Archives Directory for the History of Collecting in America
Archives related to: Zadok, Charles
| title | Gimbels Wisconsin Art Collection transparencies, 1948-1952 | repository | Wisconsin Historical Society |
| description | Color transparency copies of paintings assembled for the Gimbels Wisconsin Art Collection, 1948-1952, consisting of glass-mounted transparencies. Beginning as a part of the Wisconsin Centennial in 1948, Gimbel Brothers department store of Milwaukee, under the leadership of Charles Zadok, for several years sponsored and commissioned an annual collection of paintings by contemporary artists, each later circulated as an exhibition and finally distributed among various institutions, including the Milwaukee Art Institute. Special subject themes were designated: "Wisconsin the playground" (1949), "Wisconsin at work" (1950), for example. |
| extent | 1 folder |
| formats | Photographs |
| access | Contact the Wisconsin Historical Society Archives for further details. |
| record source | http://www.worldcat.org/oclc/872155927 |
| acquisition information | Presented by Gimbel Brothers, 1948-1952. |
| updated | 03/16/2023 10:30:00 |
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| title | Alfred H. Barr, Jr. Papers, 1927-1984 | repository | The Museum of Modern Art |
| description | The Alfred H. Barr, Jr. Papers are composed of files kept during Barr's tenure at the Museum of Modern Art, including personal and professional correspondence with museum officials, curators, writers, historians, critics, art associations, foundations, magazines, artists, and collectors such as John Canaday, Stanton Catlin, Camilla Gray, René d'Harnoncourt, John Hightower, Roland Penrose, and James Thrall Soby. Office files cover staff, exhibitions, publications and collections of MoMA, and abstract art, cubism and futurism (some related to Barr's book Cubism and Abstract Art, 1936.) There are files present on the Foundation for Arts, Religion and Culture (ARC), Barr's travels, lectures, speeches, exhibitions, publications, political controversies, and artists and collections in the U.S.S.R.; writings, including travel notebooks regarding his trip to Russia, 1959, visits with Pablo Picasso, 1956, and Henri Matisse, 1952; exhibition catalogs, clippings and printed material; and photographs. Also included are materials collected by Margaret Scolari Barr, including Alfred's obituaries, A Memorial Tribute, 1981, an invitation and guest list to the memorial service, and condolence letters; and photocopies of autograph letters, ca. 1920s-1970s, from the Barr collection sold to Arthur A. Cohen in 1975. There are letters from Jack I Poses. Biographical Note Alfred H. Barr, Jr. spent nearly his entire professional career with The Museum of Modern Art; following is brief chronology of his decades-long association with the Museum. Location MoMA Museum Archives |
| extent | 95 linear ft. (55 boxes) |
| formats | Administrative Records Correspondence Ephemera Writings Subject Files |
| access | The records are open for research and contain few restricted materials. Contact museum archivist for an appointment. |
| record link | http://moma.org/research/archives/EAD/Barrf.html |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991009761919707141 |
| finding aid | Finding aids in the repository. |
| acquisition information | Transferred from Barr's office, gifts of Margaret S. Barr, 1975-1980, and gift of Andrew W. Barr, 1986. Forms part of: Museum of Modern Art (New York, N.Y.). Archives. Records. |
| updated | 11/29/2022 15:49:51 |
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| title | Collectors Records, 1929-1987 | repository | The Museum of Modern Art |
| description | The processed Collectors Records are contained in ten 5" document boxes (4 linear feet) and include correspondence; lists of private collections; notes about collections (frequently in Barr's handwriting); press clippings; photographs; and exhibition announcements, invitations, and brochures. The records date from 1929 through 1987; the majority of the material dates from the 1950s and 60s. The bulk of the Collectors Records consists of correspondence between Museum staff and collectors. The principle staff correspondent is Barr, but the Record Group also includes material from Dorothy C. Miller (Curator, 1943-1967; Senior Curator, 1968-1969), and Betsy Jones (Executive Secretary 1952-1962; Executive Secretary and Assistant Curator, 1963-1966; Associate Curator and Executive Secretary of Collections, 1967-1969). Correspondence with the collectors participating in the Visits to Private Collections series and lists of the collections visited are also included. Historical Note During his tenure as Director of Museum Collections, Alfred H. Barr, Jr., and his staff maintained files on private collectors and collections (ca. 1947 through ca. 1967). This documentation reflects the Museum's interest in private collections from which it could potentially borrow, purchase, or receive gifts or bequests to enhance the Museum's collection. A Committee on the Museum Collections, established by the Board of Trustees in May 1944, consisted of