Archives Directory for the History of Collecting in America
Archives related to: Douglas, R. Langton (Robert Langton), 1864-1951
|title||Duveen Brothers Records, 1876-1981, bulk 1909-1964.|
|repository||The Getty Research Institute|
|description||The records provide an detailed view of the Duveen Brothers business activities in London, Paris, and New York. Although the archive extends from 1876-1981, the bulk of the material dates from Joseph Duveen's tenure as president of the firm, 1909-1939, and the period from 1939 to 1964 when Edward Fowles directed the firm (with Armand Lowengard until 1943). The mass of documents, such as cables and letters, invoices, and ledger and stock books, give a day-by-day account of art dealing, business strategy, and the individuals involved |
NOTE Series I (ca. 112 linear feet) contains the firm's business records. Stock books indicate where objects were sent for repair, to whom objects were sent on approbation along with the date of sale and the price realized. Invoices include receipts, sales invoices sent to clients, lists of cablegrams and shipment of stock from each branch of the business
Series II (ca. 155 linear feet) consists of papers and correspondence which broadly cover the interaction between the Duveen Brothers firm and its clients, business associates, and the public. The correspondence describes art collecting trends among museums and individuals, the availability and purchase of art, art research and authentication, and the firm's general business practices. Eleven boxes of correspondence with Bernard Berenson detail his business relationship with the firm. Also included are records of lawsuits, correspondence between branches (some written in code), correspondence with museums, papers regarding galleries, Edward Fowles' papers, papers concerning exhibitions and loans, and papers regarding major art collectors and consultants. Some records of Kleinberger Galleries (apparently the papers of Harry G. Sperling, president) form a subseries within this series, and contain correspondence
Series III (c. 127 linear feet) includes some photographs, indices, negatives, and x-rays. This series represents the Duveen Brother's stock of images. Indices are available for the majority of the negatives in cold storage
("X Book" (Berenson transaction) is the only unique Duveen document not transferred to the GRI. It has not yet been photocopied. The "X Book" details, for a limited number (about 250) of Italian paintings in which Berenson had a financial interest, precise dates of purchase and sale, primarily in the years 1910-27. There is no index.) AAM
Watson Library Reference
|extent||Ca. 394 linear ft. 584 boxes, glass negative cabinets, and 18 flat file folders. 422 microfilm reels : positive ; 35mm|
|formats||Correspondence Photographs Financial Records|
|access||Available on microfilm, Restricted use of original Duveen material.|
|finding aid||Unpublished finding aid available in the repository and on the repository's Web site: folder level control. See the following web page digitization information: http://www.getty.edu/research/institute/development_partnerships/2011_kress.html|
|acquisition information||Edward Fowles donated the Duveen Brothers records to the Metropolitan Museum of Art in 1968. The Metropolitan gave the records to the Getty Research Library in 1996.|
|title||John G. Johnson papers, 1882,1917, 1927-1949, 1973-1993, n.d.|
|repository||Philadelphia Museum of Art|
|description||Born, raised, and educated in Philadelphia, John Graver Johnson (1841-1917) became one of the city's preeminent citizens, noted not only for his long and successful practice as a corporate attorney but also for his extensive collection of European art. |
These papers document Johnson's efforts to acquire such works of art, which by the time of his death in 1917, amounted to more than 1,200 paintings. The bulk of material is Johnson's correspondence with dealers and other art experts who advised him and sometimes negotiated purchases on his behalf, including Bernard Berenson, W. R. Valentiner and R. Langton Douglas. Of a more personal nature is a photograph album that contains early portraits of Johnson's wife, Ida (nee Powel).
Dates: 1882-1917, 1927-1949, 1973-1993, n.d.
|extent||4 linear feet|
|access||The collection is open for research.|
|finding aid||Online Finding Aid|
|acquisition information||The collection includes some reference material, particularly photocopies of Johnson's outgoing letters, which curators of the John G. Johnson Collection compiled from a variety of archival repositories and other sources between 1927-1993.|
|title||Ludwig Goldscheider papers, 1911-1981 (bulk 1925-1973).|
|repository||The Getty Research Institute|
|description||The Ludwig Goldscheider Papers consist of correspondence, writings on art and artists (including manuscripts for publications, photographs for study and book illustration), published books (many with annotations for revisions) and personal papers.|
Correspondence consists mostly of letters and copies of letters to Goldscheider from individuals associated with Phaidon and other publishing houses, as well as art historians, collectors, museum personnel, critics, and dealers. These present evidence of the esteem others held for Goldscheider as a scholar and connoisseur of art and as editor and publisher of scholarly art books. There are also copies of a small number of letters written by Goldscheider. The majority of these are to his wife, Annie Goldscheider, and are of a personal, intimate nature.
The bulk of the archive consists of writings on art. These include scholarly material for a number of Goldscheider's monographs on artists and other books and articles. There are manuscripts and notes, galley sheets and final printed copies for works by Goldscheider on Michelangelo, Leonardo, Velazquez, Vermeer, Botticelli, Roman Portraits, and El Greco. The archive also includes notes for his translations of aphorisms, and original poetry by Goldscheider and other authors in drafts and final published form.
