This collection has no restrictions. The following boxes are located off-site: [55-665, 672-686]. You will need to request this material from the Rare Book and Manuscript Library at least three business days in advance to use the collection in the Rare Book and Manuscript Library reading room. Boxes 1-54 from Series VIII: Works of art remain on-site as do the glass plate negative boxes 666-671.
Some unique time-based media items have been reformatted and are available onsite via links in the container list. Commercial materials are not routinely digitized. Email rbml@columbia.edu for more information.
The collection of art historian Meyer Schapiro contains a vast range of material documenting the professor's personal, professional, and artistic life. The collection encompasses Schapiro's early academic training to his rise as a prominent theorist and historian of Medieval, Romanesque, Impressionist, and Modern art. His personal life is documented through early school records, course notes from college, typescripts and notes relating to his masters thesis and doctoral dissertation, and photographs and notebooks from his travels abroad between 1927 through 1957. The collection also houses an extensive set of Schapiro's own art work in various mediums that spans from the early 1920s through the 1980s. Schapiro was at the center of many artistic and political debates from the 1930s through the 1990s and his correspondence in the collection reflects his ongoing support of academics, artists, and philosophers. This includes his efforts to aid German and Jewish refugees of World War II. Schapiro's professional activities as a professor and lecturer are strongly represented in the collection. Materials include transcripts, outlines, research notes, and audio recordings of his lectures, many of which formed the basis for his written corpus. Also in the collection is Schapiro's extensive research notes on subject matter relating to art, politics, and sociology that are arranged alphabetically by subject. Included in the collection is a substantial array of Schapiro's published and unpublished writings, including articles, essays, manuscripts, published works, reviews, translations and poetry. Schapiro's intellectual curiosity necessitated his own constant reappraisal of his professional written work. This includes editing, clarifying, and expanding upon typescripts, outlines, and notes relating to lectures that he foresaw as being published. A constant source of support for Schapiro's professional and artistic output was his wife, Lillian Milgram Schapiro. After Schapiro's death, she would work to complete projects that Schapiro began and oversaw the management of his legacy. As a result, material in the collection that post-dates Schapiro's death in 1996 was generated by Lillian Milgram Schapiro and is noted throughout the finding aid.
This collection is arranged in eight series.
You will need to make an appointment in advance to use this collection material in the Rare Book and Manuscript Library reading room. You can schedule an appointment once you've submitted your request through your Special Collections Research Account.
This collection has no restrictions. The following boxes are located off-site: [55-665, 672-686]. You will need to request this material from the Rare Book and Manuscript Library at least three business days in advance to use the collection in the Rare Book and Manuscript Library reading room. Boxes 1-54 from Series VIII: Works of art remain on-site as do the glass plate negative boxes 666-671.
Some unique time-based media items have been reformatted and are available onsite via links in the container list. Commercial materials are not routinely digitized. Email rbml@columbia.edu for more information.
Reproductions may be made for research purposes. The RBML maintains ownership of the physical material only. Copyright remains with the creator and his/her heirs. The responsibility to secure copyright permission rests with the patron.
Identification of specific item; Date (if known); Meyer Schapiro Collection; Box and Folder; Rare Book and Manuscript Library, Columbia University Library.
Materials may have been added to the collection since this finding aid was prepared. Contact rbml@columbia.edu for more information.
Source of acquisition--Lillian Milgram Schapiro and Miriam Schapiro Grosof. Method of acquisition--Gift; Date of acquisition--date.
Columbia University Libraries, Rare Book and Manuscript Library
Papers processed Farris Wahbeh 2009-2010.
Finding aid written Farris Wahbeh 2009-2010.
Boxes 687-692 were formerly described as boxes 1-6 of a separate collection, the Meyer Schapiro letters and manuscripts of Whittaker Chambers and James Thomas Farrell, 1923-1991 (BibID 4079304). Upon closer inspection, we determined that these materials should instead be described as components of Meyer Schapiro's personal and professional papers. They were added to this finding aid on 2022 December 12 by Celeste Brewer.
2010-05-26 xml document instance created by Carrie Hintz
2018-08-31 xml document instance validation errors corrected by Catherine C. Ricciardi
2019-05-20 EAD was imported spring 2019 as part of the ArchivesSpace Phase II migration.
2022-08-31 Corrected numbering for boxes 57-61. kws
2022-12-12 Collection title changed from "Meyer Schapiro collection" to "Meyer Schapiro papers" to comply with DACS rules. CLB
Meyer Schapiro was a preeminent American art historian known for forging new art historical methodologies that incorporated an interdisciplinary approach to the study of works of art. An expert on early Christian, Medieval, and Modern art, Schapiro explored art historical periods and movements with a keen eye towards the social, political, and the material construction of art works. Credited with fundamentally changing the course of the art historical discipline, Schapiro's scholarly approach was dynamic and it engaged other scholars, philosophers, and artists. An active professor, lecturer, writer, and humanist, Schapiro maintained a long professional association with Columbia University as a student, lecturer, and professor.
1904-1919: Childhood and early education
Meyer Schapiro was born in Šiauliai, Lithuania on September 23, 1904 to a Jewish family that immigrated to the United States in 1907, when Schapiro was three years old. Meyer was the second of four children (Morris, 1903; Meyer, 1904; Mary, 1906; and Jacob 1911) to the parents Menahem (Nathan) and Fayge (Fannie) Schapiro.
Prior to moving to the United States, Schapiro's father Nathan was a child of the Haskalah (Jewish Enlightenment) movement in Lithuania. Nathan lost interest in religious studies and become, by his own account, a politically active free thinker that disassociated with religion and migrated towards an engagement with the secular world. These philosophical traits where transmitted to his son, Meyer, who actively engaged in a wide range of artistic, educational, and political pursuits in his early age.
The Schapiro family moved to the Brownsville section of Brooklyn, where Schapiro attended Public School 84 and/or 85 and graduated from the Boys High School, where he graduated and where one of his activities was to be involved in the Latin club. Schapiro's political and artistic pursuits at this time included being active with the Young People's Socialist League and attending evening art classes taught by painter John Sloan at the Hebrew Settlement Home.
1920-1929: Columbia University and Schapiro's college years:
Schapiro entered Columbia College in 1920 at the age of 16 with three scholarships, the Columbia, the Pulitzer, and the New York State Regents. He graduated with a bachelor of arts in 1924. His course load included a wide variety of classes on literature, anthropology, philosophy, mathematics, and art history and was influenced by his professors Franz Boas and John Dewey. Two of his roommates in his college years would continue to be his friends throughout his life, Clifton (Kip) Fadiman and Whittaker Chambers.
Schapiro would continue his graduate work at Columbia University, where he completed his master's thesis "The sculptures of Moissac" in 1926. As a graduate student at Columbia, Schapiro worked with Professor Ernest DeWald and took many of his classes, as evidenced by his course notes in his archival collection. During his college years, Schapiro was influenced by the art historian A. Kingsley Porter and, through his knowledge of Yiddish, learned French and German and became acquainted with the work of Wilhelm Vöge and Alois Riegl.
To complete research for his doctoral dissertation, Schapiro traveled for the first time to Europe and the Near East in 1926 through 1927 on a grant awarded by the Carnegie Corporation. This period of his life is documented in the Getty publication, Meyer Schapiro abroad: letters to Lillian and travel notebooks.
Schapiro completed his doctoral dissertation "The Romanesque sculpture of Moissac" in 1929 and his PhD was the fist in fine arts and archeology awarded by Columbia University. In 1931, Selections of his dissertation were published in the journal The Art Bulletin to critical praise because of his methodology of synthesizing diverse ideas to reinterpret the artistic production of the Romanesque. While Schapiro completed his academic work in 1929, he would not be conferred his doctoral degree until 1935 due to administrative bureaucracy. Schapiro's academic success at Columbia was unparalleled, and he was appointed to the faculty of fine arts in 1928, the same year he was married to Lillian Milgram Schapiro, a pediatrician who graduated from New York University and specialized on childhood tuberculosis.
1930-1949: The cultivation of Schapiro's professional life and the pre-war political horizon:
Schapiro's professional and scholarly life began to ascend as soon as earned his doctorate. His writings and reviews began to appear throughout journals, magazines, and newspapers. Schapiro's critique of historians using schematic approaches to understanding art and its production began in the early 1930s, such as his review of La Stylistique Ornamentale dans la Sculpture Romane by Jurgis Baltrusaitis.
In 1933, Schapiro moved with his wife, Lillian Milgram Schapiro, to the Greenwich Village neighborhood in New York City, where he would reside until his death in 1996.
Schapiro would continue to engage with politics, such as participating in the first American Artists' Congress in 1936, where he delivered the paper "The Social Bases of Art." But he was adamant of not reducing art to a disciplinary schema. As he writes in the aforementioned article, he sought not to "reduce art to economics or sociology or politics." He would continue to publish in political magazines such as The Marxist Quarterly, where he published "The Nature of Abstract Art," yet another critique on his friend Alfred H. Barr, Jr.'s exhibition "Cubism and Abstract Art."
In the 1930s, Schapiro visited Europe twice, once in 1931 and the other in 1939. He would meet and become acquaintances with many individuals associated with the Vienna School of art history, such as Ernst Gombrich, Emil Kaufmann, Otto Pächt, Hans Sedlmayr, and Fritz Saxl. Schapiro broke off his communication with Sedlmayr in the mid-1930s due to his increasing anti-Semitism. At the urging of his friend Theodor Adorno, Schapiro met with Walter Benjamin in 1939 in Paris, several months before the philosopher's death.
Throughout the years proceeding and following World War II, Schapiro was a consistent point of contact for refugees fleeing the hostile and repressive climate of Germany and Russia. He was a point of contact for many German and Jewish academics, philosophers, and artists fleeing Europe for the United States and he was a vocal critic of repressive regimes, such as Nazism and Fascism. After the atrocities committed under Stalin, Schapiro became disillusioned with politics, yet he continued his admiration for the political and maintained correspondence with political figures such as Leon Trotsky.
In 1936, Schapiro would be promoted to Assistant Professor at Columbia University and, by 1948, he would become an Associate Professor at the university.
Schapiro had an admiration for artists and continually sought to nurture their intellectual acuity through his lectures. Many artists have credited Schapiro with developing their historical and philosophical understanding of art history, especially at Columbia University, where students such as Helen Frankenthaler, Robert Motherwell and Ad Reinhardt attended his courses.
That Schapiro was a practicing artist himself added to his interest in being in constant dialogue with artists. As Wolf Kahn once noted, "For Meyer Schapiro art making and art history have always appeared as intrinsically related. What brings them together is seeing."
Throughout 1930s and 1940s, Schapiro was also a lecturer at New York University, New School for Social Research, and the Pierpont Morgan Library. Many artists became aware of his lectures, teaching methodologies, and philosophies through those venues, such as Alice Neel, Barnett Newman, Gordon Onslow-Ford, and Frank Stella.
1950-1979: Schapiro's continued rise as a prominent American art historian:
Starting in the 1950s, Schapiro's professional career became ever more active. In April 1950, he was invited by the gallery owner Samuel Kootz to co-curate with art critic Clement Greenberg the exhibition "Talent 1950: 23 artists receive a showing under the sponsorship of Meyer Schapiro and Clement Greenberg." He first books were also published in that decade, Vincent van Gogh in 1950 and Paul Cézanne in 1952. His theories on style, form, content, and abstraction continued to be developed, and he became an ongoing advocate of Modern art.
While the end of World War II and the on-going anti-Communism in the United States were sources of disillusionment for the political left in the late 1940s and early 1950s, several New York intellectuals, including Schapiro and Irving Howe, founded the political magazine Dissent.
Schapiro continued to teach at Columbia University and in 1952 he was promoted to Professor and in 1965 became a University Professor, the second such honor bestowed to a faculty member at Columbia at the time. His students in the 1950s and 1960s at Columbia and other institutions include several prominent artists, such as Allen Ginsberg, Donald Judd, Allan Kaprow, and Jack Kerouac.
Throughout the 1960s, Schapiro became a highly regarded fellow, visiting professor, and guest lecturer, both in the United States and Europe. In 1961, he delivered the Patten lectures at Indiana University which was devoted to Impressionism. Schapiro was a Fellow at the Center for Advanced Study in the Behavioral Sciences from 1962 to 1963 at Stanford University. In 1965, he delivered the Weil Lecture at the Frank L. Weil Institute at Hebrew Union College. In 1966, Schapiro was the Charles Eliot Norton Professor at Harvard University, where he delivered the now published lectures on Romanesque architectural sculpture. At Oxford University, he was the Slade Professor in 1968. In that capacity, he delivered the Slade Lectures in the Fine Arts that was focused on Abstract art.
His work in both Romanesque and Modern art continued to be published in the 1960s. In 1964, the College Art Association of America published Schapiro's The Parma Ildefonsus: A Romanesque Illuminated Manuscript from Cluny, and Related Works. Schapiro's most famous published work of that decade, however, was the 1968 article "The Still Life as Personal Object" which rejected Martin Heidegger's philosophical interpretation of a painting by Vincent van Gogh that depicted a pair of shoes. Schapiro's article became a touchstone for the study of iconographical interpretation, semiotics, and art history.
In 1966, Schapiro received two recognitions: an honorary degree from the Jewish Theological Seminary of America and the Brandeis Commission Award for Notable Achievement from Brandeis University.
Schapiro's intellectual interest in semiotics and its relation to visual representation was made apparent in the 1973 publication Words and Pictures: On the Literal and the Symbolic in the Illustration of a Text.
By the early 1970s, Schapiro's influence in the field of art history began to be recognized in various forms at Columbia University. By 1973, he was promoted to the position of University Professor Emeritus. In 1975, he received an honorary doctorate from the university and also accepted the Alexander Hamilton Medal awarded by the Columbia College Alumni Association.
In 1974, a committee was formed to establish a chair in art history at Columbia University in Schapiro's honor. The group, who included George Jaffin, Barnett Newman, and William Rubin amongst others, was known as the Committee to Endow a Chair in Honor of Meyer Schapiro, and organized several artists to create original prints in an edition of 100 for a portfolio to raise funds for the position. Artists who contributed included Stanley William Hayter, Jasper Johns, Ellsworth Kelly, Alexander Liberman, Roy Lichtensetein, André Masson, Robert Motherwell, Claes Oldenburg, Robert Rauschenberg, Saul Steinberg, Frank Stella, and Andy Warhol.
Schapiro taught his last Columbia University course, which focused on Romanesque sculpture, in 1977.
By the late 1970s he was awarded several prestigious awards. The National Institute of Arts and Letters gave Schapiro the "Distinguished work in the arts" award in 1976. In 1977, the country of France bestowed its highest honor, the Commandeur de l'Order des Arts et des Lettres, to Schapiro.
At this time, Schapiro began to assemble his writings from the 1930s in order to publish them as collected volumes. The publishing firm George Braziller, Inc began to this project in 1977 with the first volume Selected Papers I: Romanesque Art. In 1978, the second volume Selected Papers II: Modern Art: 19th and 20th Centuries was published and, by 1979, Schapiro's third volume of collected papers, Selected Papers III: Late Antique, Early Christian, and Medieval Art, was released.
1980-1996: The final years and continued legacy:
In the late 1970s and early 1980s, Schapiro would continue to lecture on the two art periods he was an expert on: Romanesque and Modern art. In 1979, his lecture " Hiberno-Saxon art: experiment with forms" was given at the Solomon R. Guggenheim Museum and in 1980 he delivered the lecture "The unity of Picasso's art" at Columbia University.
In 1987, Rainer Crone and Elizabeth Ferrer curated the exhibition "Meyer Schaipro: Works of Art, 1919-1979" at Columbia University's Miriam and Ira D. Wallach Art Gallery. For the first time, the public was able to view 65 works of art that Schapiro had created and finally introduced Schapiro to the public as a draftsman and painter. The exhibition also included a publication with essays by Thomas B. Hess and Wolf Kahn.
Throughout the 1980s, Schapiro, with the support of his wife Lillian Milgram Schapiro, focused on organizing and editing published and unpublished material and compiling these as sources for future publication. In many instances, these manuscripts were never published and included titles such as "Pablo Picasso's Guernica, " "The serpent with a woman's head in the temptation of Eve: researches on the invention of an image," "Sigmund Freud's Gradiva, " "Words in pictures: the perspectives of the viewer and the reader," "Relativity and the interpretation of modern painting," "Vico on the visual arts," and "Wolvinius Magister Phaber: the crowning of an artist in the early Middle Ages."
One further volume of his collected work was published during Schapiro's lifetime, the 1994 release of Selected Papers IV: Theory and Philosophy of Art: Style, Artist, and Society. In 1995, Mondrian: On the Humanity of Abstract Painting was published. In the same year, Schapiro's authoritative bibliography was issued by George Braziller, Inc., which was compiled by Lillian Milgram Schapiro.
In 1994, the Brooklyn Museum named its West Wing the Morris A. and Meyer Schapiro Wing in honor of Schapiro and his brother, the financier and philanthropist Morris A. Schapiro. In the same year, a special symposium titled "The significance of Meyer Schapiro: a symposium in honor of his 90th birthday" was held at the Metropolitan Museum of Art. Speakers in the program included David Rosand, Linda Nochlin, Theodore Reff, John Plummer, Linda Seidel, Michael Taussig, and Henri Zerner. Artists, such as Louise Bourgeois, Allan Kaprow, and George Segal also spoke at the symposium.
Meyer Schapiro passed away in his Greenwich Village home on March 3, 1996. He was survived by his wife, Lillian Milgram Schapiro, a daughter, Miriam Schapiro Grosof, and a son, Ernest Schapiro.
After his death, Lillian Milgram Schapiro would continue her husband's efforts in editing and compiling material for publication with the help of Schapiro's long time assistant Robin Sands, her nephew Daniel Esterman, and publisher George Braziller. With her efforts, the following books were published posthumously: Words, Script, and Pictures: The Semiotics of Visual Language (1996); Impressionism: Reflections and Perceptions (1997); Worldview in Painting—Art and Society: Selected Papers, Vol. 5 (1999); The Unity of Picasso's Art (2000); Meyer Schapiro : his painting, drawing, and sculpture (2000); Language of Forms: Lectures on Insular Manuscript Art (2005); and Romanesque architectural sculpture: The Charles Eliot Norton lectures (2006).
Lillian Milgram Schapiro passed away on August 6, 2006 and, two years later, the Getty Research Institute published Meyer Schapiro abroad : letters to Lillian and travel notebooks. The book focused on Meyer's correspondence with Lillian Milgram Schapiro as he traveled across Europe and the Near East from 1926 through 1927.
Schapiro's scholarly legacy in the fields of early Christian, Medieval, Romanesque, and Modern art historical studies, and his role in shaping the landscape of art historical scholarship both in the United States and internationally, continues to be of intellectual and philosophical interest to historians and artists alike.
Name |
---|
Chambers, Whittaker |
Columbia University -- Faculty |
Columbia University. Department of Art History and Archaeology |
Farrell, James T (James Thomas), 1904-1979 |
Schapiro, Meyer, 1904-1996 |
Materials in this series comprise records from Schapiro's personal and educational life and also include documentation from notable milestones in his career.
Records in this subseries reflect achievements that Schapiro was recognized for in the form of awards, degrees, and prizes. This includes awards such as Commandeur de l'Order des Arts et des Lettres from the French government, honorary doctorates from various universities and colleges, and prizes such as the CAA Special Award for Lifetime Achievement given by the College Art Association of America. Materials include actual degrees and certificates, correspondence relating to these achievements, and associated publicity material. The subseries is divided further into sub-subseries by the following title designations: Sub-Subseries: I.1.1: Awards, 1959-1995, Sub-Subseries: I.1.2: Degrees, 1966-1988, Sub-Subseries: I.1.3: Prizes, 1979-1985
Box 98 Folder 1
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Box 633 Folder 1
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Box 99 Folder 1
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Box 99 Folder 20
The bulk of this subseries includes Schapiro's collected articles and clippings that referenced him. Schapiro continually collected such material beginning in the late 1920s. Additionally, there are several of Schapiro's own auto-biographical writings relating to key events in his life. Also included are his daily diaries and biographies written by other scholars.
Box 100 Folder 1
Box 100 Folder 2
Box 100 Folder 3 to 4
Box 100 Folder 5 to 7
Box 100 Folder 8 to 9
Box 101 Folder 1 to 3
Box 101 Folder 4
Box 101 Folder 5
Box 101 Folder 6 to 7
Box 101 Folder 8
Box 102 Folder 1
Box 102 Folder 2 to 3
Box 102 Folder 4 to 5
Box 102 Folder 6
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Box 653 Folder 12
This subseries contains material pertaining to official recognitions bestowed to Schapiro and eulogies either delivered by him to fellow friends and those given during Schapiro's funeral. This subseries is divided into the following categories to facilitate the retrieval of records: Sub-Subseries: I.3.1: Dedications, 1980-1996, Sub-Subseries: I.3.2: Eulogies, 1996.
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(Acceptance speech given by Benjamin Grosof)
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Box 103 Folder 13
(includes those given by Marshal Berman, George Braziller, David Grosof, and Benjamin Grosof)
Box 103 Folder 14
Box 103 Folder 15
Box 103 Folder 16 to 18
While Schapiro is well known for his art historical scholarship, he also curated art exhibitions and exhibited art works he himself created. This subseries includes materials from an exhibit he co-curated alongside Clement Greenberg in 1950 at the Kootz Gallery titled "Talent 1950: 23 artists receive a showing under the sponsorship of Meyer Schapiro and Clement Greenberg." There is also substantial material relating to the exhibition "Meyer Schapiro: works of art, 1919-1970" held at Columbia University's Wallach Art Gallery which showcased Schapiro's own art work. Consult Series VIII: Works of art, 1920s-1980s, for a full listing of works of art held in this collection. Additionally, this subseries includes materials relating to exhibits were portraits of Schapiro were included, where works of art dedicated to him were exhibited, or where exhibitions in his honor were curated.
Box 104 Folder 1
Box 104 Folder 2
(Letter soliciting Schapiro to curate an exhibition)
Box 104 Folder 3
Box 104 Folder 4
Box 104 Folder 5
(Exhibition held at Columbia University's Low Rotunda featuring drawings from Schapiro's travel notebooks and photographs by David Finn. Published by George Braziller, Inc. in 1985)
Box 104 Folder 6
Box 104 Folder 7
(Exhibition includes a portrait of Schapiro)
Box 104 Folder 8
Box 104 Folder 9
Box 104 Folder 10
Box 104 Folder 11
Box 104 Folder 12 to 13
Box 104 Folder 14
Box 104 Folder 15
This subseries documents portrait photographs of Meyer Schapiro or those taken by him. This subseries is divided into two sub-subseries which reflects this arrangement. For photographs that were ordered, purchased, or collected for research purposes by Schapiro, consult Series V: Research files, Subseries: V.6: Reproductions. Photographs used or considered for use in publications are housed with their respective titles in Series IV: Writings, Subseries: IV.5: Publications.
The majority of this sub-subseries are photographs of Schapiro used for various publications and also includes photographs of his wife, Lillian Milgram Schapiro.
Box 105 Folder 1
Box 105 Folder 2
(Image was used in an article for the publicationLife
Box 105 Folder 3
Box 105 Folder 4
Box 105 Folder 5
Box 105 Folder 6
(Accompanied by a drawing of Schapiro by James Rosen)
Box 105 Folder 7
This sub-subseries contains photographs and negatives that document Schapiro's travels to Europe and the Near East from two trips taken in 1926 through 1927 and 1957. The 1926 trip was funded by the Carnegie Corporation to complete research on his doctoral dissertation relating to Romanesque sculpture. These photographs add a visual layer to the writings contained in his travel notebooks that are contained in Subseries: I.8. The images are chiefly composed of architecture and architectural details that Schapiro went overseas to study. While the positive prints are organized by country and city traveled, the negatives, with over 1,500 individual negatives, are unsorted due to the volume.
Box 641 Folder 1
4 photographs : gelatin silver prints; black and white ; 4 x 6 inches
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18 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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42 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches (35) and 5 ½ x 3 ¾ inches (7)
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7 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches (2) and 3 ½ x 5 ½ inches (2)
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17 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches (11) and 5 ½ x 3 ¾ inches (6)
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18 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches (11) and 5 ½ x 3 ¾ inches (7)
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4 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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3 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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2 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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29 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches (27) and 3 ¼ x 5 3/8 inches (2)
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3 photographs : gelatin silver prints ; black and white ; 7 ¼ x 4 ½ inches
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11 photographs : gelatin silver prints ; black and white ; 5 ¾ x 3 ¾ inches
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3 photographs : gelatin silver prints ; black and white ; 7 ¼ x 4 ½ inches
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5 photographs : gelatin silver prints ; black and white ; 7 ¼ x 4 ½ inches
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4 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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16 photographs : gelatin silver prints ; black and white ; 5 ¾ x 3 ½ inches
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1 photograph : gelatin silver print ; black and white ; 5 ¾ x 3 ½ inches
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15 photographs : gelatin silver prints ; black and white ; 5 ½ x 3 ¼ inches
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1 photograph : gelatin silver print ; black and white ; 3 ½ x 2 ½ inches
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5 photographs : gelatin silver prints ; black and white ; 5 ¾ x 3 ½ inches
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44 photographs : gelatin silver prints ; black and white ; 5 ¾ x 3 ½ inches (Bulk) (Accompanied by notes and a postcard)
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3 photographs : gelatin silver prints ; black and white ; 5 ½ x 3 ½ inches
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5 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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8 photographs : gelatin silver prints ; black and white ; 5 ¼ x 3 ½ inches
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4 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches (3) and 5 ½ x 3 ½ inches (1)
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2 photographs : gelatin silver prints ; black and white ;6 7/8 x 4 ½ inches
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1 photograph : gelatin silver print ; black and white ;6 7/8 x 4 ½ inches
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59 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches (bulk) (Accompanied by hand drawn map of France)
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17 photographs : gelatin silver prints ; black and white ; 5 ½ x 3 ½ inches
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1 photograph : gelatin silver print ; black and white ; 3 ½ x 2 ½ inches
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6 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches (4) and 5 ¾ x 3 ¾ inches (2)
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2 photographs : gelatin silver prints ; black and white ; 7 x 4 ½ inches
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1 photograph : gelatin silver print ; black and white ; 7 x 4 ½ inches
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25 photographs : gelatin silver prints ; black and white ; 3 ½ x 5 ½ inches
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7 photographs : gelatin silver prints ; black and white ; 5 ½ x 3 ½ inches
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1 photograph : gelatin silver print ; black and white ; 2 ½ x 3 ½ inches
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9 photographs : gelatin silver prints ; black and white ; 4 ½ x 7 ½ inches
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20 photographs : gelatin silver prints ; black and white ; 5 ½ x 3 ½ inches
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1 photograph : gelatin silver print ; black and white ; 4 ½ x 7 inches
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33 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches (bulk)
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10 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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20 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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2 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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10 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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14 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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5 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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8 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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1 photograph : gelatin silver print ; black and white ; 3 ½ x 2 ½ inches
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6 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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6 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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8 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
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4 photographs : gelatin silver prints ; black and white ; 4 x 2 ½ inches
Box 643 Folder 19
1 photograph : gelatin silver print ; black and white ; 3 ½ x 2 ½ inches
Box 644 Folder 1
7 photographs : gelatin silver prints ; black and white ; 4 x 2 ½ inches
Box 644 Folder 2
1 photograph : gelatin silver print ; black and white ; 3 ½ x 2 ½ inches
Box 644 Folder 3
1 photograph : gelatin silver print ; black and white ; 3 ½ x 2 ½ inches
Box 644 Folder 4
9 photographs : gelatin silver prints ; black and white ; 3 x 2 ½ inches
Box 644 Folder 5
3 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 644 Folder 6
3 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 644 Folder 7
3 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 644 Folder 8
12 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 644 Folder 9
11 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 644 Folder 10
38 photographs : gelatin silver prints ; black and white ; 3 1/2 x 2 ½ inches
Box 644 Folder 11
2 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 644 Folder 12
1 photograph : gelatin silver print ; black and white ; 3 ½ x 2 ½ inches
Box 644 Folder 13
5 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 644 Folder 14
77 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches (bulk)
Box 644 Folder 15
3 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 645 Folder 1
15 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 645 Folder 2
1 photograph : gelatin silver print ; black and white ; 3 ½ x 2 ½ inches
Box 645 Folder 3
2 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 645 Folder 4
4 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 645 Folder 5
82 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 645 Folder 6
7 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 645 Folder 7
12 photographs : gelatin silver prints, black and white ; 5 x 6 ½ inches (bulk) (Photographs are assembled in a handmade card)
Box 645 Folder 8
1 photograph : gelatin silver print ; black and white ; 3 ½ x 2 ½ inches
Box 645 Folder 9
19 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches (bulk)
Box 645 Folder 10
5 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 645 Folder 11
34 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 645 Folder 12
4 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches
Box 645 Folder 13 to 14
105 photographs : gelatin silver prints ; black and white ; 3 ½ x 2 ½ inches (bulk)
Box 645 Folder 15
1 photograph : gelatin silver print ; black and white ; 3 ½ x 2 ½ inches
Box 646 Folder 1
261 photographs : gelatin silver negatives ; 3 ½ x 2 ½ inches
Box 646 Folder 2
250 photographs : gelatin silver negatives ; 3 ½ x 2 ½ inches
Box 672 Folder 1
250 photographs : gelatin silver negatives ; 3 ½ x 2 ½ inches
Box 672 Folder 2
262 photographs : gelatin silver negatives ; 3 ½ x 2 ½ inches
Box 647 Folder 1
3 gelatin silver negative strips
Box 647 Folder 2
5 gelatin silver negative strips
Box 647 Folder 3
6 gelatin silver negative strips
Box 647 Folder 4
3 gelatin silver negative strips
Box 647 Folder 5
5 gelatin silver negative strips
Box 647 Folder 6
8 gelatin silver negative strips
Box 647 Folder 7
3 gelatin silver negative strips
Box 647 Folder 8
4 gelatin silver negative strips
Box 647 Folder 9
13 gelatin silver negative strips
Box 647 Folder 10
1 gelatin silver negative strip
Box 647 Folder 11
3 gelatin silver negative strips
Files in Subseries: I.6 document the management and administration of Meyer and Lillian Milgram Schapiro's private art collection, including lists, notes, appraisals, condition reports, exhibition loan agreements, and gifts given to assorted art and cultural institutions.
Box 106 Folder 1 to 2
Box 106 Folder 3
Box 106 Folder 4
Box 106 Folder 5
Box 106 Folder 6
Box 106 Folder 7
Box 106 Folder 8
Box 106 Folder 9
Box 106 Folder 10
Box 106 Folder 11
Box 654 Folder 1
Box 654 Folder 2
Box 654 Folder 3
Box 654 Folder 4
Box 654 Folder 5
Box 654 Folder 6
(Accompanied by photocopies of Forest Clemenger Bess letters)
Material in subseries I.7 includes Schapiro's earliest records in the collection, a 1919 student newsletter he edited for the Latin club at Boys High school Brooklyn. The bulk of this subseries, however, is focused on Schapiro's college days at Columbia University. This includes his student notes of college courses, notes and typescripts for his 1926 master's thesis ("The sculptures of Moissac"), and, finally, material focused on his doctoral dissertation which was completed in 1929 ("The Romanesque sculpture of Moissac"). Schapiro was one of the three first recipients to be awarded a masters degree in fine arts at Columbia University and his doctoral dissertation was the first in fine arts and archeology at the university. For further materials relating to Schapiro's doctoral dissertation, also consult Series V: Research files, Subseries: V.5 under the subject term Saint-Pierre (Abbey : Moissac, Tarn-et-Garonne, France).
Box 107 Folder 1
(Schapiro served as editor)
Box 107 Folder 2
Box 107 Folder 3
(Includes notes from the following classes followed by instructor: Medieval Art, Ernest T. DeWald ; Medieval Architecture, Alfred Dwight Foster Hamlin ; Renaissance Architecture, William Bell Dinsmoor, Sr. ; and Roman and Early Christian Art, Steuben Butler Murray, Jr.)
Box 107 Folder 4
Box 107 Folder 5
Box 107 Folder 6
Box 107 Folder 7
(Examinations from university classes relating to art and architecture)
Box 107 Folder 8
Box 107 Folder 9
Box 107 Folder 10
Box 655 Folder 1
Box 655 Folder 2
Box 655 Folder 3
Box 639 Folder 1
133 photographs : gelatin silver prints ; black and white ; 5 x 7 inches (bulk)
Box 639 Folder 2
158 photographs : gelatin silver prints; black and white ; 5 x 7 inches (bulk)
Box 640 Folder 1
120 photographs : gelatin silver prints ; black and white ; 5 x 7 inches (bulk)
Box 108 Folder 1
(Part I of dissertation. Accompanied by editorial notes from 1986)
Box 108 Folder 2
(Part II and chronology of dissertation. Accompanied by editorial notes from 1986)
Box 108 Folder 3
(Includes pages 43-122 relating to capitals)
Box 108 Folder 4
(Carbon copy of pages 62-71)
Box 108 Folder 5
(Excerpts from Part I, pages 125-177, relating to tympanum)
Box 108 Folder 6
(Pages 172-202)
Box 108 Folder 7
(Pages 192-193, 203-221)
Box 108 Folder 8
(Pages257-271)
Box 108 Folder 9
(Pages 322-376)
Box 108 Folder 10 to 11
Box 108 Folder 12
In 1926, Schapiro received a grant from the Carnegie Corporation to research his doctoral dissertation on Romanesque sculpture. That trip, which lasted 15 months, provided Schapiro with first hand visual experience with architectural works he had only known through reproductions and texts. This subseries includes his complete travel notebooks and is organized by country and/or city.
Since these travel notebooks were compiled by Schapiro by region traveled, they are occasionally not individual, discrete notebooks and are therefore described by leave count and dimensions. In the event where an actual notebook is intact, it will be described as such. Consult Series V: Research files, Subseries: V.5: Research notes under the appropriate subject heading for other drawings and notes created during Schapiro's travels. Also consult Subseries: I.5: Photographs, Sub-Subseries: I.5.2: Travel photographs for photographs taken during his 1926 trip and that complement the notebooks in this subseries.
The 2007 publicationMeyer Schapiro abroad: letters to Lillian and travel notebooksreproduced several sheets of Schapiro's travel notebooks from the years 1926 through 1927. Items in that publication reproduced material in this subseries and also items from Series V: Research files, Subseries: V.5: Research notes, especially for notes relating to illuminated manuscripts.
In the 1980s and 1990s, several leaves were detached and placed on mats, these are also arranged by country and/or city.
This subseries is arranged as follows: Sub-Subseries I.8.1: Notebooks, 1926-1974, Sub-Subseries I.8.2: Detached leaves and tourist maps, 1927-1947.
Box 634 Folder 1
165 leaves, 8 x 5 ½ inches (bulk) (Includes material from 1930-1931 and material relating to the Saint Pierre Abbey in Moissac, France)
Box 634 Folder 2
17 leaves, 7 ½ x 5 ½ inches (bulk)(Includes material from the following locations: Dijon ; Beaune ; Lyons ; Vienne ; Orange ; Avignon ; Arles ; and Genova)
Box 634 Folder 3
150 card files, 4 x 6 inches ; 40 leaves, 7 ½ x 5 ½ inches (bulk)(An inscription indicates that the small pages (index cards) date from 1931 and the large pages (leaves) date from 1926)
Box 634 Folder 4
60 leaves, 8 x 5 ¼ inches (bulk)
Box 634 Folder 5
47 leaves, 8 x 5 inches (bulk) (Includes material from Italy, Belgium, and England)
Box 634 Folder 6
36 leaves, 7 x 5 inches (bulk)
Box 635 Folder 1
41 leaves, 7 ¾ x 5 inches (bulk) (Notes are chiefly relating to architectural illustrations attached to an A.K. (Arthur Kingsley) Porter publication. Notes also contain a draft letter to Jules Momméja)
Box 635 Folder 2
1 notebook, 8 ¼ x 5 1/8 inches (Includes notes reflections on A.K (Arthur Kingsley) Porter )
Box 635 Folder 3
202 leaves, 8 3/16 x 5 ½ inches (bulk) (Schapiro referred to this notebook as "Moissac and Comparisons." For individual leaves placed in mats, refer to Box)
Box 635 Folder 4
39 leaves, 7 5/8 x 4 7/8 inches (bulk)
Box 635 Folder 5
1 notebook, 8 x 5 ¾ inches ; 64 leaves, 7 ½ x 5 inches (bulk)
Box 635 Folder 6
71 leaves, 7 ½ x 5 7/8 inches (bulk)
Box 636 Folder 1
2 notebooks, 7 ½ x 4 inches
Box 636 Folder 2
1 notebook, 7 ½ x 5 3/8 inches
Box 636 Folder 3
1 notebook, 7 ½ x 5 ¼ inches
Box 636 Folder 4
1 notebook, 6 3/8 x 3 7/8 (inches)
Box 636 Folder 5
19 leaves, 7 x 5 ¼ (bulk)(Accompanied by correspondence)
Box 636 Folder 6
35 leaves, 5 ½ x 4 ¼ inches (bulk)
Box 636 Folder 7
100 leaves, 7 ½ x 4 7/8 inches (bulk)
Box 637 Folder 1
1 notebook, 8 ¼ x 5 1/8 inches
Box 637 Folder 2
318 leaves, 7 5/8 x 5 inches (bulk); board covers: 8 ¾ x 5 ¼ x 1 ¾ (Leaves are housed in a book stripped of pages)
Box 637 Folder 3
1 notebook, 5 ¾ x 4 inches ; 185 leaves, 5 x 4 inches (bulk)
Box 637 Folder 4
1 notebook, 6 x 4 inches
Box 637 Folder 4
1 notebook, 5 ¼ x 3 ½ inches
Box 637 Folder 4
1 notebook, 4 ½ x 2 7/8 inches
Box 637 Folder 5
Box 638 Folder 1
20 leaves, 7 ½ x 5 ¼ inches (bulk)
Box 638 Folder 2
12 leaves, 8 ¼ x 5 5/16 inches (bulk)
Box 638 Folder 3
6 leaves, 8 ¼ x 5 ¼ inches (bulk)
Box 638 Folder 4
7 leaves, 7 5/8 x 4 7/8 inches (bulk)
Box 638 Folder 5
23 leaves, variable dimensions (Chiefly landscapes and church interiors)
Box 638 Folder 6
7 leaves, 7 5/8 x 5 7/16 inches (bulk)
Box 638 Folder 7
1 leaf, 7 ¾ x 5 inches
Box 638 Folder 8
1 leaf, 7 5/8 x 4 7/8 inches
Box 638 Folder 9 to 10
leaves, 8 ¼ x 5 ¼ inches (leaf); 11 ½ x 9 inches (mat)(In 1985 Iinvidual leaves from the travel notebook in Box 635, enclosure 3 were placed in mats for the Columbia University exhibition "Romanesque sculpture of Moissac." See Box 104, Folder 3 for materials relating to this exhibition. Material relates chiefly to Saint-Pierre (Abbey : Moissac, Tarn-et-Garonne, France), see below for further detached leaves on this structure)
Box 638 Folder 11
2 leaves, 7 ¾ x 5 inches
Box 638 Folder 12
1 sheet, 8 1/8 x 5 ¼ inches (Accompanied by a note from 1980)
Box 638 Folder 13
7 leaves, 8 ¼ x 5 ¼ inches (bulk)
Box 638 Folder 14
2 leaves, 7 5/8 x 4 7/8 inches
Box 638 Folder 15
11 leaves, 8 ¼ x 6 inches (bulk)
Box 638 Folder 16
39 leaves, 8 ¼ x 6 inches (bulk)
Box 638 Folder 17
26 leaves, 8 ¼ x 6 inches (bulk)
Box 638 Folder 18
12 leaves, 8 ¼ x 6 inches (bulk)
Box 638 Folder 19
17 leaves, 8 ¼ x 6 inches (bulk)
Box 638 Folder 20
14 leaves, 8 ¼ x 6 inches (bulk)
Box 638 Folder 21
9 leaves, 8 ¼ x 6 3/8 inches (bulk)
Box 638 Folder 22
leaves, 8 ¼ x 5 ¼ inches (bulk)
Box 638 Folder 23
34 leaves, 7 5/8 x 5 inches (bulk)
Box 638 Folder 24
32 leaves, 7 5/8 x 5 inches (bulk)
Box 638 Folder 25
Schapiro was a central figure in many important circles that range from art history, philosophy, architecture, sociology, science, and pedagogy. His reach is evident with those he kept in correspondence with throughout his life. Series II contains a substantial list of figures that are famous or well known in their field and illustrates how active Schapiro was in his professional and personal life.
