The papers of painter, muralist, and illustrator John Steuart Curry, and Curry family papers, measure 9.2 linear feet and date from 1848 to 1999. Papers document his career and family history through certificates, correspondence, photographs, clippings, contracts, receipts, inventories, writings, notes, and other materials. The papers contain particularly rich documentation of Curry's period as artist-in-residence at the University of Wisconsin, from 1936 to 1946. Mural projects in Kansas, Washington, DC, and Wisconsin are also documented.
The papers of Spanish-born sculptor and educator José de Creeft measure 28.1 linear feet and date from 1871 to 2004 with the bulk of the material dating from the 1910s to the 1980s. Found are biographical materials, correspondence, fifty diaries, writings, subject files, personal business records, printed materials, twenty-seven photo albums and other photographs, scrapbooks, and scattered sketches.
The papers of painter Andrew Dasburg and his wife and sculptor Grace Mott Johnson date from 1833 to 1980 (bulk 1900 to 1980), and measure 8.8 linear feet. The collection documents each artist's career and personal lives, including their brief marriage and their friendships with many notable artists in the New Mexico and New York art colonies during the early twentieth century. The papers of Dasburg (6 linear feet) and Johnson (2.8 linear feet) include biographical materials; extensive correspondence with family, friends, and fellow artists, such as John F. Carlson, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, and Ward Lockwood; writings by Dasburg, Johnson, and others; scattered legal, financial, and business records; clippings; exhibition materials; numerous photographs of Johnson and Dasburg, friends, family, and artwork; and original artwork, including two sketchbooks by Johnson.
The papers of artist Roy De Forest measure 9.9 linear feet and date from 1916 to 2015, with the bulk of the collection dating from 1948 to 2007. The collection includes biographical material, correspondence, writings, professional records, printed material, photographic material, artwork, digital audio and video recordings, and artifacts.
The papers of New York based interdisciplinary artist Nancy Davidson measure 5 linear feet and date from 1970s-2016. The collection includes biographical material, correspondence, illustrated notebooks and notes, gallery and exhibition files, printed material, photographic material, and two sketchbooks. Nearly one linear foot of correspondence arranged chronologically is both personal and professional. Notable correspondents include Michiko Itatani, Joyce Kozloff, Eunice Lipton, Sabra Moore, and Nancy Spero. Galleries and museums include Marianne Denson Gallery; Museum of Contemporary, Chicago; N.A.M.E. Gallery, of which Davidson was an artist member; the Walker Art Center; and White Columns. Over thirty notebooks capture Davidson's work process, evolution of ideas, related sketches in pen and pencil, reflections from readings and lectures, and notes from critiques with fellow artists Rosemary Mayer, Joyce Kozloff, Ray Yoshida, and Richard Halstead. A large sequence of printed material includes announcements, books, bulletins, newsletters, calendars, clippings, exhibition catalogs, periodicals, press releases, programs, and a few other items of printed matter relating to Davidson's professional career.
The papers of Kenyon and Louise Cox measure 0.3 linear feet and date from 1876 to 1977. Included are Kenyon and Louise's Certificate of Marriage, autobiographical notes by Louise focusing on her time at the National Academy of Design, writings, and correspondence, primarily from Kenyon Cox, including several illustrated letters. Also found is artwork by Kenyon and others, including Julian Alden Weir, biographical material on Jacob Dolson Cox, Keyon's Father, photographs and printed reproductions of artwork, magazine and newspaper clippings, an unpublished bibliography on Kenyon Cox, and a handwritten list of Kenyon Cox paintings in the National Academy of Design permanent collection.
The records of the Doll & Richards gallery of Boston measure 82.7 linear feet and date from 1863 to 1978, with the bulk of the material dating from 1902-1960s. Extensive financial and sales records, inventory records, and correspondence and letter books provide a detailed account of the business operations and sales of the gallery. Also found are notes and research files on artists and paintings, business and legal records, exhibition catalogs, six exhibition scrapbooks, printed materials, and photographs. Significant correspondents include John Chetcuti, Robert Freiman, Lloyd Goodrich, Tod Lindenmuth, Macbeth Galleries, William Meyerowitz, Museum of Fine Arts Boston, Stanley Woodward, and Andrew Wyeth, among many others.
The records of the Dorothy Weiss Gallery measure 18.7 linear feet and date from circa 1964 to 2001 (bulk 1984-2000). The collection documents the gallery's relationships with approximately three hundred artists, through artist files, exhibition files, and subject files, and is an excellent source of information on the work of contemporary ceramic and glass sculptors.
The Albert Duveen collection of artists' letters and ephemera measures 1.1 linear feet and dates from 1807 to 1946. Unrelated letters written by over 170 mostly 19th and early 20th century American artists are found in this compiled collection of art critic, dealer, and collector Albert Duveen. Additional ephemera includes printed material and photographs of artwork.
The papers of art curator, lecturer, and museum director, René d'Harnoncourt (1901-1968), document d'Harnoncourt's activities, primarily in the 1930s and 1940s, particularly as they relate to Mexican and Native American art. D'Harnoncourt's career, including his arrival in Mexico in 1925, his curation of the exhibitions, Mexican Art (1930-1932), and Indian Art of the United States (1941), and his work for the Department of the Interior's Indian Arts and Crafts Board from 1937-1944, are documented in small amounts of biographical material and correspondence, published writings, printed material, scrapbooks, photographs of d'Harnoncourt and colleagues, and photographs of works of art. The collection also contains a drawing of d'Harnoncourt, and photocopies of caricatures of d'Harnoncourt and others.