approximately ten members, all of whom were collectors and/or Museum staff members. The founding members of the Committee were: Alfred H. Barr, Jr., William A. M. Burden, Stephen C. Clark, A. Conger Goodyear, Mrs. Simon Guggenheim, Bartlett H. Hayes, Jr., Mrs. Sam A. Lewisohn, Miss Agnes Rindge, James Thrall Soby (Chairman), James Johnson Sweeney (Vice Chairman), Edward M. M. Warburg, and Mrs. George Henry Warren, Jr. The Committee, which replaced the Acquisitions Committee, advised the Board of Trustees on which works to acquire, by gift or purchase, for the Museum's collection. Several members gave works of their own and/or financial contributions for purchases. Documentation on the collections of nearly all of the Committee Members can be found in this Record Group. An annual series, Visits to Private Collections, was organized by the Department of Membership as a special privilege for Contributing Members. Members were invited to spend three afternoons a year touring the private homes and collections of select collectors, who were frequently members of the Committee on the Museum Collections. This series was suggested by a Membership Committee member in 1939, and the program lasted through 1966. Documentation for this program can also be found throughout the Record Group. After Barr's retirement in 1967, the Committee on the Museum Collections was divided into five separate committees, each one focusing on a curatorial department: Painting and Sculpture; Prints and Illustrated Books; Photography; Architecture and Design; and Film. These five committees exist to the present day. Related Collections at MoMA and Elsewhere For related collections see also, The Museum of Modern Art Archives, Alfred H. Barr, Jr. Papers, Series 1. Personal Correspondence; the James Thrall Soby Papers, Series III: Museum Matters; the Dorothy C. Miller Papers, Series III: Museum Matters; the Public Information Scrapbooks; catalogues of private collections and PASITMOMA in the Library; Object Files in the Department of Painting and Sculpture; and lenders records in the Department of the Registrar. Preferred Citation Collectors Records, [folder]. The Museum of Modern Art Archives, New York. |
| extent | 4 linear feet Ten 5" document boxes |
| formats | Clippings Correspondence Ephemera Photographs Administrative Records |
| access | The records are open for research and contain no restricted materials. |
| record link | http://www.moma.org/research/archives/EAD/CollectorsRecordsf.html |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991007920159707141 |
| finding aid | In the repository and on the Web site. |
| acquisition information | The Collectors Records were compiled and maintained by Barr and his staff until his retirement in 1967, when they were brought under the aegis of the Department of Painting and Sculpture. They became part of the Museum Archives holdings in 1998 and were processed in June 1998. |
| updated | 11/29/2022 15:49:51 |
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| title | The Paul Rosenberg Archives, 1905-2000 | repository | The Museum of Modern Art |
| description | The Paul Rosenberg Archives is a natural complement to The Museum of Modern Art's extensive holdings of archival materials focusing on early 20th century modernism and particularly on the art of Picasso, Matisse, Braque and other artists of their circles. Furthermore, the Museum was one of Paul Rosenberg's most loyal clients, just as he was among its most supportive and enthusiastic advisors, and the Rosenberg family has always remained active among the Museum's membership. Numerous works in the Museum's collections have Paul Rosenberg and Company as source or donor. The Paul Rosenberg Archives comprise numerous sale records, photographs of every work in the galleries' inventories, correspondence, exhibition files, photographs of installations, and other published and unpublished artistic, literary, professional, and historical documents representing the careers of Rosenberg and his son Alexandre (art dealer, gallery director and founding president of the Art Dealers Association of America), and notable friends. The Archives also includes unedited texts of Paul and his son Alexander Rosenberg, indexes and reference tools prepared in 1998-2000 for the papers of the Galerie Paul Rosenberg (Paris), as well as 'stock books' of the Paris gallery, recomposed by memory and thanks to documentation that survived World War II. This was due to Paul Rosenberg's foresight in having part of his photograph print collections shipped to the USA via England before the Nazi invasion of France. Indexes which have been prepared in-house for most of the photographic collections are particularly useful. Paul Rosenberg's affiliations in international spheres of modern art predate the founding of The Museum of Modern Art, and his papers-in addition to their representation of significant aspects of twentieth-century ideas, art, and society-are critical for documenting the provenance of hundreds of paintings and sculptures in private and public collections and have been used extensively to research claims for Nazi-looted art. War losses and restitution