Schapiro did not differentiate his correspondence files between the personal and the professional. While he maintained and organized correspondence alphabetically by an individual's last name, he did not organize to the individual level. For example, files designated as "B" included material in several folders that span seven decades. Each folder housed a variety of individuals with a last name beginning with "B" or an institutional name that began with that letter.
To clarify and bring entities and constituents to the foreground, all correspondence was systematically organized by individual or institution if they were either noteworthy or if they maintained a high volume of correspondence with Schapiro. For individuals and institutions not listed by name, consult the "general" correspondence files alphabetically.
For Schapiro, materials in his correspondence files also served as subject files for individuals. Schapiro would collect clippings, articles, and other printed material relating to specific individual and file them with correspondence. These items have remained intact and kept as Schapiro filed them with the individual's last name in designated folders.
Individuals working for specific entities such as universities, museums, and other institutions were also filed alphabetically according to either their last name or by their affiliation depending on Schapiro's choosing. If an individual is not listed in this series by last name, also consult institutions by name.
Correspondence that post-dates Schapiro's death were generated by his wife Lillian Milgram Schapiro and maintained in this series.
Correspondence found in other series of this collection was retained in their original files to preserve the context of the records they are associated with. When present, "correspondence" is indicated as a represented record type at the file level to facilitate their retrieval.
Box 109 Folder 1 to 9
Box 109 Folder 10
Box 109 Folder 11
Box 109 Folder 12
Box 109 Folder 13
Box 109 Folder 14
Box 109 Folder 15
Box 109 Folder 16
Box 109 Folder 17
Box 109 Folder 18
Box 109 Folder 19
Box 109 Folder 20
Box 109 Folder 21
Box 109 Folder 22
Box 110 Folder 1
Box 110 Folder 2
Box 110 Folder 3
Box 110 Folder 4
Box 110 Folder 6
Box 110 Folder 7
Box 110 Folder 8
Box 110 Folder 9
Box 110 Folder 10
Box 110 Folder 11
Box 110 Folder 12
Box 110 Folder 13
Box 110 Folder 14
Box 110 Folder 15
Box 110 Folder 16
Box 110 Folder 17
(File includes correspondence with other members of the Congress. Accompanied by typescripts of articles and manifestos created by the Congress,)
Box 110 Folder 18
Box 110 Folder 19
Box 110 Folder 20
Box 110 Folder 21
Box 110 Folder 22
Box 110 Folder 23
Box 110 Folder 24
Box 111 Folder 1
Box 111 Folder 2
Box 111 Folder 3
Box 111 Folder 4
Box 111 Folder 5
Box 111 Folder 6
Box 111 Folder 7
(Accompanied by Schapiro's typescript on Edward Weston for a potential publication)
Box 111 Folder 8
Box 111 Folder 9
Box 111 Folder 10
Box 111 Folder 11
Box 111 Folder 12
Box 111 Folder 13
Box 111 Folder 14
Box 111 Folder 15
Box 111 Folder 16
Box 111 Folder 17
Box 111 Folder 18
Box 111 Folder 19
Box 111 Folder 20
Box 111 Folder 21
Box 111 Folder 22
Box 111 Folder 23
Box 111 Folder 24
Box 111 Folder 25
Box 111 Folder 26
Box 111 Folder 27
Box 111 Folder 28
Box 111 Folder 29
Box 112 Folder 1 to 11
Box 113 Folder 1 to 2
Box 113 Folder 3
Box 113 Folder 4
Box 113 Folder 5
Box 113 Folder 6
(Includes correspondence from Alfred Barnes)
Box 113 Folder 7
Box 113 Folder 8
Box 113 Folder 9
Box 113 Folder 10
Box 113 Folder 11
Box 113 Folder 12
(Correspondence is a typescript of Beckmann's letter to Curt Valentin regarding his art work. In German)
Box 113 Folder 13
Box 113 Folder 14
Box 113 Folder 15
Box 113 Folder 16
(Accompanied by photocopies of Berenson's diary pages and letters that reference Schapiro)
Box 113 Folder 17
Box 113 Folder 18
Box 114 Folder 1
Box 114 Folder 2
Box 114 Folder 3
Box 114 Folder 4
Box 114 Folder 5
Box 114 Folder 6
Box 114 Folder 7
Box 114 Folder 8
Box 114 Folder 9
Box 114 Folder 10
(Correspondence is in honor of Schapiro's 90th birthday)
Box 114 Folder 11
Box 114 Folder 12
Box 114 Folder 13
Box 114 Folder 14
Box 114 Folder 15
Box 114 Folder 16
Box 114 Folder 17
Box 114 Folder 18
Box 114 Folder 19
Box 114 Folder 20
Box 114 Folder 21
Box 114 Folder 22
Box 114 Folder 23
Box 114 Folder 24
Box 115 Folder 1
Box 115 Folder 2
Box 115 Folder 3
Box 115 Folder 4
Box 115 Folder 5
Box 115 Folder 6
Box 115 Folder 7
Box 115 Folder 8
Box 115 Folder 9
Box 115 Folder 10 to 11
Box 115 Folder 12
Box 115 Folder 13
Box 116 Folder 1
Box 116 Folder 2 to 5
Box 116 Folder 6
Box 116 Folder 7
Box 116 Folder 8
Box 116 Folder 9
Box 116 Folder 10
Box 116 Folder 11
Box 116 Folder 12
Box 116 Folder 13
Box 687
Cataloged.
Box 116 Folder 14
Box 116 Folder 15
Box 116 Folder 16
Box 116 Folder 17
Box 116 Folder 18
Box 116 Folder 19
Box 116 Folder 20
Box 117 Folder 1 to 11
Box 118 Folder 1
Box 118 Folder 2
Box 118 Folder 3
Box 118 Folder 4
Box 118 Folder 5
Box 118 Folder 6
Box 118 Folder 7
Box 118 Folder 8
Box 118 Folder 9
Box 118 Folder 10
Box 118 Folder 11
Box 118 Folder 12
Box 687
Cataloged.
Box 687
Cataloged.
Box 118 Folder 13
Box 118 Folder 14
Box 118 Folder 15
Box 118 Folder 16
Box 118 Folder 17
Box 118 Folder 18
Box 118 Folder 19
Box 688
Cataloged.
Box 119 Folder 1
Box 119 Folder 2
Box 119 Folder 3
Box 119 Folder 4
Box 119 Folder 5
Box 119 Folder 6
Box 119 Folder 7
Box 119 Folder 8
Box 119 Folder 9
Box 119 Folder 10
Box 119 Folder 11
Box 119 Folder 12 to 15
Box 120 Folder 1
Box 120 Folder 2
(File includes drawings)
Box 120 Folder 3
Box 120 Folder 4
Box 120 Folder 5
Box 120 Folder 6
Box 120 Folder 7
Box 120 Folder 8
(Accompanied by clippings and bound portfolio of correspondence compiled by the Committee to Save the Cooper Union Museum)
Box 688
Cataloged.
Box 120 Folder 9
Box 120 Folder 10
Box 120 Folder 11
Box 120 Folder 12
Box 120 Folder 13
Box 120 Folder 14
(Chiefly from the executive secretary of the foundation and filmmaker Maya Deren)
Box 120 Folder 15
Box 120 Folder 16
Box 121 Folder 1 to 8
Box 121 Folder 9
Box 121 Folder 10
Box 121 Folder 11 to 12
Box 121 Folder 13
Box 121 Folder 14
Box 121 Folder 15
Box 121 Folder 16
Box 122 Folder 1
Box 122 Folder 2
Box 122 Folder 3
Box 122 Folder 4
Box 122 Folder 5
Box 122 Folder 6
Box 122 Folder 7
Box 122 Folder 8
Box 122 Folder 9
Box 122 Folder 10
Box 122 Folder 11 to 12
(Includes correspondence with Irving Howe and Stanley Plastrik and material relating to a 1963 exhibition organized by Schapiro for the magazine)
Box 122 Folder 13
Box 122 Folder 14
Box 122 Folder 15
Box 122 Folder 16
Box 122 Folder 17
Box 122 Folder 18
Box 123 Folder 1 to 4
Box 123 Folder 5
Box 123 Folder 6
Box 123 Folder 7
Box 123 Folder 8
Box 123 Folder 9
Box 123 Folder 10
Box 123 Folder 11
Box 123 Folder 12
Box 123 Folder 13
Box 123 Folder 14
Box 123 Folder 15
Box 123 Folder 16
Box 123 Folder 17
Box 124 Folder 1 to 2
Box 124 Folder 3
Box 124 Folder 4
Box 124 Folder 5
Box 124 Folder 6
Box 125 Folder 1 to 6
Box 125 Folder 7
Box 125 Folder 8
Box 125 Folder 9
Box 688
Cataloged.
Box 688
Cataloged.
Box 688
Cataloged.
Box 689
Cataloged.
Box 690
Cataloged.
Box 125 Folder 10
Box 691
Box 691
Box 126 Folder 1
Box 126 Folder 2 to 4
Box 127 Folder 1
Box 127 Folder 2
Box 127 Folder 3
Box 127 Folder 4
Box 127 Folder 5
Box 127 Folder 6
Box 127 Folder 7
Box 127 Folder 8
Box 127 Folder 9
Box 127 Folder 10
Box 127 Folder 11
Box 127 Folder 12
Box 127 Folder 13
Box 127 Folder 14
Box 127 Folder 15
Box 127 Folder 16
Box 127 Folder 17
Box 127 Folder 18
Box 127 Folder 19
Box 127 Folder 20
Box 127 Folder 21
Box 127 Folder 22
Box 127 Folder 23
Box 127 Folder 24
Box 127 Folder 25
Box 128 Folder 1 to 7
Box 129 Folder 1
Box 129 Folder 2
Box 129 Folder 3
Box 129 Folder 4
Box 129 Folder 5
Box 129 Folder 6
Box 129 Folder 7
Box 129 Folder 8
Box 129 Folder 9
Box 129 Folder 10
Box 129 Folder 11
Box 129 Folder 12
Box 129 Folder 13
(Includes an early mimeograph of Ginsberg's "Howl" from 1956)
Box 129 Folder 14
Box 129 Folder 15
Box 129 Folder 16
Box 129 Folder 17
Box 129 Folder 18
Box 129 Folder 19
Box 129 Folder 20
Box 129 Folder 21
(Accompanied by a transcript of Schapiro's eulogy at Goldstein's memorial service)
Box 129 Folder 22
Box 129 Folder 23
Box 129 Folder 24
Box 129 Folder 25
Box 129 Folder 26
Box 129 Folder 27
Box 130 Folder 1 to 2
Box 130 Folder 3
Box 130 Folder 4
Box 130 Folder 5
Box 130 Folder 6
Box 130 Folder 7
Box 130 Folder 8
Box 130 Folder 9
Box 130 Folder 10
Box 130 Folder 11
Box 130 Folder 12
Box 130 Folder 13
Box 130 Folder 14
Box 130 Folder 15
Box 130 Folder 16
Box 130 Folder 17
Box 130 Folder 18
Box 131 Folder 1 to 7
Box 132 Folder 1 to 2
Box 132 Folder 3
Box 132 Folder 4
Box 132 Folder 5
Box 132 Folder 6
Box 132 Folder 7
Box 132 Folder 8
Box 132 Folder 9
Box 132 Folder 10
Box 132 Folder 11
Box 132 Folder 12
Box 132 Folder 13
Box 132 Folder 14
Box 132 Folder 15
Box 132 Folder 16
Box 133 Folder 1
Box 133 Folder 2
Box 133 Folder 3
Box 133 Folder 4
Box 133 Folder 5
Box 133 Folder 6 to 7
Box 133 Folder 8
Box 133 Folder 9
Box 133 Folder 10
Box 133 Folder 11
Box 133 Folder 12
Box 134 Folder 1
Box 134 Folder 2
Box 134 Folder 3
Box 134 Folder 4
Box 134 Folder 5
Box 134 Folder 6
Box 134 Folder 7
Box 134 Folder 8
Box 134 Folder 9
Box 134 Folder 10
Box 134 Folder 11
Box 134 Folder 12
Box 134 Folder 13
Box 134 Folder 14
(With leter from Wolf Kahn to the Haymses re. Schapiro and 2 drawings by Schapiro, which he sent to Kris Hyams)
Gift of Gina Hyams, 24 April 2019.
Box 135 Folder 1 to 2
Box 135 Folder 3
Box 135 Folder 4
Box 135 Folder 5
Box 135 Folder 6
Box 135 Folder 7
Box 135 Folder 8
Box 135 Folder 9
Box 135 Folder 10
Box 135 Folder 11
Box 135 Folder 12
Box 136 Folder 1 to 4
Box 136 Folder 5
Box 136 Folder 6
Box 136 Folder 7
Box 136 Folder 8
Box 137 Folder 1
Box 137 Folder 2
Box 137 Folder 3
Box 137 Folder 4
Box 137 Folder 5
Box 137 Folder 6
Box 137 Folder 7
Box 137 Folder 8
Box 137 Folder 9
Box 137 Folder 10
Box 137 Folder 11
Box 137 Folder 12
Box 137 Folder 13
Box 137 Folder 14
Box 137 Folder 15
Box 138 Folder 1 to 4
Box 138 Folder 5
Box 138 Folder 6
Box 138 Folder 7
Box 138 Folder 8
Box 139 Folder 1 to 6
Box 139 Folder 7
(Accompanied by correspondence from 1980 relating to Kahlo)
Box 139 Folder 8
Box 139 Folder 9
Box 139 Folder 10
Box 139 Folder 11
Box 139 Folder 12
Box 140 Folder 1
(Oversize Box 633, Folder 12 houses the following publicationDays off : a calendar of happenings by Allan Kaprow;commissioned by the Junior Council of the Museum of Modern Art, New York)
Box 140 Folder 2
Box 140 Folder 3
Box 140 Folder 4
Box 140 Folder 5
Box 140 Folder 6
Box 140 Folder 7
Box 140 Folder 8
Box 140 Folder 9
Box 140 Folder 10
Box 140 Folder 11
Box 140 Folder 12
Box 140 Folder 13
Box 140 Folder 14
Box 140 Folder 15
Box 140 Folder 16
Box 140 Folder 17
(Material soliciting Schapiro to participate in an Experiments in Art and Technology project)
Box 141 Folder 1
Box 141 Folder 2
Box 141 Folder 3
Box 141 Folder 4
(Accompanied by photocopied letters between Albert Einstein and Arthur Korn)
Box 141 Folder 5
Box 141 Folder 6
(Accompanied by material relating to a Kracauer symposium held in 1990)
Box 141 Folder 7
Box 141 Folder 8
Box 141 Folder 9
Box 141 Folder 10
Box 141 Folder 11
Box 141 Folder 12
Box 141 Folder 13
Box 141 Folder 14
Box 141 Folder 15
Box 141 Folder 16
Box 141 Folder 17
Box 141 Folder 18
Box 142 Folder 1 to 6
Box 142 Folder 7
Box 142 Folder 8
(Accompanied by Schapiro's notes on psychoanalytic themes and a signed copy of Lacan'Fonction et champ de la parole et du langage en psychanalyse)
Box 142 Folder 9
Box 142 Folder 10
Box 142 Folder 11
Box 142 Folder 12
Box 142 Folder 13
Box 142 Folder 14
Box 143 Folder 1
Box 143 Folder 2
Box 143 Folder 3
Box 143 Folder 4
Box 143 Folder 5
Box 143 Folder 6
Box 143 Folder 7
Box 143 Folder 8
Box 143 Folder 9
Box 143 Folder 10
Box 143 Folder 11
Box 143 Folder 12
Box 143 Folder 13
Box 143 Folder 14
Box 143 Folder 15
Box 143 Folder 16
Box 143 Folder 17
Box 143 Folder 18
Box 143 Folder 19
Box 143 Folder 20
Box 143 Folder 21
(Accompanied by annotated typescripts of Levin's poetry)
Box 143 Folder 22
Box 143 Folder 23
Box 143 Folder 24
Box 143 Folder 25
Box 143 Folder 26
Box 144 Folder 1
Box 144 Folder 2
Box 144 Folder 3
Box 144 Folder 4
Box 144 Folder 5
Box 144 Folder 6
Box 144 Folder 7
Box 144 Folder 8
Box 144 Folder 9
Box 144 Folder 10
Box 144 Folder 11 to 12
Box 144 Folder 13
Box 144 Folder 14
Box 144 Folder 15
Box 144 Folder 16
Box 144 Folder 17
Box 144 Folder 18
Box 144 Folder 19
Box 145 Folder 1 to 9
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Box 147 Folder 16
Box 148 Folder 1 to 7
(Accompanied by annotated typescripts and holograph papers of Menashe's poetry)
Box 149 Folder 1
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Box 149 Folder 11
Box 690
Cataloged.
Box 149 Folder 12
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Box 149 Folder 14
Box 149 Folder 15
Box 149 Folder 16
Box 149 Folder 17
Box 149 Folder 18
Box 149 Folder 19
Box 149 Folder 20
Box 149 Folder 21
(Includes an annotated typescript of Motherwell's essay "The form of Cezanne's 'The Balcony.'" )
Box 149 Folder 20
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Box 150 Folder 1 to 4
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Box 152 Folder 1
(Chiefly letters to the editor)
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Box 152 Folder 13
Box 152 Folder 14 to 15
Box 153 Folder 1
Box 153 Folder 2 to 3
(File 3 includes German and English typescripts of Novotny's "Reaction against impressionism as seen from the artistic point of view" delivered at the Twentieth International Congress of the History of Art in 1961)
Box 153 Folder 4
(Chiefly manifestoes, brochures, and pamphlets. Includes correspondence from Zellig Harris)
Box 154 Folder 1 to 2
Box 154 Folder 3
Box 154 Folder 4
Box 154 Folder 5
Box 154 Folder 6
Box 154 Folder 7
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Box 154 Folder 14
Box 155 Folder 1 to 6
Box 155 Folder 7
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Box 155 Folder 11
Box 156 Folder 1
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Box 156 Folder 5
(Written on behalf of the members of the Comité nationale des écrivains (C.N.E))
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Box 157 Folder 1 to 4
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Box 158 Folder 6 to 8
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Box 159 Folder 9
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Box 160 Folder 1
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Box 160 Folder 9
(Photocopy. Acccompanied by correspondence and clippings relating to Reinhardt)
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Box 161 Folder 1
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Box 161 Folder 5
Box 161 Folder 6 to 7
Box 161 Folder 8
Box 161 Folder 9
Box 161 Folder 10 to 11
Box 162 Folder 1 to 3
Box 162 Folder 4
(Includes material relating to Rosenberg's appeals to the Metropolitan Museum of Art from 1949)
Box 162 Folder 5
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Box 162 Folder 8
Box 162 Folder 9
Box 162 Folder 10
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Box 162 Folder 18
Box 163 Folder 1 to 8
Box 164 Folder 1 to 4
Box 164 Folder 5
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Box 164 Folder 7
Box 164 Folder 8
Box 164 Folder 9
Box 164 Folder 10
Box 164 Folder 11
Box 165 Folder 1 to 2
Box 165 Folder 3
Box 165 Folder 4
Box 165 Folder 5
Box 165 Folder 6
Box 165 Folder 7 to 9
(Photocopies of letters to Lillian Milgram Schapiro and Jacob Schapiro)
Box 690
Cataloged.
Box 165 Folder 10
Box 165 Folder 11
Box 165 Folder 12
Box 165 Folder 13
Box 166 Folder 1
Box 166 Folder 2
Box 166 Folder 3
Box 166 Folder 4
(Includes letters from Salman Schocken, Theodore Schocken, and Hannah Arendt. Accompanied by Schapiro's notes and treatments of potential Schocken publications)
Box 166 Folder 5
Box 166 Folder 6
Box 166 Folder 7
Box 166 Folder 8
Box 166 Folder 9 to 10
(File 9 includes annotated typescripts of Schwartz's "Dostoevsky and the Bell Telephone Company" and "Swift." File 10 comprises correspondence with individuals other than Schwartz relating to the author's legacy)
Box 166 Folder 11
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Box 166 Folder 16
Box 166 Folder 17
Box 166 Folder 18
Box 166 Folder 19
Box 166 Folder 20
Box 633 Folder 6
Box 167 Folder 1
(Accompanied by typescripts of Schpairo's reminisces on Seligmann)
Box 167 Folder 2
(Chiefly correspondence from journals relating to semiotics)
Box 167 Folder 3
Box 167 Folder 4
Box 167 Folder 5
Box 167 Folder 6
Box 167 Folder 7
Box 167 Folder 8
(Accompanied by typescripts of Shapiro's poetry dedicated to Meyer Schapiro)
Box 167 Folder 9
Box 167 Folder 10
Box 167 Folder 11
Box 167 Folder 12
Box 167 Folder 13
Box 167 Folder 14
Box 167 Folder 15
Box 167 Folder 16
Box 167 Folder 17
Box 167 Folder 18
Box 168 Folder 1
Box 168 Folder 2
Box 168 Folder 3
Box 168 Folder 4
(Accompanied by photographs and signed books)
Box 168 Folder 5
Box 168 Folder 6
Box 168 Folder 7
Box 168 Folder 8
Box 168 Folder 9
Box 168 Folder 10
Box 168 Folder 11
Box 168 Folder 12
Box 168 Folder 13
Box 168 Folder 14
Box 168 Folder 15
Box 168 Folder 16
(Accompanied by transcripts of lectures and talks given at the Society by Schapiro and Alfred Barr)
Box 168 Folder 17
Box 168 Folder 18
Box 168 Folder 19
Box 169 Folder 1
Box 169 Folder 2
Box 169 Folder 3
Box 169 Folder 4
Box 169 Folder 5
Box 169 Folder 6
Box 169 Folder 7
Box 169 Folder 8
Box 169 Folder 9
Box 169 Folder 10
Box 169 Folder 11
Box 169 Folder 12
Box 169 Folder 13
Box 169 Folder 14
Box 169 Folder 15
Box 169 Folder 16
Box 169 Folder 17
Box 169 Folder 18
Box 169 Folder 19
Box 169 Folder 20
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Box 169 Folder 23
Box 170 Folder 1
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Box 170 Folder 9
Box 170 Folder 10
Box 170 Folder 11
Box 171 Folder 1 to 4
Box 171 Folder 5
Box 171 Folder 6
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Box 171 Folder 9
Box 171 Folder 10
Box 171 Folder 11
Box 171 Folder 12
Box 171 Folder 13
Box 171 Folder 14 to 15
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Box 172 Folder 2
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Box 172 Folder 8
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Box 172 Folder 16
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Box 173 Folder 10 to 13
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Box 173 Folder 27
Box 174 Folder 1 to 5
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Box 175 Folder 13 to 14
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Box 176 Folder 16
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Box 177 Folder 3
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Box 177 Folder 5
Box 177 Folder 6
Box 177 Folder 7
Box 177 Folder 8
Box 177 Folder 9 to 10
Box 177 Folder 11
Box 177 Folder 12
Box 177 Folder 13
Box 177 Folder 14
Box 177 Folder 15
Box 178 Folder 1
Box 178 Folder 2
Box 178 Folder 3
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Box 178 Folder 6
Box 178 Folder 7
Box 178 Folder 8
Box 178 Folder 9
Box 178 Folder 10
Box 178 Folder 11
Box 178 Folder 12
Box 178 Folder 13
Box 178 Folder 14
Series III encompasses all records affiliated with Schapiro's academic and professional life, this includes materials relating to lectures that were delivered outside his formal academic appointments.
Files in this subseries are representative of the daily administrative functions of Schapiro's role as a professor, scholar, and academic. They include requests for letters of recommendation, requests for interviews, and other assorted office files that pertain to his academic position. This includes materials for general courses, fellowship applications, and other files directly related to his standing as a university professor.
Box 179 Folder 1
1940s
Box 179 Folder 2 to 4
1950s, (3 Folders)
Box 179 Folder 5
1960s
Box 179 Folder 6
1970s
Box 179 Folder 7
1980-1982
Box 179 Folder 8
1983-1985
Box 179 Folder 9
1986-1989
Box 179 Folder 10
1990s
Box 656 Folder 1
(Schapiro's project was the "preparation of a corpus of the paintings, drawings and ornament in manuscripts of southern France from 10th to the end of the 12th century with an analysis and interpretation of these works.")
Box 656 Folder 2
Box 656 Folder 3
Box 656 Folder 4
Box 656 Folder 5
Box 656 Folder 6
Box 656 Folder 7
Box 656 Folder 8
Box 180 Folder 1
Box 180 Folder 2
Box 180 Folder 3 to 5
While predominantly known as a professor at Columbia University, Schapiro also taught courses at the New School for Social Research, New York University, and other institutions. This subseries groups these course materials and is further arranged by institution.
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.
The records in this sub-subseries contain material to classes Schapiro taught at Columbia throughout his career at the university. They include typescripts, notes, slide lists, and transcripts of his lectures.
The sub-subseries is organized chronologically beginning in 1929, the year in which records first appear in the collection. Schapiro titled his classes differently then they appear in official class bulletins. To maintain consistency, all class titles conform to official titles retrieved from department class bulletins published by Columbia University and housed at the University Archives at the Rare Book & Manuscript Library.
Several of these courses have been recorded and are housed in Series VII: Sound and video recording, Subseries: VII.2: Audiocassettes and audiotapes. Those courses that have been recorded will be indicated as such after the course title in this sub-subseries. Additionally, these courses are also cross-referenced in Series VII, Subseries: VII.2.
Box 181 Folder 1
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Box 181 Folder 3
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Box 181 Folder 5
Box 181 Folder 6
Box 181 Folder 7
Box 181 Folder 8
Box 181 Folder 9
Box 181 Folder 10
Box 181 Folder 11
(Chiefly relating to Impressionism)
Box 181 Folder 12
Box 181 Folder 13
Box 181 Folder 14
Box 181 Folder 15
(Accompanied by class outlines from other professors)
Box 181 Folder 16
Box 181 Folder 17
Box 181 Folder 18
Box 181 Folder 19
Box 181 Folder 20
Box 181 Folder 21
Box 182 Folder 1
Box 182 Folder 2
Box 182 Folder 3
Box 182 Folder 4
Box 182 Folder 5
Box 182 Folder 6
(Transcripts are of student Norris Smith's notes. Arranged by artist and paginated. Includes table of contents)
Box 182 Folder 7
Box 182 Folder 8 to 19
Box 183 Folder 1
Box 183 Folder 2
Box 183 Folder 3
(Reproductions of art works shown in classes. Accompanied by notes)
Box 183 Folder 4
Box 183 Folder 5
Box 183 Folder 6
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 183 Folder 7
(Lecture on the revival of monumental sculpture. Accompanied by class outlines)
Box 183 Folder 8
(Lecture titled "Iconography I" relating to iconography as a system)
Box 183 Folder 9
(Lecture titled "Iconography II" relating to the secular content in religious themes)
Box 183 Folder 10
(Lecture on iconography and marginal imagery)
Box 183 Folder 11
(Lecture on the Romanesque figure)
Box 183 Folder 12
(Lecture on Romanesque drapery)
Box 183 Folder 13
(Lecture on Romanesque portal composition. Transcript created in 1984 for the manuscript relating to The Charles Eliot Norton lecture)
Box 183 Folder 14
(Transcripts of three class lectures. Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 184 Folder 1
Box 184 Folder 2
(Lectures primarily on style and classification)
Box 184 Folder 3
Box 184 Folder 4
(Lecture on style as a concept in classification)
Box 184 Folder 5
(Lecture on style as criterion in classification and concept of period and place)
Box 184 Folder 6
(Lecture on the gradients of style)
Box 184 Folder 7
(Lecture on the concept of style in philosophy of history, interpretation, and semiotics)
Box 184 Folder 8
(Lecture on interpretation)
Box 184 Folder 9
(Lecture on interpretation)
Box 184 Folder 10
(Lecture on expression)
Box 184 Folder 11
(Lecture on the world view of art)
Box 184 Folder 12
(Lecture on philosophy in painting, world views, and explanation of styles)
Box 184 Folder 13
(Lecture on the development of styles)
Box 184 Folder 14
(Lecture on universal practices in the history of art and Heinrich Wölfflin on value)
Box 184 Folder 15
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 184 Folder 16
(Accompanied by notes)
Box 184 Folder 17
Box 184 Folder 18
(Accompanied by slide list)
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 185 Folder 1
Box 185 Folder 2
(Lecture is chiefly focused on Henri Matisse. Accompanied by notes)
Box 185 Folder 3
(Lecture is chiefly focused on Pablo Picasso)
(Lecture titles are derived from sound recordings found in Series VII, Subseries VII.2)
Box 185 Folder 4
Box 185 Folder 5
Box 185 Folder 6
Box 185 Folder 7
Box 185 Folder 8
Box 185 Folder 9
Box 185 Folder 10
Box 185 Folder 11
Box 185 Folder 12
Box 185 Folder 13
Box 186 Folder 1
Box 186 Folder 2
Box 186 Folder 3
Box 186 Folder 4
Box 186 Folder 5
Box 186 Folder 6
Box 186 Folder 7
Box 186 Folder 8
Box 186 Folder 9
Box 186 Folder 10
(File contains photocopies and notes relating to reconstructing elements of Lecture III with other lectures Schapiro conducted at Cornell University)
Box 186 Folder 11
(File contains photocopies and notes relating to reconstructing elements of Lecture VII with other lectures Schapiro conducted at Cornell and Oxford Universities)
(Sound recordings of these lectures can be found in Series VII, Subseries VII.2)
Box 187 Folder 1
Box 187 Folder 2
(Chiefly on style and classification)
Box 187 Folder 3
Box 187 Folder 4
(Introduction to course and lecture on classification)
Box 187 Folder 5
(Lecture chiefly on classification)
Box 187 Folder 6
(Lecture chiefly on classification)
Box 187 Folder 7
(Lecture chiefly on classification)
Box 187 Folder 8
(Lecture chiefly on periodization)
Box 187 Folder 9
(Lecture chiefly on periodization and style)
Box 187 Folder 10
(Lecture chiefly on style. Corrected typescript dated 1975 November)
Box 187 Folder 11
(Corrected typescript dated 1975 November)
Box 188 Folder 1
(Lecture chiefly on interpretation)
Box 188 Folder 2
(Lecture chiefly on interpretation)
Box 188 Folder 3
(Lecture chiefly on interpretation, expression, and color)
Box 188 Folder 4
(Accompanied by notes)
(Sound recordings of these lectures can be found in Series VII, Subseries VII.2)
Box 188 Folder 5
(Accompanied by notes)
Box 188 Folder 6
Box 188 Folder 7
Box 188 Folder 8
Box 188 Folder 9
Box 188 Folder 10
Box 188 Folder 11
Box 189 Folder 1
Box 189 Folder 2
Box 189 Folder 3
Box 189 Folder 4
Box 189 Folder 5
Box 189 Folder 6
Box 189 Folder 7 to 13
Box 190 Folder 1
(Lecture chiefly on semiotics and representation)
Box 190 Folder 2
(Lectures chiefly on representation and knowing)
Box 190 Folder 3
Box 190 Folder 4 to 5
(Course chiefly on social context of intellectual and artistic innovation. Team taught with Sigmund Diamond)
Box 190 Folder 6
(Lectures chiefly on expression and interpretation)
Box 190 Folder 7
(Lectures chiefly on explanation and styles)
Box 190 Folder 8
(Accompanied by notes)
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 190 Folder 9
Box 190 Folder 10
(Notes chiefly on interpretation)
Box 190 Folder 11
Box 190 Folder 12
(Lecture on representation, perspective, and illusion)
Box 191 Folder 1
(Lecture on representation, field and vehicle, and the frame)
Box 191 Folder 2
Box 191 Folder 3
Box 191 Folder 4
Box 191 Folder 5
(Lecture is chiefly on text and representation)
Box 191 Folder 6
(Lecture is chiefly on interpretation)
Box 191 Folder 7
(Lecture is chiefly on interpretation and representation)
Box 191 Folder 8
(Lecture is chiefly on the interpretation of non-representational elements and abstract devices)
Box 191 Folder 9
(Lecture is chiefly on the interpretation of abstract art)
Box 192 Folder 1
Box 192 Folder 2
(Accompanied by slides lists and notes. Images chiefly relating to graphic analysis)
Box 192 Folder 3
(Images chiefly relating to graphic analysis)
Box 192 Folder 4
(Correspondence between Paolo Berdini and Lillian Milgram Schapiro regarding edits to lecture transcripts for use in the publicationPhilosophy and Worldview in Art)
(Sound recordings of these lectures can be found in Series VII, Subseries VII.2)
Box 192 Folder 5
(Course chiefly on judgment, valuation, style, and expression)
Box 192 Folder 6
Box 192 Folder 7
Box 192 Folder 8
Box 192 Folder 9
Box 192 Folder 10
Box 192 Folder 11
Box 192 Folder 12
Box 192 Folder 13
Box 193 Folder 1
Box 193 Folder 2
Box 193 Folder 3
Box 193 Folder 4
Box 193 Folder 5
Box 193 Folder 6
Box 193 Folder 7
Box 193 Folder 8
Box 193 Folder 9
(Images chiefly on the topic of expression)
Box 193 Folder 10
(Images chiefly on the topic of style and expression)
Box 193 Folder 11
Box 193 Folder 12
Box 193 Folder 13
Box 193 Folder 14
Schapiro taught at the New School for Social Research on a formal basis early in the 1930s and again in the 1950s. Course material includes lecture outlines, slide lists, and annotated typescripts.
Box 194 Folder 1
Box 194 Folder 2
Box 194 Folder 3
Box 194 Folder 4
Box 194 Folder 5
Box 194 Folder 6
(Accompanied by student reports)
Box 194 Folder 7
Box 194 Folder 8
Box 194 Folder 9
Box 194 Folder 10
Box 194 Folder 11
Box 194 Folder 12
Box 194 Folder 13
Box 194 Folder 14
Box 194 Folder 15
Box 194 Folder 16
Box 194 Folder 17
Box 194 Folder 18
Box 194 Folder 19
Box 194 Folder 20
While not known for his affiliation with New York University, Schapiro taught there in the early 1930s. His classes included Islamic art, the culture of Spain, and Medieval architecture among others. Course materials include lecture outlines, research notes, and slide lists.
Box 195 Folder 1
Box 195 Folder 2
Box 195 Folder 3
Box 195 Folder 4
Box 195 Folder 5
Box 195 Folder 6
Box 195 Folder 7
Box 195 Folder 8
Box 195 Folder 9
Box 195 Folder 10
Box 195 Folder 11
Box 195 Folder 12
(This class was taught at the Pierpont Morgan Library)
Box 195 Folder 13
Box 195 Folder 14
Box 195 Folder 15
Affiliated institutions where Schapiro taught and that are represented in this sub-subseries include the Pierpont Morgan Library and the New York Studio School of Drawing, Painting and Sculpture.
Box 196 Folder 1
Box 196 Folder 2
Box 196 Folder 3
Box 196 Folder 4
Box 196 Folder 5
Box 196 Folder 6
(Course potentially given at New School for Social Research (New York, N.Y.) or New York University)
Box 196 Folder 7
Box 196 Folder 8
Box 196 Folder 9
Box 196 Folder 10
(Notes relate chiefly to Paul Cézanne)
Box 196 Folder 11
(Accompanied by student letters for admission into course)
Box 196 Folder 12
Box 196 Folder 13
Outside of his formal academic teaching, Schapiro was a prominent international lecturer in art history and other related disciplines. Materials in this subseries reflect his formal participation in a variety of academic and non-academic settings as a professional lecturer, visiting scholar, or visiting fellow. This includes material from Schapiro's 1967 Charles Eliot Norton lectures at Harvard University and his 1968 lecture on Abstract art from the Slade Lectures in the Fine Arts at Oxford University. Other prominent lectures include "The unity of Picasso's art" delivered at the Albright-Knox Art Gallery in 1973 and the lecture "An experiment in the coherence of forms" given at the Solomon R. Guggenheim Museum in the 1970s.
Several of these lectures have been recorded and are housed in Series VII: Sound and video recording, Subseries: VII.2: Audiocassettes and audiotapes. Those lectures that have been recorded will be indicated as such after the lecture title in this sub-subseries. Additionally, these lectures are also cross-referenced in Series VII, Subseries: VII.2.
To facilitate discovery and retrieval, this subseries is divided chronologically by decade as follows: Sub-Subseries: III.3.1: 1930s, Sub-Subseries: III.3.2: 1940s, Sub-Subseries: III.3.3: 1950s, Sub-Subseries: III.3.4: 1960s, Sub-Subseries: III.3.5: 1970s, Sub-Subseries: III.3.6: 1980s.
