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Sarah Dickson Lowrie Biography of Eli Kirk Price, 1935-1936, undated (inclusive)

Extent:
1 volume
Abstract:
"Price Papers" is the original bound typescript compiled by Sarah Dickson Lowrie that she intended to publish as a biography of Eli Kirk Price (1870-1933), a well-known civic leader, who was closely associated with the Philadelphia Museum of Art. The volume is richly illustrated with maps, clippings, ephemera and photographs and includes some correspondence and typescripts of family letters.

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Zieget Shaker Collection Papers, 1841-1868, 1919-1968, undated (inclusive)

Extent:
2.5 linear feet
Abstract:
The Zieget Shaker Collection Papers underscore Irene and Julius Zieget's reliance on members of the Shaker community in acquiring hundreds of samples of their art and crafts. Correspondence dating from 1929 to 1968 and a journal illustrated with photographs document the Ziegets' interaction with a number of Shaker sisters and eldresses, particularly Sister Marguerite Frost of Canterbury, NH. The papers also include some of the Ziegets' acquisitions--nineteenth- and early twentieth-century manuscript material. Included here are records of deaths, recipes and other household instructions along with spiritual messages, blessings and hymns all recorded neatly in the distinctive and decorative Shaker hand. A scrapbook Irene Zieget compiled of printed material dating from 1881 to 1960 includes published writings by Shakers as well as numerous newspaper and magazine articles and advertisements that chronicle the public's interest in the Shaker lifestyle and aesthetic.

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Edwin Atlee Barber Records, 1901-1916 (bulk) 1898-1933 (inclusive)

Extent:
19.6 linear feet (47 document boxes)
Abstract:
Edwin Atlee Barber was Curator/Secretary of the Pennsylvania Museum and School of Industrial Art from 1901to 1907, Director/Curator from 1907 to 1916 and Honorary Curator of American Pottery and Porcelain from 1893 to 1916. His great interest was in pottery, porcelain, and ceramics, primarily early American works. A scholar and prolific writer, Barber wrote and published numerous articles on his specialty. He is considered a pioneering scholar in his field. The Edwin Atlee Barber records include both general and administrative correspondence from Barber’s tenure at the Pennsylvania Museum and School of Industrial Art. The Museum was know as the Pennsylvania Museum and School of Industrial Art until 1938, when it was changed to the Philadelphia Museum of Art. Materials date from 1898 to 1933. Included in the collection are letters sent to Barber after his death; some of these letters were answered by Barber’s wife or daughter. This collection contains correspondence covering a broad...(see more)

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Langdon Warner Records, 1917-1923 (bulk) 1916-1929 (inclusive)

Extent:
4.58 linear feet (11 document boxes)
Abstract:
Langdon Warner, a scholar of Asian art and an archeologist, was Director of the Pennsylvania Museum and School of Industrial Art from 1917 to 1923. Warner also served as Curator of the Wilstach Collection (the Wilstach family art collection was bequeathed to the city in 1892 and custodianship was transferred to the Museum in 1917). While serving as Director of the Museum Warner, traveled extensively in Asia and was often away from the Museum. Almost immediately after taking the job, he departed for Japan where he set about acquiring works of art that "were thought too good to lose." The Langdon Warner records contain correspondence of Langdon Warner, Museum Director between 1917 and 1923, and E. Hamilton Bell, Acting Director during Warner’s absence. At the time, the Museum's collections were housed in Fairmount Park's Memorial Hall. The correspondence mainly concerns the Museum's facilities, collections, exhibitions and purchases. This collection is divided into two series: Series...(see more)

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Dalton Dorr Records, 1876-1904 (inclusive)

Extent:
4.25 linear feet (10 document boxes)
Abstract:
Dalton Dorr played a key role in the early years of the Pennsylvania Museum and School of Industrial Art (later known as the Philadelphia Museum of Art). Dorr was elected Secretary of the Corporation in 1880. In 1888 he acted as both Secretary and Curator, and by 1892 he was performing the duties of Secretary, Director, and Curator. In 1899 William Platt Pepper took over as Director of the Museum, and Dorr continued on as Curator and Secretary. Dalton Door died on February 26, 1901. Shortly after, Edwin Atlee Barber assumed the roles of Secretary and Curator. This collection contains letter books, dating from 1876 to 1904, containing the correspondences of Dorr, Pepper, and Barber. The correspondence pertains to the Centennial exposition, Museum collections, acquisitions, exhibitions, staff, and repairs to Memorial Hall, as well as information regarding the formation of the Museum and its associated schools.

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Director's Exhibition Records, 1915-1983 (inclusive)

Extent:
25.42 linear feet (61 document boxes)
Abstract:
The Director's Exhibition records of the Philadelphia Museum of Art contain documentation of exhibition activities at the Museum. These records are not a comprehensive account of exhibitions held by the Museum, but an ongoing file produced by the executive office in the course of administering exhibitions for the Museum, kept in the Director’s office between 1915 and 1981. Additional exhibition records may be located within a specific Director’s records, or in Curatorial records; Museum Directors during this period included Edwin Atlee Barber, Langdon Warner, Fiske Kimball, Henri Marceau, Evan Turner, and Jean Sutherland Boggs.

