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Archives related to: Matisse, Pierre, 1900-1989

titlePierre Matisse Gallery Archives, 1903–1990
repositoryArchives of American Art
descriptionREEL NPM1: Catalogs of Pierre Matisse Gallery exhibitions, 1931-1945; photographs of exhibitions interspersed among the catalogs; and a scrapbook containing clippings and reviews of shows at the gallery.

Artists represented among the catalogs, photographs, or scrapbook include Balthus, Eugene Berman, Charles Biederman, Arbit Blatas, Pierre Bonnard, Francisco Bores, Constantin Brancusi, Georges Braque, André Breton, Alexander Calder, Paul Cézanne, Marc Chagall, Salvador Dalí, Giorgio De Chirico,Edgar Degas, André Derain, Charles Despiau, John Dos Passos, Marcel Duchamp, Raoul Dufy, André de Segonzac Dunoyer, Max Ernst, John Ferren, Alberto Giacometti, Albert Gleizes, Vincent van Gogh, Juan Gris, Marcel Gromaire, Jean Hélion, Mane Katz, Moise Kisling, Roger de La Fresnaye, Wifredo Lam, Marie Laurencin, Fernand Léger, Jacques Lipchitz, Jean Lurçat, George Platt Lynes, Loren MacIver, Aristide Maillol, André Masson, Henri Matisse, Roberto Sebastián Matta Echaurren, Herbert Matter, Sigmund Menkes, Joan Miró, Amedeo Modigliani, Piet Mondrian, Paul Nelson, Amédée Ozenfant, Jules Pascin, Pablo Picasso, Luis Quintanilla, Abraham Rattner, Auguste Renoir, Georges Rouault, Kay Sage, Kurt Seligmann, Georges Seurat, David Alfaro Siqueiros, Chaim Soutine, Rufino Tamayo, Yves Tanguy, Pavel Tchelitchew, Maurice Utrillo, and Ossip Zadkine.

UNMICROFILMED: Catalogs of Pierre Matisse Gallery exhibitions of the work of: Francisco Artigas, Balthus, Reg Butler, Manolis Calliyannis, Rafael Canogar, Marc Chagall, Jean Dubuffet, Sorel Etrog, Serge Faucher, Federico Fellini, Sam Francis, Alberto Giacometti, Simon Hantaï, Stefan Knapp, Wilfredo Lam, Loren MacIver, Raymond Mason, Manolo Millares, Joan Miró, Jean-Paul Riopelle, Manuel Rivera, François Rouan, Georges Rouault, Theodore Roszak, Antonio Saura, Yves Tanguy, Claude Viallat, Wou-Ki Zao, and the Dogon and Tellem peoples of Africa.
extentReel NPM1: 300 items (on partial microfilm reel) Unmicrofilmed: 1.25 linear ft. reel NPM1
formatsExhibition Catalogs Clippings Scrapbooks Photographs
accessMicrofilmed portion must be used on microfilm. Use of unmicrofilmed portion requires an appointment and is limited to AAA's Washington, D.C. storage facility.
record linkn/a
record sourcehttps://www.themorgan.org/pmg
acquisition informationGift of The Pierre Matisse Foundation, 1997
updated06/15/2023 16:22:13
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titlePierre Matisse Gallery archives, 1903-1990, Bulk Dates: 1931-1990. (MA 5020)
repositoryPierpont Morgan Library Archives
descriptionConsists of correspondence with artists, clients, museum staff members, and colleagues; records of gallery stock, purchases, sales, works of art accepted on consignment; select exhibition installation records; bank and auditors' records; shipping records; and business records. Also contains photographs of works of art which were handled by, or of interest to, the gallery, as well as photos of artists and studios. The gallery archives, which spans nearly nine decades, documents the opening of the Museum of Modern Art in N.Y., the arrival of European artists in the U.S. to escape the Nazi purge, the effect of Surrealism, and the abstract-expressionist movement in N.Y. among other topics. Some of the artists represented through letters, biographical information, publicity, and commissions include: Balthus, Butler, Calder, Calliyannis, Carrington, Chagall, Dubuffet, Gabo, Giacometti, Gromaire, Le Corbusier, Miro, Riopelle, Saura, Severini, Tanguy, and Zao Wou-ki. The collection, too, contains a large quantity (833 items) of manuscript letters between Henri Matisse and his son Pierre Matisse.

Organized into the following record groups: 1. Pre-Pierre Matisse Gallery, 2. Pierre Matisse Gallery, 3. Pierre Matisse editions, 4. Henri and Pierre Matisse and Matisse family papers

Dept. of Literary and Historical Manuscripts, The Pierpont Morgan Library.
extent227 cubic feet.
formatsBusiness Papers Personal Papers Photographs Correspondence Financial Records
accessPortions of the collection are restricted; consult the guide to the collection to determine the records that are closed and the date when they will be open to researchers
record sourcehttp://corsair.morganlibrary.org
finding aidFinding aid available in the library; soon to be available on the library's web site.
acquisition informationThe Pierre Matisse Foundation was founded in 1992 by the heirs of Pierre Matisse: Maria-Gaetana Matisse, Jacqueline Matisse Monnier, Paul Matisse, and Pierre-Noel Matisse. The foundation was founded for the purpose of creating the Pierre Matisse Gallery Archives. The Archives contains the complete records of the Pierre Matisse Gallery New York from 1931 to 1990.
updated11/12/2014 11:30:09
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titleAlice Klauber letters, 1907-1946.
repositoryArchives of American Art
descriptionLetters to Alice Klauber from Walter Pach and Robert Henri about art activities; letters to Klauber and Edgar L. Hewett regarding the Panama-California Exposition of 1915-1916 in San Diego; and a few letters from William Zorach, Pierre Matisse and Wayman Adams regarding exhibits at the Fine Arts Gallery of San Diego. All letters are copies.

The 19 letters from Pach, 1907-1929, regard arrangements for Klauber to attend the Chase School in Italy (Pach was a manager/instructor), and his travels and work in Italy, Belgium, and Paris. Henri, writing 1912-1918, in 34 letters, discusses Maratta's color system, trips to Ireland, California, and Santa Fe, his health and work. The series concerning the Panama- California Exposition of 1915-1916 comprise mainly letters and telegrams to the art department chair Edgar L. Hewett from artists George Bellows, Arthur B. Davies, William Glackens, Bertram Hartman, Childe Hassam, Henri, Marjorie Organ (Mrs. Robert Henri), George Luks, Ernest Lawson, Maurice Prendergast, Joseph Henry Sharp, and John Sloan regarding their work, and a few to Klauber on her work for the exposition.

