The papers of volunteer curatorial assistant Eliot Bartlett measure 0.4 linear feet and date from 1930 to 1981. The papers include correspondence, financial material, writings, photographic material, and printed material.
The Thomas Barrett and Leni Mancuso papers relating to William Kienbusch measure 0.2 linear feet and date from 1950 to 1979 and 2002. The 113 letters and postcards from William Kienbusch to Barrett and Mancuso document their long friendship and describe in great detail Kienbusch's life as an artist in New York and Maine. Also found are 15 snapshot photographs of Keinbusch, Barrett, and Mancuso outdoors.
The papers of Bill Barrett measure 8.9 linear feet and date from 1930-2013, with the bulk of the material dating from 1950-2013. The collection consists of biographical material, lectures, exhibition files, scrapbooks, printed material, artwork, sketchbooks, and photographic materials that document Bill Barrett's career as a sculptor and painter.
The papers of New York sculptor, collector, and dealer George Grey Barnard measure 13.6 linear feet and date from 1860 to 1969, with the bulk of the materials dating from 1880-1938. These papers document his life and work as an artist, as well as his activities as a collector and dealer of medieval art, through correspondence, collecting notebooks, diaries and daily journals, ephemera, inventories, business and financial records, exhibition catalogs, newspaper clippings, reference materials, publications, photographs, and a small number of sketches.
Joellen Bard's, Ruth Fortel's, and Helen Thomas' exhibition records of The Tenth Street Days: The Co-ops of the 50s measure 0.65 linear feet and date from 1953-1977. The collection documents the research for, and organization of, this exhibition held at Amos Eno Gallery, 14 Sculptors Gallery, Noho Galley, Pleiades Galley, and Ward-Nasse Gallery, December 20, 1977 through January 7, 1978. Records consist of a grant proposal and related documentation; printed material including an exhibition catalog and poster; research files including 35-mm color slides and photographs; and 2 scrapbooks containing biographical information, printed matter, and photographs of works of art relating to the corollary exhibition, Tenth Street in 1977.
The Barbara Mathes Gallery records pertaining to Rio Nero lawsuit measure 1.4 linear feet and date from 1989-1995. The records, assembled by Barbara Mathes, relate to the lawsuit Greenberg Gallery, Inc., et al. v. Patricia Bauman, et al. and the authenticity of the Alexander Calder mobile Rio Nero. The files contain correspondence, purchase and shipping records, and legal documents. The collection also includes printed material and photographs of the mobile.
The papers of enamelist and sculptor, Fred Uhl Ball, measure 1.0 linear feet and date from 1936 to 2002. The collection provides scattered documentation of Ball's career through biographical material, family photographs, photographs of artwork, and printed material. The collection also includes a small group of papers concerning Ball's father, ceramicist F. Carlton Ball, his mother, illustrator and enamelist Kathryn Uhl Ball, and his grandfather, silversmith George Uhl.
The papers of arts administrator Mildred Baker measure 2.7 linear feet and date from 1882 to 1997, with the bulk of the material dating from 1923 to 1997. Found within the papers are biographical materials; personal and professional correspondence; writings; files related to her work on the WPA Federal Art Project and other institutional art projects; printed material; photographs of Baker; and photographs and papers related to the work of her husband, Jacob Baker, who also administered programs for the WPA.
The papers of painter and writer Henry Bacon date from 1849-1931 and measure 1.9 linear feet. The collection documents Bacon's career and travels through France and Egypt. Included are biographical materials, correspondence, writings by Bacon and others, scattered business records, printed material, scrapbooks, photographs, eight sketchbooks and additional sketches.
The papers of abstract painter Milton Avery measure 2.8 linear feet and date from 1926 to 1982, with the bulk of the collection dating from 1950 to 1982. Almost the entire collection consists of records of the Milton Avery Trust (2.4 linear feet) maintained by Avery's wife Sally, who served as a trustee. Milton Avery's business and personal correspondence (five folders) contains letters from friends and fellow artists, including a few from George Duthuit, Louis Eilshemius, Marsden Hartley, Wallace Putnam, and Mark Rothko. Also found are scattered writings about Avery, price lists, estate records, exhibition announcements and catalogs, and news clippings.