Archives Directory for the History of Collecting in America
Archives related to: Weitzner, Julius, -1986
| title | Julius Weitzner letters received, 1952-1973. | repository | The Getty Research Institute |
| description | Collection consists of two letters from Robert R. Endicott, 1972 and 1973, discussing the art market and also concerning appraisals for Old Master paintings destroyed in a fire; a letter from Ellis K. Waterhouse, 1957, regarding a Gainsborough portrait (ca. 1786) of Lady Impey from the collection of Lord Curzon; and three letters from M.J. Friedlnder containing expert opinions on a variety of Old Master paintings and drawings, 1952-1953. With a copy of an expert opinion by Friedrich Winkler (1963), and a letter from G.R. Howell, archivist, New York State Library, to Miss Ester E. Hull, April 21, 1894, regarding a portrait of Columbus that she wishes to sell. |
| extent | 8 items. |
| formats | Correspondence |
| access | Open for use by qualified researchers. |
| record link | ttp://hdl.handle.net/10020/cat76178 |
| record source | http://library.getty.edu/vwebv/searchBasic |
| updated | 03/16/2023 10:29:49 |
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| title | Corot inventory, compiled by Julius Weitzner, [19--]. | repository | The Getty Research Institute |
| description | An inventory of Corot’s paintings on 5 x 8 in. index cards. The file comprises 2,500 cards (numbered 1 to 2,500 in red ink in the upper left corner of each card), corresponding to the numbers of the entries for paintings in the Robaut catalogue raisonné (1905). The information recorded for each item is incomplete: over half of the index cards received from Weitzner are blank; the rest of the cards contain information relating to private or institutional ownership; exhibitions or auction sales at which the paintings came to the market, including dates and occasional prices; and bibliographic references. |
| extent | 2 boxes. |
| formats | Inventories |
| access | Open for use by qualified researchers. |
| record link | http://hdl.handle.net/10020/cat500749 |
| record source | http://library.getty.edu/vwebv/searchBasic |
| updated | 11/12/2014 11:29:54 |
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| title | Julius S. Held papers, 1918-1999. | repository | The Getty Research Institute |
| description | The material provides a broad and detailed study of Held's professional life, his scholarly development, and his working methods. A major portion comprises scholarly correspondence with other art historians, including numerous prominent American and European scholars as well as young colleagues and post-graduate students. Also present is professional correspondence with art dealers, auction houses, museums, and publishing firms, and a large body of occasional correspondence with private collectors. Letters by Held are particularly valuable for their frank assessments of art objects. Included is material documenting Held's research for essays, reviews and articles, his many teaching and lecturing activities, as well as his involvement as an art expert in legal cases. The archive also contains extensive travel notes. A distinct group of material details Held's role in building the collection of Museo de Arte de Ponce in Puerto Rico. A very large portion of the archive consists of study photographs and other visual documentation of artwork by Peter Paul Rubens, Anthony van Dyck, Jacob Jordaens, Rembrandt, and a vast number of other artists, mainly Dutch and Flemish from the 15th to 18th centuries. Bio./Hist. Note: The American art historian Julius Samuel Held (1905-2002) was renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, and an authority on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. Educated in pre-war Germany, Held emigrated in 1934 to the United States where he pursued an academic career at Barnard College, Columbia University. Held also lectured and taught at other colleges and art institutions in the United States. |
| extent | 70 linear ft. (168 boxes) + ADDS (30 boxes) |
| formats | Correspondence Research Files Writings Photographs |
| access | Open for use by qualified researchers. |
| record link | http://library.getty.edu/cgi-bin/Pwebrecon.cgi?BBID=523906 |
| record source | http://primo.getty.edu/GRI:GETTY_ALMA21128935310001551 |
| finding aid | Online and in repository. |
| acquisition information | Acquired by the repository in 1999 from Julius Held. Some letters and Held's library list were received in 2003 from Held's family. Seven boxes of Held material were received from the National Gallery in late 2004. |