Bio / His Notes:
Painter, curator, San Diego, Calif. Klauber was a member of the Women's Board of the Panama-Pacific Exposition, 1915-1916, in San Diego, working on art exhibitions, actively assisted by Robert Henri and Edgar L. Hewett. Later, she was a curator at the Fine Arts Gallery of San Diego (renamed San Diego Museum of Art in 1978).

Reproduction:
All letters are photocopies.

Location of Original:
Originals in the San Diego Museum of Art.
extent0.2 linear ft. (on partial microfilm reel).
formatsPhotocopies Microfilm
accessPatrons must use microfilm copy.
record linkn/a
record sourcehttps://www.aaa.si.edu/collections/alice-klauber-letters-7747
acquisition informationThe donor, Henry G. Gardiner, was affiliated with the San Diego Fine Arts Gallery. He received the Pach letters from Mrs. Paul Wormser of La Jolla, California. Included with his donation were photocopies of letters to Alfred Mitchell from Mrs. Thomas Eakins which were microfilmed and described separately. Originals are owned by the San Diego Museum of Art.
updated06/08/2023 16:42:08
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titleJoseph Randall Shapiro and Jory Shapiro papers, 1943-1985.
repositoryArchives of American Art
descriptionLetters, scrapbooks, and printed material documenting the development of the Shapiro's art collection.

Correspondence, primarily from dealers, museums, art organizations and artists, includes letters from Enrico Baj, Aaron Bohrod (recommending Ben Shahn as a muralist), George Buehr, Jose Luis Cuevas, Leon Golub, Margo Hoff, Miyoko Ito, Sidney Janis, Ellen Lanyon, Pierre Matisse, Ida Meyer-Chagall (discussing her father's work), Abbott Pattison, Irving Petlin, Abraham Rattner, and Kay Sage Tanguy (discussing her husband's work). Printed material consists of 11 exhibition announcements and catalogs (1952-1984), and clippings (1965-1985).

Four scrapbooks (1943-1955) contain clippings, some dealing with the "Art to Live With" program, exhibition catalogs, a letter from Richard Daley (1958), a 3-page typescript "Surrealism Then and Now" by Doris Lane Butler (1958), press releases (1959), and a letter from R. J. Nedved of the Illinois Society of Architects (1967).
extent0.6 linear ft. (on 1 microfilm reel) reel 3759
formatsCorrespondence Catalogs Scrapbooks Ephemera
accessPatrons must use microfilm copy.
record linkn/a
record sourcehttps://www.aaa.si.edu/collections/joseph-randall-shapiro-and-jory-shapiro-papers-9547
acquisition informationMaterial on reel 3759 (fr. 1-320) donated 1986; and material on fr. 323-569 lent for microfilming 1986 all by Joseph R. Shapiro.
updated06/08/2023 16:42:16
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titleTheodore Roszak papers 1928-1981.
repositoryArchives of American Art
descriptionCorrespondence, printed material, photographs, sketches, writings, financial material and interviews.
REEL N69-54: Scrapbooks; exhibition catalogs, articles and clippings from the London Eagle; biographical data; and writings, including THE ARTS AND THE UNIVERSITY: A SYMPOSIUM.

REEL N69-66: Correspondence, Christmas cards and telegrams; exhibition catalogs and publications; photographs of art work and projects; and references to Roszak in Whitney Museum publications.
REEL N69-81: Correspondence; talks and taped interviews; notes; press releases and statements.

REEL 2134-2136: Correspondence with museums, art organizations and Alfred Barr, Lloyd Goodrich, Pierre Matisse, Eero and Aline Saarinen, David Smith and Frederick Sweet; subject files containing correspondence, printed material, sketches, blueprints (not microfilmed) and financial material for the U.S. Embassy in London and the J. F. Kennedy memorial grave; biographical material; writings, speeches and interviews; exhibition catalogs, announcements and clippings; and photographs of Roszak and his sculpture.

UNMICROFILMED: An exhibition catalog of Roszak's drawings, 1981; 16 photographs and negatives of works by Alexander Calder, Julio Gonzalez, Richard Lippold, Ezio Martinelli, and David Smith; and a negative of David Smith's studio.

Bio / His Notes:
Sculptor, painter, designer, decorator, lithographer, teacher, craftsperson; New York City. Born in Poland. Died in 1981. Studied at the National Academy of Design. Member of American Artists Congress. Teacher at Laboratory School of Industrial Design, N.Y.

extent2.7 linear ft. (partially microfilmed on 6 reels)
formatsMicrofilm Drawings Financial Records Correspondence Writings
accessMicrofilmed portion must be consulted on microfilm. Use of unmicrofilmed portion requires an appointment and is limited to the Washington, D.C. storage facility
record linkn/a
record sourcehttps://www.aaa.si.edu/collections/theodore-roszak-papers-7332
acquisition informationMaterial on reels N69-54, N69-66 & N69-81 lent for microfilming by Theodore Roszak, 1969. Material on reels 2134-2136 donated by Roszak, 1980. Unmicrofilmed material donated by Sara Jane Roszak, Theodore's daughter, 1983.
updated06/08/2023 16:42:23
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titleOral history interview with Eugene V. Thaw 2007 Oct. 1-2.
repositoryArchives of American Art
descriptionAn interview of Eugene V. Thaw conducted October 1 and 2, 2007 by James McElhinney for the Archives of American Art's Art Dealers Association of America Project at Thaw's residence in New York.

