Photograph prints, negatives and color transparencies documenting early modern American artists and the contemporary artist Richard Lindner.
The papers of curator, art historian, and author Judith Zilczer measure 0.4 linear feet and date from 1910-1995, with the bulk of material dated 1973-1995. The papers contain project files and related correspondence, unpublished manuscripts, photographs, and printed material documenting her research as an independent art historian.
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.
Records of four of Nathan Halper's Provincetown galleries measure 4.2 linear feet and date from 1952-1979. The records relate to Kootz Gallery, H-C Gallery, HCE Gallery, and Sun Gallery - all based in Provincetown. The bulk of the collection consists of correspondence with artists, estate executors, collectors, galleries, and museums. There are also scattered business and financial records documenting operations and sales, photographs and slides, printed materials, and one poem. Correspondents include Milton Avery, Anthony Caro, John Murray Cuddihy, Marsden Hartley, Hans Hoffman, Samuel Kootz, Robert Motherwell, David Smith, Richard Stankeiwicz, and many others.
The papers of sculptor Arnold Rönnebeck and painter Louise Emerson Ronnebeck measure 4.1 linear feet and date from 1884-2002. The collection contains biographical material, family and professional correspondence, sketches and drawings, writings, a scrapbook, and printed material. There are also numerous photographic prints, copy prints, negatives, and 7 glass plate negatives of the Rönnebecks and their artwork, travels, family, and friends, including Charles Demuth, Marsden Hartley, Alfred Stieglitz, and Tony Luhan.
The scattered records of the New York contemporary American art Eva Lee Gallery measure 4.0 linear feet and date from 1921-1973. Artist files contain provenance notes, photographs of artwork, records of sales and consignments, exhibition catalogs from other galleries, and reference information on numerous contemporary artists, many represented by the gallery. There are also scattered letters and artwork from artists, scattered sales records of J.B. Neuman's New Art Circle Gallery, and a photocopy of an auction catalog for Korvettes Art Galleries in Douglastan, New York. A significant amount of information is found within the collection about Alexander Calder, Lovis Corinth, Salvadore Dali, Lyonel Feininger, George Grosz, Robert Indiana, Harry Lieberman, Rene Magritte, John Marin, Lowell Nesbitt, Ben Shahn, Victor Vasarely, and Max Weber.
The papers of art critic, writer, and historian Elizabeth McCausland measure 45 linear feet and date from 1838 to 1995, with the bulk of the material dating from 1920 to 1960. The collection provides a vast accumulation of research data on various artists and aspects of American art, especially the early American modernists and the Federal Arts Projects. Papers include McCausland's extensive research and writing files, particularly on Marsden Hartley, E. L. Henry, Lewis Hine, George Inness, and Alfred H. Maurer. McCausland's correspondence with artists includes a substantial amount with Arthur Dove and Alfred Stieglitz. Her collaborative work with Berenice Abbott on the Changing New York book and series of photographs is well-documented within the collection. Also found are general writings, subject files, files relating to exhibitions, teaching, and committees, photographs, art work, personal papers, and printed material. Additional McCausland material donated later from the estate of Berenice Abbott include biographical materials, project files, writings, and printed materials.
The papers of California painter, writer, and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.
The papers of New York painter and sculptor Max Weber measure 11.8 linear feet and date from 1902-2008. The collection documents Weber's career as an artist through scattered biographical material; correspondence with artists, curators, universities, arts organizations, and others; exhibition and gallery files; personal business records; writings by Weber and others; exhibition catalogs, news clippings, and other printed material; photographs of Weber, exhibitions, and works of art; audio recordings and motion picture films. Also included are records maintained by Joy Weber on the exhibition and sale of Weber's work after his death.
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.