Box 197 Folder 1
(Includes topics on attribution, preserving monuments, cinema and Fernand Léger)
Box 197 Folder 2
Box 197 Folder 3
Box 197 Folder 4
Box 197 Folder 5
Box 197 Folder 6
(Photocopies of lecture notes taken by William Rubin and Albert Elsen)
Box 197 Folder 7
Box 197 Folder 8
Box 197 Folder 9
Box 197 Folder 10
Box 197 Folder 11
Box 197 Folder 12
Box 197 Folder 13
Box 197 Folder 14
Box 197 Folder 15
Box 197 Folder 16
Box 197 Folder 17
Box 197 Folder 18
Box 197 Folder 19
Box 197 Folder 20
(Lecture given for the publicationPartisan Review)
Box 197 Folder 21
Box 197 Folder 22
(Accompanied by reproductions, drafts, and reprints of an article by David Rosen)
Box 197 Folder 23
Box 197 Folder 24
(Lecture chiefly concerned with the work of artGuernica.Accompanied by notes and slide list)
Box 197 Folder 25
Box 197 Folder 26
Box 197 Folder 27
(Lecture chiefly on vaulting, functionalism, and rationality)
Box 197 Folder 28
(Accompanied by a slide list from 1934)
Box 197 Folder 29
Box 198 Folder 1
Box 198 Folder 2
Box 198 Folder 3
Box 198 Folder 4
Box 198 Folder 5
Box 198 Folder 6
Box 198 Folder 7
Box 198 Folder 8
Box 198 Folder 9
Box 198 Folder 10
Box 198 Folder 11
Box 198 Folder 12
Box 198 Folder 13
(Lecture given at the forum "The arts and the artist in our society today" held at the Browsing Room in Butler Hall. Accompanied by correspondence and transcripts to Mark van Doren's lecture "The modern conception of the poet" given at the same forum)
Box 198 Folder 14
(Lecture was given at a symposium dedicated to Matisse. Accompanied by clippings)
Box 198 Folder 15
(Lecture given as part of a forum dedicated to labor action)
Box 198 Folder 16
Box 198 Folder 17
Box 198 Folder 18
Box 198 Folder 19
(Lecture given at the symposium "Art as experience")
Box 198 Folder 20
Box 198 Folder 21
Box 198 Folder 22
(Accompanied by editorial notes from 1994)
Box 198 Folder 23
Box 198 Folder 24
Box 198 Folder 25
Box 198 Folder 26
Box 198 Folder 27
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 199 Folder 1
Box 199 Folder 2
Box 199 Folder 3
(Outline and notes relating to a session on symbolism at the annual meeting of the American Society for Aesthetics. Rudolf Arnheim and Arthur Szathmary were panelists and Schapiro was the discussant for this session. Accompanied by meeting agenda and speakers' papers delivered at the session.)
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Box 199 Folder 7
(Accompanied by a reprint of the lecture published in 1970)
Box 199 Folder 8
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Box 199 Folder 11
(This lecture forms the basis of the article "Leonardo and Freud: an art historical study" published in 1956. Accompanied by program and research notes)
Box 199 Folder 12
Box 199 Folder 13
(Transcript of lecture given at a forum sponsored by Maya Deren's foundation. Transcript published in the 1984 publication "The Legend of Maya Deren." Accompanied by correspondence regarding the publication)
Box 199 Folder 14
(Accompanied by notes and correspondence from Horace Richter and invitation)
Box 199 Folder 15
Box 199 Folder 16
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 199 Folder 17
Box 199 Folder 18
Box 199 Folder 19
Box 199 Folder 20
(All corrected typescripts were created 1984 April. Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
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Box 200 Folder 9
Box 200 Folder 10 to 11
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Box 200 Folder 15
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 200 Folder 16
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 200 Folder 17
(Lecture was a response to Erwin R. Goodenough's talk "Jewish symbols in the Greco-Roman period" held at Columbia University's seminar for the study of religion and culture)
Box 200 Folder 18
Box 200 Folder 19
(Lecture titles are derived from sound recordings found in Series VII, Subseries VII.2)
Box 201 Folder 1
(Accompanied by 1986 editorial notes reconstructing missing areas of typescript)
Box 201 Folder 2
Box 201 Folder 3
Box 201 Folder 4
Box 201 Folder 5
Box 201 Folder 6
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Box 201 Folder 8
Box 201 Folder 9
Box 201 Folder 10
(Material from these lectures were used as source material for the posthumous publicationImpressionism: Reflections and Perceptions.New York George Braziller, 1997. Lecture titles are derived from sound recordings found in Series VII, Subseries VII.2)
Box 201 Folder 11
(Lecture titled "The Impressionist Eye." Accompanied by lists of all Patten lectures)
Box 201 Folder 12
(Lecture titled "The concept of the impression")
Box 201 Folder 13
(Lecture titled "The Impressionist aesthetic and method")
Box 201 Folder 14
(Lecture titled "Impressionism and science")
Box 201 Folder 15
(Lecture titled "Monet's development")
Box 202 Folder 1
(Lecture titled "Impressionism as a period style: its place in the world art)
Box 202 Folder 2
Box 202 Folder 3
Box 202 Folder 4
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Box 202 Folder 6
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 202 Folder 7
(Accompanied by editorial notes from the 1990s)
Box 202 Folder 8
Box 202 Folder 9
Box 202 Folder 10
(Accompanied by other lectures given at the same institution titled "On significance of certain features of modern art")
Box 202 Folder 11
Box 202 Folder 12
(Accompanied by correspondence from Moshe Decter)
Box 202 Folder 13
Box 202 Folder 14
Box 202 Folder 15
(Institutions include Harvard University, Oxford University, Brooklyn College, and City University of New York)
(All corrected typescripts were created in 1978 October. Lecture titles are derived from sound recordings found in Series VII, Subseries VII.2)
Box 202 Folder 16
Box 202 Folder 17
(Accompanied by editorial notes from the 1990s)
Box 203 Folder 1
Box 203 Folder 2
(Accompanied by editorial notes from the 1990s)
Box 203 Folder 3
Box 203 Folder 4
(Accompanied by editorial notes from the 1990s)
Box 203 Folder 5 to 6
Box 203 Folder 7
(Accompanied by editorial notes from the 1990s)
Box 203 Folder 8
Box 203 Folder 9
(Versions are interfiled according to pagination)
Box 203 Folder 10 to 11
Box 203 Folder 12
(Accompanied by editorial notes from the 1990s used to reconstruct gaps in typescript)
Box 203 Folder 13
Box 203 Folder 14
Box 204 Folder 1
Box 204 Folder 2
Box 204 Folder 3
Box 204 Folder 4
Box 204 Folder 4
Box 204 Folder 5
(Documents created in 1984. Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 204 Folder 6
(Lecture given at the "International symposium on fine arts in the east and the west" sponsored by the Japanese National Commission for UNESCO)
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 204 Folder 7
(Includes original and corrected typescript of 1978 May)
Box 204 Folder 8
(Corrected typescript dated 1980 February. Accompanied by editorial notes by Lillian Milgram Schapiro)
Box 204 Folder 9
Box 204 Folder 10
(Accompanied by correspondence and research notes)
(Portions of this lecture were used as source material for the posthumous publicationThe Unity of Picasso's Art.New York: George Braziller, 2000. Lectures of the same title given at the Albright-Knox Art Gallery and Columbia University were also used as source material for this publication. Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 204 Folder 11
Box 204 Folder 12
Box 204 Folder 13
Box 204 Folder 14 to 15
(Research files associated with this lecture may have also been used for the lectures given at the Albright-Knox Art Gallery and Columbia University)
Box 205 Folder 1 to 3
Box 205 Folder 4
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 205 Folder 5
Box 205 Folder 6
(Accompanied by student notes of lecture)
Box 205 Folder 7
Box 205 Folder 8
(Potions of this lecture were used as primary source material for the posthumous publicationWorldview in Painting--Art and Society: Selected Papers, Vol. 5.New York: George Braziller, 1999. Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
(For consistency, lecture titles correspond to those in the posthumous publicationRomanesque architectural sculpture: The Charles Eliot Norton lectures.Chicago: University of Chicago Press, 2006. Typescripts were created in the 1970s through the 1980s)
Box 205 Folder 9
Box 205 Folder 10 to 12
Box 205 Folder 13
Box 205 Folder 14
Box 205 Folder 15
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Box 206 Folder 2
Box 206 Folder 3
Box 206 Folder 4
Box 206 Folder 5
Box 206 Folder 6 to 7
Box 206 Folder 8
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Box 206 Folder 10 to 11
Box 206 Folder 12
Box 206 Folder 13
Box 206 Folder 14 to 15
Box 206 Folder 16
Box 206 Folder 17
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Box 207 Folder 2 to 3
Box 207 Folder 4
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Box 207 Folder 7
Box 207 Folder 8 to 9
Box 207 Folder 10
Box 207 Folder 11
Box 207 Folder 12
Box 207 Folder 13 to 14
Box 208 Folder 1
Box 208 Folder 2
Box 208 Folder 3
Box 208 Folder 5 to 6
Box 208 Folder 7
Box 208 Folder 8
(Outlines on "the concept of Romanesque")
Box 208 Folder 9
(Outlines and notes on the comparison between Romanesque and American sculpture)
Box 208 Folder 10
(Material chiefly on the altar at Saint-Genis des Fontaines)
Box 208 Folder 11
Box 208 Folder 12
(Organized by geographic location)
Box 208 Folder 13 to 15
Box 633 Folder 11
Box 208 Folder 16
Box 209 Folder 1
Box 209 Folder 2
(Materials from these lectures were used as source material for the posthumous publicationLanguage of Forms: Lectures on Insular Manuscript Art.New York: Pierpont Morgan Library, 2005. Schapiro referred to these lectures as "Hiberno-Saxon manuscripts," the transcripts and typescripts, however, reflect the changed title used in the publication. All transcripts and typescripts were created in the 1970s through the 1990s. Lecture titles are derived from sound recordings found in Series VII, Subseries VII.2)
Box 209 Folder 3
(Accompanied by correspondence)
Box 209 Folder 4
(Accompanied by reproductions)
Box 209 Folder 5
Box 209 Folder 6
(Accompanied by reproductions)
Box 209 Folder 7
Box 209 Folder 8
Box 210 Folder 1
(Accompanied by reproductions)
Box 210 Folder 2
Box 210 Folder 3
Box 210 Folder 4
Box 210 Folder 5
(Accompanied by reproductions)
Box 210 Folder 6
Box 211 Folder 1
Box 211 Folder 2 to 3
Box 211 Folder 4 to 7
(Lecture titles are derived from sound recordings found in Series VII, Subseries VII.2)
Box 211 Folder 8
Box 211 Folder 9
Box 211 Folder 10
Box 211 Folder 11
(Accompanied by correspondence)
Box 211 Folder 12
Box 211 Folder 13
(Accompanied by editorial notes seeking to reconstruct portions of the text)
Box 211 Folder 14
Box 212 Folder 1
Box 212 Folder 2 to 3
Box 212 Folder 4 to 5
Box 212 Folder 6 to 7
Box 212 Folder 8 to 16
Box 212 Folder 17
Box 213 Folder 1 to 4
Box 213 Folder 5 to 6
(Notes relating to the collection of reproduction for potential publication of lecture series in 1979)
Box 213 Folder 7 to 8
(Accompanied by editorial notes by Lillian Milgram Schapiro. Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 213 Folder 9
Box 213 Folder 10
Box 213 Folder 11
Box 213 Folder 12
(Lecture title is derived from the sound recording found in Series VII, Subseries VII.2)
(Material relates to Schapiro's eulogy at the memorial. Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 213 Folder 13
Box 213 Folder 14
Box 213 Folder 15
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 213 Folder 16
(Accompanied by Schapiro's 1992 editorial notes for potential publication)
Box 213 Folder 17
(Early drafts of lecture notes from other lectures pertaining to flight)
Box 214 Folder 1
Box 214 Folder 2
(Includes annotated outline and research notes on "legends of flight")
Box 214 Folder 3
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 214 Folder 4
(Accompanied by research notes, alternate drafts, and editorial notes regarding reconstruction of text for potential publication by Lillian Milgram Schapiro)
Box 214 Folder 5
(Photocopy of transcript with editorial notes created by Miriam Bunim in 1986)
Box 214 Folder 6
(Typescript created in 1998 following the 1971 annotated transcript. Accompanied by editorial notes by Lillian Milgram Schapiro)
Box 214 Folder 7
Box 214 Folder 8 to 10
Box 214 Folder 11 to 13
(Files contain notes, correspondence, and drafts by Lillian Milgram Schapiro and Robin Sands relating to editing lecture content)
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 215 Folder 1
Box 215 Folder 2
Box 215 Folder 3 to 7
Box 215 Folder 8
(Schapiro was a participant in the second working session. Notes are chiefly on Jean Baudrillard who participated in the same session)
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 215 Folder 9
(Accompanied by editorial notes)
Box 215 Folder 10
Box 215 Folder 11
Box 215 Folder 12
(Lecture given at an awards ceremony honoring Barr)
Box 215 Folder 13
Box 215 Folder 14
(Accompanied by correspondence)
Box 215 Folder 15
Box 215 Folder 16
(Lecture chiefly on Insular art. Accompanied by original outline, research files, clippings, press releases, and correspondence with faculty and students. Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 215 Folder 17
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 216 Folder 1
Box 216 Folder 2
Box 216 Folder 3
Box 216 Folder 4
(Accompanied by list of illustrations to be used in a film of the lecture produced by Gittelman Film Associates for the Metropolitan Museum of Art Video Collection. Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 216 Folder 5
(In French. Lecture was originally given in English. Accompanied by research notes, slide lists, correspondence, and invitations)
Box 216 Folder 6
(Lecture was given at the forty-sixth annual American Assembly dedicated to art museums in America)
Box 216 Folder 7
(Lecture given for the School of General Studies alumni)
Box 216 Folder 8
(Guest lecture at an anthropology colloquium taught by Paula G. Rubel)
(Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 216 Folder 9 to 10
Box 216 Folder 11
(Notes are chiefly from the 1950s and includes a summary and critique of Fritz Novotny)
Box 216 Folder 12
Box 216 Folder 13 to 14
Box 216 Folder 15
(Notes created by Lillian Milgram Schapiro)
Box 217 Folder 1
Box 217 Folder 2
(Accompanied by correspondence with Barbara Rose regarding images to use for the lecture)
Box 217 Folder 3
(Lecture given at the "Conference on methods in philosophy and the sciences." Accompanied by essay and reprints of Wayne Dynes' writings on Meyer Schapiro and programs. Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 217 Folder 4
(Sound recordings of these lectures can be found in Series VII, Subseries VII.2)
Box 217 Folder 5
(Accompanied by research notes)
Box 217 Folder 6
Box 217 Folder 7
(Accompanied by clippings and research notes chiefly on Picasso'sGuernica)
Box 217 Folder 8
(Notes created by Lillian Milgram Schapiro attempting to reconstruct portions of similar lectures given at Brandeis University and the Albright-Knox Art Gallery for potential publication)
(Lecture given at the "Arthur Kingsley Porter centenary symposium on the theme of abstract and rationality in Romanesque art." Sound recordings of this lecture can be found in Series VII, Subseries VII.2)
Box 217 Folder 9
(Accompanied by notes and programs)
Box 217 Folder 10
Subseries: III.4 documents Schapiro's professional role as a member in committees and professional affiliations. The subseries is further arranged by area of professional affiliation as follows: Sub-Subseries: III.4.1: Committees, 1972-1978, Sub-Subseries: III.4.2: Memberships, 1969-1989, Sub-Subseries: III.4.3: Professional affiliations, 1989-1990.
Box 218 Folder 1
Box 218 Folder 2
(Pamphlet to promote the limited edition portfolio of prints by twelve artists used to raise funds for the endowment)
Box 218 Folder 3
Box 218 Folder 4
Box 218 Folder 5
Box 218 Folder 6
Box 218 Folder 7
Box 218 Folder 8
Box 218 Folder 9
Box 218 Folder 10
(Meyer Schapiro served as an Honorary Member of the organization)
Box 633 Folder 5
(Meyer Schapiro served as a fellow for the organization)
Box 218 Folder 11
Box 218 Folder 12
(Meyer Schapiro served as an Honorary President for the organization)
Box 218 Folder 13
(Meyer Schapiro served a Corresponding Fellow for the organization)
This series houses all of Schapiro's writings, from published articles, books, and reviews, to unpublished manuscripts, essays, and translations. For writings that were published during Schapiro's lifetime, the 1995 publication Meyer Schapiro: the bibliography compiled by Lillian Milgram Schapiro was used throughout this series for consistency and to source where articles and reviews first appeared. Information relating to all material published posthumously and that post-dates the 1995 bibliography were retrieved from the archival material itself.
Files in this subseries contain records that aided in the administrative management of Schapiro's writings. The bulk of this material comprises lists of published and unpublished writings.
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Box 219 Folder 9
Box 219 Folder 10
Box 657 Folder 1 to 2
Box 657 Folder 3 to 4
(Compiled by Lillian Milgram Schapiro)
Box 657 Folder 5
Schapiro began publishing articles focused on art and architecture as early as 1929, the year he completed his doctoral dissertation. By 1931, the journal Art Bulletin published parts of his dissertation "The Romanesque Sculpture of Moissac." Since those early years, Schapiro continually published articles in newspapers, journals, and other serials throughout his life. This subseries contains only those articles that have been published, for unpublished works, consult Subseries: IV.3: Essays, Subseries: IV.4: Manuscripts, and Subseries: IV.8: Translations and Poetry in this series. For publications, consult Subseries: IV.5: Publications.
All bibliographic information in this subseries was retrieved from Lillian Milgram Schapiro's 1995 publicationMeyer Schapiro: the bibliographypublished by George Braziller Inc. Bibliographic information is provided for an article's original publication, consult the published bibliography for information on reprinted versions.
To facilitate the discovery of records, this subseries is arranged chronologically by decade as follows: Sub-Subseries: IV.2.1: 1929-1930s, Sub-Subseries: IV.2.2: 1940s, Sub-Subseries: IV.2.3: 1950s, Sub-Subseries: IV.2.4: 1960s, Sub-Subseries: IV.2.5: 1970s, Sub-Subseries: IV.2.6: 1980s.
Box 220 Folder 1
(InParnassus1, no. 3 (1929): 22-23)
Box 220 Folder 2
(InEncyclopedia of the Social Sciences.New York: Macmillan)
(Revisions of doctoral dissertation. InArt Bulletin13, no. 3 (September 1931): 249-352, and no. 4 (December 1931): 464-531)
Box 220 Folder 3
Box 220 Folder 4
(Typescripts chiefly on Moissac porch reliefs. Correspond to pages 178-222 of dissertation)
Box 220 Folder 5
Box 220 Folder 6
(Typescript paginated 1-109)
Box 220 Folder 7
(Typescript paginated 110-221)
Box 220 Folder 8
(InNew Masses, September 1932 13-14)
Box 220 Folder 9
(InAndrocles(Columbia College, New York) 1, no. 1 (February 1932): 21-36. Accompanied by annotated photocopy of article. Typescript was created in 1992)
Box 220 Folder 10
(Published in a pamphlet created by the Architects' Committee of League of Professional Groups for Foster and Ford)
Box 220 Folder 11
(InEncyclopedia of the Social Science12: 280-283. New York: Macmillan: 1934)
Box 220 Folder 12 to 13
(InEncyclopedia of the Social Sciences,14: 523-525. New York: Macmillan, 1934)
Box 220 Folder 14
(InArt Bulletin17, no. 4 (December 1935): 414-431)
(InArt Front2 (March 1936): 10-12)
Box 658 Folder 1
Box 658 Folder 2
(Photocopy of typescript prepared in 1998)
Box 658 Folder 3 to 5
Box 658 Folder 6
Box 658 Folder 7
(In American Artists Congress, New York,Proceedings,no. 1 (1936): 31-37)
Box 658 Folder 8
Box 658 Folder 9
Box 221 Folder 1
(InArt Front2 (November 1936): 4-6)
Box 221 Folder 2
(InArt Bulletin19, no. 1 (March 1937): 111-112)
(InArt Bulletin21 no. 4 (December 1939): 313-374)
Box 221 Folder 3
Box 221 Folder 4
Box 221 Folder 5
Box 221 Folder 6
(Correspondence chiefly with the Toledo Museum of Art)
Box 221 Folder 7
(InMediaeval Studies in Memory of A. Kingsley Porter,ed. W. R. W. Koehler, 359-387. Cambridge: Harvard University Press, 1939)
(InArt Bulletin22, no. 4 (December 1940): 270-272
Box 221 Folder 8
Box 221 Folder 9
(InJournal of the Warburg and Courtauld Institutes4, no. 3-4 (1940-1941): 164-191)
Box 221 Folder 10
Box 221 Folder 11
Box 221 Folder 12
(InSpeculum17, no. 2 (April 1942): 261-264
Box 222 Folder 1
(InArt Bulletin24, no. 3 (September 1942): 205-212)
Box 222 Folder 2
(InGazette des Beaux-Arts23 (March 1943): 135-152)
(InArs Islamica10, no. 1-2 (1943): 134-147)
Box 659 Folder 1
Box 659 Folder 2
(InArt Bulletin24, no. 4 (December 1944): 242-245)
Box 659 Folder 3
Box 659 Folder 4 to 6
Box 659 Folder 7
Box 222 Folder 3
(InThe Myth of Oedipus with Six Original Etchings by Kurt Seligmann,9-18. New York: Durlacher Bros.-R. Kirk Askew, Jr., 1944)
Box 222 Folder 4
(InPolitics2, no. 2 (February 1945): 44-48)
(InArt Bulletin27, no. 3 (September 1945): 182-187)
Box 222 Folder 5
Box 222 Folder 6
Box 222 Folder 7
Box 222 Folder 8
(InView,Fall 1946 8-14)
Box 222 Folder 9
(InNew International12 no. 10 (December 1946): 311-313)
Box 222 Folder 10
(InArt and Thought: Essays in Honour of A.K. Coomaraswamy,130-150. London: Luzac and Co., 1947)
Box 223 Folder 1
(InLife, October 11, 1948 58-59)
Box 223 Folder 2
(InPartisan Review16, no. 1 (January 1949): 25-51)
Box 223 Folder 3
(InGazette des Beaux-Arts35 (March 1949): 161-176). Originally a paper presented at the Premier Congrès International Byzantino-Slave et Oriental, New York, April 28, 1946)
Box 223 Folder 4
(InPartisan Review17, no. 4 (April 1950): 331-339)
Box 223 Folder 5
(InGazeete de Beaux-Arts40 (July 1952): 27-38)
(InAmerica in Crisis,ed. Daniel Aaron, 202-242. New York: Alfred A. Knopf, 1952)
Box 223 Folder 6
Box 223 Folder 7
Box 223 Folder 8
(Published by Jacques Seligmann and Co. Schapiro provided research for this publication but was never cited as an author)
Box 223 Folder 9
(InAnthropology Today, ed. Alfred Kroeber, 287-312. Chicago: University of Chicago Press, 1953. Originally a paper presented at the Wenner-Gren Foundation, International Symposium in Anthropology, New York, June 9-20, 1952)
Box 223 Folder 10
(InStudies in Art and Literature for Belle da Costa Greene,ed. Dorothy Miner, 331-349. Princeton, NJ: Princeton University Press, 1954)
Box 223 Folder 11
(InThe Listener, January 26, 1956 146-147. Accompanied by reminiscences and clippings from 1999 by Lillian Milgram Schapiro about Meyer Schapiro's visit to the United Kingdom in 1956`)
(InJournal of the History of Ideas17, no. 2 (April 1956): 147-178)
Box 224 Folder 1
Box 224 Folder 2
Box 224 Folder 3
Box 224 Folder 4
Box 224 Folder 5
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Box 224 Folder 8
Box 224 Folder 9
Box 224 Folder 10
(In Scritti di Storia dell'Arte in Onore di Lionello Venturi ed. M. Salmi, 1: 29-53. Rome: De Luca, 1956)
Box 224 Folder 11
Box 224 Folder 12
Box 225 Folder 1
(InArt News56, no. 4 (Summer 1957): 36-42. Originally presented at the American Federation of Arts Convention, Houston, April 1957)
Box 225 Folder 2
(InArshile Gorky, by Ethel Schwahacher. New York: Macmillan for the Whitney Museum of American Art, 1957)
(InArt Bulletin39, no. 4 (December 1957): 295-239
Box 225 Folder 3
Box 225 Folder 4 to 5
Box 225 Folder 6
Box 225 Folder 7
Box 225 Folder 8
(InProblèmes de la couleur,ed. Ignaee Meyerson, 248-253. Paris: Sevpen, 1957. In French)
(InArt News57, no. 2 (April 1958): 22-24, 44-45, 52)
Box 225 Folder 9
Box 225 Folder 10
(Typescript in French)
Box 225 Folder 11
(InScriptorium12, no. 2 (1958): 191-207)
Box 225 Folder 12
Box 225 Folder 13
Box 225 Folder 14
Box 225 Folder 16
(InArt Bulletin41, no. 4 (December 1959): 327-328)
(In
Box 225 Folder 17
Box 633 Folder 7
Box 226 Folder 1 to 11
Box 227 Folder 1 to 9
(InJournal of the Warburg and CourtauldInstitutes 23, no. 3-4 (1960): 179-189)
Box 228 Folder 1
Box 228 Folder 2
Box 228 Folder 3
(InProceedings of the American Academy of Arts and Letters,no. 10 (1960): 316-323)
Box 228 Folder 4
(InIsrael, Ancient Mosaics.New York: New York Graphic Society, 1960 5-13)
(InEncounter16, no. 1 (January 1961): 57-65)
Box 228 Folder 5
Box 228 Folder 6
Box 228 Folder 7
Box 228 Folder 8
(Published in an exhibition catalog for the Betty Parsons Gallery, New York, January 8-27, 1962)
Box 228 Folder 9
(In2 Pittor, 2 Scultori, Stati Uniti d'America,exhibition catalog for the Venice Biennale published by the International Council of the Museum of Modern Art, New York)
Box 228 Folder 10
Box 228 Folder 11
(InMacDowell Colony Report for 1963,11-12. Peterborough, NH, and New York, 1964. Accompanied by French translation)
Box 228 Folder 12
(InArt Bulletin45, no. 4 (December 1963): 351-355)
(InStudies in Western art: acts of the Twentieth International Congress of the History of Art,ed. Millard Meiss et al., 1: 40-66. Princeton, NJ: Princeton University Press, 1963. Originally a paper presented at the Twentieth International Congress of the History of Art, September 1961)
Box 228 Folder 13
Box 228 Folder 14
Box 228 Folder 15 to 16
Box 228 Folder 17
(Foreword to a D'Arcy Galleries, New York, exhibition catalog, January 27-February 15, 1964)
Box 228 Folder 18
(InAmerican Journal of Sociology70, no. 3 (November 1964): 363-369)
Box 229 Folder 1
(Preface toSociety and the Freedom of the Creative Man in Diderot's Thought,by Joseph I. Waldauer, 5-11. Geneva and Paris: Droz, 1964)
Box 229 Folder 2
(Letter to theNew york timeseditor signed with Saul Bellow, Richard Hofstadter, and Eugene Rabinovitch)
Box 229 Folder 3
(InProceedings of the International Symposium on Fine Arts in the East and West,80-87. Tokyo: Compiled by the Japanese National Commission for UNESCO, 1966. Originally a paper presented at the International Symposium on Fine Arts in the East and West, Tokyo, 1966 April 4)
(InArt and Philosophy: a symposiumed. Sidney Hook, 3-15. New York: New York University Press, 1966. Originally a paper presented at the Philosophy of Art Symposium of the Institute of Philosophy, New York, 1964)
Box 229 Folder 4
Box 229 Folder 5
Box 229 Folder 6
(InEssays in the History of Art Presented to Rudolf Wittkower7-19. New York: Phaidon, 1967)
Box 229 Folder 7
(Preface to the Musée National d'Art Moderne, Paris exhibition catalog, November 7-December 23, 1968)
(InArt News Annual34 (1968): 35-53
Box 229 Folder 8
Box 229 Folder 9
Box 229 Folder 10
(In French)
(InThe Reach of Mind: Essays in Memory of Kurt Goldstein,ed. Marianne L. Simmel, 203-209. New York: Springer, 1968)
Box 229 Folder 11
Box 229 Folder 12
Box 229 Folder 13
Box 229 Folder 14
(InSemiotica1, no. 3 (1969): 223-242. Originally presented as a per at the Second International Colloquium on Semiotics, Kazimierz, Poland, September 1966)
Box 229 Folder 15
(InARC Directions,no. 7 (Fall 1969): 1-4. Original paper presented at the annual meeting of the Society for Arts, Religion and Contemporary Culture, Museum of Modern Art, New York, February 5, 1965)
Box 229 Folder 16
(Postface toMirrors, Messages, Manifestations,by Minor White. New York: An Aperture Monograph, 1969)
Box 230 Folder 1 to 9
Box 231 Folder 1 to 10
(InArt Bulletin50, no. 4 (December 1973): 494-531. Article included results from a Columbia University seminar held Spring 1969)
Box 232 Folder 1
Box 232 Folder 2
Box 232 Folder 3
Box 232 Folder 4
Box 232 Folder 5
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Box 232 Folder 8
(InEssays in Archaeology and the Humanities: in Memoriam Otto J. Brendel,249-254. Mainz: Verlag Phillipp von Zabern, 1976)
Box 691
Commendation on James T. Farrell in reply to the request of the University of Chicago Alumni Association in considering him for their Professional Achievement Award.
Cataloged.
Box 233 Folder 1 to 5
Box 234 Folder 1 to 4
Writings in this subseries constitute work that has never been published. These individual essays were originally housed with material found in Series V: Research files, Subseries: V.5: Research notes. What differentiated these texts from Schapiro's unorganized research notes is that he provided these essays with a clear title heading, allowing them to be well defined individual texts. Given their subject and title specificity, they have been organized chronologically in this subseries to facilitate their discovery. These essays are either in the format of prose or are prepared as outlines. Consult Series V: Research files, Subseries: V.5: Research notes for related material and on the arrangement of those records.
Box 235 Folder 1
Box 235 Folder 2
Box 235 Folder 3
Box 235 Folder 4
Box 235 Folder 5
Box 235 Folder 6
Box 235 Folder 7
Box 235 Folder 8
Box 235 Folder 9
Box 235 Folder 10
Box 235 Folder 11
Box 235 Folder 12
Box 235 Folder 13
(The three artists referred to are: Courbet, Manet, and Matisse)
Box 235 Folder 14
Box 235 Folder 15
Box 235 Folder 16
Box 235 Folder 17
(Title supplied by Lillian Milgram Schapiro)
Box 235 Folder 18
(Title supplied by Lillian Milgram Schapiro)
Box 235 Folder 19
(Title supplied by Lillian Milgram Schapiro)
Box 235 Folder 20
(Title supplied by Lillian Milgram Schapiro)
Box 235 Folder 21
Box 235 Folder 22
Box 235 Folder 23
Box 235 Folder 24
Box 235 Folder 25
Box 235 Folder 26
Box 235 Folder 27
Box 235 Folder 28
Box 235 Folder 29
Box 235 Folder 30
Box 235 Folder 31
Box 235 Folder 32
Box 235 Folder 33
Box 235 Folder 34
Box 235 Folder 35
Box 235 Folder 36
Box 235 Folder 37
Box 235 Folder 38
Box 235 Folder 39
Box 235 Folder 40
Box 235 Folder 41
Box 235 Folder 42
Box 235 Folder 43
Box 235 Folder 44
Box 235 Folder 45
Box 235 Folder 46
Box 660 Folder 1
Box 660 Folder 2
Box 660 Folder 3
Box 660 Folder 4
Box 660 Folder 5
Box 660 Folder 6
(Essay relating to Christian-Irish iconography)
Box 660 Folder 7
(Accompanied by a transcription created in 1992)
Box 660 Folder 8
Box 660 Folder 9
Box 660 Folder 10
(Chiefly on animation and Mickey Mouse)
Box 660 Folder 11
Box 660 Folder 12
Box 660 Folder 13
Box 660 Folder 14
Box 660 Folder 15
Box 660 Folder 16
Box 660 Folder 17
Box 660 Folder 18
Box 660 Folder 19
(Potentially published in the magazineNew Masses)
Box 236 Folder 1
Box 236 Folder 2
Box 236 Folder 3
Box 236 Folder 4
Box 236 Folder 5
Box 236 Folder 6
Box 236 Folder 7
Box 236 Folder 8
Box 236 Folder 9
Box 236 Folder 10
Box 236 Folder 11
Box 236 Folder 12
(Essay on Jean Cocteau'sLe sang d'un poète)
Box 236 Folder 13
Box 236 Folder 14
Box 236 Folder 15
Box 236 Folder 16
Box 236 Folder 17
Box 236 Folder 18
Box 236 Folder 19
Box 236 Folder 20
Box 236 Folder 21
(Correspondence is with Ernest Nagel relating to the essay)
Box 236 Folder 22
(Essay is chiefly on the gallery "Art of This Century")
Box 236 Folder 23
Box 236 Folder 24
(Corrected typescript created in 1975)
Box 236 Folder 25
Box 236 Folder 26
(Essay was given to André Breton circa 1942 for publication in a surrealist periodical. The essay was never published)
Box 236 Folder 27
(Topics include "knowledge" and "experience")
Box 236 Folder 28
(Topics include "classification," "valuation," "science," "judgment," "criticism," and the "foundations of art investigation")
Box 236 Folder 29
(Correspondence with Herman Singer, editor of the magazineThe Call)
Box 236 Folder 30
(Accompanied by a compilation of Schapiro's states on photography by Robert Bergman)
Box 236 Folder 31
Box 236 Folder 32
Box 236 Folder 33
Box 236 Folder 34
Box 236 Folder 35
Box 236 Folder 36
(Accompanied by the article "Social change and original sin: answer to Niebuht" by Sidney Hook)
Box 236 Folder 37
Box 236 Folder 38
(Essay is chiefly on the proposed expansion of the Metropolitan Museum of Art)
Box 236 Folder 39
(Accompanied by Tyler's essay "Watteau's great Cythera" and clippings relating to Renoir and Rodin)
Box 236 Folder 40
Box 236 Folder 41
(Based on a lecture given at the New York Studio School of Drawing, Painting and Sculpture. Accompanied by correspondence and drawings)
Box 236 Folder 42
(Topic addressed is chiefly "art as knowledge")
Box 237 Folder 1
Box 237 Folder 2
Box 237 Folder 3
Box 237 Folder 4
Box 237 Folder 5
Box 237 Folder 6
Box 237 Folder 7
Box 237 Folder 8
Box 237 Folder 9
Box 237 Folder 10
Box 237 Folder 11
Box 237 Folder 12
Box 237 Folder 13
Box 237 Folder 14
Box 237 Folder 15
Box 237 Folder 16
Box 237 Folder 17
Box 237 Folder 18
Box 237 Folder 19
Box 237 Folder 20
Box 237 Folder 21
Box 237 Folder 22
Box 237 Folder 23
Box 237 Folder 24
Box 237 Folder 25
(Essay is a compilation of Schapiro's writings that are paginated and include the following topics: "On creativity" ; "On abstract forms as test objects" ; The unconscious as a source of imagery" ; "On the tests for artistic ability" ; and "Concept of regression in art")
Box 237 Folder 26
Box 237 Folder 27
Box 237 Folder 28
Box 237 Folder 29
Box 237 Folder 30
(Based on a lecture given at Teachers College)
Box 237 Folder 31
Box 237 Folder 32
Box 237 Folder 33
Box 237 Folder 34
Box 237 Folder 35
(Essay on the Museum of Modern Art exhibition of the same name)
Box 237 Folder 36
Box 237 Folder 37
Box 237 Folder 38
Box 237 Folder 39
Box 237 Folder 40
Box 237 Folder 41
Box 237 Folder 42
Box 237 Folder 43
Box 237 Folder 44
Box 237 Folder 45
Box 237 Folder 46
Box 237 Folder 47
Box 237 Folder 48
Box 237 Folder 49
Box 237 Folder 50
Box 237 Folder 51
(Includes writing on C.I. Lewis)
Box 237 Folder 52
Box 237 Folder 53
Box 237 Folder 54
Box 237 Folder 55
Box 238 Folder 1
Box 238 Folder 2
Box 238 Folder 3
Box 238 Folder 4
Box 238 Folder 5
Box 238 Folder 6
Box 238 Folder 7
Box 238 Folder 8
Box 238 Folder 9
Box 238 Folder 10
Box 238 Folder 11
Box 238 Folder 12
Box 238 Folder 13
Box 238 Folder 14
(Editorial notes by Lillian Milgram Schapiro from the 1990s)
Box 238 Folder 15
Box 238 Folder 16
Box 238 Folder 17
Box 238 Folder 18
Box 238 Folder 19
Box 238 Folder 20
Box 238 Folder 21
Box 238 Folder 22
Box 238 Folder 23
Box 238 Folder 24
Box 238 Folder 25
Box 238 Folder 26
(Essay is a critique of a Kenneth Clark article on modern art)
Box 238 Folder 27
(Accompanied by holograph papers of "Jerome" by Jarrell given to Schapiro in 1957)
Box 238 Folder 28
(Typescript is interleaved with Schapiro's research notes)
Box 238 Folder 29
(Correspondence is with Otto Brendel. Typescript is interleaved with Schapiro's research notes)
Box 238 Folder 30
Box 238 Folder 31
Box 238 Folder 32
(Essay was read at Brodie's memorial service. Accompanied by Schapiro's other writings on Brodie)
Box 238 Folder 33
Box 238 Folder 34
Box 238 Folder 35
Box 238 Folder 36
Box 238 Folder 37
Box 238 Folder 38
Box 238 Folder 39
Box 238 Folder 40
(Editorial notes by Lillian Milgram Schapiro from the 1990s)
Box 238 Folder 41
Box 239 Folder 1
Box 239 Folder 2
Box 239 Folder 3
(Accompanied by an edited version from 1996)
Box 239 Folder 4
(Title supplied from original file heading)
Box 239 Folder 5
Box 239 Folder 6
(Eulogy given at Tyler's memorial service)
Box 239 Folder 7
(Typescript is interleaved with Schapiro's research notes)
Box 239 Folder 8
Box 239 Folder 9
(Essay is derived from the text found in the manuscript "Philosophy and worldview in painting" which is originally based on Schapiro's Slade Lectures in the Fine Arts given in 1968. Editorial notes by Lillian Milgram Schapiro from the 1990s)
Box 239 Folder 10
(Typescript is interleaved with Schapiro's research notes)
Box 239 Folder 11
Box 239 Folder 12 to 13
Box 239 Folder 14
(Typescript is interleaved with Schapiro's research notes)
Subseries IV.4 contains unpublished material that Schapiro wrote, organized, and edited for intended publication. Among the titles included in this subseries are "The content of modern art: studies in the painting of the end of the nineteenth century from Manet to Munch," "Pablo Picasso'sGuernica," "The serpent with a woman's head in the temptation of Eve: researches on the invention of an image," and "Relativity and the interpretation of modern painting."