Thaw speaks of his childhood in New York City; Mexican art in his home including watercolors by Diego Rivera; beginning classes at the Art Student’s League of New York at age 14; attending St. John’s College in Annapolis, Maryland; attending Columbia University for graduate courses in art history and studying with Meyer Shapiro and Millard Meiss; an early interest in Old Master, Renaissance, and German Expressionist art; studying in Florence, Italy for four months after World War II; opening The New Bookstore and Gallery with friend Jack Landau above the Algonquin Hotel upon his return to New York City;

giving Joan Mitchell and Conrad Marca-Relli their first shows; ending his partnership with Landau, closing the bookstore, and moving the gallery to Madison Avenue; becoming involved in the international art market; the practice of buying and selling works of art in shares with other dealers; showing American and European artists; renaming the gallery E.V. Thaw & Company;

operating essentially as a one-man gallery with very limited staff; his relationship with museums such as the Metropolitan Museum of Art and the Cleveland Museum of Art; his personal collections, including extensive ancient Eurasian artifacts and American Indian art; establishing the Pollock-Krasner Foundation; the philanthropic vision of his own foundation, the Eugene V. and Clare E. Thaw Charitable Trust; his retirement from dealing; the “hand of the artist” in historical context and its lack of significance in contemporary art;

and advice for young and emerging art dealers. Thaw also recalls Richard Offner, Evelyn Sandberg-Vavala, Norbert Ketterer, Günther Franka, Pierre Matisse, Leo Castelli, Julius Held, Theodore Rousseau, Lee Krasner, Norton Simon, and others.
extentSound recording, master: 2 sound discs (2 hr., 25 min.) digital; 2 5/8 in., Transcript: 33 p.
formatsSound Recording Online Transcript
accessTranscript is available on the Archives of American Art's website.
record linkhttps://www.aaa.si.edu/download_pdf_transcript/ajax?record_id=edanmdm-AAADCD_oh_274662
record sourcehttps://www.aaa.si.edu/collections/interviews/oral-history-interview-eugene-v-thaw-13687
acquisition informationThis interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding Note: Funding for this interview provided by Art Dealers Association of America.
updated06/09/2023 15:39:52
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titleArtist file: Matisse, Pierre, 1900-1989, miscellaneous uncataloged material.
repositoryThe Museum of Modern Art
descriptionThe folder may include announcements, clippings, press releases, brochures, reviews, invitations, small exhibition catalogs, and other ephemeral material.

Location
MoMA Queens Artist Files

Call Number
MATISSE, PIERRE, d.1989

extent1 folder
formatsEphemera
accessContact repository for restrictions and policies.
record sourcehttps://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991010031059707141
updated11/29/2022 15:49:51
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titleGloria de Herrera papers, 1936-1996 (bulk 1947-1985).
repositoryThe Getty Research Institute
descriptionThe papers consist of ca. 750 items documenting De Herrera’s milieu and activities.

Series I. Correspondence: ca. 180 letters and related items, of De Herrera or of James Byrnes acting on her behalf. Correspondents include Heinz Berggruen, James and Barbara Byrnes, Dominique Darbois, Lydia Delectorskaya, Marcel Duchamp, Max Ernst and Dorothea Tanning, Françoise Gilot, Adolfo Kaminsky, Edouard Loeb, Henri and Amélie Matisse, Pierre Matisse, Franz Meyer, Wolfgang Paalen and Man Ray. The series also contains letters by William Nelson Copley, as well as some from Russian correspondents whom De Herrera met in the Soviet Union in 1957.

Series II. Documents: ca. 170 items, comprising De Herrera’s writings, records of her Matisse work and her work on Darbois’s Enfants du monde series, newspaper clippings, arrest records, passport fragments detailing her travels, medical reports and records from the end of her life. Of interest are drafts of ten short essays by William Nelson Copley regarding life in France in 1951, including a visit to Picasso’s studio in Vallauris.

Series III. Artworks: 22 artworks, 68 photographs of artworks and 7 exhibition announcements. Includes drawings by Victor Brauner, Alexander Calder, Alberto Giacometti, Roberto Matta and Bernard Pfriem, a watercolor by Franoise Gilot, and a very small oil painting by William Nelson Copley. Of particular interest are the Échantillons Matisse, a set of 72 fragments of unfaded gouached paper left over from her Matisse work, along with 10 full-sized gouached sheets. Photographs of artworks and exhibition announcements document works by Brauner, Calder, Copley, Joseph Cornell, Max Ernst, Gilot, Ynez Johnston, Henri Matisse, Matta, Claude Monet, Piet Mondrian, Man Ray, Yves Tanguy and Dorothea Tanning.

Series IV. Photographs: 244 photographs, 37 photocopies and 1 related item documenting De Herrera’s friendships, activities and interests, predominantly in Los Angeles and France. Most notably represented are Man Ray and his wife Juliet, William Nelson Copley, Max Ernst and Dorothea Tanning; also included are Victor Brauner, Alexander Calder, Marcel Duchamp, Paul Eluard, Alberto Giacometti, Françoise Gilot, Wolfgang Paalen, Valentine and Roland Penrose, Pablo Picasso, Henri-Pierre Roché, Yves Tanguy, and Marcel Zerbib. Of special interest is De Herrera’s scrapbook, documenting her life from ca. 1950 to 1953, with views of Max Ernst’s homes in Sedona and St. Martin d’Ardèche, and snapshots from the visit to Picasso in Vallauris. Also of interest are photographs taken by De Herrera at a 1947 Just Jazz concert in Pasadena, featuring Louis Armstrong, Duke Ellington, Ella Fitzgerald and other jazz musicians. Further included are a picture of De Herrera working on a Matisse collage, and images from De Herrera’s 1957 trip to the Soviet Union. Photographs documenting the Algerian revolution were likely taken by Dominique Darbois.

Series V. Oversize materials: 7 items, including an oil painting by Copley entitled Gloria, a photographic reproduction of a Matisse drawing, and printed documents including a transcript of George Dondero’s 1949 Senate address, Modern art shackled to Communism.

Series VI. Audiovisual materials: 3 items, a taped 1983 interview of De Herrera conducted by James B. Byrnes and a videotaped 1996 interview of Byrnes conducted by Dickran Tashjian. 1 computer disc contains the transcript of Byrnes interview with De Herrera.
extentca. 3 linear ft. (11 boxes) + ADDS (2 boxes)
formatsCorrespondence Photographs Sound Recording Clippings Ephemera
accessOpen for use by qualified researchers.
record linkhttp://hdl.handle.net/10020/cifa980024
record sourcehttps://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21115829510001551
finding aidAvailable online and unpublished finding aid available in the repository: folder level control.
acquisition informationJames and Barbara Byrnes.
updated07/28/2023 16:33:45
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titleDr. Claribel and Miss Etta Cone Papers, 1885-1949 (MS.1 Series 1-4, 6)
repositoryBaltimore Museum of Art
descriptionThe Dr. Claribel and Miss Etta Cone Papers contain the correspondence, personal papers, publications and lectures, art collection-related papers, photographs, subject files and postcards of Claribel and Etta Cone as well as other members of their family. They document the Cones’ lives and collections of artwork, spanning the years 1885 – 1949.