The archive holds photographic material intended for study and for book illustrations. Formats include original photographs and slides, infrared and X-ray exposures, and printed reproductions. The bulk of these are of the Le Brooy collection of Michelangelo wax and terra-cotta models and for his book on Botticelli (see Appendix: Books by Goldscheider for reference).
A number of books are included which are annotated in Goldscheider's hand for revision. These include monographs on artists.
An assortment of personal papers includes family portraits and other personal photographs, immigration and naturalization papers, travel visas and other state documents, bank account papers, and personal address books. There are also publicity materials related to Phaidon's Golden Jubilee celebrations held in London in 1973.
Ludwig Goldscheider (1896-1973) was a notable historian of art, a poet and translator, and one of the most influential art book publishers of the twentieth century. He co-founded the Phaidon Verlag publishing house with his father-in-law, Bela Horowitz, in Vienna in 1923.
|extent||5 linear ft.|
|formats||Correspondence Writings Photographs Personal Papers Printed Materials|
|access||Open for use by qualified researchers.|
|finding aid||Online and in repository.|
|acquisition information||Acquired in 1984.|
|title||The Fototeca Berenson (Villa I Tatti Photo Archives)|
|repository||Biblioteca Berenson, Villa I Tatti|
|description||The collection contains about 300,000 photographs, many of them collected by Berenson himself from the 1880s until the time of his death in 1959. Many have notes on the back in his handwriting. Many show works of art before restoration, and others show images since destroyed. |
An important section, "Homeless paintings", contains photographs of works whose current location is unknown. The photographs are almost exclusively black and white in a variety of photographic media, such as albumen, gelatine, or carbon.
About 3000 large-format photographs are stored separately. In addition, there is a considerable amount of documentary material in the form of clippings, notes and printed reproductions.
The photographs are arranged according to Berenson's original scheme, by school: Florence, Siena, Central Italy, Northern Italy, Lombardy, Venice, Southern Italy. Within each school they are arranged by artist, then by topography, followed by homeless. Paintings and drawings are arranged separately.
The main focus of the collection is on Italian painting and drawing from the mid-thirteenth to the mid-sixteenth centuries. This part of the collection continues to be developed through the acquisition of new materials and through photographic campaigns. Later periods are also represented but in smaller scale, without systematic updating.
There is also material on medieval painting, arranged topographically; manuscript illumination, arranged according to present location; archeology; Byzantine art and architecture, arranged both by artist and by location; and non-Italian art, arranged by country. Finally a section of 8000 photographs is devoted to the art of the Far East, India and Islam.
In addition to the original Berenson nucleus, collections of prints, glass plates, negatives and transparencies have entered the Fototeca.
These include the collections of Emilio Marcucci (nineteenth-century projects for the completion of various Florentine monuments), George Kaftal (representations of saints in Italian painting of the fourteenth and fifteenth centuries), Henry Clifford (painting thirtheenth to seventeenth centuries), Giorgio Castelfranco (Italian art thirteenth to twentieth centuries), Giannino Marchig (restoration), Frederick Hartt (Michelangelo, Giulio Romano), Giuseppe Marchini (Italian art and stained glass), and Craig H. Smyth (Renaissance painting and drawing).
There is a small collection of micropublications and microfiche (162,386 frames): L=index photographique de l'art en France (95,648); Sotheby's Pictorial Archive - Old Master Paintings (45,472); Christie's Pictorial Archive Italian School (9,898); Christie's Pictorial Archive - New York 1977-95 Old Master Paintings & Drawings (11,368). The microfilm of the Bartsch Corpus comprises about 42,000 frames.
Most photographers not identified.
|extent||300,000 + photographs|
|access||Contact Ilaria Della Monica the archivist at the Berenson Library for restrictions and appointments.|
|finding aid||Currently, there is no catalog of the photographs at Villa I Tatti. In some cases, Artist Files, can be found school (i.e. Venetian, Lombard, Northern Italy, Central Italy, etc. . .) and some are cataloged in Harvard's online catalog, HOLLIS.|
|acquisition information||Originally formed by Bernard Berenson the Library continues to add to the file.|
|title||Records of the Director's Office: Frederic Allen Whiting, 1913-1930|
|repository||The Cleveland Museum of Art|
|description||The records of the Director's Office are the primary source for understanding the decisions made and actions taken at the highest level of the museum's administration. |
In addition, the records constitute one of the most valuable, unified resources for researching the early history of the museum and its art collection; initial construction and expansion of the museum building;
changes in the museum's administrative hierarchy; personalities and activities of individual staff members; artistic and social movements of the first half of the twentieth century; and the museum's relationship with civic, cultural, and educational institutions throughout the country and the world.
The records from Frederic Allen Whiting's tenure as director are divided into four main series: I. Numbered Administrative Correspondence, II. Unnumbered Administrative Correspondence, III. Biographical Materials, and IV. Index to Numbered Administrative Correspondence.
The Cleveland Museum of Art Archives, Records of the Director's Office: Frederic Allen Whiting, date and short description of document [e.g., letter from Whiting to Kent, 6 June 1916].
|extent||22.6 cubic feet, 72 boxes|
|formats||Administrative Records Writings Correspondence Notes|
|access||At the end of the restricted period, the records will still be subject to the review of the archivist before access is granted.|