The papers of Theodoros Stamos measure 3.3 linear feet and date from circa 1922-2008. Stamos was a painter primarily associated with the first generation of Abstract Expressionists. Biographical materials, correspondence, writings, business and legal records, printed materials, and photographs document Stamos' career as a painter. Also included are materials relating to the Rothko estate controversy compiled by Stamos' sister, Georgianna Savas, as well as her papers concerning arrangements for Stamos' funeral and posthumous exhibition plans.
The papers of New York City and Paris art historian, educator, and gallerist Colette Roberts measure 10.2 linear feet and date from 1918 to 1971. Papers include correspondence, writings, teaching records, project proposals, gallery records from Grand Central Moderns Gallery, clippings, Roberts' printed articles, press releases, exhibition catalogs, posters, photographs, and a few works of art on paper. Also found are 124 interviews with contemporary artists conducted by Roberts.
The records of the Municipal Art Society of New York, based out of New York City and established in 1893, measure 3.2 linear feet and date from 1901 to 1960. The records include minutes from the annual and directors meetings, which incorporate reports, directors' files, committee files, and printed material. Financial reports to the Municipal Art Society Board that detail the organization's Permanent Fund are also present.
The papers of New York City arts administrator Porter A. McCray measure 11.4 linear feet and date from 1936 to 1989. The papers include scattered biographical materials, correspondence, and writings and notes. The bulk of the collection consists of professional files documenting his advisory and consulting work for museums, institutions, organizations, and foundations. Also found within the collection are printed materials and photographs of McCray and artwork.
The records of modernist New York City Kootz Gallery measure 7.1 linear feet and date from 1923-1966. They consist of scattered correspondence and exhibition files; photograph files of artists, including ones for Picasso, William Baziotes, and Hans Hofmann, among many others; 23 scrapbooks; photographs and slides of the gallery and exhibitions; and scattered personal papers of Samuel M. Kootz.
The Thomas Carr Howe papers measure 4.4 linear feet and date from 1932 to 1984. Howe was director of the California Palace of the Legion of Honor in San Francisco for nearly 40 years, and he served as one of the Monuments Men in the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The collection documents Howe's MFAA work in Germany and Austria locating and recovering cultural artifacts and artwork stolen by the Nazis. There is significant correspondence with friends and colleagues, as well as fellow Monuments Men such as Samson Lane Faison, Edith Standen, and George Stout. The papers also includes reports, inventories of stolen artwork, maps, annotated photographs, a scrapbook, and photographs. The papers also document Howe's later work at the California Palace of the Legion of Honor.
The Ferargil Galleries records date from circa 1900-1963 and document the activities of this New York gallery that dealt primarily in American contemporary art from shortly after its 1915 founding by Frederic Newlin Price (1884-1963) to it's closure in 1955. 18.7 linear feet of records include incoming and outgoing correspondence with artists, dealers, schools and colleges, and museums and other art institutions; artist files; estate and legal records including papers relating to the Arthur B. Davies estate; gallery business and financial records; printed material; scrapbooks; scattered personal papers of Price; artwork; and photographs of artists, exhibitions and artwork.
The papers of New York art dealer, writer and teacher, Martin Diamond measure 3.2 linear feet and date from 1928 to 2013. The materials involve to a limited degree Diamond's wife, Harriette Diamond, co-owner and co-operator of Martin Diamond Fine Arts, Inc. Their gallery work and relationships with artists they represented are documented by writings, subject and artist files, and photographic materials. Subject files concern American abstract art, particularly the 20th century Transcendental abstract painters, and include printed materials, correspondence and photographic materials. Artists' files include similar materials and some writings by artists. Photographic materials are of artworks and exhibition installations.
The papers of art critic and historian Alfred Victor Frankenstein measure 19.1 linear feet and date from 1875 to 1985. The bulk of the collection consists of Frankenstein's research and writing files on American painting, particularly artists working in the nineteenth-century. There are extensive files on artists John Haberle, William Michael Harnett, and William Sidney Mount. The collection also includes biographical material, correspondence, general writings and notes, professional activities files, personal business records, printed materials, photographs, and unidentified sound recordings.
The papers of New York art critic and writer David Bourdon measure 37 linear feet and date from 1941--998. The papers include scattered biographical materials, manuscript and published writings, extensive art and artists' research files, and printed materials.