Summary: The papers of Jean Bony, historian of French and English architecture and one time chair of the Department of Art History at the University of California, at Berkeley. Includes: correspondence; manuscripts of published and unpublished works; reprints and publications; bibliographies on index cards; research notes; field notes and sketches; diaries; maps; postcards; lecture notes and audiotapes of lectures; as well as photographic documentation of his research. His research topics included: English and French romanesque churches; and French gothic architecture and sculpture. His best known published works were: Notre-Dame de Mantes, 1947; The Resistance to Chartres, 1958; French Gothic Architecture of the 12th and 13th Centuries, 1983; and The English Decorated Style, 1979.
Fitchen, John 1905-1990 (American architectural historian)
Summary: Collection contains materials primarily relating to three of Fitchen's books: The construction of Gothic cathedrals (1961, 1981), The New World Dutch barn (1968), and Building construction before mechanization (1986). Includes an unpublished manuscript "Plot, plan and perspective": an evaluation of Western architecture during seven significant periods. Also manuscripts of published and unpublished articles; offprints; lectures; and an extensive scholarly correspondence with architectural historians, primarily concerning Medieval construction techniques. Several drawings document Fitchen designs for buildings (done while he was a student at Harvard) and his designs for bookplates. A sketchbook contains studies of buildings.Correspondence between Fitchen and several dozen fellow architectural historians, 1954-1984, is largely on the subject of Medieval architecture and construction, and includes detailed discussions of work in progress, and constructive criticisms of publications.Correspondents include François Bucher, Kenneth John Conant, John Hoope Harvey, Jacques Heyman, Robert L. Van Nise, and William C. Wachs.
Summary: The Oleg Grabar papers document the career of the scholar who transformed the field of Islamic art history in the United States. Compiled over more than fifty years, the archive contains thousands of photographs, slides, notes, specialized and hard-to-find research materials, unpublished works including lectures and student theses, historical maps, and ephemera. A small amount of material, especially photographs of Byzantine art and architecture, originally collected by his father, André Grabar, is also included.Focusing on Grabar's fieldwork and site documentation, the first series contains the majority of the original material in the archive. Notes, drawings and photographs record Grabar's excavation work, detailed on-site studies, site surveys and study travels. Unique photographs, in the form of prints, negatives and slides, display images ranging from sites in obscure areas of the Middle East or Central Asia to well-known monuments, such as the Alhambra or the Dome of the Rock, captured with Grabar's eye for special details. The earlier photographs are particularly important for documenting the mid-century state of preservation before alterations or even destruction of monuments.Research materials assembled by Oleg Grabar for his publications and projects comprise the bulk of the archive. Offprints and photocopies of articles form the overwhelming majority of the material, but occasionally notes, letters received, photographs and drawings are included. Since almost all of the material in this series is available through other sources, its value lies in the aggregation for ease of research and the snapshot it presents of Oleg Grabar's intellectual landscape. The material testifies to the scope of Grabar's interests, covering all areas of Islamic art and architecture, and related historical and cultural issues and literary topics in the Islamic world, as well as antecedents and then contemporary developments in the Classical and post-Classical worlds, in the Byzantine sphere and the Medieval West.Three small series relating to Grabar's writings, correspondence, and faculty and professional service complete the archive. Included in these series are a few drafts of lectures and publication production material, as well as a scattering of correspondence and materials relating to two courses Grabar taught at Harvard. Grabar's work with the United Nations Educational, Scientific and Cultural Organization (UNESCO) and the various entities funded by the Aga Khan Development Network is more fully documented.