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Julien Levy Gallery records, 1857-1982 (inclusive)

Extent:
19.0 linear feet (46 containers)
Abstract:
Julien Levy (1906-1981) was a pioneering New York art dealer of the 1930s and 1940s. He was introduced to the art world in Paris by Marcel Duchamp, who he met in New York in 1926. In Paris he met photographers and artists, including Man Ray, Berenice Abbot, and his future wife Joella Haweis, daughter of Dadaist muse Mina Loy. Upon his return to the United States, Levy worked briefly at the Weyhe Gallery before opening the Julien Levy Gallery at 602 Madison Avenue. In 1932, Levy mounted “Surrealisme,” an exhibition that introduced the Surrealist art movement to New York. This collection documents the career of prominent art gallery owner Julien Levy. The records date from 1857 to 1983 and include correspondence, exhibit announcements and invitations, scrapbooks, gallery financial ledgers, audio-visual materials, and personal papers such as letters, diaries, appointment books and calendars. The material in this collection reflects the course of Levy’s life, beginning with childhood...(see more)

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Jean Sutherland Boggs Records, 1977-1983 (inclusive)

Extent:
41.04 linear feet (99 document boxes)
Abstract:
Dr. Jean Sutherland Boggs is a prominent art historian and expert scholar on Degas who served as Director of several major North American Museums. She was appointed as the first female Director of the Philadelphia Museum of Art and served from 1970 to 1982. Part of her legacy was establishing new written Museum policies on important topics and setting into motion long-term plans for the reinstallation of the European galleries. During her tenure, the Museum acquired Degas’ “Red Nude” and installed the Thomas Eakins retrospective. Boggs also mounted two monumental exhibitions of non-Western art, “Manifestations of Shiva” (1981) and “Treasures of Ancient Nigeria” (1982), each of which presented great works of art in a scholarly context, and was well-received by the diverse communities the Museum sought to serve. The Jean Sutherland Boggs records contain the general correspondence and administrative records Dr. Jean Sutherland Boggs. The records date from 1977 to 1983 and include...(see more)

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John Raphael Covert Papers, 1919-1976, undated (inclusive)

Extent:
5 linear feet
Abstract:
The painter John Raphael Covert (1882-1960) was an active participant in the American avant-garde art movement between 1915 and 1923. He later became a travelling salesman for his family's Vesuvius Crucible Company and pursued his intense interest in cryptography, word games and magic squares. The John Raphael Covert Papers consist of the artist's correspondence, word and number puzzles (such as anagrams, acrostics, and riddles), financial records, photographic portraits, and a few sketches. Approximately half of the papers are in code, and thus are cryptic in both intent and meaning.

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Alexina and Marcel Duchamp Papers, circa 1886-1990, undated (inclusive)

Extent:
18 linear feet
Abstract:
The Alexina and Marcel Duchamp Papers are comprised of some personal papers of Marcel Duchamp as well as published material documenting the artist and his work that were compiled and organized by his widow, Alexina Duchamp. The collection is comprised of approximately 800 personal photographs; a small portion of Duchamp's correspondence; his lecture notes and transcripts; vital records; transcripts of several interviews with Duchamp; and published material concerning the artist.

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Lloyd and Edith Havens Goodrich, Whitney Museum of American Art, Record of Works by Thomas Eakins, 1894, 1903, 1915-1986 (inclusive)

Extent:
42 linear feet
Abstract:
The Lloyd and Edith Havens Goodrich, Whitney Museum of American Art, Record of Works by Thomas Eakins consists mainly of typescript and manuscript papers, correspondence, and a variety of research and reference materials pertaining to Lloyd Goodrich's major published and unpublished works on American artist Thomas Eakins. This collection documents more than 50 years of Eakins scholarship, during which Goodrich published "Thomas Eakins: his life and work" (1933) and the revised and augmented monograph, "Thomas Eakins" (1982). A revision of the 1933 publication's catalogue raisonne section, intended as a separate volume, never reached the final stages before Goodrich's death, but represents a significant volume of material. Of note is correspondence with Thomas Eakins's widow, Susan Macdowell Eakins; Goodrich's transcriptions of Thomas Eakins's own correspondence, much of which is now lost; and his interview notes with Eakins's sitters, students, friends, and relatives, including...(see more)

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Johnson Collection Curatorial Records, 1917-2007, undated (bulk 1927-1992) (inclusive)

Extent:
56.25 linear feet
Abstract:
The Johnson Collection Curatorial Records represent two "generations" of curatorial oversight of the art collection acquired by John Graver Johnson (19841-1917), one of Philadelphia's most prominent corporate lawyers. While the collection of more than 1,600 European paintings, sculpture and textiles is owned by the City of Philadelphia through Johnson's bequest, it is administered by and housed at the Philadelphia Museum of Art, as is Johnson's extensive art library. In these curatorial records, the earlier files reflect the administrative and curatorial activities of Henri Marceau and Barbara Sweeny, roughly documenting their combined years of service, 1926-1972. Joseph J. Rishel succeeded Sweeny as Johnson Collection curator in November of 1972. His tenure, which continues to this day, comprises the second curatorial term, from 1973 to 1992. A small amount of papers created later are included separately. The second generation of records also reflects the work of assistant and...(see more)

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