The records of the National Arts Club measure 32.1 linear feet and date from 1898 to 1960. The collection documents the founding of the club, and it's governance, administration, exhibitions, and social activities
The Jack Tworkov papers measure 9.7 linear feet and are dated 1926-1993. Tworkov's work as a painter and influential teacher, as well as his personal life, are documented by extensive journals and substantive correspondence that record his ideas about art and teaching, and illuminate his relationships with friends, colleagues, and students. Many sketchbooks, writings, interviews, photographs, and moving images are also included.
The papers of art collector Charles Rand Penney measure 23.1 linear feet and date from 1923 to 1994 with the bulk of the collection dating from 1945 to 1994. The majority of the collection consists of Penney's art collection files, which include printed materials, correspondence, notes, and photographic materials. Also found within the papers are catalogs from exhibitions that featured artwork from Penney's collection.
Collection of microfilmed translations of captured German documents mainly relating to supersonic research, swept-back wings, jet-propulsion, patents, explosives, ballistics, missiles, compressors, and other aeronautical subjects.
The collection contains the project design records of Rudy J. Favretti. Favretti, a landscape architect and professor noted for his extensive work in historical restoration of landscaped gardens, parks, homes, and more. He donated his collection of garden design files, plans, and images to the Smithsonian's Archives of American Gardens in March 2011.
The papers of Chicago art conservator, Louis Pomerantz, measure 34.2 linear feet and date from 1937 to 1988, with the bulk of the material dating from the 1950s-1980s. The papers document two principal aspects of Pomerantz's professional life: his conservation work for institutions and individuals, and the development of his professional expertise as documented through his writings and teachings, his continued conservation training, and his involvement in professional organizations. Files include scattered biographical material, professional correspondence, interviews, writings, project and client files, teaching and reference files, printed material, and photographic material primarily documenting conservation treatments and techniques.
The Elayne Zorn Collection measures 11 linear feet and contains thousands of photographic objects including negatives, slides and prints. The collection material spans the years of Zorn's professional and student activity in the fields of anthropology and Latin American studies from around 1975 until 2010. The material in this collection reflects Zorn's long association with the community in Taquile, Peru which led up to the publication of her book, Weaving a Future, in 2004. Zorn also spent a significant amount of time conducting field research in Andean communities in Bolivia examining the relationships between tourism and textiles. Zorn's additional professional activities included serving as a textile collector and expert advisor for museum collections and exhibitions as well as performing academic duties at the University of Central Florida.
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.
This collection contains interviews with Reimar and Walter Horten that were recorded by David Myhra.
The papers of Joseph Cornell (1903-1972) measure approximately 24.8 linear feet and date from 1804 to 1986 with the bulk of the material dating from 1939-1972. The collection documents the life, work, interests, and creative activities of the self-taught artist, who was best known for his shadow box constructions, assemblages, and collages. Papers include correspondence, diaries, source material, notes, writings, photographs, printed material, two- and three-dimensional ephemera, art works, and books, as well as a limited amount of legal and financial records, and some miscellaneous personal and family papers. The collection also includes the papers of his sister, Betty Cornell Benton, relating to the handling of Cornell's estate and the personal papers of his brother, Robert Cornell.