dossiers were begun by PR&Co as early as the beginning of World War II itself and the consequent research and correspondence thus initiated continues, in many cases, to the present as active files. The Paul Rosenberg Archives chronicle the life of the gallery from its early beginnings until 1987, with a gap in the documentation from the years 1928-1939. The invaluable documents include: inventory cards, arranged by artist, accession, client or sale date; photographic prints and negatives of various format and of excellent quality of virtually every work in the gallery's inventory, arranged by artist; bills, statements, and insurance documents arranged chronologically and alphabetically; files concerning exhibitions and photographs of their installations. The correspondence of both Paul and Alexandre P. Rosenberg reflects the nature of their personal and professional relationships with artists, fellow dealers, collectors, museum professionals, as well as with many personal friends, students and art lovers throughout the world. This unique grouping of materials is particularly rich for the study of early twentieth-century French art, while it also documents or indicates interests in Renaissance and Neoclassical painting and sculpture, Mediterranean and Near Eastern antiquities, extra-European art, the decorative arts, book arts and design. Biographical and Company History The Rosenbergs have been active and prominent in the art world since the 19th century. It was Alexandre Rosenberg the elder ('père') (died 1913), father of Paul (1881-1959) and his brother Léonce (1878-1947), who had initially established himself as an antiques dealer in Paris in 1878. After 1898, he was well known within the circle of the leading dealers of Impressionist and Post-Impressionist art. He encouraged his sons to share these professional interests and afforded them ample opportunities in Paris and abroad (London, Berlin, Vienna, New York) to acquire experience and contacts and to collect art. Paul and Léonce first began to work as partners in 1906, when they assumed joint directorship of the gallery, upon the retirement of their father. They soon established distinct personalities and social networks in the creative effervescence of Paris in the early twentieth century and eventually opened separate galleries, Paul in the rue de La Boétie (from 1910), and Léonce nearby in the rue de la Baume, both in the city's 8th District. The rue de la Boétie has been described as the 'nerve center' of modern French art throughout the 1920s and 1930s or as the 'French Florence'. To his inventory of late 19th century art, Paul Rosenberg followed the lead of his elder brother Léonce - an early and well-known champion of Cubism - and added contemporary works by artists who were already in demand. Initially sharing the honor with his brother and with Daniel-Henri Kahnweiler, Paul Rosenberg eventually enjoyed a special exclusive contract with Pablo Picasso (from 1918 to 1940). While Léonce was first to show the Cubists in his gallery, L'Effort Moderne, it was Paul who possessed the social and financial possibility to provide artists such as Picasso and Braque (as of 1922) with the support they needed, as well as to promote lesser-known artists such as Marie Laurencin, with whom Paul had a warm and fraternal relationship for the rest of her life. Rosenberg also had fruitful arrangements with Fernand Léger (as of 1927) and became Matisse's dealer in 1936 and remained the artist's friend until the end. Paul Rosenberg's relationship with Picasso was a close friendship for the duration of their mature lives. In addition to cultivating and promoting each other's respective careers, Picasso even acted as witness for the birth of Paul's son Alexandre Paul Rosenberg (1921-1987), their families being neighbors in Paris for several years. Paul Rosenberg's legendary 'stock' included a rich selection of paintings, drawings and sculptures by Géricault, Ingres, Delacroix, Courbet, Rodin, Cézanne, Manet, Degas, Monet, Renoir, and Lautrec, along with the works by his modern artists, and regularly complemented by works of Henri Rousseau, Aristide Maillol. Odilon Redon and Amedeo Modigliani. His 'stock' from artists in the United States included painting and sculpture by Marsden Hartley, Max Weber, Abraham Rattner, Karl Knaths, Harvey Weiss, Oronzio Maldarelli. Both Paul and his son Alexandre also had contracts with Nicolas de Staël and Graham Sutherland. Alexandre Rosenberg was the American representative and close friend of the sculptors Kenneth Armitage and Giacomo Manzù. Paul Rosenberg opened a new branch of his Paris gallery - managed by his well-known antiquarian brother-in-law Jacques Helft - in London between World War I and World War II. From 1920 until the beginning of the Second World War in 1939, Paul Rosenberg's company was widely acknowledged to be without doubt the most active and influential gallery in the world in the field of 19th and 20th century French painting, specializing in the Impressionist, Post-Impressionist and Cubist schools, as well as in the developments contemporary to these 'schools'. All of the museums of the Western