Schapiro continually revisited and reworked his previous writings, transcripts, and research notes to compile these manuscripts. As a result, work on one single manuscript could cross several decades and, after Schapiro's death, would continue to be worked on by his wife Lillian Milgram Schapiro. In each individual instance, original order created by Schapiro or his wife Lillian Milgram Schapiro was maintained. Every effort was made to contextualize these manuscripts by highlighting historical documentation contained elsewhere in the collection to give these writings a fuller understanding. To that end, included after each title are arrangement notes for how the manuscript is organized, their organizational structure, and, if applicable, the rationale on the final title chosen
(No substantial information about this manuscript exists, other than the same subject matter is found in Schapiro's published article "From Mozarabic to Romanesque in Silos." Related material can be found in Subseries: V.5: Research notes. The manuscript deals chiefly with the sculpture found in cloister of the abbey at Santo Domingo de Silos and its differentiation from manuscript illumination and other Romanesque sculpture. There are no indications that the manuscript was ever published and Schapiro prepared it as if it were ready for publication as evidenced by the inclusion of references for illustrations within the text.)
Box 240 Folder 1
Box 240 Folder 2 to 7
(Schapiro's children's story was created in the 1930s for his daughter and was originally a hand sewn booklet made up of his typescripts and drawings. In 2004 Lillian Milgram Schapiro would revisit the story by adding text and other illustrations by Schapiro to create an expanded manuscript version for potential publication)
Box 240 Folder 8
(Accompanied by a 2004 typescript created by Lillian Milgram Schapiro with added text and illustrations)
Box 240 Folder 9
(According to correspondence in file 18 of Box 242 of this series, plans to publish this manuscript began in 1937 when Oxford University Press, New York, initiated contract discussions with Schapiro. There was also an agreement between Oxford University Press and the Museum of Modern Art to collaborate on the publication in 1939 but that never materialized. In an announcement dated 1938 found in file 19 of Box 242 of this series, Phaidon Press was to publish the manuscript as "The content of modern art: studies in painting from Manet to Munch." That publication was also never realized. There are three variations of the title; the longer version is used since it includes variants from the other two titles. When possible, file titles below were supplied or condensed using Schapiro's annotations or text to guide users to the contents found in the manuscript. Original file order is maintained to preserve Schapiro's ordering. As a result, file titles may not include sequential sequencing such as section numbers. Files have research notes and editorial notes interleaved in the typescript sheets)
Box 241 Folder 1
(Typescript is paginated 1-65 by hand. P)
Box 241 Folder 2
Box 241 Folder 3
Box 241 Folder 4 to 5
Box 241 Folder 6 to 7
Box 241 Folder 8
Box 241 Folder 9 to 10
Box 242 Folder 1
Box 242 Folder 2 to 6
Box 242 Folder 7
Box 242 Folder 8
Box 242 Folder 9
Box 242 Folder 10
Box 242 Folder 11
Box 242 Folder 12
Box 242 Folder 13
Box 242 Folder 14
Box 242 Folder 15
Box 242 Folder 16
Box 242 Folder 17
Box 242 Folder 18
Box 242 Folder 19
(Files associated with this manuscript are largely in outline format and filed by subject. In the 1990s Lillian Milgram Schapiro used Schapiro's outline in file 1, Box 243 as a guide to reconstruct this manuscript. However, file naming conventions below follow title headings of the outlines and are arranged matching content to outline titles as closely as possible. Section titles of the manuscript indicated in the outline are given at the end of each file description)
Box 243 Folder 1
Box 243 Folder 2
(Section I: Distinctiveness of his art)
Box 243 Folder 3
(Section I: Distinctiveness of his art)
Box 243 Folder 4
(Section II: the early works)
Box 243 Folder 5
(Section II: the early works)
Box 243 Folder 6
(Section IV: the Baignade)
Box 243 Folder 7
(Section VI: The landscapes of circa 1884-1886)
Box 243 Folder 8
(Section VII: the new phase: 1887-1890)
Box 243 Folder 9
(Section XII: Cirque)
Box 243 Folder 10
(Section XIII: the landscapes of 1888-1890)
Box 243 Folder 11
(Section XIV: the drawings)
Box 243 Folder 12
(Section XV: Seurat and science: color, composition, physiognomic)
Box 243 Folder 13 to 14
(Section XVI: Development of theory)
Box 243 Folder 15
(Section XXII: appendices)
Box 243 Folder 16
(This manuscript is concerned with an illuminated manuscript that forms part of the Fondi di Cluni held at the Bibliothèque nationale de France and especially with the illuminated manuscript Latin 15176. Schapiro originally wrote this in 1948 but continually worked on the text through to the 1960s)
Box 244 Folder 1
Box 244 Folder 2
(First draft of manuscript)
Box 244 Folder 3
(Typescript is interleaved with Schapiro's research and editorial notes. The final version of the manuscript is included in this file along with other draft versions)
Box 244 Folder 4 to 13
Box 245 Folder 1
Box 245 Folder 2
Box 245 Folder 3 to 8
Box 245 Folder 9
(This was to be published by Holbein Verlag publishers in Germany)
(From a book jacket design in file 5 of Box 248 in this series and correspondence in file 9 Box 248, this manuscript was to be published by the Museum of Modern Art, New York as "Guernica: studies, postscripts" possibly in the 1970s or 1980s. Schapiro wrote consistently on Picasso's Guernica, and material found in these files is culled from the 1940s through the 1990s. Files are organized by a pagination scheme devised by Lillian Milgram Schapiro in the 1990s through the 2000s relying on Schapiro's original annotations on the typescripts. Her notes and lists relating to the reconstruction of the manuscript can be found in file 5 of Box 248)
Box 246 Folder 1
Box 246 Folder 2
Box 246 Folder 3
Box 246 Folder 4
Box 246 Folder 5
Box 246 Folder 6
Box 246 Folder 7
Box 246 Folder 8
(Chiefly on the evolution ofGuernicaand the attitude of Picasso towards Fernande Olivier)
Box 246 Folder 9
(Chiefly on Alexandre Millerand)
Box 246 Folder 10
Box 246 Folder 11
(Material is based on Schapiro's 1966 lecture "Guernica" presented at Harvard University's Carpenter Design Center)
Box 246 Folder 12
(Material is based on Schapiro's 1966 lecture "Guernica" presented at Harvard University's Carpenter Design Center)
Box 246 Folder 13
(Material is based on Schapiro's 1966 lecture "Guernica" presented at Harvard University's Carpenter Design Center)
Box 246 Folder 14
Box 246 Folder 15
(Typescripts chiefly on Picasso's preparatory drawings)
Box 246 Folder 16
(Typescript is interleaved with Lillian Milgram Schapiro's research and editorial notes)
Box 246 Folder 17
Box 246 Folder 18
Box 246 Folder 19
Box 246 Folder 20
Box 246 Folder 21
(Typescript is interleaved with Lillian Milgram Schapiro's research and editorial notes)
Box 246 Folder 22
Box 247 Folder 1
Box 247 Folder 2
Box 247 Folder 3
(Typescript is interleaved with Lillian Milgram Schapiro's research and editorial notes)
Box 247 Folder 4
Box 247 Folder 5 to 6
(Accompanied by Lillian Milgram Schapiro's editorial notes. These early drafts formed the basis for the paginated typescripts from the 1980s)
Box 247 Folder 7 to 9
Box 247 Folder 10
Box 248 Folder 1 to 4
Box 248 Folder 5
(Chiefly Lillian Milgram Schapiro's page reconstruction of manuscript and correspondence with Jeffrey Hoffeld. Accompanied by design for book cover)
Box 248 Folder 6 to 7
Box 248 Folder 8
Box 248 Folder 9
(Correspondence is with the Museum of Modern Art regarding potential publication)
(Material from this manuscript is based on Schapiro's Indiana University Patten Lectures from 1961. Schapiro would revise and annotate transcripts from these lectures for potential publication largely in the 1980s and 1990s with the editorial support of Lillian Milgram Schapiro. Materials found in these files were posthumously published in 1997 by George Braziller and edited by James Thompson asImpressionism: reflections and perceptions.The files in this subseries are organized according to Schapiro's own 1985 outline for the manuscript found in file 8, Box 252 in this subseries. While Thompson generally followed Schapiro's outline for the publication, Schapiro's scheme varies on section titles and organization. Schapiro also has additional sections and content and hence its inclusion into this subseries)
Box 249 Folder 1
Box 249 Folder 2
Box 249 Folder 3
(Early draft of this section)
Box 249 Folder 4
(First draft of this section. Missing pages 1, 2, and 4)
Box 249 Folder 5
(Early draft of this section)
Box 249 Folder 6
(Corrected draft of this section)
Box 249 Folder 7 to 9
Box 249 Folder 10
Box 249 Folder 11
(Early draft of this section)
Box 249 Folder 12 to 13
Box 249 Folder 14
Box 249 Folder 15
Box 249 Folder 16
Box 249 Folder 17
Box 250 Folder 1 to 4
(Section title was supplied from original file heading. Schapiro's outline does not divide Section II, but titles it "The impression: its psychological, philosophical, and moral connotations")
Box 250 Folder 5 to 6
(Section title was supplied from original file heading. Schapiro's outline does not divide Section II, but titles it "The impression: its psychological, philosophical, and moral connotations")
Box 250 Folder 6
(Typescript is annotated to indicate that this section was to be placed at the end of this section)
Box 250 Folder 7
(Annotations indicate material was to be part of section II)
Box 250 Folder 8 to 10
Box 251 Folder 1 to 2
Box 251 Folder 3
Box 251 Folder 4
Box 251 Folder 5 to 6
Box 251 Folder 7 to 10
Box 251 Folder 11
(Research notes chiefly on Impressionism and Rococo)
Box 252 Folder 1
Box 252 Folder 2
Box 252 Folder 3
Box 252 Folder 4
Box 252 Folder 5
Box 252 Folder 6
(Notes on photography, architecture, popular imagery, and Camille Pissarro)
Box 252 Folder 7
Box 252 Folder 8 to 9
Box 252 Folder 10
(While this manuscript would be published posthumously as an essay in the 1999 George Braziller publicationWorldview in painting: art and society: selected papers, Volume 5,Schapiro worked continuously since the 1960son revising and drafting components of this manuscript for publication. Material in these manuscript files are retained in this subseries because content differs considerably from the 1999 publication. The manuscript draws on lectures on the topic of philosophy and art given in the 1950s and the 1960s and files in this subseries include material from those lectures. In the 1990s Lillian Milgram Schapiro edited and supervised the reconstruction of the text for the 1999 publication. Her editorial notes are also retained in these files. )
Box 253 Folder 1 to 3
(Typescript is interleaved with Lillian Milgram Schapiro's research and editorial notes)
Box 253 Folder 4
(File contains source material used for this manuscript from lectures given at these institutions: Vasser College, 1957 ; Brooklyn College, 1965 ; University of Texas, 1965 ; Harvard University, 1966)
Box 253 Folder 5
(Transcripts and notes are chiefly from a 1965 lecture given at the University of Texas)
Box 253 Folder 6
(Holograph papers of Schapiro's lecture "Philosophy in painting" given in Baltimore, Maryland in 1958)
Box 253 Folder 7
Box 253 Folder 8
(Material chiefly on Henri Bergson and Cubists)
Box 253 Folder 9 to 10
(Chiefly additions and notes to lectures by Lillian Milgram Schapiro)
Box 253 Folder 11
Box 253 Folder 12
Box 253 Folder 13
(An unpublished essay in manuscript form accompanied by editorial notes reconstructing the text by Lillian Milgram Schapiro)
(This manuscript is dedicated to the art historian Otto Pächt on his 70th birthday. Schapiro began this manuscript in the 1970s and continued to revise and expand it through the 1980s. In the original typescript, Schapiro annotated an alternate subtitle as the following: "on invention and tradition in the illustration of a canonical religious text." In a subsequent, corrected typescript, found in file 1, Box 254 Schapiro would then again alter the subtitle as "an essay on iconographic invention." The latter typescript does not carry a dedication to Pächt either. The original title is used as it contains variations of all three titles)
Box 253 Folder 14
(Typescript is interleaved with Schapiro's research notes)
Box 253 Folder 15
(Typescript is interleaved with Schapiro's research notes)
Box 254 Folder 1
Box 254 Folder 2 to 8
Box 254 Folder 9
(This manuscript is not complete and is largely reconstructed by Lillian Milgram Schapiro using Schapiro's outlines, research notes, and annotated typescripts from circa 1970s)
Box 255 Folder 1
(Material is interleaved with Lillian Milgram Schapiro's research and editorial notes)
Box 255 Folder 2
Box 255 Folder 3 to 5
(Notes are chiefly Lillian Milgram Schapiro's attempt at reconstructing the manuscript)
Box 255 Folder 6
(This manuscript is based on lectures given at Columbia University in 1965and in New Orleans in February 1966. The transcripts and typescripts, however, were created in 1975 and were continued to be revised and expanded by Schapiro until the 1990s as a manuscript)
Box 255 Folder 7
Box 255 Folder 8
Box 255 Folder 9
(This manuscript is based on Schapiro's 1976 lecture "Perspective and script: the viewer and the reader in Medieval representations" given at the medieval painting symposium held at the University of Pittsburgh in honor of Carl Nordenfalk. As outlined in his editorial note in file 1, Box 256, Schapiro had two versions of this manuscript: 1) the original lecture typescript; and 2) an enlarged second version. According to Schapiro, the second version was enlarged to reflect the "revived interest in the use of writing on the canvas in 20th century art." Schapiro didn't develop these concepts due to lack of time, but the files incorporate his research and editorial notes to reflect his interest in these concepts. Schapiro continually changed the title of this manuscript, see file 3 Box 256 for an editorial note on title variations especially as they relate to the use of the term "semiotics." The title used reflects Schapiro's consistent use of the phrase" Words in pictures" to refer to this manuscript)
Box 256 Folder 1
(The title of the transcript uses the original University of Pittsburgh lecture from 1976)
Box 256 Folder 2
Box 256 Folder 3
Box 256 Folder 4 to 5
Box 256 Folder 6
(This manuscript was referred to by Schapiro as "Albert Einstein and Cubism," but the title used is supplied from the first page of the typescript found in file 1 Box 257. According to Lillian Milgram Schapiro in a letter found in file 8 Box 258 this manuscript is loosely based on Schapiro's 1979 lecture "Einstein and Abstract art" given at a Hebrew University symposium commemorating the centennial of Albert Einstein's birth. In correspondence found in Folder 8, Box 258, Schapiro signed off to include his contribution to the symposium in a book to be published by Princeton University Press titledAlbert Einstein, historical and cultural perspectives : the centennial symposium in Jerusalem,but it was never included in the final publication of 1982. Material found in these manuscript files are largely research notes, drafts, and revisions that Schapiro wrote in the 1980s. In the 1990s Lillian Milgram Schapiro worked with Joseph Masheck to edit and reconstruct the text, but the material was never published. The pagination scheme used below is based on annotations that also match original file order)
Box 257 Folder 1
Box 257 Folder 2
Box 257 Folder 3
Box 257 Folder 4
Box 257 Folder 5
Box 257 Folder 6
(Material is chiefly on Schapiro's lecture "Einstein and Abstract art" given at Hebrew University)
Box 257 Folder 7 to 9
Box 258 Folder 1 to 3
Box 258 Folder 4 to 6
Box 258 Folder 7
Box 258 Folder 8 to 9
(Although three files contain typescripts that include a title statement and some pagination, this manuscript is primarily composed of compiled drafts and research notes. There are several files titled "Footnotes and sources" that include a sequential pagination scheme that is not included in the manuscript typescripts. In 1997 Lillian Milgram Schapiro would revisit this manuscript with David Rosand for potential publication, but the project was never realized)
Box 259 Folder 1
(Correspondence is chiefly with Giorgio Tagliacozzo of the Institute for Vico Studies)
Box 259 Folder 2 to 5
Box 259 Folder 6 to 7
Box 259 Folder 8
Box 259 Folder 9 to 10
Box 259 Folder 11
Box 259 Folder 12
Box 259 Folder 13
Box 259 Folder 14
Box 259 Folder 15
Box 259 Folder 16
Box 260 Folder 1
Box 260 Folder 2 to 4
Box 260 Folder 5 to 10
Box 260 Folder 11
(Correspondence with between David Rosand and Lillian Milgram Schapiro regarding the manuscript. Accompanied by Lillian Milgram Schapiro's organization of the manuscript in a photocopied format)
Box 260 Folder 12
(According to a note by Lillian Milgram Schapiro, this manuscript was lost and all the editorial notes contained in this file serve as reminisces. Meyer Schapiro writes that the manuscript was based on the Columbia University course Theory and methods of art history (Art History G6001x) which was focused on theories of classification in the arts. Material on this course can be found in Boxes 187-188 of Series III and sound recordings of those lectures can be found in Series VII, Subseries VII.2))
(An unpublished work dealing with Freud'sPsychopathology of Everyday Life)
Box 261 Folder 1
Box 261 Folder 2
Box 261 Folder 3
(Composed of three organized parts and largely paginated, this manuscript includes a large portion of footnotes that Schapiro meticulously compiled. In an annotation to the title statement of the manuscript found in file 4, Box 261, the original term used for "crowning" is "consecration." The annotated title is used for clarity. Consult file 14, Box 261 for Schapiro's section titles and general outline of the manuscript. Schapiro would generally interleave his research notes into the files with paginated manuscripts)
Box 261 Folder 4
Box 261 Folder 5
Box 261 Folder 6
Box 261 Folder 7
(Edits and notes are largely by Judy Sund and completed in 1983. Lillian Milgram Schapiro's editorial notes are also included)
Box 261 Folder 8
(Photocopy of assembled typescripts and research notes compiled by Lillian Milgram Schapiro)
Box 261 Folder 9
Box 261 Folder 10
(Drafts edited by Robert Melzak and include three versions: Schapiro's original; the edited version; and a transcription of an unknown recording. Accompanied by correspondence and computer disk carrying electronic files)
Box 261 Folder 11
Box 261 Folder 12 to 13
Box 261 Folder 14
Box 262 Folder 1
Box 262 Folder 2
Box 262 Folder 3
Box 262 Folder 4
Box 262 Folder 5
Box 262 Folder 6
Box 262 Folder 7
Box 262 Folder 8
Box 262 Folder 9
Box 262 Folder 10
Box 263 Folder 1
Box 263 Folder 2
Box 263 Folder 3
Box 263 Folder 4
Box 263 Folder 5
Box 263 Folder 6
Box 263 Folder 7
Box 263 Folder 8
Box 263 Folder 9
(Created by Robin Sand following Schapiro's complete footnotes found in file 8, Box 263)
Box 264 Folder 1
Box 264 Folder 2 to 3
Box 264 Folder 4
(This publication was to be edited by Mordechai Omer and published by the Tel Aviv University of Art Gallery and Old Jaffa Press. Omer began working with Schapiro in 1993 to formulate a list of works to be translated and published, but that was never realized. Lillian Milgram Schapiro began working on this project in 2003 but a published work never materialized. Title was derived from editorial notes found in the file)
(Referring to the painting by Gustave Courbet, this manuscript survives primarily as printouts created using Schapiro's research notes and outlines from the 1940s-1960 found in files 5 and 6 in Box 264. Similar elements and motifs in this manuscript can be found in Shapiro's published article "Courbet and popular imagery: an essay on realism and naïveté" published in the Warburg Journal. In the 1990s Lillian Milgram Schapiro circulated Schapiro's research material on Courbet to Maura Reilly and Robin Sand to reconstruct the text into manuscript form. As a result, files for this manuscript have printout versions interleaved with Lillian Milgram Schapiro's editorial notes and Schapiro's photocopied notes in a semi-paginated format. When possible, pagination was supplied using annotations provided)
Box 264 Folder 5 to 6
Box 264 Folder 7
Box 264 Folder 8
Box 265 Folder 1
Box 265 Folder 2
Box 265 Folder 3
(Edited draft was created by Robin Sand and correspondence in this file details her edits in comparison to the published Courbet essay)
Box 265 Folder 4
(Edited draft was created by Maura Reilly and accompanied by correspondence relating to comparisons with the published Courbet essay)
Box 265 Folder 5
(Notes are by Lillian Milgram Schapiro)
Box 265 Folder 6 to 7
Box 265 Folder 8
Box 265 Folder 9
Subseries IV.5 contains material relating to all of Schapiro's work that were published either in his lifetime or posthumously. This includes material from all of his "Selected Writings" series published by George Braziller, Inc. a s well as books that were published posthumously and edited and compiled by Lillian Milgram Schapiro.
For articles and reviews that were reprinted in Schapiro's "Selected Writings" series, consult Subseries: IV.2: Articles and Subseries: IV.6: Reviews where they are filed.
While the bulk of the material dates after 1950, the earliest record in this subseries isArt in the contemporary worlda 1928 reprint ofAn introduction to contemporary civilization in the west: a syllabus.
Box 266 Folder 1
Box 266 Folder 2 to 4
Box 266 Folder 5
(Includes notes and studies that were not published in the 1950 publication)
Box 266 Folder 6
Box 266 Folder 7
(Includes notes and studies on St. Remy and Auvers that were not published)
Box 266 Folder 8 to 9
Box 266 Folder 10
Box 266 Folder 11
(Reviews in German)
Box 266 Folder 12
Box 266 Folder 14
Box 267 Folder 1
Box 267 Folder 2
(Published in Cologne, Germany by M. Dumont Schauberg)
Box 267 Folder 3 to 9
Box 267 Folder 10
Box 267 Folder 11
Box 267 Folder 12
(Notes chiefly on text, history, and styles)
Box 267 Folder 13
(Notes chiefly on ornament and history of the manuscript)
Box 267 Folder 14
(Notes chiefly relating to Cluny and Burgundinian manuscripts)
Box 267 Folder 15
(Notes chiefly on Limoges manuscript of Ildefonsus from the Bibliothèque nationale de France)
Box 268 Folder 1 to 5
Box 268 Folder 6 to 8
Box 268 Folder 9
Box 268 Folder 10
Box 269 Folder 1 to 2
Box 269 Folder 3
Box 269 Folder 4 to 6
Box 269 Folder 7
Box 269 Folder 8
Box 269 Folder 9
Box 269 Folder 10
(Accompanied by review of the Italian translation)
Box 269 Folder 11
Box 270 Folder 1
Box 270 Folder 2
Box 270 Folder 3
Box 633 Folder 8
Box 270 Folder 4
Box 270 Folder 5
Box 270 Folder 6
Box 270 Folder 7
Box 270 Folder 8
(Chiefly footnote number 66 of Moissac essay. Accompanied by research notes and correspondence)
Box 270 Folder 9 to 12
Box 270 Folder 13
Box 271 Folder 1
Box 271 Folder 2
Box 271 Folder 3
Box 271 Folder 4
Box 271 Folder 5
Box 271 Folder 6
Box 271 Folder 7
Box 271 Folder 8
Box 271 Folder 9
Box 271 Folder 10
Box 271 Folder 11
Box 271 Folder 12
(While Schapiro worked on this essay for several years, it was first published in this volume)
Box 271 Folder 13
Box 271 Folder 14
Box 271 Folder 15
Box 271 Folder 16
Box 271 Folder 17
Box 271 Folder 18
Box 272 Folder 1 to 3
Box 272 Folder 4 to 5
Box 272 Folder 6
Box 272 Folder 7
Box 272 Folder 8
Box 272 Folder 9
Box 272 Folder 10
Box 633 Folder 9
Box 272 Folder 11
Box 272 Folder 12
Box 272 Folder 13
Box 272 Folder 14
Box 272 Folder 15
Box 272 Folder 16 to 17
Box 272 Folder 18
Box 272 Folder 19
Box 272 Folder 20
Box 273 Folder 1
Box 273 Folder 2
Box 273 Folder 3
Box 273 Folder 4
Box 273 Folder 5
Box 273 Folder 6 to 7
Box 273 Folder 8
Box 273 Folder 9
(Includes material from the first two volumes of Schapiro's selected works)
Box 273 Folder 10
(Italian translation ofSelected Papers I: Romanesque Art)
Box 273 Folder 11
Box 273 Folder 12 to 15
Box 273 Folder 16 to 17
Box 274 Folder 1
Box 274 Folder 2
Box 274 Folder 3
Box 274 Folder 4
(German translation ofSelected Papers II: Modern Art: 19th and 20th Centuries)
Box 274 Folder 5
(Spanish translation ofSelected Papers I: Romanesque Art)
(Reprint of Schapiro's dissertation which was originally published in Art Bulletin. This reprint includes photographs by David Finn)
Box 274 Folder 6
Box 274 Folder 7
Box 274 Folder 8
(Italian translation ofSelected Papers II: Modern Art: 19th and 20th Centuries
Box 274 Folder 9
(Previously unpublished essay published for the first time in this volume)
Box 274 Folder 10 to 11
Box 274 Folder 12 to 13
Box 274 Folder 14
Box 274 Folder 15 to 16
Box 275 Folder 1
(Previously unpublished essay published for the first time in this volume)
Box 275 Folder 2 to 3
Box 275 Folder 4
Box 275 Folder 5
Box 275 Folder 6
Box 275 Folder 7
Box 275 Folder 8
Box 275 Folder 9 to 10
Box 275 Folder 11 to 13
(Includes material relating to Schapiro's other collected volumes)
Box 275 Folder 14
Box 275 Folder 15
Box 275 Folder 16
(Special issue on Meyer Schapiro)
Box 276 Folder 1
Box 276 Folder 2
Box 276 Folder 3
Box 276 Folder 4 to 8
Box 276 Folder 9
Box 276 Folder 10
Box 276 Folder 11
Box 277 Folder 1
Box 277 Folder 2
Box 277 Folder 3
(Printout is an extended text of the work published in 1998. Accompanied by editorial notes by Lillian Milgram Schapiro)
Box 277 Folder 4
(Annotations by Lillian Milgram Schapiro)
Box 277 Folder 5
Box 277 Folder 6 to 7
Box 277 Folder 8
Box 277 Folder 9
(Although published posthumously in 2000 Schapiro himself worked on the draft for this manuscript in 1985 while working with Gittelman Film Association on their video of Schapiro's lecture on Picasso for the Metropolitan Museum of Art. Portions of this manuscript incorporate Schapiro's lectures on Picasso from the following institutions: Brandeis University (1967) and the Albright-Knox Art Gallery (1973). Typescripts, research notes, and outlines can be found for these two lectures at Sub-Subseries: III.3.4: 1960s and Sub-Subseries: III.3.5: 1970s respectively)
Box 278 Folder 1
(Accompanied by Lillian Milgram Schaipro's editorial notes)
Box 278 Folder 2
(Typescript chiefly used to consolidate the Brandeis and Albright-Knox lectures for the video presentation)
Box 278 Folder 3
Box 278 Folder 4
Box 278 Folder 5 to 8
Box 278 Folder 9
Box 278 Folder 10
Box 279 Folder 1
Box 279 Folder 2
Box 279 Folder 3
(Material for this publication is derived from Schapiro's Franklin Jasper Walls lectures held at the Pierpont Morgan library. Consult Sub-Subseries: III.3.4: 1960s for materials relating to that lecture)
Box 279 Folder 4
(Typescript is Schapiro's original and used as reference for the manuscript of this publication)
Box 279 Folder 5
Box 279 Folder 6
Box 279 Folder 7
Box 279 Folder 8
Box 279 Folder 9
Box 279 Folder 10
Box 279 Folder 11 to 12
Box 280 Folder 1
Box 280 Folder 2
Box 280 Folder 3
(Annotated photocopies)
Box 280 Folder 4
(Annotated photocopies)
Box 280 Folder 5
(Annotated photocopies)
Box 280 Folder 6
(Annotated photocopies)
Box 280 Folder 7
(Annotated photocopies)
Box 280 Folder 8
(Annotated photocopies)
Box 280 Folder 9
(Annotated photocopies)
Box 280 Folder 10
(Annotated photocopies)
Box 280 Folder 11 to 13
Box 281 Folder 1 to 10
Box 281 Folder 11
Box 281 Folder 12
Box 281 Folder 13 to 14
Box 281 Folder 15
Box 281 Folder 16
(Notes by Lillian Milgram Schapiro)
Box 281 Folder 17
(Created by assistants, these electronic files contain materials from various Schapiro publications )
Box 281 Folder 18
(Created by assistants, these electronic files contain materials from various Schapiro publications. This file includes editorial notes by Lillian Milgram Schapiro wrapped around the disks)
Schapiro wrote reviews about books and exhibitions throughout his career. This subseries contains all his reviews and are organized chronologically. For consistency, bibliographic information was retrieved from Lillian Milgram Schapiro's bibliography of 1995. Early in his career, Schapiro would occasionally use the pseudonym John Kwait for publishing reviews. According to Lillian Milgram Schapiro's bibliography, Kwait is Schapiro's maternal grandmother's surname. File descriptions will indicate when the pseudonym has been used.
(Early in his career, Schapiro would occasionally use the pseudonym John Kwait for publishing reviews. According to Lillian Milgram Schapiro's published bibliography on Schapiro's work, Kwait is Schapiro's maternal grandmother's surname. File descriptions will indicate when the pseudonym has been used)
Box 282 Folder 1
(InNew York Herald Tribune Books, 1930 April 6, 16)
Box 282 Folder 2
(InNew York Herald Tribune Books,1930 August 24, 15)
Box 282 Folder 3
(InNew Masses, May 1932 23. Published under the pseudonym John Kwait)
Box 282 Folder 4
(InNew Masses, August 1932 27 Published under the pseudonym John Kwait)
Box 282 Folder 5
(InArt and Archaeology33, no. 6 (November-December 1932): 327-28. Expanded version printed inArt Bulletin17, no. 1 (March 1935): 109-14)
Box 282 Folder 6
(Research notes are chiefly on geometric schematism from the 1970)
Box 282 Folder 7
(InNew Masses, February 1933 23-24 Published under the pseudonym John Kwait. Text in brackets is found on the typescript but is not included in Lillian Milgram Scahpiro's bibliography. Accompanied by a reply to this article by Jack Burck)
Box 282 Folder 8
(InThe Nation,July 4,1934 25)
Box 282 Folder 9
(InNew York Herald Tribune Books, August 4, 1935 12)
Box 282 Folder 10
(In Columbia Review 17 (November 1935): 9-17)
Box 282 Folder 11
(InArt Bulletin18, no. 2 (June 1936): 258-66)
Box 282 Folder 12
(InThe Nation, January 23, 1937 102-3)
Box 282 Folder 13
(InArt Bulletin19, no. 1 (March 1937):126-29)
Box 282 Folder 14
(InThe Nation, September 25, 1937 323-24. Accompanied by annotated photocopy of article)
(InMarxist QuarterlyI, no. 3 (October - December 1937).406-17)
Box 282 Folder 15
Box 282 Folder 16
Box 282 Folder 17
(InPartisan Review4, no. 2 (January 1938): 55-37. Accompanied by annotated photocopy)
Box 282 Folder 18
(InPartisan Review4, no. 4 (March 1938): 42-47)
Box 282 Folder 19
InPartisan Review5, no. 2 (July 1938): 12-24)
Box 282 Folder 20
(InReview of Religion3, no.4 (May 1939): 469-73. Research notes are on "modern Catholic art")
Box 282 Folder 21
(InSpeculum. 16, no. 1 (January 1941): 131-37)
Box 282 Folder 22
(InReview of Religion5, no. 3 (March 1941): 310-12)
Box 282 Folder 23
(InArt Bulletin23, no. 1 (March 1941): 82-86)
Box 282 Folder 24
(InReview of Religion6. no. 2 (January 1942): 237-38)
Box 282 Folder 25
(InReview of Religion6, no. 2 (January 1942): 239)
Box 282 Folder 26
(InPartisan Review10, no. 3 (May-June 1943): 275-78)
Box 282 Folder 27
(InReview of Religion8, no. 2 (January 1944): 165-86)
Box 282 Folder 28
(InView5,no. 1 (March 1945.1: 43, 49, 50)
Box 282 Folder 29
(InArt Bulletin27, no.1 (December 1945): 272)
Box 282 Folder 30
(InKenyon Review7, no. 1 (Winter 1945),29-42)
Box 283 Folder 1
(InCommentary4., no. 2 (August 1947): 197-99)
Box 283 Folder 2
(InCommentary8, no. 6 (December 1949): 614--66. Page one is missing of typescript)
Box 283 Folder 3
(This review was never published)
Box 283 Folder 4
(This review was never published)
Box 283 Folder 5
(InGazette des Beaux-Arts37 (January 1950): 134-8)
(InSaturday Review of Literature,February 4, 1950 37)
Box 283 Folder 6
Box 283 Folder 7
Box 283 Folder 8
(InSaturday Review of Literature,October 7,1950 69-70)
Box 283 Folder 9
(InMagazine of Art43, no. 8 (December 1950): 312-13)
Box 283 Folder 10
(InSpeculum26, no. 3 (July 1951): 508-9)
Box 283 Folder 10
Box 283 Folder 11
Box 283 Folder 12
(InMagazine of Art44, no. 7 (November 1951): 29)
Box 283 Folder 13
(InArt Bulletin34, no. 2 (June 1952): 147-63)
Box 283 Folder 14
(InNew Republic, March 9, 1953 20-21)
Box 283 Folder 15
(InArt News52, no. 9 (January 1954): 52, 85.)
Box 283 Folder 16
(InArt Bulletin36. no. 2 (June 1954): 163-65)
Box 283 Folder 17
(InErasmus8, no. 1 (January 10, 1955): cols. 13-17)
Box 283 Folder 18
(InArt News54, no. 5 (September 1955): 44, 59,60.)
Box 283 Folder 19
(Review of Religion20, no. 1-2 (November 1955): 56-60)
Box 283 Folder 20
(InErasmus9, no. 11-12 (June 25, 1956): cols. 361-63)
Box 283 Folder 21
(InNew York Herald Tribune Book Review,January, 5, 1958,4)
Box 283 Folder 22
(InNew York' Herald Tribune Book Review,January 26,1958,4)
Box 283 Folder 23
(InAmerican Anthropologist61, no. 2 (April 1959): 303-5.)
Box 283 Folder 24
(InArt Bulletin42, no. 4 (December 1960): 301-2)
Box 283 Folder 25
(This review was never published)
Box 283 Folder 26
InArt News61, no. 9 (January 1963): 36, 49-50.)
Box 283 Folder 27
(InArt News67, no. 2 (April 1968): 53)
Box 283 Folder 28
(InCahiers de Civilisation Médiévale11, no. 4 (October-December 1968): 625)
Box 283 Folder 29
(InSpeculum45, no. 4 (October 1970): 684-86)
Box 283 Folder 30
(InCahiers de Civilisation Médiéval5, no. 2 (April-June 1972): 151-53)
The scrapbooks found in this subseries were compiled by Schapiro and include articles and clippings of Schapiro's work written from eh 1930s to the 1960s. The scrapbooks' titles mirror the volumes of his collected work published by George Braziller and may have been the basis for the organization of those publications.
Box 284
Box 285
Box 286
Box 287
Schapiro was a well known linguist and wrote several essays on language and semiotics. It comes as no surprise then that he also translated texts, predominantly those that are French. Of all his translations, only two were formally published: the 1943 translation of Andre Masson'sAnatomy of My Universe,of which Schapiro was not credited; and "Three Texts on Science ("A Dream"); Wit and Common Sense; Genius and Method (Lichtenberg, Diderot, Galiani)" published byAnonin 1973.
The bulk of this subseries, however, is dedicated to Schapiro's translations of Charles Baudelaire's texts. Since there were very limited English translations of Baudelaire's writings on art and culture at the time, Schapiro worked on translating them beginning in the 1930s. According to files in this subseries, there were plans to publish these translations, as Baudelaire's work in English had yet to materialize, but that project was never realized.
Also included in this subseries is an extensive file of poems that Schapiro wrote.
(Since there were very limited English translations of Baudelaire's writings on art and culture at the time, Schapiro worked on translating them beginning in the 1930s. According to correspondence in Folder 18, Box 288, Oxford University Press was to publish these translations as "The Art Criticism of Baudelaire." However, this publication never materialized and by 1948 Oxford University Press and Phaidon Press were again seeking to publish English translations of Baudelaire's work on art. There were discussions for Schapiro to be involved in these 1948 publications given his previous work on their translations, but neither press published them. Titles in quotes used are derived from Schapiro's typescripts)
Box 288 Folder 1
Box 288 Folder 2
Box 288 Folder 3
Box 288 Folder 4
Box 288 Folder 5
Box 288 Folder 6
Box 288 Folder 7
Box 288 Folder 8
Box 288 Folder 9
Box 288 Folder 10
Box 288 Folder 11
Box 288 Folder 12
Box 288 Folder 13
Box 288 Folder 14
Box 288 Folder 15 to 16
Box 288 Folder 17
Box 288 Folder 18
(Schapiro was not credited for the translation of this publication)
Box 288 Folder 19
Box 288 Folder 20
(published by the Kolokol Press for the editor, Austin, TX, no. 1 (December 31, 1970): 11-12)
Box 288 Folder 21
Box 288 Folder 22
Box 288 Folder 23
(This file contains Schapiro's personal poetry)
Schapiro was fastidious about collecting research material and of creating and collecting material for research purposes. Series V houses all of Schapiro's research material he used on a personal and professional level.
This subseries contains administrative records relating to Schapiro's research files.
Box 661 Folder 1
Box 661 Folder 2
The articles and clippings amassed in this subseries were collected by Schapiro at his faculty office in Schermerhorn Hall at the Department of Art History and Archeology at Columbia University, where they resided prior to being transferred to the Rare Book & Manuscript Library in 2009 and 2010.
These files are organized alphabetically by author's last name or by subject matter. Many of these articles and clippings are given as personalized copies for Schapiro and include annotated notes and signatures by the authors.
Box 673 Folder 1
Box 673 Folder 2
Box 673 Folder 3 to 4
Box 673 Folder 5 to 6
Box 673 Folder 7
Box 673 Folder 8 to 9
Box 673 Folder 10 to 11
Box 673 Folder 12
Box 673 Folder 13 to 23
Box 673 Folder 24
Box 674 Folder 1
Box 674 Folder 2 to 3
Box 685 Folder 1
Box 674 Folder 4
Box 674 Folder 5
Box 674 Folder 6 to 7
Box 674 Folder 8
Box 674 Folder 9
Box 674 Folder 10 to 11
Box 674 Folder 12 to 13
Box 674 Folder 14
Box 674 Folder 15
Box 674 Folder 16
Box 674 Folder 17
Box 674 Folder 18
Box 675 Folder 1
Box 685 Folder 2
Box 675 Folder 2
Box 675 Folder 3
Box 675 Folder 4
Box 675 Folder 5
Box 685 Folder 3
Box 675 Folder 6
Box 675 Folder 7
Box 675 Folder 8
Box 675 Folder 9
Box 675 Folder 10
Box 675 Folder 11
Box 675 Folder 12
Box 675 Folder 13
Box 675 Folder 14
Box 675 Folder 15 to 16
Box 685 Folder 4
Box 675 Folder 17
Box 675 Folder 18
Box 675 Folder 19
Box 676 Folder 1
Box 676 Folder 2
Box 676 Folder 3
Box 676 Folder 4
Box 676 Folder 5
Box 685 Folder 5
Box 676 Folder 6
Box 676 Folder 7 to 8
Box 691
"Comment by Farrell" as printed in The Louisville Times.