Summary: Research for publications about Marc Antoine Laugier, Claude Perrault, Antoine Desgodets, Claude Nicolas Ledoux, 17th-18th century French architectural theory and design generally, and Gottfried Semper. Most of the collection consists of notes, photographs (approx. 850), and photocopies of primary and manuscript sources assembled to prepare monographs on Laugier, Perrault, and Semper and articles on Desgodets and Ledoux.I. Laugier research: Notes on 40 subject headings considered for the monograph, including assessments of Laugier's writing by contemporary and modern authors, bibliography, abstracts of 17th-18th century architectural books, misc. topics, ideas for writing, and summaries of contemporary publications on topics such as Greek vs. Roman architecture, Gothic architecture, evolution of the orders, and the authority of Vitruvius.II. Perrault research: Notes on 14 subject headings considered for the monograph and 5 general subjects with the emphasis on Perrault's attempts to codify proportion and to standardize optical correction. Also, photocopies of Essais de physique (for a projected chapter on Perrault as a scientist) and notes on Carlo Lodoli.III. Research for articles: (1) Notes on the reception of Desgodets' book on Roman architecture by the Academie Royal d'Architecture. Photographs of Desgodets' unpublished treatise on contemporary architectural design. (2) Notes on and photographs of engravings of Ledoux's work. (3) Notes and photographs for a study of the Temple of Jerusalem.IV. Misc. research and writing: shorter articles (including ones written in German from 1926-1930), reviews, etc.V. Dissertation: Der Hochbarocke Klostertype (233 pp. typescript with c. 150 photos and drawings of European baroque monasteries). 1924.VI. Correspondence: Mostly letters about publications with Anthony Blunt, Caroll L. V. Meeks, Rudolf Wittkower, and others.VII. Misc. photographs: Approx. 400 of 17th-18th century French architectural drawings and buildings, the Orders, building types, etc.VIII. (1) Photocopies of many of the manuscripts of Semper's published and unpublished writings, notebooks, and lectures on art theory and the history of art and architecture housed in the Semper-Archiv (Zurich); arranged in rough chronological order numerically according to Herrmann's catalog of the archive ("Gottfried Semper: Theoretischer Nachlass an der ETH Zürich," 1981) (boxes 12-29). (2) A card file prepared by Herrmann, with 310 subject headings that refer to the items in section (1) above and other relevant source materials that were considered for monographs and articles on Semper's life and writings on art theory and the history of art and architecture and for editions and translations of some of Semper's unpublished works (e.g., his "Vergleichende Baulehre" and "Theorie des Formell-Schönen") (box 30). (3) Herrmann's notes under 38 subject headings for a projected chapter entitled "Semper and Natural Science" for his 1984 biography of Semper (box 31). (4) Photocopies of much of Semper's correspondence (1824-1877) contained in the Semper-Archiv and other archives (e.g., the Germanisches Nationalmuseum, Nuremberg) with Herrmann's extensive transcriptions, notes, and index. The index lists approximately 295 correspondents, including members of Semper's family, his publishers, Prince Albert of Great Britain, Henry Cole, Joseph Paxton, and Richard Wagner (boxes 32-36).(5) Photocopies and/or partial transcriptions of approximately 25 manuscripts of Semper's writings not included in Herrmann's Semper-Archiv catalog, including competitions for various architectural projects, 1840-1870 (box 37). (6) Miscellaneous materials concerning Semper: drafts of articles by Herrmann, a genealogy of Semper's family, photocopies of contemporary reviews of Semper's "Der Stil" (box 38). (7) Approximately 55 photographs of Semper's sketches and architectural drawings and portrait photographs of Semper (box 38).
Summary: The papers of architectural historian Thomas S. Hines consist of the research files, site photographs, correspondence and published articles of a professor and scholar widely known for his detailed investigations of key figures including Daniel Burnham, Richard Neutra and Irving Gill. His significant publications, academic career and expertise on the development of Southern California architecture have had a profound impact, especially on the discourse related to the evolution of Los Angeles' built environment.
Summary:Interview with Edmund Teske was conducted by the architectural historian Thomas S. Hines on 9 Sept. 1994. Teske talks about his life, his artistic education and development as a photographer. He also speaks about his experiences with Frank Lloyd Wright and the Taliesin fellowship, and his photographs of Frank Lloyd Wright buildings, including Taliesin (East and West), and the Hollyhock house and Studio B in Barnsdall Park, Los Angeles.
Summary:Thomas S. Hines interviews John Gill, the great nephew of architect Irving Gill.