The Papers are housed in 60 boxes and 9 postcard albums and consist of seven series: Correspondence, Personal Papers, Publications and Lectures, Cone Collection, Photographs, Subject Files, and Postcards. Four boxes contain Oversize, Restricted Fragile, and Oversize Restricted Fragile material. While the original arrangement of the Cone Papers is unknown, at the time they were microfilmed by The Archives of American Art in 1987, they were organized into two series, Correspondence and Memorabilia. This arrangement was modified in 2003 to the seven series listed above to better reflect the varied nature of the papers.

New additions of material from various relatives in 1995 and 2007 have been integrated into the finding aid.

In general, materials are arranged first in alphabetic order by subject or correspondent and further by date. Exceptions are noted below. In most cases where there are two or fewer items from a particular correspondent or about a particular subject, the items have been filed alphabetically in General files.

Where there are three or more items, the person or subject is given its own folder. For example, in the Correspondence Series, the single letter from the Baltimore Symphony Association has been filed in the B – Ba – General folder, but the 52 letters from the Baltimore Museum of Art have been filed in folders titled Baltimore Museum of Art.

Preferred Citation
Dr. Claribel and Miss Etta Cone Papers, Archives and Manuscripts Collections, The Baltimore Museum of Art

extent30.7 Linear feet ; 60 boxes; 9 postcard albums
formatsCorrespondence Personal Papers Photographs Postcards Ephemera
accessThe collection is open for research. Microfilm of Series 1, 2, 3, 4, and 6 is available at the BMA Library and the Archives of American Art. Microfilmed portions must be consulted on microfilm. Please call the Library for an appointment to use the microfilm or contact the Archives of American Art. In addition, transcriptions of correspondence have been copied and bound in chronological order and are avaialble in the Library.
record linkhttp://cdm16075.contentdm.oclc.org/cdm/landingpage/collection/p15264dc
bibliographyGabriel, Mary. The Art of Acquiring: Portrait of Etta and Claribel Cone. Bancroft: BRAD, 2002.
record sourcehttp://www.artbma.org/library/finding_aids/ConePapersSeries1-4-6.html
finding aidIn repository and on repository's website
acquisition informationBequest of Etta Cone on her death in 1949. Further donations of material were made in 1985 and 1995 by the Cones’ great-grandnephew, Edward F. Cone and great-grandniece Nancy Ramage, and great-grand nephews Edward Hirschland and Roger Hirschland in 2007.
updated11/12/2014 11:30:09
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titleJoan Miró letters, 1935-1958.
repositoryThe Getty Research Institute
descriptionSeven letters and one postcard to Joseph Foster, James Thrall Soby and others about his work for UNESCO, exhibitions organized by Pierre Matisse, his work for the ballet, and reflections on his artistic influences.

Notes:
Mss. (holographs, typescripts).

Location:
SPECIAL COLLECTIONS - CONTACT REFERENCE

Call Number:
850267
extent13 items.
formatsCorrespondence Typescript Holographs
accessOpen for use by qualified researchers.
record linkn/a
record sourcehttps://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21126949140001551
updated07/28/2023 16:33:45
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titleJean Dubuffet correspondence and papers, 1944-1984.
repositoryThe Getty Research Institute
descriptionThe collection comprises letters and related papers covering various periods of Dubuffet’s life, from his late beginnings as a painter in the forties, up to a few months before his death in May, 1985. Most of the letters are addressed to his friends and collaborators, Graham Ackroid, René Drouin, André Martel and Daniel Wallard.

Two other groups comprise correspondence with the publishers Alecto (London) and Ditis (Paris). The letters are filed in alphabetical order of the recipients. Four letters to Werner Schmalenbach, the organizer of Dubuffet’s exhibition in Hanover (1960), one to R. Augustincic (1959), and one to Les Lettres Françaises (1947) are placed at the end in a miscellanea folder, followed by a small group of four manuscripts.


Biographical or Historical Notes:
French painter, litographer, sculptor, architect and author.

Location:
SPECIAL COLLECTIONS - CONTACT REFERENCE

Call Number:
970026

Holdings at This Location:
1 Box
extent219 items.
formatsCorrespondence Ephemera
accessOpen for use by qualified researchers.
record linkhttp://hdl.handle.net/10020/cat358306
record sourcehttp://library.getty.edu/vwebv/searchBasic
updated07/28/2023 16:33:47
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titleMoMA History Interviews
repositoryThe Museum of Modern Art
descriptionThe collection consists of 47 taped interviews (contained on 28 standard audio cassettes). Many of the tapes contain interviews with multiple individuals. They are physically arranged alphabetically, by the last name of the first person interviewed on the tape. The cassettes have been numbered.

Historical Note
David Hoffman and his writing staff conducted interviews in 1986 with individuals either directly associated or intimately familiar with The Museum of Modern Art. The interviews were conducted in preparation for a television special to mark the Museum's 50th anniversary.

The program was canceled prior to completion.

extent28 standard audio cassettes
formatsSound Recording
accessThe records are open for research and contain no restricted materials.
record sourcehttp://www.moma.org/learn/resources/archives/
acquisition informationMr. Hoffman has signed all rights in the recordings over to the Museum.
updated11/12/2014 11:30:09
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titleMonroe Wheeler Papers, 1923-1985 [Bulk Dates: 1940s-1960s]
repositoryThe Museum of Modern Art
descriptionThe administrative papers of Monroe Wheeler, former Director of Exhibitions and Publications at The Museum of Modern Art. Includes business communication, personal correspondence, post-retirement material and documents relating to Wheeler's work outside of the Museum.

