Archives Directory for the History of Collecting in America
Archives related to: Hearn, George A. (George Arnold), 1835-1913
| title | Miscellaneous Personal Name Files (box 49) |
| repository | New York Public Library, Manuscripts and Archives Division |
| description | In addition to collections of personal papers and organizational records, the Manuscripts and Archives Division has acquired miscellaneous letters and documents created by a variety of individuals, both prominent and obscure. Since there are too few items by any single person to warrant the creation of a separate collection devoted to that individual, these documents have been brought together as one collection, the "Miscellaneous Personal Name Files." The collection consists of files on over 10,000 individuals whose names are listed below. The contents of each file can range from a single clipping to several letters and holograph manuscripts. Researchers should request files from the list below, by the title "[Name (reverse order)] - Miscellaneous File," e.g., "Abadia, Pedro - Miscellaneous File." Files should be cited as "[Name (direct order)] Miscellaneous File," e.g., "Pedro Abadia Miscellaneous File." SEE Box 48 |
| extent | Contact repository for details |
| formats | Personal Papers |
| access | Apply in Special Collections Office for admission to the Manuscripts and Archives Division. Access to artifacts requires the advance permission of the Curator of Manuscripts. |
| record link | http://legacy.www.nypl.org/research/chss/spe/rbk/misc/browse.cfm |
| record source | http://www.nypl.org/archives/2386 |
| finding aid | http://legacy.www.nypl.org/research/chss/spe/rbk/misc/browse.cfm |
| updated | 02/14/2025 10:07:30 |
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| title | Portrait of George A Hearn: Byron Company Collection |
| repository | Museum of the City of New York |
| description | Alphonse Jongers, Portrait of George A. Hearn, date unknown. Historical Note Byron Company (24,174 images) For half a century, the Byron Company (1892-1942) was one of New York City's preeminent commercial photography studios. Two major areas of specialization - stage and ship photography - provided steady work for the firm while it pursued thousands of other commissions. Important subjects include New York’s social elites, street scenes, sports, buildings, and workplaces. |
| extent | See repository for details |
| formats | Photographs Digital Collection |
| access | Contact repository for restrictions and policies. |
| record source | http://collections.mcny.org |
| acquisition information | Byron Company (New York, NY) |
| updated | 02/14/2025 10:07:44 |
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| title | M. Knoedler & Co. records, approximately 1848-1971 |
| repository | The Getty Research Institute |
| description | The records of M. Knoedler & Co. document the business of the prominent American art dealer from the mid-19th century to 1971, when the Knoedler Gallery was acquired by Armand Hammer. The archive traces the development of the once provincial American art market into one of the world's leading art centers and the formation of the private art collections that would ultimately establish many of the nation's leading art museums, such as the Frick Collection and the National Gallery of Art. It brings to the foreground the business side of dealing as artworks shuttled back and forth among Knoedler, fellow dealers, and collectors, documenting developments in art connoisseurship, shifting tastes, the changing role of art in American society, and the essential role of private collectors in the formation of public American art collections. The records provide insight into broader economic, social and cultural histories and the nation's evolving sense of place in the world. The Knoedler Gallery became one of the main suppliers of old master and post-Impressionist paintings in the United States. Financial records of the firm provide crucial provenance information on the large number of artworks in American museums that were sold by the gallery. The archive includes stock books, sales books and commission books; correspondence with collectors, artists, art dealers and other associates; photographs of the artworks sold by the gallery; records from the firm's offices in London, Paris and other cities; exhibition files; framing and restoration records, and records of the firm's Print Department. Selected portions of the archive have been digitized and made available online. Connect to selected digitized portions of the archive. Arranged in 14 series: Series I. Stock books; Series II. Sales books; Series III. Commission books; Series IV. Inventory cards; Series V. Receiving and shipping records; Series VI. Correspondence; Series VII. Photographs; Series VIII. Exhibition files; Series IX. American Department records; Series X. Framing and restoration records; Series XI. Print Department records; Series XII. Other financial records; Series XIII. Library cards, scrapbooks, and research materials; Series XIV. Knoedler family papers Biographical/Historical Note: M. Knoedler & Co. was a successor to the New York branch of Goupil & Co., an extremely dynamic print-publishing house founded in Paris in 1827. Goupil's branches in London, Berlin, Brussels, and The Hague, as well as New York, expanded the firm's market in the sale of reproductive prints. The firm's office in New York was established in 1848. In 1857, Michael Knoedler, an employee of Goupil and a manager for the firm, bought out the interests in the firm's New York branch, conducted the business under his own name, and diversified its activities to include the sale of paintings. Roland Knoedler, Michael's son, took over the firm in 1878 and with Charles Carstairs opened galleries in Paris and London. In 1928, the management of the firm passed to Roland's nephew Charles Henschel, Carman Messmore, Charles Carstairs and Carstairs' son Carroll. In 1956 Henschel died, and E. Coe Kerr and Roland Balaÿ, Michael Knoedler's grandson, took over. In 1971 the firm was sold to businessman and collector Armand Hammer. The gallery closed in November 2011. |
