RT Unpublished Material DB /z-wcorg/ DS http://worldcat.org ID 81780982 LA English T1 E. Maurice Bloch papers, A1 Bloch, E. Maurice., Cowdrey, Mary Bartlett,, Heilbron, Bertha L., Jones, Claude E., Kwiat, Joseph., Maxwell, George T., Wayne, June,, Zapf, Hermann., Hirschl & Adler Galleries., Kennedy Galleries., Vose Galleries of Boston., YR 1925 AB Documentation of Bloch's research on George Caleb Bingham, Benjamin West, William Sidney Mount, and other American artists; curatorial correspondence from a variety of positions held by Bloch; his student course notes and teaching materials; and substantial dealer correspondence and subject clippings documenting his own collecting. Series I, Correspondence (1941-1989): Correspondents include friends, colleagues, students, artists, dealers, and curators. Extensive correspondence with Mary Bartlett Cowdrey (historian of American art), Bertha Heilbron (Minnesota Historical Society), Claude E. "Mac" Jones (UCLA English professor), Joseph Kwiat (Univ. of Minnesota, Americanist), George T. Maxwell (cartoonist, illustrator, collector), and Hermann Zapf (German graphic designer). Series II, New York University, Institute of Fine Arts (1936-1958, 1988): Notes, syllabi, course outlines of classes taken as an undergraduate at the School of Architecture and the Allied Arts and as a graduate student at the Institute of Fine Arts. In particular, notes for courses at the IFA with Walter W.S. Cook, Walter Fiedlaender, Julius Held, Richard Krautheimer, Karl Lehmann (-Hartleben), José Lopez-Rey, Richard Offner, Erwin Panofsky, Rudolf M. Riefstahl, Andrew Ritchie, Dimitri Tselos, and Martin Weinberger. Includes mss. and supporting materials for Bloch's M.A. thesis, The Iconography of Andrea Mantagna. Also, correspondence with IFA professors. Series III, Teaching materials (1945-1982): Lecture notes, correspondence, administrative records and students' papers from Bloch's teaching positions at NYU's Washington Square campus (1945-1946), Univ. of Missouri (1946-1947), and UCLA (1957-1982), for courses on American art and architecture; Medieval, Renaissance, Baroque, and Modern art; museum training; history of ornament; and history of prints. Series IV, George Caleb Bingham research: Notes, correspondence, mss., clippings, and photographs for Bloch's dissertation (1957) and for published catalogues raisonné (1967, 1975). Especially includes correspondence with owners of Bingham paintings and drawings, Bingham descendants, descendants of sitters, dealers, and curators, particularly at the Nelson-Atkins Museum, St. Louis Art Museum, St. Louis Mercantile Library, and Mitchell Wilder at the Amon Carter Museum. Series V, Benjamin West research: Correspondence, notes, catalogs and inventories, ca. 550 photographs (most of which are annotated), microfilm of West's sketchbook, and printed ephemera for a preliminary catalog on West's drawings that Bloch never published. Correspondence of particular interest includes that with the Bernard Black Gallery concerning Bloch's notes for a catalog, Elizabeth Clare of M. Knoedler, Robert Vose, and Stuart Feld of Hirschl & Adler. Series VI, Research files on 19th century art: Research notes, clipping files, typescripts, inventories, card files, photographs and correspondence for published and unpublished articles, catalogs, and books on various topics, especially the American Art Union, American drawings, American illustrators, Art Nouveau, Charles Lanman, William Sidney Mount, printmaking, panoramas, and the Western Art Union. Includes extensive artist/subject files consisting primarily of newspaper and magazine clippings. Series VII, Curatorial and advisory positions (1955-1989): Correspondence, notes, photographs, and printed ephemera related to Bloch's work with the Cooper Union Museum (1955-1959, especially concerning two exhibits he curated), the Grunwald Center for the Graphic Arts at UCLA (1957-1984, especially concerning purchases and exhibits), the Tamarind Lithography Workshop (1960-1989, primarily correspondence with June Wayne, printed ephemera, Board minutes, and annual reports), the Archives of American Art (1955-1987, bulk 1980-1985, mostly organizational reports), the American Art Council at the Los Angeles County Museum of Art (1971-1986, some letters, but largely minutes, newsletters and press releases), the Virginia Steele Scott Foundation and, later, the Huntington Library and Art Gallery (1975-1991, bulk 1977-1987, including extensive documentation of the Foundation's activities through Board minutes of 1975-1983; collection development memos and notes; substantial dealer correspondence; negotiations between Mrs. Scott and the Huntington and with the Archives of American Art; correspondence between Robert Wark and Bloch re Bloch's consulting for the Scott Gallery at the Huntington, 1983-1987; and two exhibits he organized for the Huntington from his own collection of drawings and prints). Series VIII, Bloch's personal collection: Correspondence, notes, inventories, clippings, and photographs documenting Bloch's collections and collecting interests, especially stamps and autographs, but also American illustrators, artists' letters, cartoons, drawings, panoramas, and prints. (Of Bloch's collections, the Getty Research Institute acquired only his collection of panorama and diorama exhibit ephemera, shelved with the rare book collections.) Of particular interest is the extensive dealer correspondence in which Bloch's collecting interests, research, personal matters, other dealers and art sales are discussed. Series IX, Personal and miscellaneous files: Juvenilia, artwork, travel notes and receipts, genealogical research, address books, and personal photographs. Also, 7 rolls of microfilmed newspapers and Lanman papers, ca. 1500 slides of American and European art and architecture from Bloch's travels (possibly used for teaching), and some personal slides.