Biographical Note
Monroe Wheeler (1899-1988) was born in Evanston, Illinois. In the 1920s, before his long and active career at the Museum, Wheeler worked and lived in France, co-founding the publishing firm Harrison of Paris. Wheeler credits this period of his life as his introduction to the artist communities he would continue to associate with for the remainder of his career. This period also soldered his skills and knowledge of producing and printing high-quality publications, which foreshadowed his long career as a publisher of fine books on art at the Museum. He began his work with the Museum in 1935 as a member of the Library Committee and director of Ignatz Wiemeler, Modern Bookbinder [MoMA Exh. #42b, September 30-October 24, 1935]. In 1938 he was appointed Director of Membership, and by 1939, he became the Director of Publications. In 1940, he became the first Director of Exhibitions. Wheeler was elected a Trustee of the Museum in 1944, and afterwards he became a member of the Executive Committee, the Exhibitions Program Committee, and the Coordination Committee. In 1948, Wheeler continued to run the Exhibitions and Publications department while overseeing the management of all of the Museum's operating outreach programs, including education, traveling (or circulating) exhibitions, and the library.

During the period between 1940-1967, Wheeler managed much of the logistics of the circulating exhibitions program and developed a strong publications program. Aside from his management of Museum programs, Wheeler is well known for directing museum exhibitions such as Modern Painters and Sculptors as Illustrators [MoMA Exh. #47, April 27-September 2, 1936] and Turner: Imagination and Reality [MoMA Exh. #794, March 23-June 19, 1966]. Under his direction the Museum produced over 300 books, both monographs and exhibition catalogues, which were distributed internationally, and in the process won acclaim for the high quality of visual art books with regard to scholarship, layout, design, and color reproductions. Wheeler authored many of the works published by the Museum, including monographs about Soutine and Rouault, which complimented museum exhibitions on the artists.

As a staff member of the Museum and as a trusted source of knowledge about art, Wheeler maintained a very visible profile within the greater national and international museum and art community. During World War II, he served as Chairman of the Committee on Publications for the Office of Inter-American Affairs under Nelson A. Rockefeller. In 1969, he accompanied NAR on an official U.S. appointed tour of Latin America as a Cultural Advisor. As a part of the International Program and under the auspices of the International Council, in 1965 Wheeler directed Cézanne to Miró [ICE-F-111].

Wheeler was appointed an Honorary Trustee of the Museum in 1965 and a Counsellor to the Trustees upon his retirement from the Museum in 1967. He continued to maintain ties to the Museum by working with the International Council and participating in a number of committees, including Prints and Illustrated Books, Photography, Drawings and Exhibitions. Affiliations outside of the Museum include serving as a Trustee and First Vice President of the New York Genealogical and Biographical Society, a Trustee of the Katherine Anne Porter Foundation, a Trustee of the Ben Shahn Foundation, a member of the Council of the Grolier Club, and President of the International Graphic Arts Society. He played an active role in the American Institute of Graphic Arts as well. Monroe Wheeler died in 1988 in New York City.
extentApprox. 29.5 linear feet
formatsAdministrative Records Business Papers Correspondence Ephemera
accessThe records are open for research and contain few restricted materials.
record sourcehttp://www.moma.org/research/archives/EAD/wheelerf.html
finding aidThe finding aid is in the repository and on the repository's web site.
acquisition informationThe Monroe Wheeler Papers were accessioned into the Museum Archives from staff offices and institutional storage. See Accruals note below.
updated11/12/2014 11:30:09
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titleWilliam S. Lieberman Papers, 1948-1984
repositoryThe Museum of Modern Art
descriptionThe 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
extent31 linear feet
formatsBusiness Papers Personal Papers Correspondence Exhibition Files
accessThe records are open for research and contain no restricted materials.
record linkhttp://www.moma.org/research/archives/EAD/Liebermanf.html
record sourcehttps://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991009763659707141
finding aidThe finding aid is in the repository and on the repository's web site.
acquisition information7.5 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
updated11/29/2022 15:49:51
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titleCalvin Tomkins Papers, 1860-2006 Bulk 1962-2006
repositoryThe Museum of Modern Art
descriptionProfessional papers of Calvin Tomkins, author, journalist, and contributor to the The New Yorker magazine.

Biographical Note
Calvin Tomkins was born December 17, 1925, in Orange, NJ. He received his undergraduate degree from Princeton University in 1948 and entered into a career in journalism, working first with Radio Free Europe from 1953 to 1957 and then, as a writer and editor, for Newsweek from 1957 to 1961. His first contributions to The New Yorker were published in 1958 and in 1961 he became a regular staff writer while only occasionally writing for other outlets. In 1980, in addition to continuing his longer pieces for the magazine, Tomkins was appointed the official art critic and wrote art reviews and other content on an almost weekly basis. That position terminated in 1986 but Tomkins continued as a staff writer at The New Yorker until the present.

Tomkins' initial contributions to The New Yorker were short humor pieces (now known under the rubric Shouts and Murmurs.) He contributed six of these pieces between 1958 and 1960 before publishing his first Profile, on Jean Tinguely, in 1962. Tomkins' career at the magazine coincided with a new burgeoning of talent in the New York art world and his first two decades of writing traced the origins and rise to establishment of Pop Art, Earth Art, Minimalism, Video Art, Happenings and Installation Art; as well as profiling the curators, collectors, and gallery owners who helped popularize those artists and movements. Tomkins continued publishing longer articles two or three times a year interspersed with light humor pieces, The Talk of the Town articles and other shorter pieces, through 1980, when he became official art critic for the magazine.

For more than five years Tomkins published art reviews on an almost weekly basis. The frequency of his major articles dropped during this time but did not cease. During his time as critic Tomkins was able to witness and chronicle the astonishing growth of the art market, the development of SoHo as a center of art and commerce, the revitalization of painting, and a host of new art movements. After this position ended, he resumed his former production of larger articles. During this time, The New Yorker itself changed, including more photographs and pictures, often as full- or double-page spreads. Tomkins often wrote paragraphs and captions to accompany these images; in many cases the writings were unattributed in the publication.

In recent years, Tomkins' pace of article publication may have slowed, but he continues to regularly contribute to The New Yorker; his most recent articles appeared in 2007.