world and all of the great private collectors became clients of Rosenberg, and his exhibitions became points of reference for the promotion of quality painting. Having foreseen the imminence of the Second World War, Paul Rosenberg began to send his collections abroad, especially to England, America, Australia and South America and then put a hold on the operations of his Paris galleries. Even prior to his departure from France with his wife and daughter, his many friends in the United States encouraged and assisted his establishment in New York, where the Rosenbergs arrived, via Lisbon, in September of 1940. Rosenberg presence in New York had attracted so much interest that an issue of the Art Digest declared that "When rumor first intimated that Paul Rosenberg, internationally known Paris dealer in modern art, would open a gallery in New York, 57th Street anticipated something akin to a clap of thunder." Throughout the war and after its end, he was able to re-assemble in New York a very large proportion, though not all of his gallery stock and his personal collections. In this way, and almost without interruption or discontinuity, he re-established his gallery in New York and recommenced the activity previously undertaken in Paris. Alexandre Rosenberg, still a student at the time of the war's outbreak, found his way to England at the end of June 1940, shortly before the occupation of the last free French ports. During the next five years, he served as an officer with the Free French Forces in their military campaigns in Africa, France and Germany. After his demobilization in 1946, he went to New York to be with his family and after a period of study and apprenticeship, became an associate of Paul Rosenberg & Company in 1952, later assuming his father's place as director of the company after the death of Paul Rosenberg in 1959. Under Alexandre's guidance, the company maintained its position in its traditional field and continued to flourish as in the past, both in the United States and in Europe. While 19th and 20th century French painting remained the company's principal focus, however, its horizons also broadened to encompass more of the old masters and select aspects of contemporary painting, drawings and sculpture. Among colleagues and among museum professionals and collectors, Alexandre Rosenberg enjoyed the reputation of being one of the pre-eminent authorities in his field of activity. He was also known to be an excellent scholar and a dealer possessing an undisputed sense of integrity and taste. In 1962 he was one of the founders and the first president of the Art Dealers Association of America, a professional organization bringing together the most important galleries in New York and throughout the United States. The aims of the ADAA were the elevation and maintenance of standards for professionals in the art market. Alexandre Rosenberg remained one of the association's permanent Board members throughout his life. In this capacity, his assistance was very often requested also by the American government in dealing with various issues in the fine arts field. Notably, he served on a consulting committee for the Internal Revenue Service for several years. Throughout the 1970s and until his premature death in 1987, Alexandre Rosenberg was an active initiator of and participant in a wide variety of commercial and cultural projects both in the United States and abroad. He believed that while the wealth of the market in terms of pictures of high quality had considerably diminished over time through the acquisitions of museums and collectors in the 20th century, it was nonetheless still entirely possible to bring together objects of prime importance compatible with the requirements of museums in the field of 19th and 20th century French painting, watercolors, drawings and sculpture. All that was necessary to build such a collection was a certain body of knowledge and contacts and, most importantly, a solid sense of what is pre-eminent in a given class of works. He believed that the difficulty resided less in the rarity of high-quality works than in the increasing evidence of incompetence in evaluating that quality. With time, appropriate effort and careful planning, fine collections could indeed still be put together. Note: As established by Alexandre P. Rosenberg's own knowledge of the family's history, as well as his faith in the acuity of his father's recollections, and recorded in a note from the mid-1970s (Rosenberg family collection), the following dates and addresses are those most frequently referred to in the Rosenberg business and personal correspondence. The following list may therefore usefully serve as a reference for researchers. Preferred Citation Long version: The Paul Rosenberg Archives, a Gift of Elaine and Alexandre Rosenberg, [series.folder]. The Museum of Modern Art Archives, New York. Short version: Paul Rosenberg, [series.folder]. MoMA Archives, NY. Related Material Among the holdings at The Museum of Modern Art Archives, correspondence with Paul Rosenberg and with Alexandre Paul Rosenberg is to be found among the Alfred H. Barr, Jr., Papers, René d'Harnoncourt Papers, William