Cataloged.
Box 691
Article for a journal; with envelope.
Cataloged.
Box 691
Poem; with covering autograph note.
Cataloged.
Box 691
Poem; autograph note indicates the poem was printed in the Congressional Record, 1964 January 15.
Cataloged.
Box 691
Essay on the political situation in the Middle East; "unpublished."
Cataloged.
Box 691
Article on Michels' book, suggested by J.P. Nettl's biography of Rosa Luxemburg, Oxford University Press, 1966
Cataloged.
Box 691
Page 4 missing; multilith copy, title and notes in the author's hand, with his signature.
Cataloged.
Box 691
Final draft of Chapters thirty-three, thirty-four, and thirty-six
Cataloged.
Box 691
Box 691
Box 676 Folder 9
Box 676 Folder 10
Box 676 Folder 11
Box 676 Folder 12
Box 676 Folder 13
Box 676 Folder 14
Box 676 Folder 15 to 17
Box 676 Folder 18
Box 676 Folder 19
Box 676 Folder 20
Box 677 Folder 1 to 2
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Box 677 Folder 9 to 11
Box 677 Folder 12
Box 677 Folder 13
Box 677 Folder 14
Box 677 Folder 15
Box 677 Folder 16 to 20
Box 678 Folder 1 to 2
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Box 678 Folder 9
Box 678 Folder 10
Box 685 Folder 6
Box 678 Folder 11
Box 678 Folder 12 to 13
Box 678 Folder 14
Box 685 Folder 7
Box 678 Folder 15
Box 678 Folder 16
Box 678 Folder 17
Box 678 Folder 18
Box 679 Folder 1 to 2
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Box 679 Folder 8
Box 679 Folder 9
Box 679 Folder 10
Box 679 Folder 11
Box 685 Folder 8
Box 679 Folder 12
Box 685 Folder 9
Box 679 Folder 13
Box 679 Folder 14
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Box 679 Folder 16
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Box 679 Folder 18
Box 685 Folder 10
Box 680 Folder 1
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Box 680 Folder 6
Box 680 Folder 7
Box 680 Folder 8
Box 680 Folder 9
Box 680 Folder 10
Box 685 Folder 11
Box 680 Folder 11 to 14
Box 680 Folder 15 to 17
Box 680 Folder 18
Box 680 Folder 19 to 21
Box 680 Folder 22
Box 680 Folder 23
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Box 681 Folder 7 to 9
Box 686 Folder 1
Box 681 Folder 10
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Box 681 Folder 14
Box 686 Folder 2
Box 691
the last 10 pages: Anmerkungen
Cataloged.
Box 681 Folder 15
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Box 681 Folder 23 to 24
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Box 686 Folder 4
Box 682 Folder 4
Box 682 Folder 5 to 7
Box 682 Folder 8
Box 682 Folder 9
Box 682 Folder 10
Box 682 Folder 11 to 15
Box 682 Folder 16 to 17
Box 682 Folder 18
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Box 686 Folder 5
Box 682 Folder 21
Box 686 Folder 6
Box 682 Folder 22
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Box 682 Folder 24
Box 686 Folder 7
Box 682 Folder 25
Box 686 Folder 8
Box 683 Folder 1
Box 686 Folder 9
Box 683 Folder 2
Box 683 Folder 3
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Box 683 Folder 5
Box 686 Folder 10
Box 683 Folder 6
Box 683 Folder 7
Box 686 Folder 11
Box 683 Folder 8
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Box 683 Folder 11
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Box 683 Folder 13
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Box 683 Folder 15
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Box 683 Folder 17
Box 683 Folder 18 to 19
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Box 686 Folder 12
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Box 686 Folder 13
Box 684 Folder 1
Box 684 Folder 2
Box 684 Folder 3
Box 684 Folder 4 to 5
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Box 684 Folder 8
Box 684 Folder 9
Box 684 Folder 10
Box 684 Folder 11 to 12
Box 684 Folder 13
Box 684 Folder 14
Box 684 Folder 15
Schapiro maintained index cards filled with bibliographies related to art historical periods, artists, and subjects. Material in this subseries comprises the bulk of these bibliographies, which are unsorted. Also consult Subseries: V.4: Research card files where bibliographies are also present and are indicated as such.
Box 649
Box 650
Schapiro took notes meticulously throughout his life, and this subseries reflects his consistent habit of note taking. Schapiro organized these 4 x 6 index cards thematically by subject and all the contents in this subseries were originally housed in metallic filing cabinets. All subjects titled in the finding aid are Schapiro's own file headings found sequentially in the note cards.
Since all material is organized as they were originally ordered by Schapiro, material relating to a subject may run across boxes. As a result, all subject terms in brackets are supplied when original headings lack the context from which they are derived in earlier boxes or when file headings do not exist.
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Box 318
Box 318
Box 318
Box 318
Box 319
Box 319
Box 319
Box 319
Box 319
Box 319
Box 319
Box 319
Box 319
Box 319
Box 320
Box 320
Box 320
Box 320
Box 320
Box 320
Box 320
Box 320
Box 321
Box 321
Box 321
Box 322
Box 322
Box 322
Box 322
Box 322
Box 322
Box 322
Box 323
Box 323
Box 323
Box 323
Box 324
Box 324
Box 324
Box 325
Box 325
Box 325
Box 325
Box 325
Box 325
Box 325
Box 325
Box 325
Box 325
Box 325
Box 325
Box 325
Box 326
Box 326
Box 326
Box 326
Box 326
Box 327
Box 327
Box 327
Box 328
Box 329
Box 329
Box 329
Box 329
Box 329
Box 329
Box 329
Box 329
Box 329
Box 329
Box 330
Box 330
Box 330
Box 330
Box 330
Box 330
Box 331
Box 331
Box 331
Box 331
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 332
Box 333
Box 333
Box 333
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 334
Box 335
Box 335
Box 335
Box 336
Box 336
Box 336
Box 336
Box 336
Box 336
Box 337
Box 337
Box 651
Box 652
Subseries: V.5 contains the heart of Schapiro's research files and includes notes from a wide range of subjects. Although Schapiro was scrupulous about creating research notes, he was less concerned with how the notes were stored and filed. As a result, many of his research files contained a plethora of material that was not related to each other in either content or subject. As a result, material was organized and grouped according to the subject of the contents. For notes relating to the illumination of books and manuscripts, Schapiro organized material either by repository in which the codex is located or by region from which it was created. Physical folders indicate manuscript numbers which are represented in the file. Material related to illumination of books and manuscripts were reproduced in the 2007 publicationMeyer Schapiro abroad: letters to Lillian and travel notebooks.
Schapiro wrote many research notes that are interrelated with other subjects in the collection. In this light, material in this subseries can be used in conjunction with records in other series of this collection.
Unlike Subseries: V.4, files in Subseries V.5 are organized by subject headings that are derived from the Library of Congress Subject Headings based on the contents of the records housed in the files. In the event that Schapiro's own subject heading are too unique to be mapped to a Library of Congress Subject Heading, his own titles were utilized.
Box 338 Folder 1
Box 691
Box 338 Folder 2
Box 338 Folder 3
Box 338 Folder 4
Box 338 Folder 5
Box 338 Folder 6
Box 338 Folder 7
(Notes are on the symposium "What is happening to modern architecture?" held at the Museum of Modern Art. Accompanied by the catalog for the symposium)
Box 338 Folder 8 to 9
Box 338 Folder 10
Box 338 Folder 11 to 18
Box 338 Folder 19
Box 338 Folder 20
Box 338 Folder 21
Box 662 Folder 1 to 3
Box 662 Folder 4
Box 662 Folder 5
Box 662 Folder 6
Box 662 Folder 7
Box 339 Folder 1 to 3
Box 339 Folder 4
Box 339 Folder 5
Box 339 Folder 6
Box 339 Folder 7
Box 339 Folder 8
Box 339 Folder 9
Box 339 Folder 10 to 11
Box 339 Folder 12 to 13
Box 339 Folder 14
Box 339 Folder 15
Box 340 Folder 2
(Includes typescripts of Schapiro's own poetry)
Box 339 Folder 16 to 17
Box 339 Folder 18
Box 339 Folder 19
Box 340 Folder 1
Box 340 Folder 3
Box 340 Folder 4
Box 340 Folder 5 to 6
(Material in file 4 is sequentially paginated by Schapiro)
Box 340 Folder 7 to 8
Box 340 Folder 9 to 10
Box 340 Folder 11
(Notes relate to a Francis Bacon exhibition at the Guggenheim museum in November, 1963)
Box 340 Folder 12
Box 340 Folder 13
Box 340 Folder 14
Box 340 Folder 15
Box 340 Folder 16
Box 340 Folder 17
Box 340 Folder 18
Box 340 Folder 19
Box 340 Folder 20
Box 340 Folder 21
Box 340 Folder 22
(Notes are chiefly on Ludwig Münz and Victor Lowenfeld's stuy "Die plastische arbeiten blinder)
Box 340 Folder 23
Box 340 Folder 24
Box 340 Folder 25
Box 340 Folder 26
Box 340 Folder 27
(Includes Breton's 1934 publicationQu'est-ce que le surréalisme?"
Box 340 Folder 28
Box 340 Folder 29
Box 340 Folder 30
Box 341 Folder 1
Box 341 Folder 2 to 4
Box 341 Folder 5 to 10
Box 341 Folder 10
Box 692
Includes research material from Sam Tanenhaus, Herbert Solow, J. W. Hamilton, and Allen Weinstein, and notes for J. D. Fox. There are also clippings, articles, and copies of poems by Chambers from the Louis Zukovsky collection at the Harry Ransom Center, the University of Texas at Austin.
Box 341 Folder 11
Box 341 Folder 12 to 14
Box 663 Folder 1
Box 663 Folder 2
Box 663 Folder 3
Box 663 Folder 4 to 6
Box 663 Folder 7 to 8
Box 342 Folder 1
(Notes were created by Miriam Schild Bunim)
Box 342 Folder 2 to 3
Box 342 Folder 4 to 5
Box 342 Folder 6
Box 342 Folder 7
Box 342 Folder 8 to 14
Box 342 Folder 15
Box 342 Folder 16
Box 342 Folder 17
Box 342 Folder 18
Box 342 Folder 19
Box 342 Folder 20
Box 342 Folder 21
Box 342 Folder 22
Box 343 Folder 1 to 2
Box 343 Folder 3
Box 343 Folder 4
Box 343 Folder 5
Box 343 Folder 6
Box 343 Folder 7 to 8
Box 343 Folder 9
Box 343 Folder 10 to 11
Box 343 Folder 12
Box 343 Folder 13
Box 344 Folder 1
Box 344 Folder 2
Box 344 Folder 3
Box 344 Folder 4
Box 344 Folder 5 to 6
Box 344 Folder 7
Box 344 Folder 8
Box 344 Folder 9
Box 344 Folder 10
Box 344 Folder 11
Box 344 Folder 12 to 13
(File 13 is accompanied by a German publication on Vincent van Gogh)
Box 345 Folder 1
Box 345 Folder 2 to 3
Box 345 Folder 4
Box 345 Folder 5
Box 345 Folder 6
Box 345 Folder 7
Box 345 Folder 8
Box 345 Folder 9
Box 691
Box 345 Folder 10
Box 345 Folder 11
Box 345 Folder 12
Box 345 Folder 13
Box 345 Folder 14
Box 345 Folder 15
Box 345 Folder 16
Box 345 Folder 17
Box 346 Folder 1
Box 346 Folder 2
Box 346 Folder 3 to 8
Box 346 Folder 9 to 10
Box 346 Folder 11 to 12
Box 346 Folder 13
Box 347 Folder 1
Box 347 Folder 2
Box 347 Folder 3 to 4
Box 347 Folder 5 to 9
Box 348 Folder 1 to 16
Box 349 Folder 1 to 3
Box 349 Folder 4 to 6
Box 349 Folder 7 to 8
Box 350 Folder 1 to 4
Box 350 Folder 5 to 6
Box 350 Folder 7
Box 350 Folder 8
Box 350 Folder 9
Box 350 Folder 10
Box 350 Folder 11
Box 351 Folder 1
Box 351 Folder 2
Box 351 Folder 3
Box 351 Folder 4
Box 351 Folder 5
Box 351 Folder 6
Box 351 Folder 7 to 14
Box 351 Folder 15
Box 351 Folder 16
Box 351 Folder 17
Box 351 Folder 18
Box 351 Folder 19 to 25
Box 352 Folder 1
Box 352 Folder 2 to 4
Box 352 Folder 5
Box 352 Folder 6
Box 352 Folder 7
Box 352 Folder 8
Box 352 Folder 9 to 11
Box 352 Folder 12
Box 352 Folder 13
Box 352 Folder 14
Box 352 Folder 15
Box 352 Folder 16
Box 352 Folder 17
Box 352 Folder 18
Box 352 Folder 19 to 20
Box 352 Folder 21
Box 352 Folder 22
Box 353 Folder 1
Box 353 Folder 2
Box 353 Folder 3
Box 353 Folder 4
Box 353 Folder 5 to 7
Box 353 Folder 8
Box 353 Folder 9 to 13
Box 353 Folder 14
Box 353 Folder 15
Box 353 Folder 16
Box 354 Folder 1 to 4
Box 354 Folder 5
Box 354 Folder 6
Box 354 Folder 7 to 8
Box 354 Folder 9 to 10
Box 354 Folder 11 to 15
Box 354 Folder 16
Box 354 Folder 17 to 19
Box 354 Folder 20 to 22
Box 354 Folder 23
Box 354 Folder 24
Box 354 Folder 25 to 26
Box 354 Folder 27
Box 355 Folder 1 to 7
Box 355 Folder 8
Box 355 Folder 9
Box 355 Folder 10
Box 356 Folder 1
Box 356 Folder 2 to 3
Box 356 Folder 4
Box 356 Folder 5
Box 356 Folder 6 to 9
Box 356 Folder 10
Box 356 Folder 11
Box 356 Folder 12
Box 356 Folder 13
Box 356 Folder 14
Box 356 Folder 15
Box 356 Folder 16
Box 356 Folder 17
Box 356 Folder 18
Box 356 Folder 19
Box 356 Folder 20
Box 356 Folder 21
Box 357 Folder 1
Box 357 Folder 2
Box 357 Folder 3 to 5
Box 357 Folder 6
Box 357 Folder 7
Box 357 Folder 8
Box 357 Folder 9
Box 357 Folder 10
Box 357 Folder 11
Box 357 Folder 12
Box 357 Folder 13
Box 357 Folder 14
Box 357 Folder 15
Box 358 Folder 1
Box 358 Folder 2
Box 358 Folder 3
Box 358 Folder 4 to 5
Box 358 Folder 6
Box 358 Folder 7
Box 633 Folder 10
Box 358 Folder 8
Box 358 Folder 9
Box 358 Folder 10
Box 358 Folder 11
Box 358 Folder 12
Box 358 Folder 13
Box 691
Box 358 Folder 14
Box 358 Folder 15
Box 358 Folder 16 to 18
Box 358 Folder 19
Box 358 Folder 20
Box 358 Folder 21
Box 358 Folder 22
Box 358 Folder 23 to 25
Box 358 Folder 26
Box 358 Folder 27
Box 358 Folder 28
Box 358 Folder 29 to 30
Box 359 Folder 1
Box 359 Folder 2
Box 359 Folder 3
Box 359 Folder 4 to 6
(File 6 includes a drawing by Schapiro in the style of Picasso which was possibly used as a study guide in color and composition)
Box 359 Folder 7
Box 359 Folder 8
Box 359 Folder 9
Box 359 Folder 10
Box 359 Folder 11
Box 359 Folder 11
Box 359 Folder 12
Box 360 Folder 1
Box 360 Folder 2
Box 360 Folder 3 to 4
Box 360 Folder 5 to 6
Box 360 Folder 7
Box 360 Folder 8
Box 360 Folder 9
Box 360 Folder 10
Box 360 Folder 11
Box 360 Folder 12
Box 360 Folder 13
Box 360 Folder 14
Box 360 Folder 15 to 16
Box 360 Folder 17
Box 360 Folder 18
Box 360 Folder 19
Box 360 Folder 20
Box 360 Folder 21
Box 360 Folder 22
Box 360 Folder 23
Box 360 Folder 24
Box 361 Folder 1
Box 361 Folder 2
Box 361 Folder 3
Box 361 Folder 4 to 5
Box 362 Folder 1 to 2
Box 362 Folder 3 to 4
Box 362 Folder 5
Box 363 Folder 1 to 12
Box 363 Folder 13
Box 363 Folder 14
Box 363 Folder 15
Box 364 Folder 1
Box 364 Folder 2
Box 364 Folder 3
Box 364 Folder 4
Box 364 Folder 5
Box 364 Folder 6
Box 364 Folder 7
Box 364 Folder 8
Box 364 Folder 9
Box 364 Folder 10
Box 364 Folder 11 to 12
Box 364 Folder 13
Box 365 Folder 1
Box 365 Folder 2
Box 365 Folder 3
Box 365 Folder 4
Box 365 Folder 5
Box 365 Folder 6
Box 365 Folder 7
Box 365 Folder 8
Box 365 Folder 9
Box 365 Folder 10
Box 366 Folder 1 to 2
Box 366 Folder 3 to 4
Box 366 Folder 5 to 10
Box 366 Folder 11
Box 366 Folder 12
Box 366 Folder 13
Box 367 Folder 1
Box 367 Folder 2
Box 367 Folder 3 to 4
Box 367 Folder 5 to 6
Box 367 Folder 7
Box 367 Folder 8 to 9
Box 367 Folder 10
Box 367 Folder 11
Box 367 Folder 12
Box 367 Folder 13
Box 367 Folder 14
Box 367 Folder 15
Box 368 Folder 1 to 8
Box 368 Folder 9
Box 368 Folder 10
Box 369 Folder 1
Box 369 Folder 2
Box 369 Folder 3
Box 369 Folder 4
Box 369 Folder 5 to 6
Box 369 Folder 7
Box 369 Folder 8 to 9
Box 370 Folder 1
Box 370 Folder 2
Box 370 Folder 3
Box 370 Folder 4
Box 370 Folder 5
Box 370 Folder 6
Box 370 Folder 7
Box 370 Folder 8
Box 370 Folder 9
Box 370 Folder 10 to 12
Box 370 Folder 13
Box 370 Folder 14
Box 370 Folder 15
Box 370 Folder 16
Box 370 Folder 17
Box 370 Folder 18
Box 370 Folder 19
Box 370 Folder 20
Box 370 Folder 21
Box 370 Folder 22
Box 370 Folder 23
Box 370 Folder 24
Box 370 Folder 25
Box 370 Folder 26 to 28
Box 371 Folder 1
Box 371 Folder 2
Box 371 Folder 3
Box 371 Folder 4
Box 371 Folder 5
Box 371 Folder 6
Box 371 Folder 7
Box 371 Folder 8 to 12
Box 372 Folder 1 to 3
Box 372 Folder 4
Box 372 Folder 5
Box 372 Folder 6
Box 372 Folder 7
Box 372 Folder 8
Box 372 Folder 9
Box 372 Folder 10
Box 372 Folder 11
Box 372 Folder 12
Box 372 Folder 13
Reproductions in this subseries are photographs obtained by Schapiro from libraries, museums, and visual resource centers for research purposes. The reproductions provide a visual documentation to the works of art and architecture Schapiro consulted while writing, researching, and conducting university courses.
Files are organized by artists or subjects headings using the Union List of Artists Names and the Library of Congress Subject Headings respectively. Unique subject headings that were created by Schapiro and not found in the Library of Congress Subject Headings were retained for their unique. Reproductions of illuminated manuscripts are filed by repository or geographic location where they are held. For photographs used in publications or lectures, consult those respective series.
Box 666
Box 667
Box 668
Box 373 Folder 1 to 2
Box 393 Folder 1
Box 373 Folder 3
Box 373 Folder 4 to 7
Box 373 Folder 8 to 9
Box 373 Folder 10
Box 373 Folder 11
Box 373 Folder 12 to 13
Box 373 Folder 14
Box 374 Folder 1
Box 374 Folder 2 to 3
Box 374 Folder 4
Box 374 Folder 5
Box 374 Folder 6
Box 374 Folder 7
Box 374 Folder 8
Box 374 Folder 9
Box 374 Folder 10
Box 374 Folder 11
Box 374 Folder 12 to 13
Box 393 Folder 2
Box 374 Folder 14
Box 374 Folder 15
Box 374 Folder 16
Box 374 Folder 17
Box 374 Folder 18
Box 374 Folder 19
Box 374 Folder 20
Box 374 Folder 21
Box 374 Folder 22
Box 393 Folder 3
Box 393 Folder 4
Box 374 Folder 23
Box 374 Folder 24
Box 374 Folder 25
Box 374 Folder 26
Box 374 Folder 27
Box 374 Folder 28
Box 375 Folder 1
Box 375 Folder 2
Box 375 Folder 3
Box 375 Folder 4
Box 375 Folder 5
Box 375 Folder 6
Box 375 Folder 7
Box 375 Folder 8
Box 393 Folder 5
Box 375 Folder 9
Box 375 Folder 10
Box 375 Folder 11
Box 375 Folder 12
Box 375 Folder 13 to 15
Box 375 Folder 16
Box 393 Folder 6
Box 375 Folder 17
Box 375 Folder 18
Box 375 Folder 19
Box 375 Folder 20
Box 375 Folder 21
Box 376 Folder 1
Box 376 Folder 2
Box 376 Folder 3
Box 393 Folder 7
Box 376 Folder 4
Box 376 Folder 5
Box 376 Folder 6
Box 669
Box 670
Box 671
Box 671
Box 393 Folder 8
Box 376 Folder 7
Box 376 Folder 8
Box 376 Folder 9 to 12
Box 376 Folder 13
Box 376 Folder 14
Box 376 Folder 15
Box 377 Folder 1
Box 377 Folder 2
Box 377 Folder 3
Box 377 Folder 4 to 5
Box 377 Folder 6 to 16
Box 378 Folder 1
Box 378 Folder 2
Box 378 Folder 3
Box 378 Folder 4 to 12
Box 379 Folder 1 to 12
Box 380 Folder 1 to 8
Box 381 Folder 1 to 9
Box 393 Folder 9 to 11
Box 381 Folder 10
Box 381 Folder 11 to 12
Box 382 Folder 1 to 9
Box 382 Folder 10
Box 382 Folder 11
Box 383 Folder 1
Box 393 Folder 12
Box 383 Folder 2
Box 383 Folder 3
Box 383 Folder 4
Box 383 Folder 5
Box 383 Folder 6
Box 383 Folder 7 to 11
Box 383 Folder 12 to 13
Box 393 Folder 13
Box 383 Folder 14 to 16
Box 393 Folder 14
Box 383 Folder 17
Box 393 Folder 15
Box 383 Folder 18 to 19
Box 393 Folder 16
Box 383 Folder 20
Box 384 Folder 1
Box 384 Folder 2
Box 393 Folder 17
Box 384 Folder 3 to 4
Box 384 Folder 5
Box 393 Folder 18
Box 384 Folder 6
Box 384 Folder 7 to 8
Box 394 Folder 1
Box 384 Folder 9 to 10
Box 394 Folder 2
Box 384 Folder 11 to 13
Box 384 Folder 14
Box 384 Folder 15
Box 384 Folder 16
Box 384 Folder 17
Box 394 Folder 3
Box 384 Folder 18
Box 384 Folder 19
Box 384 Folder 20
Box 384 Folder 21 to 22
Box 385 Folder 1
Box 385 Folder 2
Box 385 Folder 3
Box 385 Folder 4
Box 385 Folder 5 to 6
Box 385 Folder 7
Box 385 Folder 8
Box 385 Folder 9
Box 385 Folder 10
Box 385 Folder 11
Box 385 Folder 12
Box 394 Folder 4
Box 385 Folder 13
Box 385 Folder 14
Box 385 Folder 15
Box 385 Folder 16
Box 385 Folder 17
Box 385 Folder 18
Box 385 Folder 19
Box 385 Folder 20
Box 385 Folder 21
Box 385 Folder 22
Box 385 Folder 23
Box 386 Folder 1
Box 386 Folder 2
Box 386 Folder 3
Box 386 Folder 4
Box 386 Folder 5
Box 386 Folder 6
Box 386 Folder 7 to 8
Box 386 Folder 9
Box 386 Folder 10
Box 386 Folder 11 to 12
Box 394 Folder 5
Box 386 Folder 13
Box 394 Folder 6
Box 394 Folder 7
Box 386 Folder 14 to 16
Box 387 Folder 1 to 3
Box 394 Folder 8
Box 387 Folder 4
Box 387 Folder 5 to 6
Box 387 Folder 7
Box 387 Folder 8
Box 387 Folder 9
Box 387 Folder 10
Box 387 Folder 11
Box 387 Folder 12 to 13
Box 387 Folder 14
Box 387 Folder 15
Box 387 Folder 16
Box 387 Folder 17
Box 387 Folder 18
Box 387 Folder 19
Box 387 Folder 20
Box 394 Folder 9
Box 387 Folder 21
Box 387 Folder 22
Box 388 Folder 1
Box 388 Folder 2
Box 394 Folder 10
Box 388 Folder 3
Box 388 Folder 4
Box 388 Folder 5
Box 388 Folder 6
Box 388 Folder 7
Box 388 Folder 8
Box 388 Folder 9
(Reproductions found in the these files were ordered by Schapiro from the museum. They are chiefly focused on the art architecture of the Byzantine, Baroque, Romanesque, and Renaissance periods )
Box 664 Folder 1 to 3
Box 665 Folder 1 to 3
Box 388 Folder 10
Box 388 Folder 11
Box 388 Folder 12
Box 388 Folder 13
Box 388 Folder 14
Box 394 Folder 11
Box 388 Folder 15
Box 388 Folder 16 to 17
Box 388 Folder 18
Box 388 Folder 19
Box 388 Folder 20
Box 388 Folder 21
Box 388 Folder 22
Box 388 Folder 23
Box 394 Folder 12
Box 388 Folder 24
Box 388 Folder 25
Box 389 Folder 1
Box 389 Folder 2
Box 394 Folder 13
Box 389 Folder 3
Box 389 Folder 4
Box 389 Folder 5
Box 389 Folder 6
Box 389 Folder 7
Box 389 Folder 8
Box 389 Folder 9
Box 389 Folder 10
Box 389 Folder 11
Box 389 Folder 12
Box 389 Folder 13
Box 389 Folder 14
Box 389 Folder 15
Box 389 Folder 16
Box 389 Folder 17
Box 389 Folder 18
Box 389 Folder 19
Box 389 Folder 20
Box 389 Folder 21
Box 389 Folder 22 to 24
Box 389 Folder 25
Box 389 Folder 26 to 28
Box 390 Folder 1
Box 390 Folder 2
Box 390 Folder 3 to 4
Box 390 Folder 5
Box 390 Folder 6
Box 390 Folder 7
Box 390 Folder 8
Box 391 Folder 1 to 10
Box 394 Folder 14
Box 392 Folder 1
Box 392 Folder 2
Box 392 Folder 3
Box 394 Folder 15
Box 392 Folder 4
Box 392 Folder 5
Box 392 Folder 6
Box 392 Folder 7
Box 392 Folder 8
Box 392 Folder 9
Box 392 Folder 10
Alongside Schapiro's academic background in Medieval and Romanesque art, he was very passionate about art of his contemporary time and of maintaining close relationships with working artists. Schapiro was a central figure in the art community of New York City since the 1930s and he visited art galleries and exhibitions throughout his life. Series VI is a collection of exhibition announcements, invitations, and press releases from New York City galleries that were sent to Schapiro and collected by him starting from 1920. After his death, Schapiro's wife, Lillian Milgram Schapiro, continued to receive and collect these materials until 2001.
These collection exhibition announcements and invitations give a micro-history of New York City through the lens of the art gallery. Items in this series record who owned galleries, where their spaces were located, which artists were exhibited across time, and what art works were shown.
Prior to being integrated into this collection in 2009, these materials were maintained in filing cabinets and housed at Columbia University's Visual Media Center located in Schermerhorn Hall.
The original filing structure organized by Schapiro was maintained, which grouped an artist's last name in alphabetic and chronologic batches. Group exhibitions were filed in their own groupings chronologically. To facilitate retrieval of archival material, all files were consolidated following a consistent alphabetic pattern and subdivided into the following subseries: Subseries: VI.1: 1920-1942, Subseries: VI.2: A-E, 1943-2001, Subseries: VI.3: F-L, 1943-2001, Subseries: VI.4: M-R, 1943-2001, Subseries: VI.5: S-Z, 1943-2001, Subseries: VI.6: Group exhibitions, 1945-2001, Subseries: VI.7: Oversize, 1930s-1990s.
Box 57 Folder 1
1920-1929
Box 57 Folder 2
1930-1934
Box 57 Folder 3
1935-1936
Box 57 Folder 4
1937-1938
Box 57 Folder 5
1939
Box 57 Folder 6
1940
Box 57 Folder 7
1941
Box 57 Folder 8
1942
Box 57 Folder 9
Box 57 Folder 10
Box 57 Folder 11
Box 57 Folder 12
Box 57 Folder 13
Box 57 Folder 14
Box 57 Folder 15
Box 57 Folder 16
Box 57 Folder 17
Box 57 Folder 18
Box 57 Folder 19
Box 57 Folder 20
Box 57 Folder 21
Box 57 Folder 22
Box 57 Folder 23
Box 58 Folder 1
Box 58 Folder 2
Box 58 Folder 3
Box 58 Folder 4
Box 58 Folder 5
Box 58 Folder 6
Box 58 Folder 7
Box 58 Folder 8
Box 58 Folder 9
Box 58 Folder 10
Box 58 Folder 11
Box 58 Folder 12
Box 58 Folder 13
Box 58 Folder 14
Box 58 Folder 15
Box 58 Folder 16
Box 58 Folder 17
Box 59 Folder 1
Box 59 Folder 2
Box 59 Folder 3
Box 59 Folder 4
Box 59 Folder 5
Box 59 Folder 6
Box 59 Folder 7
Box 59 Folder 8
Box 59 Folder 9
Box 59 Folder 10
Box 59 Folder 11
Box 59 Folder 12
Box 59 Folder 13
Box 59 Folder 14
Box 59 Folder 15
Box 59 Folder 16
Box 60 Folder 1
Box 60 Folder 2
Box 60 Folder 3
Box 60 Folder 4
Box 60 Folder 5
Box 60 Folder 6
Box 60 Folder 7
Box 60 Folder 8
Box 60 Folder 9
Box 60 Folder 10
Box 60 Folder 11
Box 60 Folder 12
Box 60 Folder 13
Box 60 Folder 14
Box 60 Folder 15
Box 60 Folder 16
Box 60 Folder 17
Box 60 Folder 18
Box 61 Folder 1
Box 61 Folder 2
Box 61 Folder 3
Box 61 Folder 4
Box 61 Folder 5
Box 61 Folder 6
Box 61 Folder 7
Box 61 Folder 8
Box 61 Folder 9
Box 61 Folder 10
Box 61 Folder 11
Box 61 Folder 12
Box 61 Folder 13
Box 61 Folder 14
Box 61 Folder 15
Box 61 Folder 16
Box 62 Folder 1
Box 62 Folder 2
Box 62 Folder 3
Box 62 Folder 4
Box 62 Folder 5
Box 62 Folder 6
Box 62 Folder 7
Box 62 Folder 8
Box 62 Folder 9
Box 62 Folder 10
Box 62 Folder 11
Box 62 Folder 12
Box 62 Folder 13
Box 62 Folder 14
Box 62 Folder 15
Box 62 Folder 16
Box 63 Folder 1
Box 63 Folder 2
Box 63 Folder 3
Box 63 Folder 4
Box 63 Folder 5
Box 63 Folder 6
Box 63 Folder 7
Box 63 Folder 8
Box 63 Folder 9
Box 63 Folder 10
Box 63 Folder 11
Box 63 Folder 12
Box 63 Folder 13
Box 63 Folder 14
Box 63 Folder 15
Box 63 Folder 16
Box 63 Folder 17
Box 64 Folder 1
Box 64 Folder 2
Box 64 Folder 3
Box 64 Folder 4
Box 64 Folder 5
Box 64 Folder 6
Box 64 Folder 7
Box 64 Folder 8
Box 64 Folder 9
Box 64 Folder 10
Box 64 Folder 11
Box 64 Folder 12
Box 64 Folder 13
Box 64 Folder 14
Box 64 Folder 15
Box 64 Folder 16
Box 64 Folder 17
Box 64 Folder 18
Box 64 Folder 19
Box 64 Folder 20
Box 65 Folder 1
Box 65 Folder 2
Box 65 Folder 3
Box 65 Folder 4
Box 65 Folder 5
Box 65 Folder 6
Box 65 Folder 7
Box 65 Folder 8
Box 65 Folder 9
Box 65 Folder 10
Box 65 Folder 11
Box 65 Folder 12
Box 65 Folder 13
Box 65 Folder 14
Box 65 Folder 15
Box 65 Folder 16
Box 66 Folder 1
Box 66 Folder 2
Box 66 Folder 3
Box 66 Folder 4
Box 66 Folder 5
Box 66 Folder 6
Box 66 Folder 7
Box 66 Folder 8
Box 66 Folder 9
Box 66 Folder 10
Box 66 Folder 11
Box 66 Folder 12
Box 66 Folder 13
Box 66 Folder 14
Box 66 Folder 15
Box 66 Folder 16
Box 67 Folder 1
Box 67 Folder 2
Box 67 Folder 3
Box 67 Folder 4
Box 67 Folder 5
Box 67 Folder 6
Box 67 Folder 7
Box 67 Folder 8
Box 67 Folder 9
Box 67 Folder 10
Box 67 Folder 11
Box 67 Folder 12
Box 67 Folder 13
Box 67 Folder 14
Box 67 Folder 15
Box 67 Folder 16
Box 67 Folder 17
Box 68 Folder 1
Box 68 Folder 2
Box 68 Folder 3
Box 68 Folder 4
Box 68 Folder 5
Box 68 Folder 6
Box 68 Folder 7
Box 68 Folder 8
Box 68 Folder 9
Box 68 Folder 10
Box 68 Folder 11
Box 68 Folder 12
Box 68 Folder 13
Box 68 Folder 14
Box 68 Folder 15
Box 68 Folder 16
Box 68 Folder 17
Box 69 Folder 1
Box 69 Folder 2
Box 69 Folder 3
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Box 69 Folder 18
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Box 70 Folder 15
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Box 71 Folder 17
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Box 75 Folder 17
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Box 76 Folder 16
Box 77 Folder 1
Box 77 Folder 2
Box 77 Folder 3
Box 77 Folder 4
Box 77 Folder 5
Box 77 Folder 6 to 7
Box 77 Folder 8
Box 77 Folder 9
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Box 77 Folder 11
Box 77 Folder 12
Box 77 Folder 13
Box 77 Folder 14
Box 77 Folder 15
Box 77 Folder 16
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Box 77 Folder 18
Box 77 Folder 19
Box 78 Folder 1
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Box 80 Folder 16
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Box 81 Folder 17
Box 82 Folder 1
Box 82 Folder 2
Box 82 Folder 3
Box 82 Folder 4
Box 82 Folder 5
Box 82 Folder 6
Box 82 Folder 7
Box 82 Folder 8
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Box 82 Folder 11
Box 82 Folder 12
Box 82 Folder 13
Box 82 Folder 14
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Box 82 Folder 16
Box 82 Folder 17
Box 83 Folder 1
Box 83 Folder 2
Box 83 Folder 3
Box 83 Folder 4
Box 83 Folder 5
Box 83 Folder 6
Box 83 Folder 7
Box 83 Folder 8
Box 83 Folder 9
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Box 83 Folder 11
Box 83 Folder 12
Box 83 Folder 13
Box 83 Folder 14
Box 83 Folder 15
Box 83 Folder 16
Box 83 Folder 17
Box 83 Folder 18
Box 83 Folder 19
Box 84 Folder 1
Box 84 Folder 2
Box 84 Folder 3
Box 84 Folder 4
1945
Box 84 Folder 5
1946
Box 84 Folder 6
1947
Box 84 Folder 7
1948
Box 84 Folder 8
1949
Box 84 Folder 9
1950
Box 84 Folder 10 to 11
1951, (2 Folders)
Box 84 Folder 12
1952
Box 84 Folder 13
1953
Box 84 Folder 14
1954
Box 84 Folder 15
1955
Box 84 Folder 16
1956
Box 84 Folder 17 to 18
1957, (2 Folders)
Box 85 Folder 1
1958
Box 85 Folder 2 to 3
1959, (2 Folders)
Box 85 Folder 4 to 5
1960, (2 Folders)
Box 85 Folder 6 to 7
1961, (2 Folders)
Box 85 Folder 8 to 9
1962, (2 Folders)
Box 85 Folder 10 to 11
1963, (2 Folders)
Box 85 Folder 12 to 15
1964, (4 Folders)
Box 85 Folder 16
1965
Box 86 Folder 1 to 3
1965, (3 Folders)
Box 86 Folder 4 to 7
1966, (4 Folders)
Box 86 Folder 8 to 11
1967, (4 Folders)
Box 86 Folder 12 to 15
1968, (4 Folders)
Box 86 Folder 16
1969
Box 87 Folder 1 to 4
1969, (4 Folders)
Box 87 Folder 5
Box 87 Folder 6 to 10
1970, (5 Folders)
Box 87 Folder 11 to 14
1971, (4 Folders)
Box 87 Folder 15 to 16
1972, (2 Folders)
Box 88 Folder 1 to 2
1972, (2 Folders)
Box 88 Folder 3 to 7
1973, (5 Folders)
Box 88 Folder 8 to 12
1974, (5 Folders)
Box 88 Folder 13 to 16
1975, (4 Folders)
Box 89 Folder 1 to 4
1976, (4 Folders)
Box 89 Folder 5 to 8
1977, (4 Folders)
Box 89 Folder 9 to 12
1978, (4 Folders)
Box 89 Folder 13 to 16
1979, (4 Folders)
Box 90 Folder 1 to 3
1980, (3 Folders)
Box 90 Folder 4 to 9
1981, (6 Folders)
Box 90 Folder 10 to 15
1982, (6 Folders)
Box 91 Folder 1 to 5
1983, (5 Folders)
Box 91 Folder 6 to 10
1984, (5 Folders)
Box 91 Folder 11 to 12
1985, (2 Folders)
Box 91 Folder 13 to 14
1986, (2 Folders)
Box 92 Folder 1 to 3
1986, (3 Folders)
Box 92 Folder 4 to 7
1987, (4 Folders)
Box 92 Folder 8 to 10
1988, (3 Folders)
Box 92 Folder 11 to 14
1989, (4 Folders)
Box 93 Folder 1 to 2
Box 93 Folder 3 to 8
1990, (6 Folders)
Box 93 Folder 9 to 11
1991, (3 Folders)
Box 93 Folder 12 to 14
1992, (3 Folders)
Box 93 Folder 15
1993
Box 94 Folder 1 to 2
1994, (2 Folders)
Box 94 Folder 3 to 4
1995, (2 Folders)
Box 94 Folder 5 to 6
1996, (2 Folders)
Box 94 Folder 7 to 8
1997, (2 Folders)
Box 94 Folder 9 to 10
1998, (2 Folders)
Box 94 Folder 11 to 12
1999, (2 Folders)
Box 94 Folder 13 to 14
2000, (2 Folders)
Box 94 Folder 15 to 16
2001, (2 Folders)
Box 95 Folder 1
1940-1959
Box 95 Folder 2
1960-1965
Box 95 Folder 3
1966-1967
Box 95 Folder 4
1968-1969
Box 96 Folder 1
1970-1972
Box 96 Folder 2
1973-1975
Box 96 Folder 3
1976-1979
Box 96 Folder 4
Box 97 Folder 1
1980-1985
Box 97 Folder 2
1986-1989
Box 97 Folder 3
1990-1995
Box 97 Folder 4
1996-2001
Box 693
Box 694
Box 695
Series VII chiefly houses a substantial set Schapiro's recorded lectures from the 1950s through the 1980s. It also includes a video recording created in 1988 by the Metropolitan Museum of Art which incorporates sound from Schapiro's lecture "The unity of Picasso's art" with images from the museum's permanent collection.