Summary: This collection of interviews was conducted by Thomas Hines from 1972 to 1980 in preparation for his book and exhibition on Richard J. Neutra in 1982. Series I contains interviews with Neutra's friends and family members, including Norman Cousins, Dione Neutra, and Raymond J. Neutra. Series II is comprised of interviews with Neutra's business associates, clients, and Los Angeles architects. Interviewees include Gregory Ain, Philip Lovell, Julius Shulman, and Raphael Soriano. In one recording with Harwell Hamilton Harris, Shelly Kappe conducts the interview with Thomas Hines.
Horn, Walter 1908-1995 (USA)
Summary: These papers relate to Professor Horn's study of Medieval aisled timber halls and barns, focusing on approximately forty English and French vernacular buildings of the 13th and 14th centuries, including churches, tithe barns, hospitals, manor halls, and market halls. Some papers describe timber halls and barns of the Low Countries and the United States. Included are his field notes, correspondence, photographs, negatives, offprints and small scale graphic materials. These papers were compiled in collaboration with Ernest Born (see Born architectural drawings accn. no. 920089**).
Müller-Wulckow, Walter 1886-1964 (German art historian)
Summary: Collection consists primarily of Müller-Wulkow's papers relating to the work of the sculptor, architect, engraver and painter Bernhard Hoetger. The correspondence with Hoetger and his wife Lee Hoetger documents the artist's life and work from 1919-1935. The collection also includes: Müller-Wulckow's professional correspondence concerning his efforts to promote Hoetger's work as well as two unrelated letters from Adolf Hölzel (1919), Wilhelm Wagenfeld (1929), and a postcard (post-World War II) from Erich Heckel; four letters from the Bauhaus, probably all from Walter Gropius, 1921-1924, asking for Müller-Wulckow's assistance in the school's fight against governmental attempts to cut financial aid and dissolve it as a public institution; manuscript writings about Bernhard Hoetger; a collection of printed articles and clippings on Hoetger; and 60 photographs of his architectural and sculptural projects, most notably of the "Böttcherstrasse" (1926) in Bremen.Series description: Series I. Correspondence with Bernhard and Lee Hoetger, 1919-1935, arranged in chronological order (folder 1-5). The correspondence reflects Müller-Wulckow's role as Hoetger's mentor and promoter of his work. Sales, publication and exhibition projects are discussed; also included are references to Hoetger's deceased friend Paula Modersohn-Becker. Of special interest are a letter from Hoetger, 1933 Aug. 9, enthusiastically discussing the advent of the Third Reich, and the painter's Nordic "Weltanschauung" and concept of art, and a series of letters, 1935 July, focusing on a negative review of Hoetger's work by the Nazi press organ "Das schwarze Korps;" both Hoetger and Müller-Wulckow strike a clearly anti-Semitic note in their discussion of this matter.Series II. Professional correspondence, 1924-1934, arranged in chronological order (folder 6). This correspondence, mostly with G. Biermann, publisher of the art journal Cicerone, further reflects Müller-Wulckow's efforts on Hoetger's behalf. His positive evaluation of the latter's controversial work is clearly expressed in a letter, 25 Jan. 6, about an Hoetger exhibition in 1924, which he analyzes and defends.Series III. Letters received from the Bauhaus, 1921-1924, arranged in chronological order (folder 7). Four letters from the Bauhaus, 1921-1924, discuss the financial and political difficulties encountered by the newly founded institution and ask for Müller-Wulckow's support in the form of short articles. One of the letters is signed by Walter Gropius. The others are unsigned but are likely by him as well. With four press announcements relating to Bauhaus activities.Series IV. Miscellaneous letters received (folder 8): A letter from Adolf Hölzel, 1919 March 26, announces his arrival in Frankfurt; a letter from Rudolf Probst at Neue Kunst Fides in Dresden inviting Müller-Wulckow to see the newly opened exhibition of watercolors and drawings by Franz Marc, many of which were shown for the first time; a letter from Wilhelm Wagenfeld, 1929 Aug. 7, discusses in great detail Wagenfeld's status as a teacher at the Staatliche Bauhochschule, Weimar; another letter from Wagenfeld to Müller-Wulckow dated 1929 Sept. 8; and a postcard from Erich Heckel, post World War II, thanks Müller-Wulckow for correcting a false title of a painting. Also present are two postcards from unidentified people, and two pieces of printed matter, including Müller-Wulckow's membership card from 1919 of Bürger-Ausschuss Geschäftsstelle Frankfurt a. M.; and an invitation to Müller-Wulckow from Ludwig Roselius to attend an event titled Das Heldische im nordischen Menschen held at Böttcherstrasse in April 1934, with two printed inserts.Series V. Manuscript writings on Hoetger (folder 9). A number of manuscript and typescript articles on Hoetger projects, most notably the "Böttcherstrasse" in Bremen, the Hoetger house in Worpswede and the war memorial "Niedersachsenstein".Series VI. Printed material relating to Hoetger, 1918-1935, (folder 10). Clippings and articles on Hoetger, predominantly on the controversial "Böttcherstrasse".Series VII. Photographs of Hoetger's architectural and sculptural work (binder). Sixty-one photographs of buildings and interiors designed by Hoetger, 53 of the "Böttcherstrasse", Bremen, with one photo of its sponsor, consul Roselius, four of the cafe "Winuwuck", one of the interior of the Hoetger house, Worpswede, and two of the war memorial "Niedersachsenstein".
