The John Canfield Ewers Papers document his wide ranging anthropological interests from early White depictions of Native Americans to the material culture of the Plains tribes through correspondence, exhibit catalogs, field notes, illustrations, lectures, maps, photocopies of archival materials, photographs, and writings. The collection includes ma...
Scrapbook entitled "Our Wild Indians in Peace and War: Surveys, Expeditions, Mining and Scenery of the Great West," compiled by James E. Taylor, possibly as a source for his own illustrations.
The Lynn and James Igoe papers measure 0.2 linear feet and date primarily from 1968 to 1996 with a single receipt dating from 1883. The papers include correspondence primarily related to the Igoes' book 250 Years of Afro-American Art: An Annotated Bibliography, but also related to the Federal Tax Reform Act of 1969 and its effect on artists, as well as correspondence from artists to Norman Pendergraft; artist files; and printed material.
The papers of realist painter Isabel Bishop date from 1914 to 1983 and measure 2.6 linear feet. The collection documents Bishop's painting career, her friendship with other artists, and her participation in several arts organizations. There are scattered biographical documents, correspondence with fellow artists such as Peggy Bacon, Warren Chappell, Edward Laning, and R. B. Kitaj, and with writers, curators, museums, galleries, arts organizations, and others. Also found are arts organization files, Bishop's writings about Warren Chappell and friend Reginald Marsh, notes, exhibition catalogs, news clippings, and other printed material, photographs of Bishop and her artwork, and photographs of Reginald and Felicia Marsh. Original artwork includes 8 sketchbooks, loose sketches, prints, and watercolor figure studies.
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.
The records of New York City Kraushaar Galleries measure 91.9 linear feet and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.
The Marlene Park and Gerald E. Markowitz research files on New Deal art are dated 1931-1999 and measure 5.8 linear feet. The research files document New Deal art projects and artists through some original correspondence with artists, printed material, interview transcripts, and several sound recordings of interviews with artists of the period. Subject files relate to WPA era art and art projects; many contain numerous photocopies of records from the Personnel Records Center and the U. S. Treasury Relief Arts Projects now in the custody of the National Archives and Records Administration.
Research material gathered by Robert G. Stewart on Robert Edge Pine, Auguste Hervieu, Henry Benbridge, James Earl, and other artists, including correspondence, printed matter, notes, and photographs.
The papers of Hudson River School painter Jervis McEntee measure 1.6 linear feet and date from 1796 and 1848 to 1905. Letters from close friends and family members to McEntee include many from his mentor Frederic Edwin Church, and fellow artists Samuel Putnam Avery, George Henry Boughton, Sanford Gifford, Richard Henry, Eastman Johnson, Elizabeth B. Stoddard, John Ferguson Weir, Worthington Whittredge, and others. Papers relating to the McEntee family include obituaries, a family genealogy, and letters from and regarding family members. There are also papers relating to the Vaux family (McEntee's brother-in-law's family) and American architect and landscape artist Calvert Vaux, who designed a studio for McEntee. Of special significance are five volumes of diaries dating from 1872 through 1890 which provide a detailed depiction of the American art world in the 1870s and 1880s.
The Leo Castelli Gallery records measure 215.9 linear feet and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and sound and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.