| extent | 3042.6 linear feet (5550 boxes, 17 flat file folders). |
| formats | Auction Catalogs Business Records Correspondence Financial Records Ephemera |
| access | Open for use by qualified researchers, with the following exceptions. Boxes 77, 262-264, 1308-1512, 1969-1974, 3592-3723 are restricted due to fragility. Box 4468 is restricted until 2075. |
| record link | http://hdl.handle.net/10020/cifa2012m54 |
| record source | https://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21129976460001551 |
| contact information | Contact gallery's archivist |
| finding aid | At the Getty Research Institute and over their website. |
| acquisition information | Acquired in 2012. |
| updated | 02/14/2025 10:07:44 |
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| title | The Fototeca Berenson (Villa I Tatti Photo Archives) |
| repository | Biblioteca Berenson, Villa I Tatti |
| description | The collection contains about 300,000 photographs, many of them collected by Berenson himself from the 1880s until the time of his death in 1959. Many have notes on the back in his handwriting. Many show works of art before restoration, and others show images since destroyed. An important section, "Homeless paintings", contains photographs of works whose current location is unknown. The photographs are almost exclusively black and white in a variety of photographic media, such as albumen, gelatine, or carbon. About 3000 large-format photographs are stored separately. In addition, there is a considerable amount of documentary material in the form of clippings, notes and printed reproductions. The photographs are arranged according to Berenson's original scheme, by school: Florence, Siena, Central Italy, Northern Italy, Lombardy, Venice, Southern Italy. Within each school they are arranged by artist, then by topography, followed by homeless. Paintings and drawings are arranged separately. The main focus of the collection is on Italian painting and drawing from the mid-thirteenth to the mid-sixteenth centuries. This part of the collection continues to be developed through the acquisition of new materials and through photographic campaigns. Later periods are also represented but in smaller scale, without systematic updating. There is also material on medieval painting, arranged topographically; manuscript illumination, arranged according to present location; archeology; Byzantine art and architecture, arranged both by artist and by location; and non-Italian art, arranged by country. Finally a section of 8000 photographs is devoted to the art of the Far East, India and Islam. In addition to the original Berenson nucleus, collections of prints, glass plates, negatives and transparencies have entered the Fototeca. These include the collections of Emilio Marcucci (nineteenth-century projects for the completion of various Florentine monuments), George Kaftal (representations of saints in Italian painting of the fourteenth and fifteenth centuries), Henry Clifford (painting thirtheenth to seventeenth centuries), Giorgio Castelfranco (Italian art thirteenth to twentieth centuries), Giannino Marchig (restoration), Frederick Hartt (Michelangelo, Giulio Romano), Giuseppe Marchini (Italian art and stained glass), and Craig H. Smyth (Renaissance painting and drawing). There is a small collection of micropublications and microfiche (162,386 frames): L=index photographique de l'art en France (95,648); Sotheby's Pictorial Archive - Old Master Paintings (45,472); Christie's Pictorial Archive Italian School (9,898); Christie's Pictorial Archive - New York 1977-95 Old Master Paintings & Drawings (11,368). The microfilm of the Bartsch Corpus comprises about 42,000 frames. Notes 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. |
| record link | http://via.lib.harvard.edu/via/deliver/advancedsearch?_collection=via |
| record source | http://itatti.harvard.edu/ |
| 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. |
| updated | 02/14/2025 10:07:44 |
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| title | George A. Lucas papers, 1825-2003 [bulk 1824-1909] MS.10 |
| repository | Baltimore Museum of Art |
| description | The George A. Lucas Papers contain the correspondence, art collection-related papers, and subject files of George A. Lucas, as well as several of his friends and colleagues. They document Lucas’ work as an art agent in late 19th and early 20th century Paris and his collections of artwork, spanning the years 1862 to 1909. They also contain research materials relating to the Lucas Papers that were not part of Lucas’ original collection. The Papers are housed in 19 boxes and consist of three series: Subject Files, Personal Papers and Lucas Research Collection. One box contains Oversize material. The majority of the material in the Lucas Papers was originally stored with many of the paper based artworks in his collection, pasted to the pages of large folios in the collection of the Prints, Drawings and Photographs Department. For example, letters and newspaper clippings about artists were attached alongside the artist’s