The collection contains one hundred seventy eight (178) film photonegatives by G. Dwoyid Olmstead in 4 x 5 in. sheet and cut film and 2 1/4 x 2 1/4 in. (#120) rollfilm sizes; the rollfilm negatives are cut apart into either individual frames or double image strips. Most of the photographs were taken in the early 1940s in the Hill District, Pittsbur...
The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.
The collection documents the building, operation and daily life of coal mining communities in Kentucky, West Virginia and Ohio between 1911 and 1946. The collection is a valuable for the study of mining technology and the social conditions of the time period and regions.
This collection consists of chemical formulae developed by Lawrence Saint for use in his stained glass work at the Washington National Cathedral. There are supporting samples, records, and notes.
The Russell, Xanthus, and Mary Smith family papers comprise 5.12 linear feet and are dated 1793-1977, bulk 1826-1977. Correspondence, writings, artwork, financial records, printed material, miscellaneous items and photographs provide documentation of the lives and works of painter, illustrator and poet, Russell Smith, and his son, painter Xanthus Smith, and scattered documentation of the lives of his wife, painter and educator Mary Priscilla Smith, and daughter and painter Mary Russell Smith.
The papers of museum director, professor, writer, and post-World War II Monuments Men Andrew Carnduff Ritchie measure 10.3 linear feet and date from 1907 to 1983. Found within the papers are biographical material, including materials and photographs concerning his military service in the Monuments, Fine Arts, and Archives Section of the U.S. Army; correspondence, including letters from numerous artists; writings; committee and organization files; exhibition and project files, teaching files; printed material; and photographs, including portrait images of Ritchie taken by Hans Namuth.
The papers or curator and writer John Caldwell measure 1.7 linear feet and date circa 1909 to 1996. The collection documents Caldwell's life and career through a variety of materials, such as biographical material including legal papers relating to the Caldwell Estate, letters from friends and colleagues, writings by Caldwell such as a draft version of a speech and draft essays, printed material including articles written by Caldwell for the New York Times, photographs of Caldwell, family members, dealers, donors, and artists, as well as a video recording documenting the 1985 Carnegie International.
Memorabilia of fairs and World's Fairs throughout history, both in the United States and abroad, including photographs, stereographs, panoramas and slides; printed materials; postcards; sheet music; philatelic material; stationery and greeting cards; menus and food service items; posters; shopping bags; motion picture films; and other items.
The papers of sculptor, painter, and educator Sidney Simon measure 8.0 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.
The Louis K. Meisel Gallery selected records measure 0.4 linear feet and date from 1964-2003. The records of this New York gallery consist of correspondence with artists and other individuals, writings by Louis K. Meisel, subject files on Gregory Battcock and Jason Seley, and photographs. Correspondence documents the gallery's dealings with its artists.