Tomkins' first published book was Intermission: A Novel (New York: Viking Press, 1951), but his ensuing books flowed directly from his work at The New Yorker. The Lewis and Clark Trail (New York: Harper & Row, 1965) was written at the same time that Tomkins participated in an NBC documentary on the subject; an article concerning Lewis and Clark appeared in The New Yorker in 1966. Also in 1966, Time-Life published a volume by Tomkins in its series Time-Life Library of Art; The World of Marcel Duchamp (Time, Inc.: New York, 1966) drew on interviews and materials gathered for Tomkins' 1965 Profile. Eric Hoffer: An American Odyssey (New York: Dutton, 1969) was likewise an expansion of a 1967 Profile on the famed autodidact and philosopher. In 1968, Tomkins was contracted by The Metropolitan Museum of Art to write a history of that institution coincident with its centennial. Merchants and Masterpieces: The Story of the Metropolitan Museum of Art (New York: E.P. Dutton, 1970) to this day remains a key reference work for the museum. Finally, Living Well is the Best Revenge (New York: Viking Press, 1971), a book on Gerald and Sara Murphy and the American Expatriate community in France between the world wars, was enlarged from a Profile of the same name published in 1962. It has proven to be Tomkins' most popular and enduring work, reprinted numerous times and published in a Modern Library edition in 1998.

During this same period, the first book that reprinted and collected Tomkins' articles from The New Yorker appeared. The Bride and the Bachelors: The Heretical Courtship in Modern Art (New York: Viking, 1965) reprinted Profiles on Marcel Duchamp, Jean Tinguely, John Cage and Robert Rauschenberg; later editions also included a fifth Profile on Merce Cunningham. In 1976, The Scene: Reports on Post-Modern Art, (New York: Viking Press, 1976) reprinted articles on Andy Warhol, E.A.T., Henry Geldzahler, Tatyana Grossman, Earth Art, Jonas Mekas, Nam Jun Paik, and Robert Wilson. In 1980, Tomkins published Off the Wall: Robert Rauschenberg and the Art World of Our Time (New York: Doubleday, 1980). While the book centered on the career of Rauschenberg, it also depicted the activities of the New York art community in the 1960s and 1970s and drew heavily on all of Tomkins' research, interviews, and writings of the preceding twenty years. In 1988, Post- to Neo-: The Art World of the 1980's (New York, Henry Holt, 1988) included reprints of twenty-seven Art World reviews and one Profile originally published between 1980 and 1986.

Aside from major books and collections of articles, Tomkins also contributed original or reprinted essays to artists' monographs and co-wrote books with his spouses. Monographs include Andy Warhol by John Coplans, (Greenwich, CT: New York Graphic Society,1970); Christo: Running Fence, with David Bourdon (New York: Abrams, 1979); Jennifer Bartlett, with Marge Goldwater and Roberta Smith (Minneapolis, MN: Walker Art Center, 1985); and Roy Lichtenstein: Mural with Blue Brushstroke, with Bob Adelman (New York: Abrams, 1987). With Judy Tomkins, he wrote The Other Hampton (New York: Viking-Grossman, 1974) and with Dodie Kazanjian, Alex: The Life of Alexander Liberman (New York: Knopf, 1993). In 2001, Tomkins contributed an original essay on R. Buckminster Fuller to Buckminster Fuller: Anthology for the New Millennium, Thomas T.K. Zung ed., (New York: St. Martin's Press, 2001).

Tomkins had developed a long friendship with R. Buckminster Fuller beginning when Tomkins wrote his 1966 Profile on the scientist and inventor. For years, plans were discussed for Tomkins to write a biography of Fuller and in 1980 a contract for the book was signed with Doubleday. In 1984, after numerous extensions, the project was abandoned. Three years later, Tomkins chose as his next project a biography of Marcel Duchamp and Duchamp: A Biography was published in 1996 by Henry Holt. It is his most recent major work and a capstone to a decades-long fascination with the artist.

Calvin Tomkins has been married four times: to Grace Lloyd Tomkins, to Judy Tomkins, to Susan Cheever, and finally to Dodie Kazanjian. Tomkins has three children by his first wife: Anne, Susan, and Spencer; and a daughter, Sarah, by Susan Cheever. Calvin Tomkins currently resides in New York and continues writing.

extent32 linear feet
formatsCorrespondence Clippings Research Files Writings Photographs
accessThe records are open for research and contain few restricted materials.
record sourcehttp://www.moma.org/research/archives/EAD/Tomkinsf.html
finding aidIn the repository and on the repository's web site.
acquisition informationThe collection was given to the Museum Archives by Calvin Tomkins in 2004. Additional accruals to the collection were received in 2005 and 2007.
updated11/12/2014 11:30:09
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titleJames Thrall Soby Papers, ca. 1930-1970, bulk ca. 1930-1960.
repositoryThe Museum of Modern Art
descriptionCorrespondence, general files, research notes, articles, photographs and negatives, manuscripts, clippings, ephemera, and family papers.

Arrangement
Arranged in 8 series: I. Subject Interest Material: Artists and Movements 1930s-1960s. II. Writings. IIA. Museum. IIB. Non-Museum. III. Museum Matters, 1940s-1970s. IV. JTS collection: ca. 1930-1979. V. Personal/Family. VI. Confidential Material. VII. Giorgio de Chirico. VIII. Addenda; Subject material arranged alphabetically.

Related collections
Related papers are housed in other Departments of the Museum.

Biographical/historical note
Author, art critic, editor, collector, patron, connoisseur, and MoMA director and trustee.
extent24 linear ft., 3 v.
formatsCorrespondence Notes Ephemera Transcript Manuscript
accessThe records are open for research and contain few restricted materials.
record linkhttp://www.moma.org/research/archives/EAD/Sobyf.html
record sourcehttps://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991003535889707141
finding aidFinding aid in the repository.
acquisition informationReceived from the Estate of James Thrall Soby, 1980, and as a gift from Mr. and Mrs. Arthur A. Cohen, 1981.
updated11/29/2022 15:49:51
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titleDepartment of Circulating Exhibitions Records, 1931-1990
repositoryThe Museum of Modern Art
descriptionThe processed papers of the the Department of Circulating Exhibitions include 147 linear feet of correspondence, research notes, published materials, lists, large-format scrapbook albums, photograph albums, photographs, photographic panels, record album, display book, and ephemera pertaining to departmental administration and the organization and circulation of exhibitions. 73 linear feet of records are stored in 20 10.25x12.5x15.5" storage boxes; 102 5" document boxes; 17 2.5" document boxes; 1 3x5x12" and 2 4.5x6x8" index card boxes. The remaining 74 linear feet include 49 16x13x4" large-format albums containing press clippings, photographs, promotional and other materials pertaining to individual exhibitions circulated by the department; 1 10x12" photograph album; 57 8.5x11" photograph albums; 2 bundles (32x43.5"; 20x25") of photographic panels; 1 12" acetate record album; and 1 21x23.5x5" particle-board display book.