Summary: Collection consists of a significant body of letters covering most of Ruskin's creative years. Included are two draft manuscript lecture fragments on engraving and Greek art, printed lecture proofs with corrections and annotations on "The Pleasures of Faith" and the Pre-Raphaelites (1883-1884), and portrait photographs of Ruskin.Series I. Correspondence: Included are letters by Ruskin, (1837-1886) covering most of his artistic and critical career, and including family and miscellaneous correspondence. Letters include: one to Henry Acland describing his recent travels and relating his views of Turner, Michelangelo and Raphael (20 June 1841); proposing the founding of an American school of architecture and painting (1852); referring to dimensions of a building discussed in "Stones of Venice," and a daguerrotype taken of it (1854); discussing painting from nature and mentioning Millais (1855); stating his views on the relationship between women and reason and the usage of the term "imagination" (1858); an illustrated letter concerning his interest in the structure of clouds and trees (ca. 1859); mentioning the "Aratra Pentelici" (ca. 1872); discussing a portrait of Rose La Touche and him (ca. 1874); commenting on his "dislike of modern poetry" (1881); authenticating a drawing by Turner (1886); an illustrated letter to the engraver R. P. Cuff regarding plate 5 entitled "The Ducal Palace: Comportments of the Balcony" in Ruskin's book "Examples of the Architecture of Venice" explaining with sketches how to accurately reproduce Ruskin's drawing of the balcony (n.d.); and relating that his views on architecture are well expressed in the preface to "Two Paths" (n.d.).Six letters are to his publisher George Allen concerning printing and editorial matters; three illustrate editing instructions.Family and miscellaneous correspondence includes a letter from John James Ruskin to George Smith concerning "The Seven Lamps of Architecture"; 3 letters received from his niece, Joan Ruskin Severn, regarding an artist's drawing career (1893); and a letter from Charles Eliot Norton to Prof. Moore regarding a volume of Ruskin's letters (1904). With 2 miscellaneous notes received by Ruskin. Arranged chronologically.Series II. Lecture fragments: Includes an 8 p. draft with extensive revisions of "Ariadne Florentina: Six Lectures on Wood and Metal Engraving," sections 21-30 (issued in seven separate parts in 1873-1876). The work derives from the series of lectures Ruskin gave as Slade Professor of Fine Arts at Oxford. Also, a 2 p. corrected fragment of a lecture on Greek art in which Ruskin speaks plainly of his Pre-Raphaelite preferences; this was later published in "Queen of the Air" (1869).Series III. Printed lecture proofs: Included is a corrected and heavily annotated 75 p. proof entitled "Lecture II: The Pleasures of Faith" (1884), with 2 p. of new text in manuscript, and a lightly corrected 36 p. first draft of "Rossetti and Holman Hunt" from his "Lectures on English Art" (1883).Series IV. Photographs: Four undated portrait photographs by Elliot & Fry and others of Ruskin aged ca. 40-60, and one taken of Ruskin with Sir Henry Acland at Brantwood (ca. 1890). With a small watercolor sketch of Ruskin's house, Brantwood, by an unknown artist.