prints and drawings. The artwork was separated from the other material by the Conservation Department for improved access and security, the artworks retained in PDP, and the letters and ephemera sent to the Archives and Manuscripts Collections. Note that some items have retained accession numbers and are cross-referenced in the BMA’s collection database. Lucas also pasted ephemeral material about artists in some of the books in his collection. A thorough inventory of this material has not yet been done and none of it has been removed from the books. A few items from Félix Ziem have already been found and their location is noted along with the other Ziem material in the Subject Files Series. As other material is located, it will be added similarly. Where names, dates or other information was either indecipherable or missing, The Diary of George A. Lucas and other reference sources have been checked to obtain correct information. Names have been verified in either the Getty’s Union List of Artist Names or Bénézit’s Dictionary of Artists. In general, materials are arranged alphabetically by correspondent or subject and then by date. Exceptions are noted below. Additional reference materials stored with the Lucas Papers include a photocopy of handwritten translations of some of the correspondence in the Subject Files. The original translations can be difficult to read, however, in some cases they were used to aid in the translations in this finding aid. A photocopy of Lucas’ collection inventory, “Catalogue – Eaux Fortes” is also available and should be used in place of the original. Biographical Information George Aloysius Lucas was born May 29th, 1824 in Baltimore, Maryland. His father, Fielding Lucas, Jr. owned a publishing and stationer’s company in Baltimore that was known for publishing maps, atlases and several important drawing books and was to eventually become Lucas Bros. Inc. Leaving his brothers to assist with the family business, Lucas left Baltimore in 1851 to work for the New York, New Haven Railroad and subsequently worked for several other railroad companies before moving to Paris in 1857. In Paris, Lucas made his living as an art agent, buying and commissioning paintings, prints, and drawings for wealthy American friends such as William Henry Huntington, Frank Frick, William Walters, Samuel Putnam Avery, and William Henry Huntington. He met and befriended many artists and made frequent visits to their studios to see their works in progress. At the same time, Lucas was making his own purchases and putting together his remarkable collection of artworks and books. Beginning in 1887, Lucas worked with Walters on the Barye Monument Committee and was also instrumental in putting together the Barye exhibition at the École des Beaux-Arts in 1889. Lucas’ companion in Paris was Octavie-Josephine Marchand, who though never mentioned by anything other than “M” in either his diaries or correspondence, was an important figure in his life. Lucas remained in Paris until his death on December 17th, 1909. Language of Materials Material is in French and English. Correspondence from British and American persons is generally in English. Existence and Location of Copies For complete transcriptions of the Whistler letters held by the BMA, see The Centre for Whistler Studies: http://www.whistler.arts.gla.ac.uk/index.htm. |
| extent | 3.2 Linear feet ; 19 boxes |
| formats | Correspondence Artist Files Clippings Photographs Ephemera |
| access | The collection is open for research. The George A. Lucas Papers are part of The George A. Lucas Collection, purchased with funds from the State of Maryland, Laurence and Stella Bendann Fund, and contributions from individuals, foundations, and corporations throughout the Baltimore community, and are the physical property of the Archives and Manuscripts Collections, Baltimore Museum of Art. Copyright, except in cases where material has passed into the public domain, belongs to the authors or their legal heirs and assigns. For further information, consult a Library staff member |
| record link | http://cdm16075.contentdm.oclc.org/cdm/landingpage/collection/p16075coll6 |
| bibliography | The Diary of George A. Lucas, an American Art Agent in Paris, 1857-1909. Princeton, NJ: Princeton University Press, 1979. |
| record source | http://www.artbma.org/library/finding_aids/LucasPapers.html |
| finding aid | In repository and on the repository's website |
| acquisition information | George A. Lucas willed his art collection and papers to Henry Walters on his death in 1909. Walters donated the entire collection to The Maryland Institute, College of Art in 1911. The collection was moved to the BMA beginning in 1933 and was finally purchased by the BMA in 1996. In 2005 the letters and ephemera in the collection were transferred from the Prints, Drawings and Photographs Department to the Archives and Manuscripts Collections. |
| updated | 02/14/2025 10:07:44 |
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| title | Modern British paintings and ancient Egyptian ivories, from the collection of Mr. Geo. A. Hearn [electronic resource] : [exhibition] Saturday, March 22, to Sunday, March 30 ... / Lotos club, New York. |
| repository | Frick Art Research Library and Brooklyn Museum |
| description | Digitized catalog of a 1913 exhibition of Modern British paintings and ancient Egyptian ivories, from the collection of Mr. Geo. A. Hearn ( Lotos club, New York, NY, Saturday, March 22, to Sunday, March 30. . .) New York The Winthrop press, 1913? |
| extent | 1 online resource (32 p.) : ill. ; 18cm. |
| formats | Electronic Resource Exhibition Catalogs |
