Jules David Prown research material on artists measures 11.8 linear feet and dates from 1935 to 2010, with the bulk of the material dating from 1958 to 1975. Prown, an art historian and educator, is an authority on the work of artist John Singleton Copley, and these papers contain related notes, subject files, correspondence, portrait and attribution files, and photographs of artwork. Also found are Prown's research files on other artists, including Benjamin West, typescripts of his lectures, and copies of his published writings.
The Charles Henry Hart autograph collection dates from 1731-1917 and measures 1.7 linear feet comprised of 226 letters, portrait prints, and other documents signed by American artists.
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 collection of artists' letters compiled by Mary and John McGuigan Jr. measure 0.6 linear feet and date from 1794-1938. The collection is comprised of a group of letters, writings, and signed documents to and from a variety of artists, art administrators, art critics, historians, and art-related organizations assembled from multiple sources. It also includes associated printed material with some documents and a few photographs, including carte de visites and cabinet cards.
The Victor D. Spark papers measure 22.2 linear feet and date from circa 1830 to 1983, with the bulk of the material from 1930 to 1970. The papers document Spark's career as a New York City art dealer and appraiser who was most active from World War II through the 1970s, focusing on Old Masters paintings and 19th and early 20th century American art. Found within the papers are biographical materials, artist files, client files, financial records, legal records, printed material, and photographs.
This collection measures 0.3 linear feet and consists of 19 items dated 1771-circa 1879, relating to expatriate painter Benjamin West. West, who settled in London and was renowned for his portraits and his paintings of historical events, was the first internationally known American painter. The collection provides scattered documentation of West's activities including during the time of his appointment as historical painter to King George III, and contains letters from West, artwork including 2 engravings of the artist, 2 pages of West's accounts, and a ticket to a lecture at the Royal Academy of Art.
The Library of Congress Copyright Deposit Collection is comprised of 2,335 photomechanical reproductions of works by 741 artists (mostly American). The large-format prints, deposited with the Library of Congress for copyright between 1890 and 1945, represent a broad range of nineteenth- and twentieth-century American art.
This collection contains over 37,000 35mm slides, 3,000 glass lantern slides and garden files that may include descriptive information, photocopied articles (from journals, newspapers, or books), planting lists, correspondence, brochures, landscape plans and drawings. Garden files were compiled by Garden Club of America (GCA) members for most of the gardens included in the collection. Some gardens have been photographed over the course of several decades; others only have images from a single point in time. In addition to images of American gardens, there are glass lantern slides of the New York Flower Show (1941-1951) and trips that GCA members took to other countries, including Mexico (1937), Italy, Spain, Japan (1935), France (1936), England (1929), and Scotland. A number of the slides are copies of historic images from outside repositories including horticultural and historical societies or from horticultural books and publications. The GCA made a concerted effort in the mid-1980s to acquire these images in order to increase its documentation of American garden history. Because of copyright considerations, use of these particular images may be restricted.