum professionals, and artists throughout the twentieth century. Its holdings also document the formation of the museums' collections and its mission as a teaching institution.

32 Quincy Street
Harvard University
Cambridge MA 02138 USA