| access | No restrictions on access copy. Unrestricted online access |
| record link | http://www.nyarc.org/digital_projects/gilded_age/ND43_H35m.pdf#view=Fit |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991002337199707141 |
| acquisition information | Documenting the Gilded Age exhibition checklists and pamphlets digital project at Frick Art Reference Library and Brooklyn Museum |
| updated | 02/14/2025 10:07:47 |
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| title | Paintings from the collection of George A. Hearn, Esq. [electronic resource]. |
| repository | Frick Art Research Library and Brooklyn Museum |
| description | Digitized catalog from a 1902 exhibition of paintings from the collection of George A. Hearn, Esq. (Union League Club, New York, NY). |
| extent | 1 online resource ([8] p.) |
| formats | Electronic Resource Exhibition Catalogs |
| access | No restrictions on access copy. Unrestricted online access |
| record link | http://nyarc.org/digital_projects/gilded_age/31072002253393.pdf#view=Fit |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991002071269707141 |
| acquisition information | Documenting the Gilded Age exhibition checklists and pamphlets digital project at Frick Art Reference Library and Brooklyn Museum |
| updated | 02/14/2025 10:07:47 |
| .................................................................... | |
| title | M. Knoedler & Co. records, approximately 1848-1971 |
| repository | The Getty Research Institute |
| description | The records of M. Knoedler & Co. document the business of the prominent American art dealer from the mid-19th century to 1971, when the Knoedler Gallery was acquired by Armand Hammer. The archive traces the development of the once provincial American art market into one of the world's leading art centers and the formation of the private art collections that would ultimately establish many of the nation's leading art museums, such as the Frick Collection and the National Gallery of Art. It brings to the foreground the business side of dealing as artworks shuttled back and forth among Knoedler, fellow dealers, and collectors, documenting developments in art connoisseurship, shifting tastes, the changing role of art in American society, and the essential role of private collectors in the formation of public American art collections. The records provide insight into broader economic, social and cultural histories and the nation's evolving sense of place in the world. The Knoedler Gallery became one of the main suppliers of old master and post-Impressionist paintings in the United States. Financial records of the firm provide crucial provenance information on the large number of artworks in American museums that were sold by the gallery. The archive includes stock books, sales books and commission books; correspondence with collectors, artists, art dealers and other associates; photographs of the artworks sold by the gallery; records from the firm's offices in London, Paris and other cities; exhibition files; framing and restoration records, and records of the firm's Print Department. Selected portions of the archive have been digitized and made available online. Connect to selected digitized portions of the archive. Arranged in 14 series: Series I. Stock books; Series II. Sales books; Series III. Commission books; Series IV. Inventory cards; Series V. Receiving and shipping records; Series VI. Correspondence; Series VII. Photographs; Series VIII. Exhibition files; Series IX. American Department records; Series X. Framing and restoration records; Series XI. Print Department records; Series XII. Other financial records; Series XIII. Library cards, scrapbooks, and research materials; Series XIV. Knoedler family papers Biographical/Historical Note: M. Knoedler & Co. was a successor to the New York branch of Goupil & Co., an extremely dynamic print-publishing house founded in Paris in 1827. Goupil's branches in London, Berlin, Brussels, and The Hague, as well as New York, expanded the firm's market in the sale of reproductive prints. The firm's office in New York was established in 1848. In 1857, Michael Knoedler, an employee of Goupil and a manager for the firm, bought out the interests in the firm's New York branch, conducted the business under his own name, and diversified its activities to include the sale of paintings. Roland Knoedler, Michael's son, took over the firm in 1878 and with Charles Carstairs opened galleries in Paris and London. In 1928, the management of the firm passed to Roland's nephew Charles Henschel, Carman Messmore, Charles Carstairs and Carstairs' son Carroll. In 1956 Henschel died, and E. Coe Kerr and Roland Balaÿ, Michael Knoedler's grandson, took over. In 1971 the firm was sold to businessman and collector Armand Hammer. The gallery closed in November 2011. |
| extent | 3042.6 linear feet (5550 boxes, 17 flat file folders). |
| formats | Auction Catalogs Business Records Correspondence Financial Records Ephemera |
| access | Open for use by qualified researchers, with the following exceptions. Boxes 77, 262-264, 1308-1512, 1969-1974, 3592-3723 are restricted due to fragility. Box 4468 is restricted until 2075. |
| record link | http://hdl.handle.net/10020/cifa2012m54 |
| record source | https://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21129976460001551 |
| contact information | Contact gallery's archivist |
| finding aid | At the Getty Research Institute and over their website. |
| acquisition information | Acquired in 2012. |
| updated | 02/14/2025 10:07:50 |
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