Archives Directory for the History of Collecting in America
Archives related to: Hamilton, Carl W.
|title||Harry L Dalton Papers, 1776-1990 (bulk dates 1915-1990)|
|location||University of North Carolina, Charlotte|
|collection title||Papers of a Charlotte business executive, bibliophile, and benefactor of art museums and libraries in North Carolina. Includes personal and business correspondence, biographical and genealogical materials, subject files, diaries, manuscripts and ephemera, personal and family papers, publications, newspaper clippings, and photographs. |
The personal papers document Dalton's patronage of the Duke University Library, the Mint Museum, and the library of the University of North Carolina at Charlotte; his service with the U.S. Army during World War I, with the War Production Board during World War II, and with the Defense Orientation Conference; membership in Charlotte clubs and societies; and his travels in Europe with his wife, Mary Keesler Dalton. Also included are papers Mary Keesler Dalton and the Dalton family. The manuscripts contain items related to Auguste Allard, Bernardo de Galvez, Marie Joseph Marquis de Lafayette, King Louis XVI, and Daniel O'Connell.
The business records document Dalton's career as an executive and investor in various businesses, especially in banking, oil extraction, and the textile industry. Companies represented in the files include the American Viscose Corporation, American Credit Corporation, Ancora Corporation and Wachovia Bank.
Harry Lee Dalton was born in Winston, North Carolina on June 13, 1895 to Corine McCanless and Rufus I. Dalton. A graduate of Trinity College (now Duke University), he served in the U.S. Army Air Corps during World War I. At the end of the war Dalton entered the textile business as a salesman, and this experience led to his service as a textile advisor with the War Production Board during World War II. Dalton had a successful career in banking and finance and served as an officer and investor in numerous companies, including American Viscose Corporation, American Credit Corporation and Wachovia Bank. His other business interests included investments in oil extraction ventures, mainly through the Ancora Corporation.
Along with his wife, Mary Keesler, Dalton collected art, rare books, and manuscripts, and made many contributions to art museums and libraries, most notably the Duke University Library, the Mint Museum, and the library of the University of North Carolina at Charlotte. Dalton died in Charlotte in on July 26, 1990.
[For additional biographical information, see John L. Sharpe III, The Life of Harry L. Dalton, 2 volumes (Edinburgh: Pentland Press, 1986-89). For information on his contributions to UNC Charlotte, see the University Archives, especially the Chancellor's Subject Files, RG 5-0-1; the Major Donors File in the Library Director subgroup, RG 14-1-3; and the files of the Special Collections Librarian, RG 14-9.]
Reference File, Biographies, Harry L. Dalton, UNC Charlotte University Archives.
|extent||30.0 cubic ft.|
|formats||Business Papers Personal Papers Correspondence Subject Files Writings|
|finding aid||Online and in repository.|
|acquisition information||Gift of Harry L. Dalton, 1978. Transfer of items in collection folder, 1990. Gift, October 2000 (accession 00-068).|
|title||Wilhelm Reinhold Valentiner papers, 1860-1974.|
|location||Archives of American Art|
|collection title||Diaries, writings, correspondence, scrapbooks, printed material, and photographs.|
REEL D31: Diary entries, 1914-1957, describing his service in the German army, 1914-1918, with the War Information Office in Berlin, the overthrow of the monarchy and German politics, relations between Germany and Russia and communist activity in Germany, the administration of Berlin museums and radical artists' activities, his work with the L.A. County Museum, Detroit Institute of Fine Arts, the North Carolina Museum of Art, and private collectors, impressions of friends, including Henry Ford, Carl Hamilton, the Hohenzollerns, Franz Marc, Rainer Maria Rilke, Walter Rathenau, Helen Wills, Benjamin Altman, J. Pierpont Morgan, and recollections of women art collectors, including Mrs. August Belmont, Rita Lydig, and Mrs. Leonard Thomas.