During processing, we discovered records of exhibitions that traveled but that were not listed in the Museum's files; working folders for exhibitions that had been proposed but were ultimately cancelled; exhibitions listed in Museum records for which no documentary material exists; records for international circulating exhibitions containing foreign artwork that were circulated nationally and to Canada, or that were transferred from the Department of Circulating Exhibitions for international circulation; and Educational Program projects that were transferred to the department for circulation. The inclusive dates for these records is 1931 through 1969. This predates the official establishment of the Department in 1933 and ends with the reorganization of the Department of Circulating Exhibitions into the Exhibition Program in 1969.

The Department of Circulating Exhibitions collaborated with all curatorial departments within the Museum in order to insure a diverse program of exhibitions covering a wide range of media - painting, sculpture, prints, photography, graphic and industrial design and architecture. As a result, the records include correspondence from staff important to the early history of The Museum of Modern Art, including Alfred H. Barr, Jr., René d'Harnoncourt, Dorothy C. Miller, James Johnson Sweeney, James Thrall Soby and Monroe S. Wheeler, among others. Also included are the administrative records of the first director of the department, Elodie Courter.

These papers reveal the Museum's role as a promulgator of modern art in this country, both through its innovative program of circulating exhibitions to other institutions, as well as its role in educating several generations of art students, as well as the general public, through its collaborations with the Museum's Educational Program. They also reflect the Museum's support of U.S. interests abroad during and immediately following World War II. For example, the Department of Circulating Exhibitions prepared numerous exhibitions for the United States Office of War Information for European tour during the 1940s, including the survey exhibitions America Builds and Modern American Architecture Additionally, during this period, more than two dozen exhibitions of photographs and government war posters were prepared for national tour that focused on such timely issues as wartime housing, internment of Japanese-Americans and the cultural impact of the war. Similarly, the department was instrumental in establishing a program of cultural exchange with Latin America through its collaboration with the Office of the Coordinator for Inter-American Affairs in Washington, D.C., for which it organized exhibitions of Latin American art for circulation in this country as well as exhibitions of American art and architecture for tour in Latin America. This later served as the model for the Museum's International Program which began in 1953.

These papers are also an important source of general art historical information. For instance, the pioneering Museum of Modern Art exhibition Cubism and Abstract Art, which was held at the Museum in Spring 1936, was circulated nationally in 1936-37; the files contain, for example, autographed letters to Alfred H. Barr, Jr. from Alexander Calder, Robert and Sonia Delaunay, Marcel Duchamp, Alberto Giacometti, Jacques Lipchitz and Piet Mondrian, as well as other artists whose work was included in the exhibition. Other original documentation includes lecture notes by the art critic Meyer Schapiro, which were prepared for the retrospective exhibition Picasso: Forty Years of His Art, circulated in the early 1940s; and László Moholy-Nagy's panel sketches for the 1942 exhibition How to Make a Photogram.

Historical Note
From the beginning, the Museum of Modern Art's trustees intended that the Museum should be more than a repository or an exhibition gallery for modern art and that it should promote an understanding of the most vital art being produced in the time to the widest possible range of individuals and institutions. In 1931, two years after it was founded, the Museum organized its first exhibition of modern architecture and what was to become its first traveling exhibition, The International Exhibition of Modern Architecture. The trustees assumed responsibility for half of the cost of the show, on the condition that the balance could be raised among other participating institutions. An illustrated pamphlet outlining the plan and the importance of the exhibition was sent to museums throughout the country and eleven institutions subscribed. During 1931 the Museum had assembled sixty color reproductions with commentary by Museum director Alfred H. Barr, Jr. for a group of New York secondary schools. This exhibition, A Brief Survey of Modern Painting, was so well received during the first year of the tour which began in October 1932 that a duplicate show was prepared, which traveled for nine years.

These two exhibitions prepared the way for the Department of Circulating Exhibitions, officially established in 1933, which supplied exhibitions of modern art to other institutions. Elodie Courter, a member of the Museum staff, became Secretary of Circulating Exhibitions in November 1935 and played an active role in the development of that department. She was named director in 1939, a position she held until 1947. During that period, the number and variety of the Museum's traveling exhibitions increased, until the roster of circulating exhibitions encompassed all the fields included in the Museum itself: industrial design, the graphic arts, theater arts, photography, and film, in addition to painting, sculpture, and architecture.

Among the most widely-seen exhibitions circulated by the department in its first five years were Machine Art, 1934-38; Paintings, Watercolors and Drawings by van Gogh, 1936; and Portrait of the Artist's Mother" by James Abbott McNeill Whistler, 1933-34. In addition, the department adapted and circulated during its first decade Museum exhibitions such as American Folk Art, 1932-33; Cubism and Abstract Art, 1936-37; Fantastic Art, Dada and Surrealism, 1937; Photography: 1839-1937, 1937-38; Six Modern Sculptors, 1936-38; and, in the 1940s, Ancestral Sources of Modern Painting, 1941-46; Latin American Contemporary Art, 1942-43; Modern Architecture for the Modern School, 1942-46; and Picasso: Forty Years of His Art, 1940-43.

In 1939 a grant was obtained from the Rockefeller Foundation to enable the Museum to expand its program of exhibitions specially prepared for smaller educational institutions. During the next four years, a large number of inexpensive exhibitions, including original works as well as color reproductions, was assembled and offered at nominal fees to the exhibitors. High-quality color reproductions enabled the Museum to introduce to the public works that would otherwise have been too costly to pack and ship or perhaps impossible to obtain on loan; exhibitions such as these proved ideal for educational institutions. Among the most widely-circulated of these exhibitions were A Brief Survey of Modern Painting, 1931-39; How Modern Artists Paint People, 1943-48; Paintings and Drawings by Vincent van Gogh, 1935-42; and What Is Modern Painting?, 1944-54.