| updated | 01/11/2016 12:57:56 |
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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 | 11/12/2014 11:30:10 |
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| title | Study photographs of paintings chiefly in Florentine collections from Julius H. Weitzner, Inc. | repository | The Getty Research Institute |
| description | The collection comprises study photographs and negatives assembled by art dealer Julius H. Weitzner. Eighty percent of the photographs are standard commercial prints (from Brogi/Alinari) of paintings in museums and public buildings in Florence (e.g., Uffizi, Pitti, Palazzo Vecchio, Palazzo Medici Riccardi, San Marco). All but a few of the remaining photos depict paintings exhibited elsewhere in Italy, in Milan, Pisa, Rome, Turin, etc. The majority of the artists represented are Italian. A number of the photos are duplicates. The negatives are of European old master paintings of all schools: Dutch, English, Flemish, French, German, Italian, and Spanish. |
| extent | 6 boxes |
| access | Unprocessed collection; contact repository for information regarding access. Photographs and permission to publish must be obtained from copyright holder(s). |
| record link | http://primo.getty.edu/primo_library/libweb/action/dlDisplay.do?vid=GRI&afterPDS=true&institution=01GRI&docId=GETTY_ALMA21125252570001551 |
| record source | http://primo.getty.edu/primo_library/libweb/action/dlDisplay.do?vid=GRI&afterPDS=true&institution=01GRI&docId=GETTY_ALMA21125252570001551 |
| updated | 12/12/2014 10:16:59 |
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| title | Study photographs of Swiss paintings and drawings. | repository | The Getty Research Institute |
| description | A collection of photographs assembled by the Getty Research Institute covering Swiss paintings and drawings from the 15th through the 19th centuries, reproducing the work of approximately 405 artists, among whom Henry Fuseli is notably well documented. A large number of the photographs in this collection are copy prints acquired from commercial vendors (including Gernsheim's Corpus photographicum of drawings, Fratelli Alinari, Photographie Giraudon, and Brogi) as well as from Sotheby's and Christie's. The majority of images represent works in the collections of the Kunsthaus Basel and Kunsthaus Zurich. Art dealers' archives constitute another source, with material from Julius Weitzner, Douwes Fine Art Gallery, and Duits. Biographical and Historical Note In 1974, the J. Paul Getty Museum began assembling a "photo library" by consolidating the visual resources of each existing curatorial department. By the early 1980s, the Photo Archive was actively acquiring large collections of photographs from commercial and private sources and scholars' archives that contained a photographic component. In 1983, the nearly one million photographs of the Photo Archive were incorporated into the Research Institute's Special Collections and renamed the Photo Study Collection. |
| extent | 42 boxes |
| access | Open for use by qualified researchers. Photographs and permission to publish must be obtained from copyright holder(s). |
| record link | http://primo.getty.edu/primo_library/libweb/action/dlDisplay.do?vid=GRI&afterPDS=true&institution=01GRI&docId=GETTY_ALMA21115953560001551 |
| record source | http://primo.getty.edu/primo_library/libweb/action/dlDisplay.do?vid=GRI&afterPDS=true&institution=01GRI&docId=GETTY_ALMA21115953560001551 |
| updated | 12/12/2014 10:22:08 |
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| title | Study photographs of Spanish paintings and drawings. | repository | The Getty Research Institute |
| description | A collection of photographs covering Spanish painting and drawing from the late middle ages through the 19th century assembled by the Getty Research Institute. Approximately 328 artists are represented, with strong holdings for Spain's most important painters: Velazquez, Ribera, Murillo, El Greco, and Goya. This collection contains photographs from numerous sources, including commercial vendors and photographers (Fratelli Alinari, Photographie Giraudon, Bulloz), scholars' collections (Neil MacLaren), auction houses (Christie's, Sotheby's), dealers' archives (David Koetser, Julius Weitzner, Douwes Fine Art, Duits Ltd.), and museum collections (National Gallery of Art, Washington, D.C.). Of special interest are the ca. 1,000 copy prints