The administrative records housed in this subseries are related to the sound recordings found in Subseries VII.2. Prior to Columbia University's custodianship of Schapiro's sound recordings of his lectures, he donated his collection of audiotapes to the Metropolitan Museum of Art. The records in this subseries document the history of the museum's custodianship of the recordings in the form of correspondence, inventories and lists that were generated by the Office of Film and Television of The Metropolitan Museum of Art. There is also a small volume of records relating to the video recording "The unity of Picasso's art" which is housed in Subseries: VII.3.
(Prior to Columbia University's custodianship of Schapiro's sound recordings of his lectures, he donated his collection audiotapes to the Metropolitan Museum of Art. All the following files deal with that initial gift to the museum. )
Box 395 Folder 1
Box 395 Folder 2
Box 395 Folder 3
Box 395 Folder 4 to 8
Box 396 Folder 1 to 2
(Administrative records dealing with the producers Gittelman Film Associates)
Box 396 Folder 3 to 4
Box 396 Folder 5
Known for his vivid and lively lectures, these sound recordings document Schapiro's lectures that were delivered from 1952 to 1982. These recordings also demonstrate Schapiro's extemporaneous style and pedagogical method and add an aural dimension to the archival documents relating to Schapiro's lectures in Series III of this collection.
Prior to being housed at Columbia University, the Metropolitan Museum of Art held custody of these sound recordings. During their custodianship, the museum reformatted the audio into audiocassettes to facilitate access to the material. This subseries includes both one set of the duplicated audiocassettes created by the museum and the original audiotapes.
For lecture titles, locations, and dates, both the inventories created by the Metropolitan Museum of Art in the 1980s and the archival material housed in Series III: Professional papers, Subseries: III.3: Lectures were used against each other to fact check annotations found on the audiotape reels. The data used in this subseries reflects a systemization that incorporates elements from all primary sources and remains consistent with descriptive data relating to lectures found in Series III. For instances where the sound recording is the only record in the collection, titles were supplied from actual boxes holding the audio tape reels.
All sound recordings in this subseries that contain archival material in Series III are indicated after the lecture's title and are also cross-referenced with lecture material in Series III.
Preservation notes following the title of the recordings were retrieved from the inventories and condition reports the Metropolitan Museum of Art created in the 1980s. Unless otherwise noted, all sound tape reels are the standard ¼ inch width and sound cassettes are 3 7/8 x 2 1/2 inch.
(Quality of recording is poor, with echoes and noises. Reels 415 through 417 are copies of reels 413 through 414. Reels 415 through 417 are in very poor condition. Sound quality is fair. There is an echo in the introductory sections, but it clears up for the lecture. Professor is off microphone sometimes.)
Box 413-414
Box 415-417
Box 397
(Reel begins with introduction on abstract art, but abruptly is replaced by poems by Sarah Jackson.)
Box 418
Box 397
(Good sound quality throughout.)
Box 419-420
Box 397
(The lecture is incomplete; the sound disappears at the end. Some sections at the beginning are recorded in fast forward, but this clears up as the tape continues.)
Box 421
Box 397
(Sound quality is good, although professor occasionally off microphone.)
Box 422
Box 397
(Lecture I is incomplete, sound fades out. Sound quality of lectures II through IV is good)
Box 423
Box 397
Box 424-425
Box 397
Box 426-428
Box 397
Box 428-429
Box 397
(Some distortion occurs throughout the lecture, there is a lot of audience and static noise. The end of the lecture is cut off.)
Box 430
Box 397
(At the beginning, Schapiro's voice seems extremely high pitched. It then becomes more natural, but still higher pitched than normal.)
Box 431
Box 397
(These reels contain programs number 2 and 3 of the lecture, program number 1 is missing. Beginning is cut off, and the professor is often off microphone. There is a slight high-pitched whine present throughout the tape.)
Box 432-433
Box 397
(Sound quality overall for series is good, however small parts of the lectures are missing when reels were being changed. Lectures where given April 21-28, 1960. Lecture IV was not recorded. There is a small part of lecture V between parts b and c that is not recorded)
Box 434-435
Box 398
Box 436-437
Box 398
Box 438-440
Box 398
Box 441-443
Box 398
Box 444-447
Box 398
(Lectures are complete, but overall sound quality is mixed. Professor is often off microphone, and there is audience noise)
Box 448-452, 648
Box 398
(All lectures are complete and overall sound quality is good. There is some noise at beginning of lecture I, but it clears up fairly quickly. There is some difficulty with lecture V which has a hum sound throughout the lecture, the voice is audible but the sound is poor)
Box 453-455
Box 399
Box 456-458
Box 399
Box 459-462
Box 399
Box 463-465
Box 399
Box 466-468
Box 399
Box 469-473
Box 399
(The beginning and end of the lecture are cut off. There is a lot of audience noise with an echo effect throughout the tape.)
Box 474
Box 399
(The lecture is complete. There is some distortion, with varied sound levels, the voice is often off microphone, and there is a slight echo effect. Questions from the audience are hard to hear)
Box 475
Box 399
Box 476
Box 399
(Only reel found in Box 477 is recorded at normal speed, the others were recorded at a slow speed and are in very poor condition. Reformatted duplicates of reels found in Boxes 478 through 483 were produced at normal speed, and are now housed in Boxes 484 through 493. The sound quality of this series is very poor.)
Box 477-483
Box 484-493
Box 399-400
(The beginning of all three lectures are complete, but the endings of lectures II and III are cut off. Sound quality is decent, but the professor is sometimes off microphone, and there is some audience noise. Questions from the audience are not audible.)
Box 494
Box 400
Box 82
Box 4
Box 496
Box 400
(Beginning and ending of all lectures are complete. All cassettes have slight hum sound, and sound level varies. lecture III has a slight echo effect in some places. Extra lecture given at end of series on The Synagogue. Only the first four lectures were recorded)
Box 497
Box 400
Box 498
Box 400
Box 499
Box 400
Box 500
Box 400
(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.)
Box 501
Box 401
Box 502
Box 401
Box 503
Box 401
Box 504
Box 401
Box 505
Box 401
Box 506
Box 401
Box 507
Box 401
Box 508
Box 401
Box 509
Box 401
(There is a hum on the tape, making it difficult to hear the lecture. Sound quality is poor)
Box 510
Box 402
(Reels in Boxes 512 through 514 are duplicates of of the reel in Box 511. The lecture is complete. The voice is audible and clear but the sound level varies.)
Box 511-514
Box 402
(Columbia University's Rare Book & Manuscript Library is not in the possession of original sound tape reels. Sound quality is good. Film of the lecture was made by The Metroplican Museum of Art in association with Gittelman Film Associates in 1985)
Box 402
(For consistency, lecture titles correspond to those in the posthumous publicationRomanesque architectural sculpture: The Charles Eliot Norton lectures.Chicago: University of Chicago Press, 2006. Lecture titles as they appeared in the Metropolitan Museum of Art's inventory: Lecture I: Rebirth of monumental sculpture in the West-disappearance and return ; Lecture II: Field, figure and frame (1) ; Lecture III: Field, figure and frame (2) ; Lecture IV: Programs of imagery-theemes of action and themes of state ; Lecture V: Programs of imagery-tradition, new reality and nature ; Lecture VI: The human figure ; Lecture VII: Romanesque animal imagery.)
Box 515
Box 402
Box 516
Box 402
Box 517
Box 402
Box 518
Box 402
Box 519
Box 402
Box 520
Box 402
Box 521
Box 402
Box 522
Box 402
(All the lectures are complete except for lecture II where the second half of the lecture was not recorded, and lecture XII where the sound disappears. Sound quality of these lectures is mixed)
Box 523
Box 403
Box 524
Box 403
Box 525
Box 403
Box 526
Box 403
Box 527
Box 403
Box 528
Box 403
Box 529
Box 403
Box 530
Box 403
Box 531-532
Box 403
Box 533-534
Box 403
Box 535
Box 403
Box 536
Box 403
Box 537-538
Box 403
Box 539-540
Box 403
Box 541-542
(Sound quality for this entire series is poor. Only lectures III, VI, and VII are complete. The beginnings and endings are cut off on lectures I and II. The endings are cut off on lectures VI through VI.)
Box 543
Box 404
(Annotations indicate that Lecture I is included in this reel even though the Metropolitan Museum of Art inventory does not)
Box 544
Box 404
Box 544
Box 404
Box 545
Box 404
Box 545
Box 404
Box 546
Box 547
Box 404
Box 548
Box 549
Box 404
Box 550
Box 404
Box 551-552
Box 404
(Schapiro referred to these lectures as "Hiberno-Saxon manuscripts," the title reflects that used in Series III, Subseries: III.3: Lectures, Sub-Subseries: III.3.4: 1960s)
Box 553
Box 404
Box 553
Box 404
Box 553
Box 404
Box 554
Box 404
Box 554
Box 404
Box 554
Box 404
Box 555
Box 405
Box 556
Box 405
(Accompanied by administrative notes by Lillian Milgram Schapiro)
Box 557
Box 405
Box 558
Box 405
(All lectures are complete except for the beginning of lecture I, and the endings of lectures V and VII. The sound quality of the series is poor. There is a hiss on all the recordings, with the voice audible but not good. Questions from the audience are difficult to hear, and sometimes inaudible.)
Box 559
Box 405
Box 560
Box 405
Box 561
Box 405
Box 562
Box 406
Box 563
Box 406
Box 564
Box 406
Box 565
Box 406
Box 566
Box 406
Box 567
Box 406
Box 568
Box 406
Box 569
Box 406
Box 570
Box 406
Box 571
Box 406
Box 407
(The sound quality of these lectures is mixed. The beginnings of lectures I-IV, VI, VIII, and XII are cut off. The sound is good on lectures IV-VIII, XI, and XIII. On other lectures the recordings have static and hum sounds, audience noise, and the professor is sometimes off microphone. Annotations indicate the title as "Early Christian art," but Columbia University class bulletins list the course as Early Christian painting)
Box 572
Box 407
Box 573
Box 407
Box 574
Box 407
Box 575
Box 407
Box 576
Box 407
Box 577
Box 407
Box 578
Box 407
Box 579
Box 407
Box 580
Box 407
Box 581
Box 408
Box 582
Box 408
Box 583
Box 408
Box 584
Box 408
(The original audiotape was torn and needed to be repaired before the cassette copy was recorded. The lecture is complete with good sound. The voice is clear and audible.)
Box 585
Box 408
(The sound quality is poor, with echoes and muffling of the voice.)
Box 586
Box 408
(The lecture is complete, but the sound quality is mixed. The voice is clear and audible, but the sound level varies. There is audience noise and the professor taps on the podium and is occasionally off microphone.)
Box 587
Box 408
(The lecture is complete, but the sound quality is poor. The voice is high-pitched, and there is audience noise and varied sound levels.)
Box 588
Box 408
(The lecture is complete, but the sound quality is poor. There is a hiss on the recording, and an echo effect.)
Box 589
Box 408
(The lecture is complete with voice audible. The quality of the sound is mixed, with audience noise, echo sound, and the professor is occasionally off microphone)
Box 590
Box 408
(All three sound tape reels are incomplete and do not have the end of the lecture recorded. The sound quality is poor with a great deal of audience noise, although the voice itself is clear.)
Box 591-593
Box 409
(The lecture is complete with good sound quality, the voice is clear and audible. Film of this lecture was made in 1985 by The Metropolitan Museum and Gittelman Film Associates)
Box 409
(Lectures I and II were not recorded. All the recorded lectures are complete. The sound quality of this series is mixed. In most recordings the voice is clear and audible, but there is a lot of audience noise and some sounds from a construction site nearby are noticeable on lectures III through VI. The sound is very poor for lectures IV and XI.)
Box 594
Box 409
Box 595
Box 409
Box 596
Box 409
Box 597
Box 409
Box 598
Box 409
Box 599
Box 409
Box 600
Box 409
Box 601
Box 410
Box 602
Box 410
Box 603
Box 410
Box 604
Box 410
Box 605
Box 410
(Cassettes were not made of this lecture because the quality of the recording was too poor)
Box 606-607
(All recorded lectures are complete. Lectures I, XI, and XII were not recorded. The sound quality of this series is mixed. The recording of lecture VI has audience noise and a hiss sound on the tape, and the sound of lecture VII is very poor, with audience noise and a buzz sound at the beginning, echo noise throughout, and occasional ringing sound. The voice is best for recordings of lectures IV, V, IX, XIII and XIV. The question periods for all the lectures are hard to hear.)
Box 608
Box 410
Box 609
Box 410
Box 610
Box 410
Box 611
Box 410
Box 612
Box 411
Box 613
Box 411
Box 614
Box 411
Box 615
Box 411
Box 616
Box 411
Box 617
Box 411
Box 618
Box 411
Box 619-620
Box 411
(The lecture is complete. The sound quality is good, but has a little audience noise and noise from professor moving around.)
Box 621
Box 411
(Reel in Box 623 is a duplicate of the reel in Box 622. The lecture is complete but the sound quality is not good. The sound level varies, there is a hiss noise on the tape and the voice is muffled.)
Box 622-623
Box 412
Box 412
Box 412
Box 624-625
Box 412
Box 412
Box 412
Box 412
Box 412
Box 412
Box 626-631
Box 412
Box 396
Subseries VII.3 contains three copies of a program titled "The unity of Picasso's art." The program features audio from two lectures with images from the collection of the Metropolitan Museum of Art. The video was created by the Metropolitan Museum of Art in association with Gittelman Film Associates and produced and directed by Philip Gittelman.
(Credits: Animation camera, Fred Armstrong and Betsy Baker; film editing, Araness Communication ; video editing, Tapepower. Lecture presented at Brandeis University on April 11, 1967 and at Albright Knox Art Gallery on December 5, 1973)
Box 632
Schapiro began his artistic practice early in his life when, in his teens, he attended evening art classes taught by artist John Sloan at the Hebrew Settlement House. Schapiro would continually sketch, draw, paint, and sculpt throughout his life, and this series houses the single largest collection of his works of art.
Included in this collection are prints, drawings paintings, sculptures, printing plates, linoleum printing blocks, and sketchbooks from the 1920s through the 1980s. They include images he created at Columbia University, during his trips abroad in Europe and the Near East, portraits of his wife Lillian Milgram Schapiro, and friends, such as Whittaker Chambers.
For Schapiro, the practice of art and the academic pursuit of the art historical discipline were two sides of the same token. Many of his drawings and paintings reflect his interest in issues of form, content, and visual perception, issues pertinent to his writings on art theory.
In 1987, 65 of Schapiro's art works were displayed in the exhibition "Meyer Schapiro: Works of Art, 1919-1979" at Columbia University's Miriam and Ira D. Wallach Art Gallery. Consult Series I: Personal papers, Subseries: I.4: Exhibitions for records relating to that exhibition.
For all other administrative records relating to Schapiro's works of art, Subseries: VIII.1: Administrative records, 1980s-1990s
The works of art in this series are divided by medium to facilitate discovery of the material as follows: Subseries: VIII.2: Prints and drawings, 1920s-1980s, Subseries: VIII.3: Paintings, 1930s-1980s, Subseries: VIII.4: Sculptures and printing plates, 1930s-1980s, Subseries: VIII.5: Linoleum printing blocks, circa 1930s-1960s, Subseries: VIII.6: Sketchbooks, 1960s.
Box 55 Folder 1
(These negatives document Schapiro's art works while also serving as "copying experimentations" for his photography skills)
Box 55 Folder 2 to 4
Box 55 Folder 5
Box 56 Folder 1
Box 56 Folder 2
Box 56 Folder 3 to 4
Box 56 Folder 5
Box 56 Folder 6
Box 56 Folder 7
Box 56 Folder 8
(written by Lillian Milgram Schapiro)
Box 1
Inscribed on verso, marked "3". 11 x 8 1/2 Graphite on detached diary page
Box 1
Inscribed on verso and paginated number "8." 11 x 8 1/2 Graphite on detached diary page
Box 1
10 3/8 x 7 5/8 Graphite pencil on paper
Box 1
10 7/8 x 8 3/8 Conte crayon on paper
Box 1
5 x 8 Charcoal on paper
Box 1
11 x 8 1/2 Graphite pencil on paper
Box 1
8 1/4 x 5 1/2 Graphite pencil on lined paper
Box 1
5 1/2 x 8 1/2 Charcoal on paper
Box 1
8 x 5 1/2 Crayon on paper
Box 1
12 x 9 Charcoal on paper
Box 1
Multiple sheets torn from bound sketch book 12 x 9 Charcoal on paper
Box 1
8 x 8 Charcoal on paper
Box 1
12 x 9 Conte crayon on paper
Box 1
Photocopies of original charcoal drawings. Originals given to Jack Rush, subject of drawings. 8 1/2 x 11 Charcoal on paper
Box 1
4 7/8 x 3 Ink on paper
Box 1
9 x 6 Charcoal on broadside
Box 1
12 x 8 7/8 Charcoal on paper
Box 1
11 x 9 Conte crayon on paper
Box 1
7 3/4 x 5 Charcoal on paper
Box 1
Inscribed on verso. Paginated number "20" - see 069-1121. 8 1/2 x 11 Charcoal on detached diary paper
Box 1
5 3/8 x 8 1/2 Charcoal on paper
Box 1
5 x 8 Ink on paper
Box 1
10 3/8 x 7 7/8 Charcoal on paper
Box 1
11 x 8 1/2 Ink on paper
Box 1
7 1/2 x 9 Graphite pencil and gouache on kraft paper
Box 1
5 1/2 x 8 1/2 Crayon on paper
Box 1
5 1/2 x 4 Charcoal on paper
Box 1
Two sheets. 8 x 5 Charcoal on paper
Box 1
8 x 5 Charcoal on paper
Box 1
8 x 5 Charcoal on paper
Box 1
12 x 9 Charcoal on paper
Box 1
8 x 5 Crayon on paper
Box 1
10 3/8 x 7 7/8 Charcoal on paper
Box 1
8 3/8 x 10 7/8 Charcoal on paper
Box 1
8 x 5 Charcoal on paper
Box 1
8 3/8 x 5 3/4 Charcoal on lined paper
Box 1
9 5/8 x 5 1/2 Charcoal on paper
Box 1
8 x 5 Charcoal on paper
Box 1
8 1/2 x 5 1/2 Charcoal on paper
Box 1
5 1/2 x 8 1/2 Charcoal on paper
Box 1
5 1/2 x 8 1/2 Charcoal on paper
Box 1
8 1/2 x 5 3/4 Crayon on paper
Box 1
5 x 7 3/4 Charcoal on paper
Box 1
Two sheets. 5 3/8 x 8 1/2 Charcoal on paper
Box 1
Two sheets. 5 x 8 Charcoal on paper
Box 1
8 x 5 Crayon on paper
Box 1
5 x 8 Charcoal on paper
Box 1
8 1/2 x 5 3/4 Crayon on lined paper
Box 1
8 1/4 x 5 3/4 Graphite on lined paper
Box 1
8 x 5 Charcoal on paper
Box 1
7 3/4 x 5 Crayon on paper
Box 1
8 1/2 x 5 1/2 Crayon on paper
Box 1
7 3/4 x 5 Charcoal on paper
Box 1
8 1/2 x 5 3/8 Charcoal on paper
Box 1
11 7/8 x 3 Ink on paper
Box 1
6 x 9 Crayon on broadside
Box 1
8 1/2 x 5 1/2 Charcoal on paper
Box 1
8 1/4 x 5 2/3 Graphite on lined paper
Box 1
8 1/4 x 5 3/4 Graphite on lined paper
Box 1
12 x 9 Graphite pencil on paper
Box 1
5 1/4 x 5 1/2 Graphite pencil on paper
Box 1
5 1/2 x 6 1/4 Compressed charcoal on paper
Box 1
11 x 8 1/2 Crayon on paper
Box 1
Handwritten scopecontents on verso. Paginated as number "19" -- see item 020-1121. 8 1/2 x 11 Conte crayon on detached diary paper
Box 1
10 7/8 x 8 3/8 Charcoal on paper
Box 1
8 x 10 1/2 Ink on paper
Box 1
12 x 9 Charcoal on paper
Box 1
Paginated as number "19" -- see item 076-1211. 9 3/4 x 7 7/8 Graphite pencil on detached diary page
Box 1
8 x 5 Charcoal on paper
Box 1
10 1/2 x 8 1/2 Charcoal on paper
Box 1
Paginated as number "10" -- see item 073-1211. 9 7/8 x 7 7/8 Charcoal on detached diary page
Box 1
Clipping from The jester of Meyer Schapiro drawing. 6 3/4 x 5 1/4
Box 1
5 1/2 x 8 Conte crayon on paper.
Box 1
5 1/2 x 8 1/2 Charcoal on paper
Box 1
5 1/2 x 8 1/2 Charcoal on paper
Box 1
10 1/2 x 8 1/2 Charcoal on paper
Box 1
10 1/2 x 8 1/2 Charcoal on paper
Box 1
Sketches on verso and recto. 6 1/2 x 4 1/8 Graphite pencil and crayon on paper
Box 1
7 7/8 x 5 Crayon on paper
Box 1
11 7/8 x 6 7/8 Charcoal on paper
Box 1
10 1/4 x 7 7/8 Ink and charcoal on paper
Box 1
8 1/2 x 5 1/2 Charcoal on lined paper
Box 1
8 x 5 Crayon on paper
Box 1
5 x 8 Crayon on paper
Box 1
8 1/4 x 5 1/4 Graphite pencil on lined paper
Box 1
8 1/2 x 5 Crayon on paper
Box 1
8 3/8 x 6 1/2 Graphite pencil on lined paper
Box 1
Sketches on recto and verso. 8 3/8 x 6 1/2 Graphite pencil on lined paper
Box 1
8 1/2 x 5 3/8 Compressed charcoal on paper
Box 1
5 x 8 Ink on paper
Box 1
Two sheets. 8 x 5 Charcoal on paper
Box 1
7 1/4 x 6 1/4 Graphite on newspaper
Box 1
8 x 5 Charcoal on paper
Box 1
7 3/4 x 5 Crayon on lined paper
Box 1
5 1/2 x 8 1/2 Graphite pencil on paper
Box 1
5 5/8 x 9 1/8 Charcoal on paper
Box 1
5 5/8 x 9 1/8 Charcoal on paper
Box 1
Attribution uncertain to Meyer Schapiro. 11 7/8 x 3 Graphite pencil on card catalog
Box 1
8 1/2 x 5 3/8 Charcoal on paper
Box 1
8 3/8 x 6 5/8 Ink on lined paper
Box 1
Inscribed on verso. See item 076-1121. 10 x 8 Charcoal on detached diary page
Box 1
10 1/4 x 7 7/8 Graphite pencil on paper
Box 1
6 3/8 x 8 1/8 Graphite on paper
Box 1
8 1/4 x 6 5/8 Graphite pencil on lined paper
Box 1
5 x 8 Charcoal on paper
Box 1
10 3/8 x 7 7/8 Charcoal on paper
Box 2
6 1/2 x 8 3/8 Ink on lined paper
Box 2
8 5/16 x 6 1/2 Ink on lined paper
Box 2
8 3/8 x 6 1/2 Ink on lined paper
Box 2
Accompanied by scopecontent. 6 5/8 x 8 3/8 Ink on lined paper
Box 2
8 3/8 x 6 1/2 Ink on lined paper
Box 2
6 3/4 x 8 3/8 Ink on lined paper
Box 2
6 1/2 x 8 1/4 Ink on lined paper
Box 2
6 5/8 x 8 3/8 Ink on lined paper
Box 2
6 5/8 x 8 3/8 Ink on lined paper
Box 2
6 5/8 x 8 3/8 Ink on lined paper
Box 2
6 5/8 x 8 3/8 Ink on lined paper
Box 2
6 5/8 x 8 3/8 Ink on lined paper
Box 2
6 5/8 x 8 3/8 Ink on lined paper
Box 2
6 3/4 x 8 1/4 Ink on lined paper
Box 2
6 1/2 x 8 3/8 Ink on lined paper
Box 2
8 3/8 x 6 5/8 Ink on lined paper
Box 2
8 x 5 Conte crayon on paper
Box 2
8 x 5 1/4 Crayon on Columbia University letterhead stationery
Box 2
10 15/16 x 8 3/8 Ink on paper
Box 2
6 x 4 Conte crayon on paper
Box 2
6 1/2 x 8 1/4 Ink on lined paper
Box 2
8 3/8 x 6 1/2 Ink on paper
Box 2
12 x 8 7/8 Conte crayon on paper
Box 2
5 3/8 x 8 1/2 Conte crayon on paper
Box 2
8 x 5 1/4 Conte crayon on Columbia University letterhead stationery
Box 2
8 x 5 1/4 Crayon on Columbia University letterhead stationery
Box 2
11 x 8 3/8 Ink on paper
Box 2
11 x 8 1/2 Ink on paper
Box 2
6 x 4 Ink on paper
Box 2
11 x 8 3/8 Ink on paper
Box 2
Accompanied by scopecontent indicating drawing was moved from Barrow Farm drawings. 8 1/4 x 6 Graphite pencil on paper
Box 2
11 x 9 Ink on paper
Box 2
10 3/8 x 7 1/4 Ink on paper
Box 2
11 1/8 x 8 1/2 Graphite pencil on paper
Box 2
11 x 8 1/2 Crayon on paper
Box 2
11 x 8 1/2 Ink on paper
Box 2
11 1/2 x 9 Crayon on paper
Box 2
3 1/16 x 3 Graphite pencil on paper
Box 2
6 1/2 x 10 Graphite pencil on paper
Box 2
11 x 8 1/2 Ink on paper
Box 2
11 x 8 1/2 Graphite pencil on paper
Box 2
8 1/2 x 11 Crayon on paper
Box 2
8 1/2 x 5 1/2 Graphite pencil on paper
Box 2
8 1/2 x 11 Graphite pencil on paper
Box 2
6 1/4 x 9 1/2 Crayon on paper
Box 3
5 3/4 x 5 Ink on lined paper
Box 3
10 15/16 x 8 1/2 Ink on paper
Box 3
Scrap of Columbia University exam schedule 5 3/4 x 4 Ink on paper
Box 3
Inscribed on verso. 10 1/2 x 8 Ink on Columbia University Library letterhead stationery
Box 3
8 1/2 x 6 1/2 Graphite pencil on kraft paper
Box 3
11 x 8 1/2 Graphite pencil on paper
Box 3
8 1/2 x 5 1/2 Graphite pencil on paper
Box 3
8 x 5 Ink on paper
Box 3
8 1/2 x 5 1/2 Ink on lined paper
Box 3
6 x 9 Charcoal on verso of broadside
Box 3
12 x 9 Crayon on paper
Box 3
12 1/4 x 9 1/8 Ink on paper
Box 3
8 1/2 x 5 1/2 Charcoal on paper
Box 3
9 x 11 1/2 Ink on paper
Box 3
5 3/4 x 8 1/2 Ink on paper
Box 3
Inscribed on verso. 7 3/4 x 5 Graphite pencil on lined paper
Box 3
5 3/8 x 6 1/2 Pastels on paper
Box 3
5 1/8 x 8 1/2 Ink on paper
Box 3
3 x 4 3/4 Ink on paper
Box 3
Two sheets. Drawings on recto and verso. 5 1/2 x 4 1/8 Graphite pencil on paper
Box 3
5 x 8 Conte crayon on paper
Box 3
8 x 10 1/2 Ink on Columbia University Library letterhead stationery
Box 3
8 x 5 Conte crayon on paper
Box 3
8 1/4 x 6 3/4 Conte crayon on lined paper
Box 3
6 x 8 7/8 Ink on lined paper
Box 3
8 1/2 x 11 Crayon on paper
Box 3
11 x 8 1/2 Crayon on paper
Box 3
11 x 8 1/2 Conte crayon on paper
Box 3
3 x 4 3/4 Ink on paper
Box 3
6 x 9 Conte crayon on verso of broadside
Box 3
8 x 5 Conte crayon on paper
Box 3
9 x 12 Conte crayon on paper
Box 3
8 3/16 x 5 5/16 Ink on paper
Box 3
6 11/16 x 5 3/8 Graphite pencil on paper
Box 3
6 11/16 x 5 3/8 Ink on paper
Box 3
4 x 6 Ink on card index
Box 3
8 1/2 x 11 Conte crayon on paper
Box 3
9 1/8 x 12 Conte crayon on paper
Box 3
Drawings on recto and verso. 9 1/8 x 12 Conte crayon on paper
Box 3
8 1/2 x 10 7/8 Conte crayon on paper
Box 3
9 x 12 Conte crayon on paper
Box 3
Inscribed on verso. 10 1/2 x 8 Ink on paper
Box 3
7 x 3 Ink on paper
Box 3
6 x 8 3/4 Ink on paper
Box 3
10 1/4 x 12 1/2 Oil paint on paper
Box 3
10 1/4 x 12 7/8 Ink and oil paint on paper
Box 3
10 1/2 x 12 3/4 Oil paint on paper
Box 3
6 3/8 x 9 7/8 Graphite pencil on paper
Box 3
11 1/2 x 9 Charcoal on paper
Box 3
11 1/2 x 9 Ink on paper
Box 3
12 1/2 x 10 Ink on paper
Box 3
11 x 8 1/2 Crayon on paper
Box 3
8 1/2 x 11 Graphite pencil on paper
Box 3
11 x 8 1/2 Graphite pencil on paper
Box 3
11 x 8 1/2 Graphite pencil on paper
Box 3
6 1/2 x 5 Ink on paper
Box 3
8 1/4 x 6 1/4 Ink on paper
Box 3
11 1/2 x 9 Charcoal on paper
Box 4
11 x 8 1/2 Graphite pencil on paper
Box 4
10 15/16x 8 1/2 Colored pencil on paper
Box 4
10 x 6 3/4 Ink on paper
Box 4
9 1/4 x 7 1/4 Graphite pencil on paper
Box 4
8 1/2 x 5 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 4
12 x 9 Conte crayon on paper
Box 4
9 1/2 x 6 1/4 Chalk on paper
Box 4
11 x 8 1/2 Graphite pencil on paper
Box 4
11 x 8 1/2 Ink on paper
Box 4
10 1/2 x 8 Graphite pencil on paper
Box 4
8 x 5 Crayon on paper
Box 4
10 x 7 1/2 Ink on paper
Box 4
11 x 8 1/2 Graphite pencil on paper
Box 4
6 x 4 Conte crayon on paper
Box 4
6 x 4 Graphite pencil on paper
Box 4
11 x 8 1/2 Ink on paper
Box 4
11 x 8 1/2 Graphite pencil on paper
Box 4
16 x 6 1/2 Gouache on paper
Box 4
10 x 6 3/8 Gouache on paper
Box 4
9 x 8 1/2 Conte crayon on paper
Box 4
9 3/8 x12 Ink on paper
Box 4
11 1/4 x 7 1/4 Crayon on paper
Box 4
9 3/4 x 6 3/8 Crayon on paper
Box 4
10 x 6 1/8 Crayon on paper
Box 4
11 x 8 1/2 Ink on paper
Box 4
12 x 9 Crayon on paper
Box 4
8 1/2 x 5 3/8 Crayon on paper
Box 4
11 x 8 1/2 Crayon on paper
Box 4
9 5/8 x 6 1/4 Crayon on paper
Box 4
6 1/8 x 9 7/8 Graphite pencil on paper
Box 4
11 x 8 1/2 Graphite pencil on paper
Box 4
11 x 8 1/2 Ink on paper
Box 4
11 x 8 1/2 Graphite pencil on paper
Box 4
11 1/4 x 9 Crayon on paper
Box 4
11 x 8 1/2 Ink on paper
Box 4
Drawing on verso. 11 x 8 1/2 Graphite pencil on paper
Box 4
11 1/4 x 10 Oil paint on paper
Box 4
12 1/2 x 10 Ink on paper
Box 4
11 3/4 x 10 Oil paint on paper
Box 4
11 x 8 1/2 Graphite pencil on paper
Box 4
11 x 8 1/2 Graphite pencil on paper
Box 4
11 1/2 x 9 Graphite pencil on paper
Box 4
12 x 10 Oil paint on paper
Box 4
12 1/2 x 9 3/4 Oil paint on paper
Box 4
11 1/2 x 9 Graphite pencil on paper
Box 4
11 1/2 x 9 Graphite pencil on paper
Box 4
12 x 9 Ink on paper
Box 4
11 1/2 x 9 Ink on paper
Box 4
11 1/2 x 9 Ink on paper
Box 4
12 1/2 x 9 1/2 Ink on paper
Box 4
11 1/2 x 7 1/2 Oil paint on paper
Box 4
11 1/4 x 7 1/2 Oil paint on paper
Box 4
12 x 8 1/2 Ink on paper
Box 4
12 x 8 1/2 Ink on paper
Box 4
12 x 9 Ink on paper
Box 4
11 x 8 1/2 Conte crayon on paper
Box 4
12 x 9 Crayon on paper
Box 4
12 x 9 Crayon on paper
Box 4
12 x 9 Crayon on paper
Box 4
12 x 9 Crayon on paper
Box 4
11 1/2 x 9 Conte crayon on paper
Box 4
Typing on verso. 11 x 8 1/2 Graphite pencil on paper
Box 4
From series for study for Linoleum-block-block cut. 11 1/2 x 9 Crayon on paper
Box 4
11 1/2 x 9 Crayon on paper
Box 4
11 1/2 x 9 Crayon on paper
Box 4
11 1/2 x 9 Crayon on paper
Box 4
11 x 8 1/2 Graphite pencil on paper
Box 4
11 x 8 1/2 Ink on paper
Box 4
9 1/2 x 6 1/2 Graphite pencil and watercolor on paper
Box 4
11 x 8 1/2 Graphite pencil on paper
Box 4
12 x 9 Crayon on paper
Box 4
12 x 8 7/8 Conte crayon on paper
Box 4
10 x 6 1/4 Graphite pencil on paper
Box 4
11 1/2 x 9 Conte crayon on paper
Box 4
13 x10 Conte crayon on paper
Box 4
13 x 10 Conte crayon on paper
Box 4
11 1/2 x 9 Conte crayon on paper
Box 4
12 x 9 Crayon on paper
Box 4
12 x 9 Crayon on paper
Box 4
12 x 9 Ink on paper
Box 4
11 3/4 x 10 1/2 Ink on paper
Box 4
12 x 9 Conte crayon on paper
Box 4
6 x 4 Conte crayon on paper
Box 4
6 x 4 Conte crayon on paper
Box 4
12 x 10 Ink on paper
Box 4
12 x 9 Conte crayon on paper
Box 4
12 x 9 Ink on paper
Box 5
12 x 9 Oil paint on paper
Box 5
11 x 8 1/2 Graphite pencil on paper
Box 5
11 x 8 1/2 Graphite pencil on paper
Box 5
11 x 8 1/2 Graphite pencil on paper
Box 5
10 3/8 x 7 1/4 Ink on paper
Box 5
11 x 8 1/2 Ink on paper
Box 5
Drawing on verso. 9 x 11 1/2 Ink on paper
Box 5
12 1/8 x 9 Crayon on paper
Box 5
11 x 8 1/2 Ink on paper
Box 5
8 1/2 x 6 3/8 Ink on paper
Box 5
Dated March 14. 11 x 8 1/2 Ink on paper
Box 5
11 x 8 1/2 Graphite pencil on paper
Box 5
6 x 4 Graphite pencil on paper
Box 5
6 x 4 Ink on paper
Box 5
6 x 4 Ink on paper
Box 5
6 1/2 x 4 1/4 Crayon on paper
Box 5
11 x 8 1/2 Graphite pencil on paper
Box 5
8 1/4 x 6 1/4 Ink on paper
Box 5
Drawing on verso. 8 1/2 x 8 1/2 Ink and graphite pencil on napkin
Box 5
Drawing and inscription on verso. 9 x 6 Graphite pencil on paper
Box 5
6 1/4 x 8 1/8 Ink on paper
Box 5
6 x 4 Graphite pencil on paper
Box 5
11 x 8 1/2 Ink on paper
Box 5
6 x 4 Graphite pencil on paper
Box 5
9 x 12 Ink on paper
Box 5
12 x 9 Conte crayon on paper
Box 5
Inscription on verso. 6 x 4 Graphite pencil on paper
Box 5
4 x 6 Graphite pencil on paper
