Active in San Francisco, Calif.
5 sound files (4 hrs.,38 min.) digital, wav
Transcript: 131 pages
Format: Originally recorded as 5 sound files. Duration is 4 hr., 38 min.
Collection Summary: An interview with Bill and Peggy Foote conducted 2014 February 16-17, by Mija Riedel, for the Archives of American Art's Viola Frey Oral History Project at Bill's office and home in San Francisco, California.
Mr. and Ms. Foote speak of their early days growing up and their introduction to art; their meeting in Stockton; the beginnings of the Lincoln Square Gallery; their introduction to Viola Frey; their increasing involvement as art dealers in the Bay Area in the 60s and 70s; Peggy Footes time at the California College of Arts and Crafts; their collection of Viola Freys work and other artists work; their interactions with Charles Fiske and Viola Frey; Freys early years in Lodi; Freys love of collecting jewelry and small ceramic figurines; and Freys work in relation to gender issues. They also discuss Frey and Fiskes health issues; Freys time at CCAC; Freys relationship with Fiske; Freys work as it related to Robert Arneson and Peter Voulkos and other Bay Area artists; Peggy Footes gallery Conway Antiques in the 70s and 80s; Bill Footes remembrances at Freys memorial. Mr. and Ms. Foote also recall Shirley Hanson, Rena Bransten, Squeak Carnwath, Gary Knecht, Leslie Wenger, Nancy Hoffman, Richard McDonald, Maryanne Schulz, the Wiebe twins, Robert Arneson, Vernon Coykendall, Noni Eccles Treadwell, Sam Perry, Jackie Maybeck, Gloria Champion, Jack Laycox, and others.
Biographical/Historical Note: Interviewees Bill Foote (1937- ) and his wife Peggy (1935- ) are antiquities dealers in San Francisco, California who collected Viola Frey's works of art. Interviewer Mija Riedel (1958- ) is an independent scholar in San Francisco, California.
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Funding for this interview was provided by the Artists' Legacy Foundation.
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