from the Spanish picture archive Mas Ampliaciones y Reproducciones (Arxiu Mas) which reproduce provincial Spanish paintings from the late Middle Ages to the Renaissance. Biographical and Historical Note In 1974, the J. Paul Getty Museum began assembling a "photo library" by consolidating the visual resources of each existing curatorial department. By the early 1980s, the Photo Archive was actively acquiring large collections of photographs from commercial and private sources and scholars' archives that contained a photographic component. In 1983, the nearly one million photographs of the Photo Archive were incorporated into the Research Institute's Special Collections and renamed the Photo Study Collection. |
| extent | 187 boxes |
| access | Open for use by qualified researchers. Photographs and permission to publish must be obtained from copyright holder(s). |
| record link | http://primo.getty.edu/primo_library/libweb/action/dlDisplay.do?vid=GRI&afterPDS=true&institution=01GRI&docId=GETTY_ALMA21115910460001551 |
| record source | http://primo.getty.edu/primo_library/libweb/action/dlDisplay.do?vid=GRI&afterPDS=true&institution=01GRI&docId=GETTY_ALMA21115910460001551 |
| updated | 12/12/2014 10:24:12 |
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| title | Study photographs of American paintings and drawings. | repository | The Getty Research Institute |
| description | A collection of photographs representing American paintings and drawings of the 18th and 19th centuries through reproductions of the work of approximately 525 artists assembled by the Getty Research Institute. The works of James Abbott McNeill Whistler are well represented, including a corpus of drawings in the collection of the Hunterian Art Gallery in Glasgow. The collection is particularly strong in photographs and clippings from the archives of dealers such as Julius Weitzner, French & Company, Douwes Fine Art Gallery, and Duits, as well as from the collection of Pomona College. Copy prints document American paintings and drawings in a number of American museums, including the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the Minneapolis Museum of Art, and the Phillips Collection. Copy prints were also acquired from commercial vendors such as Photographie Giraudon and from Sotheby's and Christie's. Biographical and Historical Note In 1974, the J. Paul Getty Museum began assembling a "photo library" by consolidating the visual resources of each existing curatorial department. By the early 1980s, the Photo Archive was actively acquiring large collections of photographs from commercial and private sources and scholars' archives that contained a photographic component. In 1983, the nearly one million photographs of the Photo Archive were incorporated into the Research Institute's Special Collections and renamed the Photo Study Collection. |
| extent | 40 boxes |
| access | Open for use by qualified researchers. Photographs and permission to publish must be obtained from copyright holder(s). |
| record link | http://primo.getty.edu/primo_library/libweb/action/dlDisplay.do?vid=GRI&afterPDS=true&institution=01GRI&docId=GETTY_ALMA21115921920001551 |
| record source | http://primo.getty.edu/primo_library/libweb/action/dlDisplay.do?vid=GRI&afterPDS=true&institution=01GRI&docId=GETTY_ALMA21115921920001551 |
| acquisition information | Repository's online Photo Archive Database identifies all artists represented in this collection (Artists Index) and provides some photograph-level access (Paintings collection) |
| updated | 12/12/2014 10:25:48 |
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| title | Study photographs of Eastern European paintings and drawings. | repository | The Getty Research Institute |
| description | Biographical and Historical Note In 1974, the J. Paul Getty Museum began assembling a "photo library" by consolidating the visual resources of each existing curatorial department. By the early 1980s, the Photo Archive was actively acquiring large collections of photographs from commercial and private sources and scholars' archives that contained a photographic component. In 1983, the nearly one million photographs of the Photo Archive were incorporated into the Research Institute's Special Collections and renamed the Photo Study Collection. |
| extent | 12 boxes |
| access | Open for use by qualified researchers. Photographs and permission to publish must be obtained from copyright holder(s). |