REELS 272-276: Documents; correspondence with Valentiner's family, E. Colin Agnew, Chester Holmes Aldrich, William von Bode, Duveen Brothers, Max J. Friedlander, Walter Gropius, John Johnson, John McIlhenny, Erich Mendelsohn, M. Perzynski, Edi Redslob, the Rockefeller family, Maria Sarre, Albert Souvier, and C.F. Williams. Correspondence prior to 1920 concerns World War I and life in Germany; also included are essays and research notes on modern European artists; photographs of Valentiner and his family; and printed material.
REELS 2140-2144: 26 diaries, 1904-1958; autobiographical writings; manuscripts and lectures by Valentiner; correspondence with family, friends, authors, museums, galleries, and dealers, including Harry Berotia, Charles Culver, Lyonel and Julia Feininger, Walter Gropius, Paul and Mary Weschler, and Morris Graves; and a scrapbook containing clippings, drafts of speeches, and invitations.
REELS 3963-3967: Biographical material including a resume, a family history and family tree; correspondence with family, Kurt Bauch, Guy DeLauney, Walter Friedlaender, Henry Goldman, Liselotte Moser, Maria Sarre, Wolfgang von Eckardt, and Helen Wills; manuscripts of an autobiography, writings on art, and articles by Valentiner; notebooks and notes; diaries, 1884-1939; exhibition catalogs and clippings; scrapbooks; photographs, 1875-1965, of Valentiner, his family, Walter Friedlaender, Giacometti, Maria Sarre, Helen Wills, William von Bode, Diego Rivera, Harry Bertoia, and other artists and art work; and an etching of Heidelberg.
|extent||6.3 linear ft. (on 16 microfilm reels) reels D31, 272-276, 2140-2144, and 3963-3967|
|formats||Correspondence Diaries Photographs Scrapbooks|
|access||Patrons must use microfilm copy.|
|finding aid||Finding aids for reels 2140-2144 and 3963-3967 are available at AAA offices.|
|acquisition information||Material on reels D31, 272-276 & 3963-3967, donated 1959. Material on reels 2140-2144 lent for microfilming by the North Carolina Museum of Art, 1974.|
|title||Wilhelm Reinhold Valentiner papers, 1904-1958.|
|location||North Carolina State Archives|
|collection title||26 diaries, 1904-1958; autobiographical writings; manuscripts and lectures by Valentiner; correspondence with family, friends, authors, museums, galleries, and dealers, including Harry Berotia, Charles Culver, Lyonel and Julia Feininger, Walter Gropius, Paul and Mary Weschler, and Morris Graves; and a scrapbook containing clippings, drafts of speeches, and invitations.|
Lent to American Art Archives for microfilming, 1974
|formats||Correspondence Diaries Manuscript Writings Scrapbooks|
|access||Contact repository for restrictions.|
|title||William M. Hekking Records, 1925-1931|
|location||Albright-Knox Art Gallery|
|collection title||Record Group 2, Series 4 consists of the office records and correspondence of William M. Hekking, art director of the Albright Gallery from March, 1925 to October 1, 1931. |
[Description and dates], Box/folder number, AK2.4, William M. Hekking Records, 1925-1931, G. Robert Strauss, Jr. Memorial Library, Albright-Knox Art Gallery.
|extent||15 boxes (7 linear feet)|
|formats||Business Papers Correspondence Exhibition Files Ephemera|
|access||The William M. Hekking Records, 1925-1931 are open for research.|
|finding aid||online and in repository|
|acquisition information||Transferred from the Director's Office.|
|title||The Fototeca Berenson (Villa I Tatti Photo Archives)|
|location||Biblioteca Berenson, Villa I Tatti|
|collection title||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|
|formats||Photographs Reproductions Microfilm Artist Files|
|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||Duveen Brothers Records, 1876-1981, bulk 1909-1964|
|location||The Getty Research Institute|
|collection title||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||Photographs X rays Correspondence Financial Records Inventories|
|access||Microfilm of the archive is available for use by qualified researchers. The archive is restricted because of extreme fragility|
|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.|