The records of nationally renowned Boston, Massachussetts, stained glass design company, Wilbur H. Burnham Studios, measure 35.9 linear feet and date from circa 1904-1991. The majority of the collection consists of project files for the studio's stained glass window contracts throughout the United States from the 1920s-1980s. In addition to project files, records include biographical material for the owners, correspondence relating to personal and studio business, general business and financial records, writings such as published articles by Wilbur H. Burnham, scrapbooks and other printed material documenting the history of the company, artwork including extensive watercolor design studies for stained glass, and photographic material.

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Glassware forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

The papers of painter, stained glass artist, and muralist Violet Oakley measure 56.4 linear feet and date from 1841-1981. Found within the papers are biographical materials; personal and business correspondence; writings, including essays, lectures, and project drafts; diaries and journals; financial material; artwork; printed material, including scrapbooks; and photographs, 3 albums, 322 glass plate negatives, and 1600 film negatives of Oakley, her family and friends, and her work.

These records include the correspondence and memoranda of Paul V. Gardner, J. Jefferson Miller II, and Susan H. Meyers pertaining to private donations, loans, exhibition planning, identification of ceramic and glass pieces, conferences and seminars, staff research, and administrative matters. Also included are inquiries from collectors, museum...

Collection documents Andre Piette's career as an illustrator and designer. The materials include sketches, drawings, tracings, photographs (color transparencies, slides, and prints), and samples of wallpaper, designs for gift wrap, and a few textiles.

The papers of New York sculptor Robert White measure 8.4 linear feet and date from 1889-2003, with the bulk of the material from 1915-2003. The collection documents White's varied career as a sculptor, educator, painter, and illustrator through biographical material; extensive correspondence; project files; personal business records; notes and writings; sketchbooks and sketches by Robert White and others; printed material; audiovisual material; artifacts; and photographs.

The Abraham Rattner and Esther Gentle papers measure 26.3 linear feet and date from 1891 through the 1980s. The collection documents Rattner's life and career as an artist through interviews, extensive correspondence, gallery files, studio notebooks, writings, notes, date books and diaries, photographs, and works of art.

This accession consists of records documenting the activities of the Renwick Gallery during the tenures of Lloyd E. Herman, Director, 1971-1986; Michael W. Monroe, Curator-in-Charge, 1986-1995; and Kenneth R. Trapp, Curator-in-Charge, 1995-2003. Topics covered include art organizations; craft fairs and craft schools; correspondence with m...

The major part of the collection, series 1-4, contains nearly 28,000 glass plates, including original stereoscopic negatives, interpositives, and both negative and positive non-stereoscopic plates used to produce lantern slides and paper prints. The photographs were taken all over the world. The majority are from the Underwood & Underwood active fi...

The papers of New York, N.Y., and Washington, D.C. painter and muralist Allyn Cox measure 11 linear feet and date from 1856-1982. The collection documents Cox's personal and professional life through biographical material, family and general correspondence, writings and notes, research material, printed material, sketchbooks and loose sketches, and photographs. Photographs are of Cox at work, the Cox family, including Kenyon and Louise Cox, Cox's friends and colleagues, events, and Cox's artwork.