When, in 1943, the Rockefeller Foundation grant was exhausted, the Department of Circulating Exhibitions and the Museum's Educational Program, under the direction of Victor d'Amico, combined facilities to provide further material for use in secondary and elementary schools. This program was later modified to include multiple exhibitions consisting of lightweight panels on which color reproductions, photographs or diagrams were mounted; teaching portfolios, which were designed for classroom use and offered to educational institutions at a special reduction; and slide talks, which included both color and black-and-white slides as well as an accompanying text. These materials also played an important part in the continuation of the Museum's exhibitions program during World War II, when the circulation of large-scale exhibitions was necessarily curtailed. Many of the exhibitions that were prepared for circulation during the war period focused on topics that were an adjunct to the war itself, for example, Camouflage for Civilian Defense, 1942-44; Road to Victory, prepared in multiple editions for circulation in 1943-44; The Arts in Therapy, 1943-46; War Posters Today, 1942-44; "Yank" Illustrates the War, 1943-44; and the large-scale exhibition Airways to Peace, which was circulated in 1943-44. Exhibitions were also prepared in cooperation with the Office of War Information (OWI) for purchase and circulation abroad.

In 1952, a grant from the Rockefeller Brothers Fund made possible a five-year project, the International Circulating Exhibitions Program, expanding the scope of the Museum's traveling exhibitions to include Europe and Latin America. Porter A. McCray, then director of the Department of Circulating Exhibitions, was appointed director of the newly formed International Program. Twenty-two of the first twenty-five exhibitions prepared under this project were circulated outside the United States; the remaining three, devoted to arts of other countries, circulated in the United States. In 1969, the administration of exhibitions presented in New York and of those circulated by the Department of Circulating Exhibitions were consolidated into one department, the Exhibition Program. This new department was directed by Wilder Green. From 1972 to 1996 Richard Palmer was director of the Museum's Department of Exhibition Program.
extent147 linear feet
formatsCorrespondence Photographs Scrapbooks Printed Materials Research Files
accessThe records are open for research and contain no restricted materials.
record linkhttp://www.moma.org/research/archives/EAD/CEf.html
record sourcehttps://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991009769179707141
finding aidIn the repository and on the repository's web site
updated11/29/2022 15:49:51
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titleAlfred H. Barr, Jr. Papers, 1927-1984
repositoryThe Museum of Modern Art
descriptionThe 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.

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
extent95 linear ft. (55 boxes)
formatsAdministrative Records Correspondence Ephemera Writings Subject Files
accessThe records are open for research and contain few restricted materials. Contact museum archivist for an appointment.
record linkhttp://moma.org/research/archives/EAD/Barrf.html
record sourcehttps://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991009761919707141
finding aidFinding aids in the repository.
acquisition informationTransferred 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.
updated11/29/2022 15:49:51
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titleArtists' Letters and Manuscripts in The Museum of Modern Art Archives, 1892-1976
repositoryThe Museum of Modern Art
descriptionThe processed Artists' Letters and Manuscripts Collection consists of 124 items contained in one 5" document box. The materials date from 1892 to 1976.

The collection includes: correspondence on a wide variety of subjects to, from, and/or about the artists listed in the finding aid; poems; sketches; notes; an application for a fellowship; Christmas cards; and photographs.

extentOne 5" document box
formatsCorrespondence Sketches Photographs Ephemera
accessThe records are open for research and contain no restricted materials.
record sourcehttp://www.moma.org/learn/resources/archives/
acquisition informationMany items in the Artists' Letters and Manuscripts Collection were collected by members of the Department of Painting and Sculpture. In June 1978, the material was transferred to the Museum Library for safekeeping. Some of the material currently included in this collection was given to the Library by other sources and added to this collection by Library staff post-1978. The Museum continues to add material to the Collection. When available, information regarding provenance accompanies the finding aid entries. The Collection was transferred from the Museum Library to the Museum Archives on May 4, 1998 and re-processed adhering to archival principles.
updated11/12/2014 11:30:09
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titleJames Johnson Sweeney Papers, ca. 1930s-1960s
repositoryThe Museum of Modern Art
descriptionThe James Johnson Sweeney Papers in The Museum of Modern Art Archives contain correspondence and related material pertaining to Sweeney's involvement with MoMA, beginning in the early 1930s as a friend of MoMA, continuing through his brief tenure as Director of Painting and Sculpture in 1945 and 1946, and concluding in the 1950s and 1960s in various capacities.
extent1 linear foot
formatsCorrespondence
accessThe records are open for research and contain no restricted materials.
record sourcehttp://www.moma.org/learn/resources/archives/
acquisition informationThe records are open for research and contain no restricted materials.
updated11/12/2014 11:30:09
....................................................................


titleThe Dorothy C. Miller Papers, ca. 1930-ca. 1980's, bulk ca. 1942-1969
repositoryThe Museum of Modern Art
descriptionThe processed Dorothy C. Miller Papers include correspondence, photographs, research notes and ephemera.

Biographical/historical note
MoMA curator (1935-1969) and honorary trustee (1984-), art advisor, editor.

Related collections
Related Collections: Dorothy C. Miller Papers, Archives of American Art; Holger C. Cahill Papers, New York Public Library.

Note
Forms part of: Museum of Modern Art (New York, N.Y.). Archives. Records.

Location
MoMA Museum Archives

Call Number
mmym MA
extent15 linear feet
formatsCorrespondence Notes Photographs Clippings Ephemera
accessThe Papers may be seen by appointment at The Museum of Modern Art Archives, 11 West 53rd Street, New York, New York 10019, (212) 708-9436. Access to the papers by qualified researchers is unrestricted, with the exception of certain material in Series III.
record linkhttp://www.moma.org/research/archives/EAD/dcmillerf.html
record sourcehttps://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991009761939707141
finding aidFinding aid in repository, see http://arcade.nyarc.org/record=b588227~S8
acquisition informationTransferred from Miller's NY office at One MacDougal Alley, gift of Dorothy C. Miller, 1986.
updated11/29/2022 15:49:51
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