This series consists of syllabi, reading lists, hand-outs from lectures and walking tours, slide lists, and instructions for written assignments and exams. Most courses represented in the series were taught under the auspices of the Art History department, though a few lectures from the Architecture department appear as well. The curriculum focuses on European architecture from the medieval period until 1900 and American architecture, with a particular emphasis on New York City. Materials from an Introduction to Architecture course taken in Fall 2001 include lecture notes from September 12th, 2001, when the professor revised the syllabus to add a lecture on "The Skyscraper" in response to the World Trade Center attacks.
Correspondence, manuscripts, diaries of a well-known émigré art historian Grigorii Ostrovskii.
Schapiro's role as a faculty member at Columbia University went uninterrupted from 1928 until 1978, a full 50 years of academic service. Schapiro began his formal teaching at Columbia beginning in 1928, when he became a "Lecturer" in the Fine Arts department, where art history courses were taught in the same department as those focused on the practice of fine arts. An independent art history department would not be established until 1961.Four years later, in 1965, Schapiro was appointed University Professor, the second such honor bestowed to a faculty member at Columbia at the time. In 1973, Schapiro become University Professor Emeritus at Columbia and would continue to teach until 1978.
Subseries II.3 focuses on the administration of Reid Hall's academic programs and their association with broader university systems in the 1980s and 1990s. Until 2009, Reid Hall was operated under the School of General Studies, though its place within the school structure changed over time as it reorganized. Frank Wolf, originally Associate Dean of the School of General Studies and later head of the Division of Special Programs, which covered Reid Hall beginning in 1995, led this aspect of Reid Hall's work. These functions are documented through meeting minutes, correspondence, and other papers from the Academic Advisory Committee as well as memos on faculty, coursework, and salaries. There are also records from two programs that ran out of Reid Hall, both beginning in the mid-1980s: the Art History Institute and the Graduate Student Research Institute.
Porta Acqua Felice via Auralia Antica, Porta Furba, Porta Satino, Porta Maggiore, Porta Pia, Porta del Popolo, Porta Portese, Porta San Giovanni, Porta San Sebastiano, Arco di Druso, Porta Santo Spirito, Porta Sisto, Porta Tibertina, ponte Cloaca Maxima, Ponte Rotto, Ponte Sisto, Ponte Sant'Angelo, Ponte Milvio, Fragments Campidoglio, Castel Sant'Angelo, Museo di Terme, via Arco di Druso, via Appia Antica, Owen's Via Appia, Arco di Dolabella, Arco di Grano, Templo Minerva Medica, near Constantinia, Maxentius, Cloaca Maxima, Terme di Caracalla, Foro Romano, Temple of Antonio e Faustina vestal tholos, view over pool of Vestal house to Arch of Titus, Arch of Titus, Basilica of Maxentius, Owen's forum, Sadio-Palatine, Pyramid of Cestius, Temple of Apollo, Foro Triano, Via del Impero, Baths of Titus, Baker's Tomb. Some notes attribute images to an Owen. Who this Owen is reminas unconfirmed, but in Bayley's CV, he notes that in 1951-3 they established Bayley-Owen Pictures to sell the photographs to museums and departments of art history.
(Annotations on reel Boxes identify these lectures as "Twentieth Century Painting." The course title used here was identified from Columbia Univeristy course material found in Series III, Subseries: III.2, Sub-Subseries: III.2.1. According to the Metropolitan Museum of Art's inventory, several lectures are recorded on the same reel. As a result, reels are organized according to lecture. Beginnings of all lectures are intact except lecture V and IV. The ending of lecture IV is also cut off. Sound quality is poor on lectures II, III, V, VIII, andXIII. The sound quality is mixed on lectures IV and XIV. Sound disappears midway through side b of lectures IX and XIV. Some of the lectures in this series were on the following topics: The art of the 1880s and 1890s ; The art of the 1890s ; Themes of self-color-portraiture ; Marquet-Matisse ; Matisse continued ; Picasso and Cubism.)
The collection is made up of 32 drawings in pencil, pastel, ink, and/or gouache on paper, vellum, or board. Included are designs for light fixtures, chairs, tables, mirrors, sofas in styles ranging from Baroque revival, Greek revival, Chinese Chippendale revival, and Regency revival.
The collection consists of the manauscripts of Fuhrmann's articles, notes, and related items on the history of printing and graphic arts. A great many of Fuhrmann's articles were about Johann Gutenberg. There is also correspondence, primarily with people well known in the printing trade.
Current results range from 1576 to 9999