Box 5
6 x 4 Ink on paper
Box 5
11 1/2 x 8 1/2 Graphite pencil on paper
Box 5
11 x 6 15/16 Crayon on paper
Box 5
4 x 6 Crayon on paper
Box 5
12 1/8x 9 1/4 Ink on paper
Box 5
11 x 8 1/2 Graphite pencil on paper
Box 5
11 x 8 1/2 Graphite pencil on paper
Box 5
8 1/2 x 11 Graphite pencil on paper
Box 5
11 x 8 1/2 Conte crayon on paper
Box 5
9 x 12 Charcoal on paper
Box 5
12 1/2 x 10 Watercolor on paper
Box 5
11 1/2 x 9 Ink on paper
Box 5
10 x 7 1/4 Ink on paper
Box 5
8 1/2 x 11 Crayon on paper
Box 5
4 x 6 Ink on paper
Box 5
Drawing on verso. 11 1/8 x 8 1/2 Graphite pencil on paper
Box 5
10 x 7 1/4 Ink on paper
Box 5
11 1/2 x 8 1/2 Ink on paper
Box 6
Box 6 contains drawings relating to Schapiro's trip to Berlin and Brussels in 1923 and includes portraits of Whittaker Chambers. 10 7/8 x 8 1/2 Conte crayon on paper
Box 6
Inscribed: Berlin (in Stillman's studio). 9 1/8 x 7 1/8 Conte crayon on paper
Box 6
Incribed: Brussels. 10 3/8 x 7 7/8 Conte crayon on paper
Box 6
8 3/8 x 10 7/8 Conte crayon on paper
Box 6
8 3/8 x 10 7/8 Conte crayon on paper
Box 6
8 3/8 x 10 7/8 Conte crayon on paper
Box 6
8 7/8 x 10 7/8 Conte crayon on paper
Box 6
Inscribed: Berlin, in studio of Ary Stillman. 9 1/8 x 7 1/8 Conte crayon on paper
Box 6
8 3/8 x 10 7/8 Conte crayon on paper
Box 6
Inscribed: Berlin. 9 1/8 x 7 1/8 Conte crayon on paper
Box 6
Inscribed: Berlin. 9 x 7 1/8 Conte crayon on paper
Box 6
Inscribed: Brussels 8 3/8 x 10 3/8 Conte crayon on paper
Box 6
Inscribed: Brussels. 10 7/8 x 8 3/8 Conte crayon on paper
Box 6
Inscribed: Brussels. 10 7/8 x 8 3/8 Conte crayon on paper
Box 6
Inscribed: Brussels. 10 7/8 x 8 3/8 Conte crayon on paper
Box 6
Inscribed: Brussels. 8 3/8 x 10 7/8 Conte crayon on paper
Box 6
Inscribed: Berlin. Drawing on verso. 9 x 7 1/8 Conte crayon on paper
Box 6
8 3/8 x 10 7/8 Conte crayon on paper
Box 6
10 7/8 x 8 3/8 Conte crayon on paper
Box 6
Inscribed: from Jester. 5 3/4 x 5 1/4 Conte crayon on clipping
Box 6
Inscribed: Brussels. 8 1/8 x 6 3/8 Conte crayon on paper
Box 6
9 1/8 x 7 1/8 Conte crayon on paper
Box 6
8 7/8 x 10 7/8 Conte crayon on paper
Box 6
10 7/8 x 8 3/8 Conte crayon on paper
Box 6
Inscribed: Brussels. 8 3/8 x 10 3/8 Conte crayon on paper
Box 6
8 3/8 x 10 7/8 Conte crayon on paper
Box 6
10 7/8 x 8 1/2 Conte crayon on paper
Box 6
10 7/8 x 8 3/8 Conte crayon on paper
Box 6
8 3/8 x 10 7/8 Conte crayon on paper
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
8 x 5 Conte crayon on paper
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Conte crayon on paper
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
7 3/4 x 5 Conte crayon on lined paper
Box 7
7 3/4 x 5 Conte crayon on lined paper
Box 7
4 1/4 x 4 Graphite pencil on Barrow Farms Inn letterhead envelope
Box 7
7 3/4 x 5 Conte crayon on lined paper
Box 7
8 1/2 x 5 1/2 Charcoal on paper
Box 7
5 1/2 x 6 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 6 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
5 x 7 3/4 Charcoal on lined paper
Box 7
5 1/2 x 8 1/2 Ink on paper
Box 7
5 1/2 x 4 1/4 Charcoal on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Charcoal on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Charcoal on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Charcoal on Barrow Farms Inn letterhead stationery
Box 7
Inscribed on verso. 5 1/2 x 8 1/2 Charcoal on Barrow Farms Inn letterhead stationery
Box 7
5 3/4 x 8 1/2 Charcoal on paper
Box 7
5 1/2 x 4 3/8 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
Drawing on verso. 5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 7 3/4 Conte crayon on lined paper
Box 7
4 1/4 x 5 1/2 Charcoal on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 7 7/8 Graphite pencil on paper
Box 7
5 x 7 3/4 Conte crayon on lined paper
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
7 7/8 x 4 7/8 Graphite pencil on paper
Box 7
8 1/2 x 5 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
5 3/4 x 8 1/2 Conte crayon on paper
Box 7
8 1/2 x 5 1/2 Conte crayon on paper
Box 7
5 1/2 x 8 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Graphite pencil on paper
Box 7
8 1/2 x 5 1/2 Graphite pencil on paper
Box 7
5 1/2 x 8 1/2 Conte crayon on paper
Box 7
8 1/2 x 5 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 7 3/4 Conte crayon on lined paper
Box 7
Two sheets. 5 1/2 x 8 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
7 3/4 x 5 Conte crayon on lined paper
Box 7
8 1/2 x 5 1/2 Charcoal on Barrow Farms Inn letterhead stationery
Box 7
5 x 7 3/4 Conte crayon on lined paper
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Conte crayon on paper
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Conte crayon on paper
Box 7
5 1/2 x 8 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
8 1/2 x 5 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
5 1/2 x 8 1/2 Graphite pencil on Barrow Farms Inn letterhead stationery
Box 7
5 5/8 x 8 1/2 Charcoal on paper
Box 7
5 1/2 x 8 1/2 Conte crayon on Barrow Farms Inn letterhead stationery
Box 8
11 1/2 x 9 Pastels on paper
Box 8
5 7/8 x 8 15/16 Ink on paper
Box 8
10 1/2 x 8 Graphite pencil on paper
Box 8
11 x 15 Oil paint on paper
Box 8
12 x 8 7/8 Oil paint on paper
Box 8
9 5/8 x 6 7/8 Oil paint on cardboard
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
10 1/4 x 8 Crayon on paper
Box 8
5 3/8 x 7 Conte crayon on paper
Box 8
10 1/2 x 8 1/2 Graphite pencil on paper
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
8 1/2 x 10 5/8 Conte crayon on paper
Box 8
6 x 4 Conte crayon on paper
Box 8
6 x 4 Graphite pencil on paper
Box 8
12 x 9 1/2 Conte crayon on paper
Box 8
10 x 6 3/8 Ink on paper
Box 8
Page of travel diary from trip to St. Gilles, France, 1931. Inscribed on verso. 7 1/2 x 5 1/2 Ink on paper
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
12 1/4 x 9 1/8 Gouache on paper
Box 8
8 1/2 x 10 7/8 Graphite pencil on paper
Box 8
6 x 4 Graphite pencil on paper
Box 8
5 x 8 Conte crayon on paper
Box 8
11 x 8 1/2 Oil paint on paper
Box 8
12 x 9 1/8 Oil paint on paper
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
10 1/2 x 8 Graphite pencil on paper
Box 8
5 x 8 Conte crayon on paper
Box 8
8 1/2 x 11 Graphite pencil on paper
Box 8
9 x 12 1/8 Conte crayon on paper
Box 8
Inscribed: from VIII. 9 1/8 x 12 Oil paint on paper
Box 8
10 7/8 x 8 1/2 Crayon on paper
Box 8
4 x 6 Crayon on paper
Box 8
4 1/4 x 6 1/2 Conte crayon on paper
Box 8
10 1/2 x 7 1/2 Pastels on paper
Box 8
8 1/2 x 6 3/4 Conte crayon on paper
Box 8
10 3/4 x 7 Crayon on paper
Box 8
9 3/8 x 12 1/8 Oil on paper
Box 8
11 x 8 1/2 Crayon on paper
Box 8
11 1/8 x 14 Oil paint on paper
Box 8
11 x 8 3/8 Crayon on paper
Box 8
11 x 8 1/2 Crayon on paper
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
10 7/8 x 8 1/2 Crayon on paper
Box 8
4 x 5 Oil paint on scopecontentcard
Box 8
10 x 13 1/8 Pastels on paper
Box 8
Inscribed on verso: this was made by gluing hair to paper. 9 x 4 3/4 Graphite pencil on paper
Box 8
12 x 9 Oil paint on paper
Box 8
11 x 8 1/2 Crayon on paper
Box 8
10 7/8 x 8 1/2 Graphite pencil on paper
Box 8
12 5/8 x 9 3/8 Oil paint on paper
Box 8
4 x 6 Gouache on paper
Box 8
12 x 9 Oil paint on paper
Box 8
9 1/8 x 6 1/8 Gouache on paper
Box 8
12 x 9 Oil paint on paper
Box 8
10 1/2 x 8 1/4 Colored pencil on paper
Box 8
8 1/2 x 11 Crayon on paper
Box 8
12 x 8 3/8 Pastels on paper
Box 8
10 7/8 x 6 Crayon on envelope
Box 8
9 5/8 x 12 1/2 Colored pencil on paper
Box 8
12 x 9 1/4 Ink on paper
Box 8
9 1/2 x 6 Gouache on paper
Box 8
8 3/8 x 11 Crayon on paper
Box 8
6 x 3 7/8 Ink on paper
Box 8
8 1/2 x 6 1/2 Conte crayon on paper
Box 8
12 1/8 x 9 Oil paint on paper
Box 8
With five photocopies of original drawing. 12 1/8 x 9 1/2 Crayon on paper
Box 8
10 3/8 x 8 Graphite pencil on paper
Box 8
11 x 8 1/2 Crayon on paper
Box 8
11 x 8 1/2 Oil pastels on paper
Box 8
6 x 4 Conte crayon on paper
Box 8
4 x 6 Graphite pencil on paper
Box 8
Drawing on verso. 8 1/4 x 10 3/4 Graphite pencil on stationery
Box 8
Inscribed on verso: from III. 8 1/2 x 11 Conte crayon on paper
Box 8
8 1/4 x 10 3/4 Graphite pencil on stationery
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
8 1/2 x 11 Conte crayon on paper
Box 8
5 3/8 x 7 Conte crayon on paper
Box 8
6 1/8 x 9 Conte crayon on paper
Box 8
6 x 4 Graphite pencil on paper
Box 8
8 1/2x 11 Graphite pencil on paper
Box 8
13 1/8 x 9 3/8 Ink on paper
Box 8
12 x 9 3/4 Ink on paper
Box 8
13 1/4 x 9 1/4 Ink on paper
Box 8
11 1/2 x 9 Ink on paper
Box 8
Inscribed on verso: Katherine Milgram Shaw. 11 x 8 1/2 Conte crayon on paper
Box 8
5 1/4 x 8 1/2 Graphite pencil on paper
Box 8
6 x 3 5/8 Graphite pencil on paper
Box 8
8 3/8 x 11 Crayon on paper
Box 8
9 x 12 Charcoal on paper
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
9 3/8 x 13 Crayon on paper
Box 8
8 1/2 x 11 Crayon on paper
Box 8
8 7/8 x 11 3/8 Graphite pencil on paper
Box 8
11 x8 1/2 Conte crayon on paper
Box 8
12 x 9 Oil paint on paper
Box 8
9 x 12 Pastels on paper
Box 8
9 x 12 Pastels on paper
Box 8
9 x 12 Pastels on paper
Box 8
10 x 14 Conte crayon on paper
Box 8
10 x 14 Conte crayon on paper
Box 8
9 x 12 Oil paint on paper
Box 8
9 3/4 x 12 Oil paint on paper
Box 8
8 1/2 x 11 Graphite pencil on paper
Box 8
5 x 3 Graphite pencil on paper
Box 8
6 x 4 Ink on paper
Box 8
4 x 6 Graphite pencil on paper
Box 8
6 x 4 Graphite pencil on paper
Box 8
6 x 4 Graphite pencil on paper
Box 8
4 x 6 Ink on paper
Box 8
3 x 5 Ink on paper
Box 8
6 x 4 Graphite pencil on paper
Box 8
6 x 4 Graphite pencil on paper
Box 8
4 x 6 Ink on paper
Box 8
6 x 4 Graphite pencil on paper
Box 8
11 x 8 1/2 Conte crayon on paper
Box 8
Drawing on verso. 4 x 6 Graphite pencil on paper
Box 8
11 1/2 x 9 Crayon on paper
Box 8
Accompanied by two sheets of research scopecontents. 4 x 6 Graphite pencil on paper
Box 8
4 x 6 Graphite pencil on paper
Box 8
6 x 4 Ink on paper
Box 8
6 x 4 Graphite pencil on paper
Box 8
Inscribed: three trees above the roof of the Odd Fellows Hall, in Belmont, highest village in Vermont, in moonlight. 4 x 6 Graphite pencil on paper
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
8 1/2 x 11 Graphite pencil on paper
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
4 x 6 Ink on paper
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
9 x 12 Conte crayon on paper
Box 8
4 x 6 Ink on paper
Box 8
6 x 4 Graphite pencil on paper
Box 8
4 x 6 Conte crayon on paper
Box 8
4 x 6 Ink on paper
Box 8
4 x 6 Conte crayon on paper
Box 8
4 x 6 Conte crayon on paper
Box 8
9 x 12 1/28 Oil paint on paper
Box 8
4 x 6 Conte crayon on paper
Box 8
6 x 4 Ink on paper
Box 8
4 x 6 Conte crayon on paper
Box 8
4 x 6 Ink on paper
Box 8
4 x 6 Graphite pencil on paper
Box 8
3 1/8 x 4 1/4 Graphite pencil on scrap
Box 8
4 x 6 Ink on paper
Box 8
6 x 4 Graphite pencil on paper
Box 8
4 x 6 Graphite pencil on paper
Box 8
4 x 6 Graphite pencil on paper
Box 8
6 x 4 Graphite pencil on paper
Box 8
6 x 4 Graphite pencil on paper
Box 8
4 x 6 Ink on paper
Box 8
6 x 4 Conte crayon on paper
Box 8
3 x 5 Ink on paper
Box 8
8 1/2 x 11 Oil pastel on paper
Box 8
6 x 4 Ink on paper
Box 8
12 x 9 1/8 Oil paint on paper
Box 8
Two sheets. 6 x 4 Ink on paper
Box 8
12 x 9 1/8 Oil paint on paper
Box 8
8 1/2 x 5 1/2 Ink on paper
Box 8
12 x 9 Oil paint on paper
Box 8
12 x 9 1/8 Oil paint on paper
Box 8
11 1/4 x 8 1/2 Oil paint on paper
Box 8
10 5/8 x 8 3/8 Graphite pencil on stationery
Box 8
8 1/4 x 10 3/4 Graphite pencil on stationery
Box 8
8 1/4 x 10 3/4 Graphite pencil on stationery
Box 8
10 3/4 x 8 1/4 Graphite pencil on stationery
Box 8
8 1/4 x 10 3/4 Graphite pencil on stationery
Box 8
11 x 8 1/2 Conte crayon on paper
Box 8
12 x 9 Oil paint on paper
Box 8
8 1/2 x 11 Conte crayon on paper
Box 8
9 1/8 x 8 1/2 Conte crayon on paper
Box 8
8 1/4 x 10 3/4 Graphite pencil on stationery
Box 8
8 3/8 x 8 5/8 Conte crayon on paper
Box 8
10 3/8 x 8 Graphite pencil on paper
Box 8
4 x 6 Graphite pencil on paper
Box 8
11 x 8 1/2 Conte crayon on paper
Box 8
6 x 4 Graphite pencil on paper
Box 8
8 1/2 x 11 Pastels on paper
Box 8
8 1/2 x 11 Conte crayon on paper
Box 8
8 1/2 x 11 Conte crayon on paper
Box 8
8 1/2 x 11 Conte crayon on paper
Box 8
8 1/2 x 11 Conte crayon on paper
Box 8
8 1/2 x 11 Conte crayon on paper
Box 8
8 1/2 x 11 Conte crayon on paper
Box 8
8 1/2 x 11 Conte crayon on paper
Box 8
8 1/2 x 11 Conte crayon on paper
Box 8
11 x 8 1/2 Conte crayon on paper
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
8 1/2 x 11 Conte crayon on paper
Box 8
Drawing on verso. 11 x 8 1/2 Conte crayon on paper
Box 8
6 x 4 Conte crayon on paper
Box 8
8 1/2 x 11 Conte crayon on paper
Box 8
Drawing on verso. 6 x 4 Conte crayon on paper
Box 8
Drawing on verso. 6 x 4 Ink on paper
Box 8
11 x 8 1/2 Conte crayon on paper
Box 8
11 x 8 1/2 Pastels on paper
Box 8
6 1/4 x 8 1/2 Conte crayon on paper
Box 8
5 x 8 Conte crayon on paper
Box 8
5 x 8 Conte crayon on paper
Box 8
8 5/8 x 11 1/4 Graphite pencil on paper
Box 8
Drawing on verso. 4 x 6 Graphite pencil on paper
Box 8
4 x 6 Graphite pencil on paper
Box 8
4 x 6 Graphite pencil on paper
Box 8
=6 x 4 Conte crayon on paper
Box 8
6 x 4 Conte crayon on paper
Box 8
6 x 4 Conte crayon on paper
Box 8
6 x 4 Conte crayon on paper
Box 8
6 x 4 Conte crayon on paper
Box 8
4 x 6 Graphite pencil on paper
Box 8
4 x 6 Graphite pencil on paper
Box 8
6 x 4 Conte crayon on paper
Box 8
Drawing on verso, 6 x 4 Conte crayon on paper
Box 8
6 x 4 Conte crayon on paper
Box 8
Drawing on verso. 4 x 6 Graphite pencil on paper
Box 8
4 1/8 x 6 Oil paint on paper
Box 8
11 x 8 3/8 Graphite pencil on paper
Box 8
11 x 8 1/2 Graphite pencil on paper
Box 8
9 1/2 x 12 1/4 Oil paint on paper
Box 8
9 7/8 x 12 Oil paint on paper
Box 8
9 x 11 1/2 Oil paint on paper
Box 8
Drawing on verso. 11 x 8 Graphite pencil on paper
Box 8
9 x 12 Oil paint on paper
Box 8
12 5/8 x 9 1/8 Oil paint on paper
Box 8
14 1/2 x 11 Oil paint on paper
Box 8
11 1/2 x 9 Pastels on paper
Box 8
9 1/2 x 12 1/4 Oil paint on paper
Box 8
9 1/2 x 12 Oil paint on paper
Box 8
4 x 5 Oil paint on scopecontentcard
Box 8
9 1/8 x 11 1/2 Oil paint on paper
Box 8
9 1/2 x 12 Oil paint on paper
Box 8
10 x 12 Gouache on paper
Box 8
12 1/4 x 9 Ink on paper
Box 8
Drawing on verso. 9 1/4 x 12 1/4 Oil paint on paper
Box 8
9 1/8 x 11 1/2 Oil paint on paper
Box 9
11 1/4 x 8 15/16 Colored pencil on paper
Box 9
11 1/8 x 8 1/2 Graphite pencil on paper
Box 9
11 1/2 x 9 Ink on paper
Box 9
7 5/8 x 5 1/4 Ink on graph paper
Box 9
8 1/4 x 5 1/4 Crayon on graph paper
Box 9
11 1/8 x 8 1/2 Graphite pencil on paper
Box 9
8 1/2 x 5 1/2 Graphite pencil on paper
Box 9
11 x 8 1/2 Crayon on paper
Box 9
11 x 8 1/2 Crayon on paper
Box 9
11 x 8 1/2 Crayon on paper
Box 9
11 1/8 x 8 1/2 Crayon on paper
Box 9
11 1/8 x 8 1/2 Crayon on paper
Box 9
8 3/8 x 5 1/2 Pastels on cardboard
Box 9
9 x 4 Graphite pencil on paper
Box 9
6 3/16 x 9 3/8 Crayon on paper
Box 9
8 1/4 x 5 5/16 Ink on graph paper
Box 9
8 1/4 x 5 5/16 Ink on graph paper
Box 9
11 x 8 1/2 Graphite pencil on paper
Box 9
6 x 4 Graphite pencil on paper
Box 9
11 x 8 1/2 Crayon on paper
Box 9
5 1/2 x 8 1/2 Graphite pencil on paper
Box 9
9 3/8 x 6 1/4 Crayon on paper
Box 9
11 x 8 1/2 Graphite pencil on paper
Box 9
6 x 4 Conte crayon on paper
Box 9
Inscribed: from III. 9 1/4 x 6 1/4 Graphite pencil on paper
Box 9
Inscribed: Belmont. 12 x 9 Crayon and watercolor on paper
Box 9
6 x 4 Graphite pencil on paper
Box 9
13 x 10 Gouache on paper
Box 9
8 1/2 x 5 1/2 Graphite pencil on paper
Box 9
8 1/2 x 5 1/2 Graphite pencil on paper
Box 9
11 x 81/2 Graphite pencil on paper
Box 9
8 1/2 x 5 1/4 Crayon on paper
Box 9
8 1/2 x 5 1/2 Graphite pencil on paper
Box 9
7 1/4 x 5 3/4 Ink on paper
Box 9
11 x 8 1/2 Crayon on paper
Box 9
8 x 5 Ink on paper
Box 9
8 x 5 Ink on paper
Box 9
11 x 8 1/2 Crayon on paper
Box 9
11 x 8 1/2 Graphite pencil on paper
Box 9
10 1/2 x 8 3/8 Ink on paper
Box 9
6 7/8 x 5 1/8 Graphite pencil on paper
Box 9
5 x 2 7/8 Graphite pencil on paper
Box 9
5 x 2 7/8 Graphite pencil on paper
Box 9
5 x 2 7/8 Graphite pencil on paper
Box 9
6 x 4 Ink on paper
Box 9
6 x 4 Crayon on paper
Box 9
11 x 8 1/2 Ink on paper
Box 9
9 1/2 x 6 1/2 Crayon on paper
Box 9
11 x 8 1/2 Crayon on paper
Box 9
6 x 4 Graphite pencil on paper
Box 9
Drawing on verso inscribed: Friend. 7 3/4 x 4 7/8 Ink on paper
Box 9
9 3/8 x 6 3/8 Crayon on paper
Box 9
7 5/8x 4 7/8 Ink on paper
Box 9
11 x 8 1/2 Graphite pencil on paper
Box 9
5 x 8 Conte crayon on paper
Box 9
9 x 12 Pastels on paper
Box 9
11 x 8 1/2 Crayon on paper
Box 9
5 1/2 x 7 1/2 Graphite pencil on graph paper
Box 9
11 x 8 1/2 Graphite pencil on paper
Box 9
11 x 8 1/2 Ink on paper
Box 9
11 x 8 1/2 Crayon on paper
Box 9
11 x 8 1/2 Graphite pencil on paper
Box 9
11 x 8 1/2 Graphite pencil on paper
Box 9
11 x 8 1/2 Graphite pencil on paper
Box 9
12 x 10 Ink on paper
Box 9
11 1/2 x 7 1/2 Ink on paper
Box 9
4 3/8 x 7 1/2 Oil paint on paper
Box 9
12 x 10 Ink on paper
Box 9
12 1/8 x 9 1/8 Ink on paper
Box 9
12 1/8 x 8 1/2 Ink on paper
Box 9
12 1/4 x 9 Ink on paper
Box 9
12 1/4 x 9 Ink on paper
Box 9
11 x 8 1/2 Crayon on paper
Box 9
12 x 9 3/8 Ink on paper
Box 9
10 3/8 x 8 Crayon on paper
Box 9
Drawn on verso of letter to Lillian Milgram from the E.L. Patch Company. 10 7/8 x 8 3/8 Graphite pencil on paper
Box 9
Inscribed on verso: "The Little Finger" or "A Great Improvement." 10 3/8 x 8 Crayon on paper
Box 9
11 1/2 x 9 Conte crayon on paper
Box 9
7 1/2 x 8 1/2 Graphite pencil on paper
Box 9
12 1/4 x 10 1/4 Oil paint on paper
Box 9
8 1/2 x 11 Graphite pencil on paper
Box 9
8 1/2 x 11 Conte crayon on paper
Box 9
11 x 8 1/2 Conte crayon on paper
Box 9
11 x 8 1/2 Conte crayon on paper
Box 9
11 x 8 1/2 Conte crayon on paper
Box 9
11 x 8 1/2 Crayon on paper
Box 9
12 x 9 Graphite pencil and oil paint on paper
Box 9
12 x 9 1/2 Watercolor on paper
Box 9
11 1/2 x 9 Crayon and oil paint on paper
Box 9
9 1/2 x 6 1/2 Crayon on paper
11 x 8 1/2 Crayon on paper
Box 9
11 x 8 1/2 Graphite pencil on Green Mountain College letterhead stationery
Box 9
12 x 9 1/2 Crayon on paper
Box 9
6 1/4 x 8 1/2 Graphite pencil on paper
Box 9
11 x 8 1/2 Graphite pencil on paper
Box 9
Inscribed on verso: from XLIX. 8 1/2 x 11 Graphite pencil on paper
Box 9
Seven sheets. 7 1/2 x 5 1/2 Graphite pencil and ink on graph paper
Box 9
8 x 5 1/16 Crayon on paper
Box 9
14 1/2 x 9 3/4 Crayon on paper
Box 9
15 x 9 5/8 Crayon on paper
Box 9
9 x 12 Ink on paper
Box 9
10 1/2 x 8 1/2 Graphite pencil on paper
Box 9
11 x 8 1/2 Graphite pencil on paper
Box 9
11 x 8 1/2 Graphite pencil on paper
Box 9
6 3/8 x 10 Crayon on paper
Box 9
6 x 4 Graphite pencil on paper
Box 9
6 x 4 Graphite pencil on paper
Box 9
6 x 4 Graphite pencil on paper
Box 9
11 x 8 1/2 Graphite pencil on paper
Box 9
8 1/2 x 5 1/2 Graphite pencil on paper
Box 9
8 1/2 x 5 3/8 Crayon on paper
Box 9
8 1/2 x 5 3/8 Graphite pencil on paper
Box 9
7 3/4 x 5 1/4 Graphite pencil on graph paper
Box 9
4 x 6 Crayon on paper
Box 9
4 x 6 Crayon on paper
Box 9
4 x 6 Crayon on paper
Box 9
Inscribed on verso. Sketch on verso initialed "LMS." 9 1/2 x 6 1/4 Crayon on paper
Box 9
9 1/2 x 6 1/4 Graphite pencil on paper
Box 9
8 1/2 x 5 1/2 Graphite pencil on paper
Box 9
6 x 4 Graphite pencil on paper
Box 9
Drawing on verso. 7 1/8 x 5 1/4 Crayon on graph paper
Box 9
11 x 8 7/16 Crayon on paper
Box 9
5 5 /16 x 8 3/8 Crayon on paper
Box 9
6 3/8 x 9 9/16 Crayon on paper
Box 9
5 1/2 x 8 7/16 Graphite pencil on paper
Box 9
11 x 8 1/2 Graphite pencil on paper
Box 9
8 1/2 x 5 1/2 Graphite pencil on paper
Box 9
9 x 12 Oil paint on paper
Box 9
8 1/2 x 11 Conte crayon on paper
Box 9
11 1/2 x 9 Ink on paper
Box 9
11 x 8 1/2 Ink on paper
Box 9
6 x 4 Graphite pencil on paper
Box 9
11 x 8 1/2 Crayon on paper
Box 9
6 x 4 Graphite pencil on paper
Box 10
11 1/2 x 9 Pastels on paper
Box 10
8 1/2 x 11 1/4 Pastels on paper
Box 10
11 x 8 1/2 Pastels on paper
Box 10
11 x 8 1/2 Oil paint on paper
Box 10
Inscribed: Belmont, Summer 1932. Pregnant, unknown to two sisters. 9 1/2 x 6 1/2 Crayon and oil paint on paper
Box 10
11 x 8 1/2 Graphite pencil on paper
Box 10
8 1/2 x 11 Conte crayon on paper
Box 10
6 x 4 Graphite pencil on paper
Box 10
4 1/2 x 6 Oil paint on paper
Box 10
5 7/8 x 4 Graphite pencil on paper
Box 10
8 1/2 x 11 Conte crayon on paper
Box 10
8 1/2 x 11 Graphite pencil and pastels on paper
Box 10
Drawing on verso. 11 x 8 1/2 Graphite pencil on paper
Box 10
6 x 4 Graphite pencil on paper
Box 10
Drawing on verso. Inscribed: 2 sides reversible. 4 x 6 Conte crayon on paper
Box 10
12 x 8 1/2 Conte crayon on paper
Box 10
11 x 8 1/2 Graphite pencil on paper
Box 10
8 1/2 x 11 Conte crayon on paper
Box 10
scopecontentcard is an invitation to meet the editors of the second issue of the Marxist Quarterly. 4 x 5 Oil paint on scopecontentcard
Box 10
4 5/8 x 6 Oil paint on paper
Box 10
scopecontentcard is an invitation to meet the editors of the second issue of the Marxist Quarterly. 5 x 4 Oil paint on paper
Box 10
scopecontentcard is an invitation to meet the editors of the second issue of the Marxist Quarterly. 4 x 5 Oil paint on paper
Box 10
scopecontentcard is an invitation to meet the editors of the second issue of the Marxist Quarterly. 4 x 5 Oil paint on paper
Box 10
scopecontentcard is an invitation to meet the editors of the second issue of the Marxist Quarterly. 4 x 5 Oil paint on paper
Box 10
4 x 6 Conte crayon on paper
Box 10
4 x 6 Conte crayon on paper
Box 10
6 x 4 Colored pencil on paper
Box 10
6 x 4 Graphite pencil on paper
Box 10
6 x 4 Graphite pencil on paper
Box 10
6 x 4 Conte crayon on paper
Box 10
6 x 4 Graphite pencil on paper
Box 10
6 x 4 Graphite pencil on paper
Box 10
6 x 4 Graphite pencil on paper
Box 10
6 x 4 Graphite pencil on paper
Box 10
4 x 6 Conte crayon on paper
Box 10
6 x 4 Graphite pencil on paper
Box 10
4 x 11 Charcoal on paper
Box 10
10 7/8 x 8 3/8 Graphite pencil on paper
Box 10
11 x 8 3/8 Graphite pencil on paper
Box 10
4 x 6 Graphite pencil on paper
Box 10
4 x 6 Conte crayon on paper
Box 10
scopecontentcard is an invitation to meet the editors of the second issue of the Marxist Quarterly. 4 x 5 Oil paint on paper
Box 10
11 x 8 1/2 Colored pencil on paper
Box 10
8 1/2 x 10 7/8 Conte crayon on paper
Box 10
8 1/2 x 11 Conte crayon on paper
Box 10
8 1/2 x 11 Conte crayon on paper
Box 10
8 1/2 x 11 Conte crayon on paper
Box 10
11 x 8 1/2 Conte crayon on paper
Box 10
9 x 10 3/4 Conte crayon on paper
Box 10
8 3/8 x 10 7/8 Graphite pencil on paper
Box 10
11 1/2 x 9 Ink on paper
Box 10
9 x 11 1/2 Pastels on paper
Box 10
11 1/2 x 9 Pastels on paper
Box 10
9 x 11 1/4 Ink on paper
Box 10
9 x 10 3/4 Pastels on paper
Box 10
9 1/2 x 12 Oil paint on paper
Box 10
9 1/2 x 12 1/4 Conte crayon on paper
Box 10
12 x 9 1/2 Conte crayon on paper
Box 10
13 x 9 1/2 Conte crayon on paper
Box 10
11 1/2 x 9 Oil paint on paper
Box 10
9 1/2 x 13 1/8 Graphite pencil on paper
Box 10
9 x 12 Watercolor on paper
Box 10
11 1/2 x 9 Pastels on paper
Box 10
9 1/2 x 12 Oil paint on paper
Box 10
9 1/2 x 12 1/4 Oil paint on paper
Box 10
11 1/2 x 9 Pastels on paper
Box 10
11 1/2 x 9 Pastels on paper
Box 10
9 x 10 3/4 Crayon on paper
Box 10
9 1/2 x 12 1/4 Oil paint on paper
Box 10
9 1/2 x 12 1/4 Oil paint on paper
Box 10
8 1/2 x 11 Pastels on paper
Box 10
11 x 8 1/2 Graphite pencil on paper
Box 10
8 1/2 x 11 Conte crayon on paper
Box 10
8 1/2 x 11 Oil paint on paper
Box 10
11 1/8 x 8 1/2 Oil paint on paper
Box 10
11 1/8 x 8 1/2 Oil paint on paper
Box 10
11 1/8 x 8 1/2 Oil paint on paper
Box 10
11 1/8 x 8 1/2 Oil paint on paper
Box 10
11 1/8 x 8 1/2 Oil paint on paper
Box 10
8 1/2 x 11 1/8 Oil paint on paper
Box 10
11 1/8 x 8 1/2 Oil paint on paper
Box 10
11 1/8 x 8 1/2 Oil paint on paper
Box 10
11 1/8 x 8 1/2 Graphite pencil on League of Professional Groups for Foster and Ford letterhead stationery
Box 10
11 x 8 1/2 Graphite pencil on League of Professional Groups for Foster and Ford letterhead stationery
Box 10
11 x 8 1/2 Graphite pencil on paper
Box 10
11 1/8 x 8 1/2 Graphite pencil on paper
Box 10
12 x 9 1/2 Conte crayon on paper
Box 10
12 x 9 1/2 Conte crayon on paper
Box 10
9 x 12 Oil paint on paper
Box 10
13 x 9 1/2 Crayon on paper
Box 10
9 1/8 x 12 Oil paint on paper
Box 10
13 x 10 Oil paint on paper
Box 11
11 x 15 Oil paint on paper
Box 11
6 x 4 Conte crayon on paper
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Drawing on verso. 8 x 8 Graphite pencil on paper doily
Box 11
9 1/4 x 6 Oil paint on paper
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9 1/8 x 11 1/2 Oil paint and graphite pencil on paper
Box 11
5 1/8 x 7 3/4 Conte crayon on lined paper
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6 x 4 Graphite pencil on paper
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6 x 4 Graphite pencil on paper
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6 x 4 Graphite pencil on paper
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8 1/2 x 6 1/8 Crayon on paper
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6 x 4 Graphite pencil on paper
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6 x 3 7/8 Graphite pencil on paper
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6 x 3 7/8 Graphite pencil on paper
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6 x 4 Graphite pencil on paper
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4 x 6 Graphite pencil on paper
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4 x 6 Graphite pencil on paper
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4 x 6 Graphite pencil on paper
Box 11
Drawing on verso. 6 x 4 Graphite pencil on paper
Box 11
5 x 8 Ink on paper
Box 11
Two sheets. 6 x 4 Graphite pencil on paper
Box 11
6 x 4 Graphite pencil on paper
Box 11
6 x 4 Graphite pencil on paper
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3 x 5 Ink on cardboard
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Two sheets. 6 x 4 Ink on paper
Box 11
4 x 6 Graphite pencil on paper
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5 1/2 x 3 1/2 Graphite pencil on Beacon Nurse's Registry Agency paper
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6 x 4 Ink on paper
Box 11
4 x 6 Conte crayon on paper
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6 x 4 Ink on paper
Box 11
8 x 5 Ink on paper
Box 11
6 x 4 Graphite pencil on paper
Box 11
3 x 5 Ink on paper
Box 11
6 x 4 Ink on paper
Box 11
Three sheets. 7 1/5 x 5 3/4 Conte crayon on paper
Box 11
6 x 4 Graphite pencil on cardboard
Box 11
5 x 8 Conte crayon on paper
Box 11
6 x 4 Ink on paper
Box 11
5 x 8 Conte crayon on paper
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6 x 4 Ink on paper
Box 11
4 x 6 Graphite pencil on paper
Box 11
4 x 6 Colored pencil on paper
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6 x 4 Ink on paper
Box 11
6 x 4 Conte crayon on paper
Box 11
6 x 4 Graphite pencil on paper
Box 11
Two sheets. 6 x 4 Graphite pencil on paper
Box 11
4 x 6 Graphite pencil on paper
Box 11
4x 6 Conte crayon on paper
Box 11
4 x 6 Graphite pencil on paper
Box 11
6 x 4 Ink on paper
Box 11
6 x 4 Graphite pencil on paper
Box 11
4 x 6 Ink on paper
Box 11
4 x 6 Ink on paper
Box 11
4 x 6 Graphite pencil on paper
Box 11
scopecontentcard is an invitation to meet the editors of the second issue of the Marxist Quarterly. 4 x 5 Oil paint on scopecontentcard
Box 11
5 1/2 x 5 Graphite pencil on paper
Box 11
5 1/4 x 7 1/2 Crayon on lined paper
Box 11
4 3/4 x 3 1/8 Ink on paper
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7 7/8 x 5 3/8 Graphite pencil on graph paper
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6 x 4 Ink on paper
Box 11
4 x 6 Ink on paper
Box 11
6 x 4 Conte crayon on paper
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5 x 8 Conte crayon on paper
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5 x 8 Conte crayon on paper
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5 1/8 x 7 3/4 Conte crayon on lined paper
Box 11
5 1/8 x 7 3/4 Conte crayon on lined paper
Box 11
8 x 5 Conte crayon on paper
Box 11
5 1/8 x 7 3/4 Conte crayon on lined paper
Box 11
5 1/8 x 7 3/4 Conte crayon on lined paper
Box 11
Three sheets. 6 x 4 Graphite pencil on lined paper
Box 11
Drawing on verso. 6 x 4 Graphite pencil on paper
Box 11
Drawing on verso. 6 x 4 Graphite pencil on paper
Box 11
6 1/2 x 4 1/4 Ink and pastels on paper
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6 x 4 Graphite pencil on paper
Box 11
4 x 6 Graphite pencil on paper
Box 11
6 x 4 Conte crayon on paper
Box 11
6 x 4 Graphite pencil on paper
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6 x 4 Graphite pencil on paper
Box 11
6 x 4 Ink on paper
Box 11
Two sheets. 6 x 4 Ink on paper
Box 11
Three sheets. 6 x 4 Ink on paper
Box 11
4 x 6 Conte crayon on paper
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5 x 3 Graphite pencil on paper
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scopecontentcard is an invitation to a lecture by Kenneth de B. Codrington at New York University. 5 1/2 x 3 1/2 Ink on scopecontentcard
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6 x 4 Graphite pencil on paper
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4 x 6 Ink on paper
Box 11
Two sheets. 4 x 6 Ink on paper
Box 11
9 1/2 x 6 3/8 Conte crayon on paper
Box 11
10 7/8 x 8 1/2 Graphite pencil on paper
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9 1/2 x 6 1/4 Conte crayon on paper
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9 1/2 x 6 1/4 Conte crayon on paper
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5 1/2 x 8 3/8 Conte crayon on paper
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4 7/8 x 7 5/8 Graphite pencil on paper
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4 7/8 x 7 5/8 Graphite pencil on paper
Box 11
4 7/8 x 7 5/8 Graphite pencil on paper
Box 11
4 7/8 x 7 5/8 Graphite pencil on paper
Box 11
4 7/8 x 7 5/8 Graphite pencil on paper
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4 7/8 x 7 5/8 Graphite pencil on paper
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4 x 6 Ink on paper