S. Lieberman Papers, James Thrall Soby Papers, James Johnson Sweeney Papers, Monroe Wheeler Papers, as well as among other collections of personal and business papers of Museum directors, curators and the Registrar officers. Of special interest within the Museum Archives holdings are the letters to Léonce Rosenberg from artists associated with his Galerie de l'Effort Moderne and its Bulletin. See: Léonce Rosenberg Papers: Correspondence relating to Cubism, 1914-1932. For information on individual artists associated with the Rosenberg galleries, see the Artist Files or relevant monographs in the Museum Library. Holdings of related and associated correspondence and documents may also be accessed at the following institutional repositories: Pierpont Morgan Library, New York [Paul Rosenberg correspondence with artists] Metropolitan Museum of Art, New York [Paul and Alexandre P. Rosenberg correspondence] Whitney Museum of American Art, New York [Paul and Alexandre P. Rosenberg correspondence] Ministère des Affaires Étrangères. Services des Archives et de la Documentation. Paris [Paul and Léonce Rosenberg correspondence] Musée Picasso, Paris [Paul Rosenberg correspondence with Pablo Picasso] Musée National d'Art Moderne, Paris [Léonce Rosenberg correspondence and photographs] Bibliothèque Jacques Doucet, Paris [Paul and Léonce Rosenberg correspondence with Doucet] The Archives of American Art of the Smithsonian Institution, Washington, D.C. [correspondence from Paul Rosenberg to many different artists, art dealers and collectors] The Durand-Ruel Archives, Paris [Alexandre (père), Paul and Léonce Rosenberg correspondence] Manuscripts Department, The New York Public Library [John Quinn papers, Paul Rosenberg correspondence] The Getty Center, Los Angeles [Douglas Cooper papers, Paul and Alexandre P. Rosenberg correspondence] The U.S. National Archives and Records Administration [documentary collections and official correspondence concerning Second World War art looting, recovery, and restitution] [See: Holocaust-Era Assets: A Finding Aid to Records at the National Archives at College Park, Maryland (Washington, D.C.: National Archives and Records Administration, 1999)] Fondazione Giacomo Manzù, Ardea (Rome) [Alexandre P. Rosenberg and PR&Co correspondence] |
| extent | 140 linear feet in 302 containers |
| formats | Business Papers Correspondence Financial Records Inventories Photographs |
| access | The records are open for research. For access to the papers, please contact The Museum of Modern Art Archives, the MoMA Archives will then forward the request for access to Mrs. Rosenberg, which will be granted to all qualified researchers. |
| record link | http://www.moma.org/learn/resources/archives/EAD/PaulRosenbergf |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991005424089707141 |
| finding aid | online and in repository |
| acquisition information | A Gift of Elaine and Alexandre Rosenberg |
| updated | 11/29/2022 15:49:51 |
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| title | William S. Lieberman Papers, 1948-1984 | repository | The Museum of Modern Art |
| description | The Papers document his contacts with the art world and involvement with Museum activities and exhibitions; in particular, Max Ernst (MoMA Exh. #474), Joan Miro (MoMA Exh. #641), Modigliani (MoMA Exh. #474) and Stravinsky and the Dance (C/E 62-2, 1962-63). His involvement with the Junior Council include such exhibitions as Young American Printmakers (MoMA Exh. #547), Recent Drawings, U.S.A. (MoMA Exh. #601) and the preparation of The Museum of Modern Art Calendar and Junior Council Print Sales. Correspondence relating to the Dance and Theatre Archives exhibitions is included in addition to correspondence with trustees, patrons, friends and such artists as Chryssa, Masuo Ikeda, Marc and Valentina Chagall, Robert Motherwell, Lee Krasner, Leonard Baskin, and Emilio Sanchez, many of whom were personal friends of Lieberman. Other subjects include Lieberman's trip to Japan (1964-65) for the purpose of organizing The New Japanese Painting and Sculpture (MoMA Exh. #809, ICE-D-13-64), Nelson A. Rockefeller's bequest to the Museum (1979), and the disposition of the Lyonel Feininger Estate. Biographical/historical note Curator, Department of Prints, 1949-60; Curator, Department of Drawings and Prints, 1960-66; Director, Department of Drawings and Prints, 1966-71; Curator, Department of Painting and Sculpture, 1969-71; Director, Department of Drawings, 1971-79; Advisor to the Junior Council, 1954-64. Since November 1979 he has been Chairman of the Twentieth Century Art Department at the Metropolitan Museum of Art (New York, N.Y.). Location MoMA Museum Archives Call Number mmym MA |
| extent | 31 linear feet |
| formats | Business Papers Personal Papers Correspondence Exhibition Files |
| access | The records are open for research and contain no restricted materials. |
| record link | http://www.moma.org/research/archives/EAD/Liebermanf.html |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991009763659707141 |
| finding aid | The finding aid is in the repository and on the repository's web site. |