| record link | http://primo.getty.edu/primo_library/libweb/action/dlDisplay.do?vid=GRI&afterPDS=true&institution=01GRI&docId=GETTY_ALMA21115920690001551 |
| record source | http://primo.getty.edu/primo_library/libweb/action/dlDisplay.do?vid=GRI&afterPDS=true&institution=01GRI&docId=GETTY_ALMA21115920690001551 |
| acquisition information | Repository's online Photo Archive Database identifies all artists represented in this collection (Artists Index) and provides some photograph-level access (Paintings collection). |
| updated | 12/12/2014 10:29:33 |
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| title | Curatorial Office Records of Charles Cunningham, 1973-1977 | repository | Sterling and Francine Clark Art Institute |
| description | Located in the Institutional records of the Sterling and Francine Clark Art Institute The Curatorial Office Records of Charles C. Cunningham primarily contain correspondence about potential museum acquisitions and discussions of loans with staff at other museums. Due to his long and respected career, Cunningham had many acquaintances and close friends among curators and directors at other art institutions, as well as among art historians and dealers. The correspondence in these records includes numerous exchanges about intellectual and business concerns in the art world. The high esteem and affection his peers felt for him is evidenced in letters that blur the line between professional and personal. Other materials in this series include: class lists and grades, assignments, and correspondence with students from several courses taught by Cunningham; CAI memoranda; and financial records about costs of exhibits and loans. Historical Note Born in 1910 in Mamaroneck, NY, Charles C. Cunningham attended Harvard and became a curator at the Boston Museum of Fine Arts in 1935. From 1941 to 1966 he was the director of Hartford's Wadsworth Atheneum. He went on to become director of the Art Institute of Chicago until he retired from this position in 1972. George Heard Hamilton, then director of the Clark, invited Cunningham to become chief curator. Cunningham was responsible for two major exhibits at the Clark, The Elegant Academics in 1974 and Jongkind and the Pre-Impressionists: The Painters of the Ecole Saint-Simeon in 1976. He also initiated the Conservation Laboratory, which opened in 1977. Cunningham retired from the Clark that year and died in 1979. Preferred Citation: [Cite the item (as appropriate)], Curatorial Office Records of Charles Cunningham, 1973-1977, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. Related Materials: The Smithsonian Archives of American Art Oral History Collection holds a four reel tape containing an interview conducted with Cunningham in 1977. Records relating to Cunningham are also held by the MFA Boston Archives, the Wadsworth Atheneum Museum of Art Archives, and the Art Institute of Chicago Archives. Related or similar material can be found in the following series in the Sterling and Francine Clark Art Institute Records, Williamstown, Massachusetts: Curatorial Office Records of Jennifer Lovett; Curatorial Office Records of Lisa A. Jolin; Curatorial Office Records of Steven Kern; Curatorial Office Records of the American Paintings Catalogue; Records of the Curator of Paintings; Curatorial Photographic Services Orders; Curatorial Office Records of the Prints and Drawings Department; and Curatorial Office Records of Exhibition Planning, 1951-1978. In 1950 Sterling and Francine Clark chartered the Sterling and Francine Clark Art Institute as a home for their extensive art collection. Opened to the public in 1955, the Institute has built upon this extraordinary group of works to become a highly respected art museum and one of the few institutions in the United States that combines a public art museum with a complement of research and academic programs, including a major art history library. Custodial History: These records were moved to Storage A sometime after 1976. |
| extent | 5 linear ft. |
| formats | Administrative Records Correspondence Ephemera Writings |
| access | Restrictions on Access: This material is currently restricted. |
| record link | http://cdmdemo.contentdm.oclc.org/cdm/compoundobject/collection/p7001coll1/id/10 |
| record source | http://francine.clarkart.edu/ |
| acquisition information | These records were acquisitioned from Storage A in May 2007. Four files (536-539) were added to this collection in July 2009. They were found by the Registrar in her office. |
| updated | 08/25/2017 16:33:14 |
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