Indian Arts and Crafts Board accession records
bulk 1962-1985
35 Negatives (photographic)
257 Photographic prints
14 Linear feet
The Indian Arts and Crafts Board accession records collection includes documents and photographs related to works of art accessioned into the IACB collection from it's inception in 1935 to 1999. The collection also includes docuements related to objects accessioned into the IACB's run Southern Plains Indian Museum. The collection is nearly comprehensive and includes works of art from Alaska Native artists to Catawba pottery, and includes artwork from several renowned artists including, Maria Martinez (San Ildefonso Pueblo), James Kivetoruk Moses (Inupiaq), and Don Morse "Lelooska" Smith (Cherokee).
Betty Parsons Gallery records and personal papers
bulk 1946-1983
The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.
Records
This accession consists of records that document two exhibitions held at the National Portrait Gallery: In the Minds and Hearts of the People: Prologue to the American Revolution, 1760-1774, on view from June 14 through November 17, 1974; and To Color America: Portraits by Winold Reiss, which was on view from October 27, 1989 through April …
Charles Henry Hart papers
bulk 1888-1918
The papers of Philadelphia art historian and writer Charles Henry Hart date from 1774-1930, bulk 1888-1918, and measure 6.1 linear feet. Found within the papers are correspondence, subject files, scattered personal business records, a file of images of art work, notes and writings, and printed material. The subject files include letters from art historians, art collectors, dealers, and gallery owners.
Braunstein/Quay Gallery records
The Braunstein/Quay Gallery records measure 36.9 linear feet and date from 1956 to 2011. The records consist of administrative records, artist files, exhibition and event files, and financial records that shed light on the gallery's operations through correspondence, price lists, inventories, printed material, born digital material, photographs, and more.
Chester Dale papers
bulk 1920-1970
The papers of New York art collector Chester Dale measure 8.4 linear feet and date from circa 1883-2003. Dale amassed one of the world's most complete collections of nineteenth and twentieth century French art, was a collector of eighteenth century American portraitists, and a patron and collector of twentieth American artists including George Bellows and Mary Cassatt. The bulk of the collection dates from 1920 to 1970 and documents Dale's activities through biographical material, correspondence, memoirs and other writings, purchase, sales and estate records, printed material, scrapbooks, and photographs.
Joseph Lindon Smith papers
bulk 1873-1965
The papers of Boston and New Hampshire painter Joseph Lindon Smith date from 1647-1965, with the bulk of papers dating from 1873-1965, and measure 8.8 linear feet. Found within the papers are biographical materials; letters from family members, artists, museums, and art patrons; seven diaries by Smith and two by his wife Corinna, personal business records, notes and writings, files concerning charitable theatrical productions, one sketchbook and other art work, a scrapbook, printed material, photographs, and sound recordings of radio interviews and a radio program on Smith.
Portraits of anthropologists
8 Prints (halftone (including one newspaper clipping))
124 Prints (circa, silver gelatin, albumen, and platinum)
50 Copy prints (circa)
3 copper printing plates
1 Color print
1 Print (wood engraving)
3 Copy negatives (glass)
This collection is an artificial collection of photographs, copper plates, and a few notes, all of which depict or relate to anthropologists, many of which were associated with the Bureau of American Ethnology. Included are portraits of Franz Boas, Q. M. Bond, Arno B. Cammerer, Frank Hamilton Cushing, Edwin Hamilton …
Francis Patrick Garvan papers
Garvan, Francis P. (Francis Patrick), 1875-1937
1867
The papers of art collector Francis Patrick Garvan measure 44.9 linear feet and date from 1912 to 1953, with one document from 1867. The papers provide extensive documentation on the Garvan collection which included rare books, ceramics, glass, paintings, prints, and furniture. The majority of the collection consists of inventory records that give descriptive information regarding each piece in the collection; in many cases the files also include a photograph of the object. Also found are correspondence and subject files; auction records for sales at the American Art Association, Parke-Bernet Galleries, and Plaza Art Galleries; loan records; estate records; and a small amount of printed material, writings, and photographs. Approximately half of the Garvan papers were created posthumously by Mabel Brady Garvan and the managers of Garvan's estate.
Tomás Ybarra-Frausto research material
1.27 Gigabytes
The research material of Tomás Ybarra-Frausto, measures 33.1 linear feet and 1.27 GB and dates from 1965-2004. The collection, amassed throughout Ybarra-Frausto's long and distinguished career as a scholar of the arts and humanities, documents the development of Chicano art in the United States and chronicles Ybarra-Frausto's role as a community leader and scholar in the political and artistic Chicano movement from its inception in the 1960s to the present day.