| acquisition information | 7.5 linear feet of material (Series I.A and I.B) were transferred from three file drawers in the Department of Drawings in November 1990. 29 linear feet (Series II.A, II.B, III, IV, and V) were stored at an off-site location; these were transferred to the Museum Archives for processing in October 1991 |
| updated | 11/29/2022 15:49:51 |
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| title | International Council and International Program Records, 1938-2005 | repository | The Museum of Modern Art |
| description | Note: Forms part of: Museum of Modern Art (New York, N.Y.). Museum Archives. Records. Biographical/historical note The Museum of Modern Art has always been international in scope. Founded upon the principle that art should have no boundaries, it has sought the best both in its own country and abroad, and its collections, exhibitions, publications and other educational activities reflect this spirit of internationalism. Mrs. John D. Rockefeller, 3rd, Chairwoman of the International Council (1953-1957) and President of The Museum of Modern Art (1959-1962), in The Museum of Modern Art and its Program of International Exchange in the Arts, 1961. The International Program of The Museum of Modern Art was founded in 1952 to expand the Museum's international outreach; it was a natural step forward for the Museum. The Department of Circulating Exhibitions, dedicated to domestic tours, had begun two decades before. The 1938 exhibition sent to Paris, Three Centuries of Art in the United States [MoMA Exh. #76a May 24-July 31, 1938], provided a template for touring exhibitions internationally. Additional exhibitions were sent abroad during the 1940s at the behest of the U.S. government, but in the post-war era, the United States government retreated from sponsorship of international cultural outreach, leaving a gap for MoMA to fill. Cite as Published citations should take the following form: Long version: International Council and International Program Records, [series.folder]. The Museum of Modern Art Archives, New York. Published citations should take the following form: Short version: IC/IP, [series.folder]. MoMA Archives, NY. |
| extent | 336 linear ft. |
| formats | Business Papers Exhibition Files Administrative Records Notes |
| access | The records are open for research except for the following restricted materials. Two subseries, Subseries V.D: International Council Audio Recordings and Subseries VI.E: 50th Anniversary Fundraising Records are permanently closed to the public. In other series, all correspondence, forms, and other documentation pertaining directly to loans and lenders and artwork condition and damage are permanently closed to the public. Documents that discuss or relate to an artwork's value, such as insurance checklists, are closed for twenty-five years from the date of creation. International Council meeting files and documentation, such as included in Subseries VI.G, V.B, and V.E, are also closed to the public for a period of twenty-five years. Among other records, any materials from MoMA board meetings or trustee subcommittee meetings are permanently closed to the public, as are occasional documents pertaining to personnel matters, donors and donations, and other sensitive issues. As necessary, restricted materials have been removed from folders and entire folders removed from the publicly accessible files though those files' descriptions remain in the finding aid. If Museum staff wish to view any of these materials they should contact the Museum Archives. The International Counil and International Program Records are the physical property of The Museum of Modern Art. Rights to work produced during the normal course of Museum business resides with the Museum. Literary rights including copyright belong to the authors or their legal heirs and assigns. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives. |
| record link | http://www.moma.org/learn/resources/archives/EAD/ICIP_SeriesIB_VIf |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991007923359707141 |
| finding aid | Located on the Museum of Modern Art's website. |
| acquisition information | The records comprising this collection originated within the Museum over more than six decades and were held within Museum offices. A large portion of this collection was later transfered into the Museum's records management program from which it was retrieved and processed into its current state in 2013. Approximately one tenth of the collection, mainly comprising publicity materials and photographic exhibition documentation, along with some other documentation, was earlier transferred to the Museum Archives by the International Council in June 1994 (with a smaller set of records incorporated into the collection the following year), processed, and opened to the public as the International Program Records. Those files have been completey integrated into the new collection. The finding aid to the previous collection, as well as documents concerning the two record groups' integration, are kept within the Museum Archives. |
| updated | 11/29/2022 15:49:51 |
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