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6 x 4 Ink on paper
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3 5/8 x 6 Ink on paper
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11 x 8 1/2 Pastels on paper
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11 x 8 13/8 Pastels on paper
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8 1/2 x 11 Pastels on paper
Box 11
4 x 6 Conte crayon on paper
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11 x 8 1/2 Pastels on paper
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11 x 8 1/2 Pastels on paper
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4 x 6 Conte crayon on paper
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6 x 4 Conte crayon on paper
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4 x 6 Conte crayon on paper
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4 x 6 Conte crayon on paper
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4 x 6 Conte crayon on paper
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4 x 6 Conte crayon on paper
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4 x 6 Conte crayon on paper
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4 x 6 Graphite pencil on paper
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6 x 4 Graphite pencil on paper
Box 11
6 x 4 Graphite pencil on paper
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6 x 4 Graphite pencil on paper
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4 x 6 Graphite pencil on paper
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3 x 5 Graphite pencil on paper
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6 3/4 x 9 Oil paint on paper
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6 37/8 x 9 Oil paint on paper
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6 1/4 x 9 Oil paint on paper
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Drawing on verso. 6 3/8 x 9 5/8 Crayon on paper
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9 x 11 1/4 Crayon on paper
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9 x 11 1/4 Crayon on paper
Box 11
9 x 10 3/4 Gouache on paper
Box 12
9 1/2 x 12 3/4 Oil paint on paper
Box 12
12 x 9 Pastels on paper
Box 12
12 x 9 Oil paint on paper
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Inscribed on verso: Williamsburg. 12 x 8 1/2 Oil paint on paper
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9 x 12 Oil paint on paper
Box 12
12 x 8 3/8 Pastels on paper
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9 1/2 x 13 1/4 Oil paint on paper
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9 x 12 Oil paint on paper
Box 12
9 1/2 x 12 Oil paint on paper
Box 12
12 x 8 3/8 Pastels on paper
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5 x 8 Graphite pencil on paper
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Two sheets. 3 1/2 x 5 1/2 Ink on paper
Box 12
9 x 11 1/2 Oil paint on paper
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9 1/2 x 12 Oil paint on paper
Box 12
4 x 5 7/8 Graphite pencil on paper
Box 12
8 1/2 x 12 Pastels on paper
Box 12
8 1/2 x 6 Pastels on paper
Box 12
7 x 10 5/8 Watercolor on paper
Box 12
8 1/8 x 11 Oil paint on paper
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7 3/4 x 11 Oil paint on paper
Box 12
9 3/4 x 13 1/8 Oil paint on paper
Box 12
9 x 12 Oil paint on paper
Box 12
12 x 8 1/2 Crayon on paper
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5 x 2 7/8 Graphite pencil on paper
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4 x 5 7/8 Ink on paper
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6 1/8 x 9 1/2 Ink on paper
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6 x 4 Graphite pencil on paper
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6 x 4 Ink on paper
Box 12
Two sheets. 4 x 6 Graphite pencil on paper
Box 12
9 1/8 x 6 1/8 Oil paint on paper
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11 x 7 1/2 Ink on paper
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Drawn on verso of scrap of final examination for Fine Arts 175 - Modern Painting. 8 1/2 x 7 Graphite pencil on paper
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4 x 5 7/8 Graphite pencil on paper
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3 x 4 Ink and graphite pencil on paper
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4 x 6 Ink and graphite pencil on paper
Box 12
9 x 12 Oil paint on paper
Box 12
6 x 4 Ink on paper
Box 12
4 x 6 Graphite pencil on paper
Box 12
4 1/2 x 6 1/4 Ink on paper
Box 12
8 7/8 x 6 Graphite pencil on paper
Box 12
4 x 6 Ink on paper
Box 12
5 3/4 x 7 5/8 Graphite pencil on paper
Box 12
6 x 4 Graphite pencil on paper
Box 12
4 x 6 Ink on paper
Box 12
9 x 11 1/2 Conte crayon on paper
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6 1/8 x 9 1/2 Ink on paper
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12 x 8 1/2 Graphite pencil on paper
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12 x 8 1/2 Graphite pencil on paper
Box 12
11 x 8 1/2 Graphite pencil on paper
Box 12
4 x 6 Graphite pencil on paper
Box 12
6 x 4 Graphite pencil on paper
Box 12
5 3/4 x 3 7/8 Ink on paper
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4 x 6 Graphite pencil on paper
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12 x 8 1/2 Graphite pencil on paper
Box 12
13 1/4 x 9 1/2 Crayon on paper
Box 12
12 x 9 Oil paint on paper
Box 12
9 1/2 x 13 Oil paint on paper
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9 x 7 3/4 Graphite pencil on paper
Box 12
4 x 6 Ink on paper
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3 x 5 Graphite pencil on paper
Box 12
3 x 5 Graphite pencil on paper
Box 12
3 1/8 x 4 1/4 Crayon on paper
Box 12
6 x 4 Pastels on paper
Box 12
6 x 3 7/8 Graphite pencil on paper
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5 x 3 Ink on paper
Box 12
3 x 5 Ink on paper
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5 x 3 Ink on paper
Box 12
5 x 3 Ink on paper
Box 12
5 x 3 Ink on paper
Box 12
Drawing on verso. 6 x 4 Ink on paper
Box 12
4 x 6 Graphite pencil on paper
Box 12
4 x 6 Ink on paper
Box 12
Two sheets. 4 x 6 Ink on paper
Box 12
4 x 6 Ink on paper
Box 12
6 x 3 7/8 Graphite pencil on paper
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6 x 4 Graphite pencil on paper
Box 12
4 x 6 Ink on paper
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6 x 4 Graphite pencil on paper
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6 x 4 Graphite pencil on paper
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6 x 4 Graphite pencil on paper
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6 x 4 Graphite pencil on paper
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Drawn on verso of RMS "Queen Elizabeth" stationery. 5 3/8 x 6 7/8 Ink on paper
Box 12
6 x 4 Pastels on paper
Box 12
6 x 4 Pastels on paper
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6 x 4 Pastels on paper
Box 12
6 x 4 Pastels on paper
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Inscribed: folding paper on wet ink. 5 7/8 x 4 Ink on paper
Box 12
3 7/8 x 6 Grpahite pencil on paper
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Two sheets. 6 x 4 Graphite pencil on paper
Box 12
4 x 5 7/8 Ink on paper
Box 12
5 7/8 x 4 Graphite pencil on paper
Box 12
5 7/8 x 4 Graphite pencil on paper
Box 12
5 7/8 x 3 7/8 Ink on paper
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6 1/8 x 4 Ink on paper
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6 x 9 Graphite pencil on paper
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4 1/8 x 6 Graphite pencil on paper
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5 x 3 Graphite pencil on paper
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5 1/8 x 7 1/4 Crayon on lined paper
Box 12
12 x 9 Graphite pencil on paper
Box 12
12 x 8 1/2 Graphite pencil on paper
Box 12
12 x 8 1/2 Graphite pencil on paper
Box 12
9 3/4 x 12 3/4 Charcoal on paper
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12 1/4 x 9 3/8 Ink on paper
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9 3/8 x 5 1/2 Ink on paper
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7 1/2x 11 Oil paint on paper
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11 1/2 x 9 Graphite pencil on paper
Box 12
9 x 11 1/2 Conte crayon on paper
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4 x 6 Ink on paper
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9 x 12 Crayon and watercolor on paper
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9 x 12 Charcoall on paper
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6 x 9 1/2 Ink on paper
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Inscribed on verso: Meadow and Glebe Mountain, Rawsonville, Vermont. 15x 11 Pastels on paper
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15 1/8 x 11 1/2 Oil paint on paper
Box 12
15 x 11 1/8 Oil paint on paper
Box 12
15 x 11 Oil paint on paper
Box 12
11 x 8 1/2 Graphite pencil on paper
Box 12
15 1/8 x 11 1/8 Oil paint on paper
Box 12
9 1/2 x 12 3/4 Oil paint on paper
Box 12
9 x 11 1/2 Oil paint on paper
Box 12
12 x 9 Oil paint on paper
Box 12
12 x 9 Graphite pencil on paper
Box 12
6 3/4 x 9 Oil paint on paper
Box 12
14 x 10 3/4 Oil paint on cardboard
Box 12
11 1/8 x 15 Gouache on paper
Box 12
12 x 8 1/2 Pastels on paper
Box 12
9 3/8 x 13 1/8 Oil paint on paper
Box 12
14 x 10 Oil paint on canvas board
Box 12
9 1/2 x 13 1/4 Oil paint on paper
Box 12
9 1/2 x 13 1/8 Oil paint on paper
Box 12
8 x 10 7/8 Oil paint on paper
Box 12
8 x 10 7/8 Oil paint on paper
Box 12
6 7/8 x 8 7/8 Oil paint on paper
Box 12
5 3/4 x 5 7/8 Oil paint on paper
Box 12
9 1/2 x 13 1/4 Oil paint on paper
Box 12
12 x 9 1/2 Oil paint on paper
Box 12
12 1/2 x 9 Graphite pencil on paper
Box 12
9 1/2 x 6 1/2 Oil paint on paper
Box 12
12 x 9 Crayon on paper
Box 12
14 1/2 x 11 1/8 Crayon on paper
Box 12
12 1/4 x 9 Crayon on paper
Box 12
6 x 4 Graphite pencil on paper
Box 12
9 1/2 x 12 Oil paint on paper
Box 12
8 x 11 Oil paint on paper
Box 12
5 7/8 x 4 Crayon on paper
Box 12
11 5/8 x 9 1/8 Crayon on paper
Box 12
12 x 8 1/2 Pastels on paper
Box 12
11 x 8 1/2 Graphite pencil and crayon on paper
Box 12
9 1/2 x 6 Oil paint on paper
Box 12
11 x 15 Oil paint on paper
Box 12
11 1/2 x 9 Watercolor and crayon on paper
Box 12
7 x 11 Pastels on paper
Box 12
12 x 9 1/2 Conte crayon on paper
Box 12
4 1/8 x 5 1/8 Ink on paper
Box 12
6 x 4 Charcoal on paper
Box 12
4 x 6 Pastel and ink on paper
Box 12
4 x 6 Graphite pencil on paper
Box 12
6 x 4 Ink on cardboard
Box 12
6 x 4 Ink on paper
Box 12
3 3/4 x 5 Oil paint on paper
Box 12
9 1/8 x 12 Pastels on paper
Box 12
4 x 5 1/4 Crayon on paper
Box 12
4 x 6 Graphite pencil on paper
Box 12
3 1/2 x 5 Ink on paper
Box 12
4 x 6 Ink on paper
Box 12
4 x 6 Conte crayon on paper
Box 12
4 x 6 Conte crayon on paper
Box 12
5 x 3 Ink on paper
Box 12
6 x 4 Conte crayon on paper
Box 12
9 x 12 Pastels on paper
Box 12
8 3/4 x 12 Graphite pencil on paper
Box 12
9 3/4 x 12 Oil paint on paper
Box 12
5 x 8 Oil paint on paper
Box 12
6 1/4 x 7 3/4 Oil paint on paper
Box 12
9 x 11 1/2 Pastels on paper
Box 12
13 7/8 x 9 7/8 Oil paint on canvas board
Box 12
9 x 12 Oil paint on paper
Box 13
Drawn on hotel brochure. 3 1/2 x 5 1/2 Ink on paper
Box 13
6 x 3 7/8 Graphite pencil on paper
Box 13
6 x 4 Graphite pencil on paper
Box 13
11 x 8 1/2 Graphite pencil on paper
Box 13
10 7/8 x 7 1/2 Pastels on paper
Box 13
11 1/2 x 9 Oil paint on paper
Box 13
12 x 9 Crayon and watercolor on paper
Box 13
8 1/2 x 7 Pastels on paper
Box 13
13 1/8 x 9 7/8 Oil paint on paper
Box 13
7 1/2 x 11 Oil paintl on paper
Box 13
5 7/8 x 4 Graphite pencil on paper
Box 13
8 1/2 x 6 Crayon on paper
Box 13
9 x 12 Oil paint on paper
Box 13
9 x 11 1/2 Oil paint on paper
Box 13
9 x 6 1/8 Oil paint on paper
Box 13
4 x 5 7/8 Graphite pencil on paper
Box 13
4 1/2 x 6 1/4 Oil paint on paper
Box 13
12 x 8 1/2 Pastels on paper
Box 13
11 x 8 1/2 Conte crayon on paper
Box 13
11 x 8 1/2 Crayon on paper
Box 13
9 x 11 1/2 Conte crayon on paper
Box 13
10 5/8 x 7 Conte crayon on paper
Box 13
4 x 6 Graphite pencil on paper
Box 13
4 x 6 Conte crayon on paper
Box 13
6 x 4 Graphite pencil on paper
Box 13
4 x 5 7/8 Graphite pencil on paper
Box 13
6 x 4 Ink on paper
Box 13
6 x 4 Ink on paper
Box 13
6 x 4 Ink on paper
Box 13
6 x 4 Pastels on paper
Box 13
6 x 4 Pastels on paper
Box 13
6 x 4 Pastels on paper
Box 13
2 7/8 x 4 3/8 Ink on lined paper
Box 13
Inscribed on verso: Tuilleries. 2 7/8 x 4 3/8 Ink on lined paper
Box 13
3 x 5 Ink on paper
Box 13
3 7/8 x 5 7/8 Ink on paper
Box 13
5 7/8 x 4 Graphite pencil on paper
Box 13
6 x 4 Graphite pencil on paper
Box 13
6 x 4 Ink on paper
Box 13
5 x 3 Graphite pencil on paper
Box 13
5 x 3 Graphite pencil on paper
Box 13
6 x 4 Pastels and graphite pencil on paper
Box 13
Two sheets. 6 x 4 Crayon on paper
Box 13
Two sheets. 6 x 4 Crayon on paper
Box 13
Two sheets. 6 x 4 Graphite pencil on paper
Box 13
Two sheets. 5 x 3 Graphite pencil on paper
Box 13
Two sheets. 4 x 6 1/8 Ink on paper
Box 13
5 x 3 Graphite pencil on paper
Box 13
4 x 6 Graphite pencil on paper
Box 13
4 x 6 Graphite pencil on paper
Box 13
Three sheets. 6 3/8 x 9 1/2 Oil paint on paper
Box 13
Two sheets. 4 x 6 Graphite pencil on paper
Box 13
4 x 6 Ink on paper
Box 13
4 x 6 Graphite pencil on paper
Box 13
Two sheets. 4 x 6 Graphite pencil on paper
Box 13
4 x 6 Graphite pencil on paper
Box 13
5 x 6 1/4 Ink on paper
Box 13
5 1/4 x 8 1/4 Ink on paper
Box 13
5 x 3 Graphite pencil on paper
Box 13
Two sheets. 5 7/8 x 4 7/8 Graphite pencil on paper
Box 13
4 x 6 Graphite pencil on paper
Box 13
6 x 4 Crayon on paper
Box 13
6 x 4 Crayon on paper
Box 13
6 1/4 x 4 3/8 Ink on paper
Box 13
6 x 4 Graphite pencil on paper
Box 13
Inscribed on recto: griot house in Perigny. 6 x 3 1/2 Ink on paper
Box 13
6 x 4 Graphite pencil on paper
Box 13
scopecontentcard is invitation to a lecture by Georges Gaillard at New York University. 5 3/8 x 4 1/4 Ink on scopecontentcard
Box 13
3 x 4 15/16 Graphite pencil on paper
Box 13
5 7/8 x 4 Graphite pencil on paper
Box 13
5 7/8 x 4 Graphite pencil on paper
Box 13
6 x 4 Graphite pencil on paper
Box 13
5 7/8 x 4 Graphite penil on paper
Box 13
2 7/8 x 4 3/8 Ink on lined paper
Box 13
6 x 4 Pastels on paper
Box 13
8 1/2 x 11 Oil paint on paper
Box 13
4 x 6 Ink on paper
Box 13
11 x 7 3/8 Oil paint on paper
Box 13
11 x 7 1/2 Oil paint on paper
Box 13
11 x 8 Pastels on paper
Box 13
4 x 6 Graphite pencil on paper
Box 13
6 x 4 Pastels on paper
Box 13
7 x 10 1/2 Conte crayon on paper
Box 13
6 x 4 Graphite pencil on paper
Box 13
5 1/2 x 2 7/8 Graphite pencil on paper
Box 13
5 7/8 x 3 7/8 Graphite pencil on paper
Box 13
4 x 6 Conte crayon on paper
Box 13
Drawing on verso. 6 1/4 x 9 5/8 Conte crayon on paper
Box 13
8 1/4 x 9 1/2 Pastels on paper
Box 13
13 1/4 x 9 1/2 Conte crayon on paper
Box 13
6 x 4 Graphite pencil on paper
Box 13
9 x 11 1/2 Graphite pencil on paper
Box 13
7 x 10 1/8 Oil on cardboard
Box 13
11 x 8 1/2 Crayon on paper
Box 13
11 x 8 1/2 Crayon on paper
Box 13
9 1/4 x 6 1/4 Gouache on paper
Box 13
9 1/8 x 12 Pastels on paper
Box 13
9 x 12 Graphite pencil on paper
Box 13
9 1/2 x 6 1/8 Gouache on paper
Box 13
6 x 3 7/8 Graphite pencil on paper
Box 13
Inscribed on verso: England? 4 x 6 Ink on paper
Box 13
9 x 11 1/2 Conte crayon on paper
Box 13
9 x 12 Gouache on paper
Box 13
9 x 12 Pastels on paper
Box 13
9 x 12 Oil paint on paper
Box 13
9 x 12 Pastels on paper
Box 13
Inscribed on recto: We're up in the woods will be back around 3 or 3:30. 12 x 9 Graphite pencil on paper
Box 13
8 1/2 x 12 Oil paint on paper
Box 13
9 1/2 x 13 1/8 Conte crayon on paper
Box 13
9 x 11 5/8 Pastels on paper
Box 13
6 x 4 Graphite pencil on paper
Box 13
12 x 9 1/2 Gouache and graphite pencil on paper
Box 13
9 x 11 1/2 Oil paint on paper
Box 13
9 x 12 Pastels on paper
Box 13
11 1/2 x 9 Pastels on paper
Box 13
11 1/2 x 9 Pastels on paper
Box 13
9 x 11 1/2 Pastels on paper
Box 13
9 x 11 1/2 Pastels and gouache on paper
Box 13
9 x 12 Pastels on paper
Box 13
12 x 9 Oil paint on paper
Box 13
12 x 8 7/8 Oil paint on paper
Box 13
9 1/2 x 13 1/8 Oil paint on paper
Box 13
8 1/2 x 12 Pastels on paper
Box 13
13 1/8 x 9 5/8 Conte crayon on paper
Box 13
12 x 9 1/2 Gouache and graphite pencil on paper
Box 13
Accompanied by detached diary page inscribed: Souvenir of Rawsonville, Vermont, July 1941. 5 7/8 x 4 Graphite pencil on paper
Box 13
5 7/8 x 4 Graphite pencil on paper
Box 13
6 x 4 Graphite pencil on paper
Box 13
6 x 4 Graphite pencil on paper
Box 13
6 x 4 Graphite pencil on paper
Box 13
6 x 4 Graphite pencil on paper
Box 13
6 x 4 Graphite pencil on paper
Box 13
9 x 12 Pastels on paper
Box 13
11 1/2 x 9 Graphite pencil on paper
Box 14
7 1/2 x 11 Pastels on paper
Box 14
7 1/2 x 11 Pastels on paper
Box 14
7 1/2 x 11 Pastels on paper
Box 14
7 3/8 x 11 Watercolor on paper
Box 14
7 1/2 x 11 Pastels on paper
Box 14
12 x 9 Conte crayon on paper
Box 14
9 x 12 Conte crayon on paper
Box 14
11 1/2 x 9 Conte crayon on paper
Box 14
11 1/2 x 9 Conte crayon on paper
Box 14
7 1/2 x 11 Ink on paper
Box 14
11 1/2 x 9 Conte crayon on paper
Box 14
9 1/2 x 12 Conte crayon on paper
Box 14
9 x 11 1/2 Conte crayon on paper
Box 14
7 1/2 x 11 Gouache on paper
Box 14
7 1/2 x 11 Pastels on paper
Box 14
7 3/8 x 11 Pastels on paper
Box 14
11 x 7 1/2 Pastels on paper
Box 14
7 3/8 x 11 Gouache on paper
Box 14
7 1/2 x 11 Pastels on paper
Box 14
11 x 7 5/8 Pastels on paper
Box 14
5 1/2 x 7 Oil paint on paper
Box 14
11 x 7 1/2 Pastels on paper
Box 14
11 x 7 1/2 Gouache on paper
Box 14
11 x 7 1/2 Oil paint on paper
Box 14
11 x 7 1/2 Graphite pencil on paper
Box 14
7 1/2 x 11 Oil paint on paper
Box 14
11 1/2 x 9 Crayon on paper
Box 14
9 1/2 x 13 Oil paint on cardboard
Box 14
11 x 7 1/2 Ink on paper
Box 14
11 x 7 1/2 Ink on paper
Box 14
12 x 9 Crayon on paper
Box 14
11 x 7 1/2 Pastels on paper
Box 14
7 1/2 x 10 7/8 Pastels on paper
Box 14
10 7/8 x 7 1/2 Gouache on paper
Box 14
7 1/2 x 11 Gouache on paper
Box 14
7 1/2 x 11 Pastels on paper
Box 14
11 x 7 1/2 Pastels on paper
Box 14
7 3/8 x 11 Gouache on paper
Box 14
11 x 7 1/2 Pastels on paper
Box 14
11 x 7 1/2 Pastels on paper
Box 14
7 1/2 x 11 Pastels on paper
Box 14
7 1/2 x 11 Pastels on paper
Box 14
11 x 8 1/2 Graphite pencil on paper
Box 14
3 x 5 Ink on paper
Box 14
6 x 4 Pastels on paper
Box 15
15 1/8 x 11 Oil paint on paper
Box 15
11 x 8 1/2 Pastels on paper
Box 15
11 x 8 1/2 Ink on paper
Box 15
11 x 8 1/2 Ink on paper
Box 15
11 x 8 1/2 Ink on paper
Box 15
4 x 6 Ink on paper
Box 15
Two sheets. 4 x 6 Crayon on paper
Box 15
6 x 4 Graphite pencil on paper
Box 15
6 3/8 x 9 1/2 Gouache on paper
Box 15
11 x 7 1/2 Crayon on paper
Box 15
9 x 11 1/2 Crayon on paper
Box 15
7 1/2 x 11 Crayon on paper
Box 15
11 x 8 1/2 Crayon on paper
Box 15
15 x 11 1/2 Graphite pencil on paper
Box 15
14 3/4 x 9 5/8 Crayon and graphite pencil on paper
Box 15
15 1/8 x 11 Crayon on paper
Box 15
4 x 6 Graphite pencil on paper
Box 15
4 x 6 Graphite pencil on paper
Box 15
7 1/8 x 8 1/2 Graphite pencil on paper
Box 15
5 x 3 1/8 Graphite pencil on paper
Box 15
3 7/8 x 6 Ink on paper
Box 15
4 1/4 x 5 5/8 Ink on newspaper clipping
Box 15
3 1/2 x 5 Ink on paper
Box 15
9 x 11 1/8 Oil paint on paper
Box 15
8 7/8 x 11 1/4 Oil paint on paper
Box 15
8 7/8 x 11 Oil paint on paper
Box 15
8 3/4 x 11 1/2 Pastels on paper
Box 15
12 x 7 1/2 Graphite pencil on paper
Box 15
Two sheets. 6 x 4 Crayon on paper
Box 15
6 x 4 Crayon on paper
Box 15
4 x 6 Graphite pencil on paper
Box 15
4 x 6 Graphite pencil on paper
Box 15
4 x 6 Ink on paper
Box 15
4 x 6 Ink on paper
Box 15
4 x 6 Ink on paper
Box 15
Two sheets. 6 x 4 Ink on paper
Box 15
4 x 6 Ink on paper
Box 15
6 1/4 x 5 Ink on paper
Box 15
4 1/4 x 5 Ink on paper
Box 15
5 1/2 x 4 1/4 Ink on paper
Box 15
6 x 4 Ink on paper
Box 15
4 x 5 7/8 Ink on cardboard
Box 15
4 x 6 Graphite pencil on paper
Box 15
4 x 6 Graphite pencil on paper
Box 15
Two sheets. 4 x 6 Crayon on paper
Box 15
Two sheets. 4 x 6 Crayon on paper
Box 15
13 1/8 x 9 1/2 Graphite pencil on paper
Box 15
15 x 11 Graphite pencil on paper
Box 15
8 x 5 Ink on paper
Box 15
8 x 5 Ink on paper
Box 15
7 1/2 x 11 Pastels on paper
Box 15
9 x 11 1/2 Crayon on paper
Box 15
9 1/2 x 8 1/4 Crayon on paper
Box 15
Inscribed on verso: from XL. 7 7/8 x 9 7/8 Pastels on paper
Box 15
11 x 8 1/2 Gouache on paper
Box 15
12 x 8 1/2 Conte crayon on paper
Box 15
9 x 11 1/2 Gouache on paper
Box 15
4 x 3 1/4 Gouache on paper
Box 15
11 1/2 x 9 Pastels on paper
Box 15
9 x 12 Gouache on paper
Box 15
6 1/8 x 9 1/2 Conte crayon on paper
Box 15
15 1/8 x 11 Pastels on paper
Box 15
15 x 10 Pastels on paper
Box 15
11 x 15 Pastels on paper
Box 15
11 x 15 Ink on paper
Box 15
11 x 15 Ink on paper
Box 15
11 x 15 Gouache on paper
Box 15
12 x 8 1/2 Pastels on paper
Box 15
12 x 8 1/2 Pastels on paper
Box 15
9 1/2 x 8 1/4 Conte crayon on paper
Box 15
9 1/2 x 8 1/4 Conte crayon on paper
Box 15
9 1/4 x 12 1/8 Oil paint on paper
Box 15
8 7/8 x 12 Pastels on paper
Box 15
11 x 15 Gouache on paper
Box 15
5 x 3 Ink on paper
Box 15
5 x 3 7/8 Graphite pencil on lined paper
Box 15
6 x 4 Graphite pencil on paper
Box 15
4 x 6 Graphite pencil on paper
Box 15
6 x 4 Graphite pencil on paper
Box 15
4 x 3 7/8 Graphite pencil and watercolor on lined paper
Box 15
4 x 6 Ink on paper
Box 15
Typing on verso. 5 1/8 x 3 7/8 Ink on scrap paper
Box 15
6 x 4 Ink on paper
Box 15
3 x 5 Graphite pencil on paper
Box 15
8 1/4 x 5 1/4 Graphite pencil on paper
Box 15
6 x 4 Conte crayon on paper
Box 15
5 3/4 x 4 3/8 Crayon on paper
Box 16
12 1/2 x 9 Conte crayon on paper
Box 16
9 1/4 x 6 Crayon on paper
Box 16
9 x 11 1/2 Pastels on paper
Box 16
15 x 11 Graphite pencil on paper
Box 16
8 1/2 x 12 Pastels on paper
Box 16
14 x 9 Oil paint on canvas
Box 16
10 7/8 x 7 7/8 Gouache on paper
Box 16
11 1/2 x 9 Gouache on paper
Box 16
11 x 15 1/8 Oil paint on paper
Box 16
15 x 11 Crayons on paper
Box 16
11 1/2 x 9 Crayon on paper
Box 16
15 x 11 Oil paint on paper
Box 16
4 x 6 Crayon on paper
Box 16
6 x 4 Graphite pencil on paper
Box 16
9 1/2 x 8 1/4 Conte crayon on paper
Box 16
15 x 11 Graphite pencil on paper
Box 16
9 7/8 x 9 7/8 Ink on paper
Box 16
6 x 4 Ink on paper
Box 16
6 1/8 x 9 1/4 Graphite pencil on paper
Box 16
9 x 12 Crayon on paper
Box 16
9 x 4 3/8 Graphite pencil on paper
Box 16
5 7/8 x 4 Ink on paper
Box 16
6 x 9 1/4 Graphite pencil on paper
Box 16
9 x 11 1/2 Conte crayon on paper
Box 16
9 1/2 x 8 1/4 Pastels on paper
Box 16
9 1/2 x 8 1/8 Colored pencils on paper
Box 16
7 1/4 x 3 3/4 Pastels on paper
Box 16
Two sheets. 4 x 6 Crayon on paper
Box 16
9 1/4 x 6 Crayon on paper
Box 16
Inscribed on verso: from XL. 7 7/8 x 9 7/8 Pastels on paper
Box 16
4 5/8 x 7 3/8 Crayon on paper
Box 16
5 1/2 x 8 1/2 Crayon on paper
Box 16
Two sheets. 6 x 4 Ink on paper
Box 16
Two sheets. 6 x 4 Ink on paper
Box 16
13 1/8 x 9 1/2 Graphite pencil on paper
Box 16
8 3/8 x 12 Crayon on paper
Box 16
9 x 11 3/4 Watercolor on paper
Box 16
11 1/2 x 9 Pastels on paper
Box 16
13 1/8 x 9 1/2 Graphite pencil on paper
Box 16
12 x 8 1/2 Conte crayon on paper
Box 16
13 1/8 x 8 1/2 Ink on paper
Box 16
11 x 15 Gouache on paper
Box 16
11 x 15 Pastels on paper
Box 16
9 3/8 x 13 1/8 Pastels on paper
Box 16
11 1/8 x 15 Pastels on paper
Box 16
9 1/4 x 13 1/8 Pastels on paper
Box 16
6 x 4 Graphite pencil on paper
Box 16
6 x 4 Graphite pencil on paper
Box 16
8 3/4 x 12 Pastels on paper
Box 16
Two pieces. 6 3/4 x 8 Ink on cardboard
Box 16
11 x 15 Gouache on paper
Box 16
15 1/8 x 11 1/8 Graphite pencil on paper
Box 16
15 1/8 x 11 Crayon on paper
Box 16
15 1/8 x 11 Graphite pencil and oil paint on paper
Box 16
15 1/8 x 11 1/8 Gouache on paper
Box 16
12 5/8 x 9 1/2 Gouache on paper
Box 16
9 1/4 x 5 3/4 Graphite pencil on paper
Box 16
9 1/4 x 5 3/4 Graphite pencil on paper
Box 16
Inscribed on verso: at Schnabels' studio on West 57th Street. 6 x 9 1/4 Crayon on paper
Box 16
15 1/2 x 11 Crayon on paper
Box 16
15 x 11 Conte crayon on paper
Box 16
14 7/8 x 11 Oil paint on paper
Box 16
12 5/8 x 9 1/2 Charcoal on paper
Box 16
14 3/4 x 11 Crayons on paper
Box 16
11 1/8 x 8 7/8 Oil paint on paper
Box 16
7 7/8 x 10 Crayon on paper
Box 16
15 1/8 x 11 Colored pencil on paper
Box 16
11 1/8 x 7 1/2 Pastels on paper
Box 16
11 1/8 x 15 1/8 Oil paint on paper
Box 16
15 x 11 Graphite pencil on paper
Box 16
15 1/8 x 11 Colored pencil on paper
Box 16
15 x 11 Gouache on paper
Box 16
15 x 11 Gouache on paper
Box 16
15 x 11 Gouache on paper
Box 16
8 1/4 x 11 Crayon on paper
Box 16
6 x 4 Graphite pencil on paper
Box 16
Drawing on verso. 6 x 4 Crayon on paper
Box 16
11 1/2 x 9 Crayon on paper
Box 16
9 x 11 1/2 Crayon on paper
Box 16
15 x 11 1/8 Crayon on paper
Box 16
11 1/2 x 9 Crayon on paper
Box 16
11 1/2 x 9 Crayon on paper
Box 16
9 x 11 1/2 Crayon on paper
Box 16
15 x 11 Gouache on paper
Box 16
11 x 15 Crayon on paper
Box 16
11 x 15 Gouache on paper
Box 16
11 x 15 Gouache on paper
Box 16
15 x 11 Gouache on paper
Box 16
9 x 11 1/2 Crayon on paper
Box 16
12 1/4 x 9 1/2 Gouache on paper
Box 16
7 1/2 x 11 Crayon on paper
Box 16
15 x 11 Gouache on paper
Box 16
15 x 11 Gouache on paper
Box 16
15 x 11 Gouache on paper
Box 16
15 x 11 Oil paint on paper
Box 17
11 x 8 1/2 Gouache on paper
Box 17
11 x 8 1/2 Oil paint on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
7 1/2 x 11 Watercolor and crayon on paper
Box 17
Inscribed on verso: in Vermont. 12 5/8 x 9 1/4 Pastel on paper
Box 17
8 1/2 x 12 Pastel on paper
Box 17
9 1/2 x 12 1/2 Tempera on paper
Box 17
8 1/2 x 10 7/8 Pastels and oil paint on paper
Box 17
13 x 8 3/4 Gouache on paper
Box 17
12 x 8 3/8 Pastels and ink on paper
Box 17
11 x 8 1/2 Pastels on paper
Box 17
4 1/2 diameter Crayon on paper
Box 17
4 1/2 (radius) Crayon on paper
Box 17
8 1/2 x 12 Ink on paper
Box 17
Drawing on detached pamphlet sheet from Poses Institute of Fine Art. 12 5/8 x 8 3/4 Gouache and ink on paper
Box 17
7 x 5 Ink on paper
Box 17
7 7/8 x 4 7/8 Ink on paper
Box 17
8 3/8 x 12 Ink on paper
Box 17
4 x 6 Ink on paper
Box 17
Two drawings in bound scopecontentbook. Two loose sheets in scopecontentbook. 8 3/8 x 5 1/2 Graphite pencil on paper
1598 measures 8 3/8 x 5 1/2 and is dated 1962 October 11. 8 3/8 x 5 1/2 Graphite pencil on paper
1599 measures 8 3/8 x 5 1/2 and is dated 1965 October 12. 8 3/8 x 5 1/2 Graphite pencil on paper
1600 measures 8 x 4 7/8 and is dated 1968 May 6. 8 3/8 x 5 1/2 Graphite pencil on paper
1601 measures 6 1/4 x 4 3/8 and is dated 1968 November 17. 8 3/8 x 5 1/2 Graphite pencil on paper
Box 17
8 1/2 x 11 Ink on paper
Box 17
Photocopy of original from scopecontentbook. 8 x 5 3/8 Graphite pencil on paper
Box 17
8 x 5 Ink on paper
Box 17
6 x 4 Ink on paper
Box 17
4 x 6 Ink on paper
Box 17
9 7/8 x 10 Ink and pastels on paper
Box 17
10 7/8 x 8 1/2 Pastels on paper
Box 17
Drawn on verso of announcement card for exhibition of Edward Corbett's paintings at the Borgennicht Gallery. 9 1/8 x 6 Crayon on paper
Box 17
11x 8 1/2 Oil paint on paper
Box 17
Two sheets. 4 x 6 Colored pencils on paper
Box 17
14 7/8 x 11 Oil paint on paper
Box 17
8 3/8 x 11 Pastels on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
7 1/2 x 11 Pastels on paper
Box 17
3 x 5 Graphite pencil on paper
Box 17
6 x 4 Ink on paper
Box 17
5 x 8 Ink on paper
Box 17
8 7/8 x 5 7/8 Ink on cardboard
Box 17
12 x 8 3/8 Pastels on paper
Box 17
8 x 5 Pastels on paper
Box 17
Drawn on verso of exhibition announcement. 7 7/8 x 9 Pastels on paper
Box 17
11 x 8 1/2 Pastels on paper
Box 17
Two cards. Various Pastels on paper
1624 is dated 1964 June 6 and measures 7 7/8 x 5. Inscription on recto. Various Pastels on paper
1625 is dated 1964 July 20 and measures 5 x 7. Inscription on verso: for Teddy and Howard, affectionately, Meyer. Various Pastels on paper
Box 17
Drawn on verso of a chamber music program at Stanford University dated 1962 November 11. 9 x 6 Graphite pencil on paper
Box 17
8 x 5 Ink on paper
Box 17
6 x 4 Crayon on paper
Box 17
5 x 3 Ink on paper
Box 17
5 1/4 x 8 3/8 Gouache on paper
Box 17
11 x 7 1/2 Oil paint and graphite pencil on paper
Box 17
7 1/4 x 15 Graphite pencil on paper
Box 17
12 x 8 3/8 Gouache on paper
Box 17
Drawn on verso of program for a film series presented by the Cambridge Center for Adult Education. 8 1/2 x 11 Ink on paper
Box 17
Three sheets. 6 x 4 Ink and graphite pencil on paper
Box 17
7 7/8 x 4 7/8 Colored pencils on paper
Box 17
12 x 8 3/8 Pastels on paper
Box 17
Inscribed on verso: from Alex Fried's window. 8 1/2 x 13 Graphite pencil on paper
Box 17
8 1/2 x 13 Graphite pencil on paper
Box 17
Inscribed on verso: from Alex Fried's window. 8 1/2 x 12 7/8 Graphite pencil on paper
Box 17
Drawing on verso. 8 7/8 x 12 Crayon on paper
Box 17
Inscribed on recto: to Teddy and Howard with love from Meyer. 8 3/8 x 12 Pastels on paper
Box 17
7 7/8 x 4 7/8 Ink on paper
Box 17
11 x 8 1/2 Pastels on paper
Box 17
8 1/2 x 12 Pastels on paper
Box 17
8 1/2 x 12 Pastels on paper
Box 17
8 1/2 x 12 Pastels on paper
Box 17
11 x 8 1/2 Pastels and graphite pencil on paper
Box 17
6 1/2 x 7 5/8 Ink on paper
Box 17
11 x 8 1/2 Crayon on paper
Box 17
8 1/2 x 12 Conte crayon on paper
Box 17
11 x 7 1/2 Pastels on paper
Box 17
11 x 8 1/2 Pastels on paper
Box 17
11 x 15 Oil paint on paper
Box 17
8 1/2 x 11 Ink and pastels on paper
Box 17
11 x 8 1/2 Gouache on paper
Box 17
6 x 4 Ink on paper
Box 17
11 x 8 1/2 Pastels on paper
Box 17
11 x 8 1/2 Gouache on paper
Box 17
9 x 6 Oil paint on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
9 3/4 x 7 1/2 Pastels on paper
Box 17
15 x 11 Conte crayon on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
11 x 8 1/2 Graphite pencil on paper
Box 17
8 1/2 x 11 Ink on paper
Box 17
11 x 8 1/2 Ink on paper
Box 17
11 x 8 1/2 Pastels on paper
Box 17
8 x 5 Pastels and ink on paper
Box 17
8 x 5 Pastels and ink on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
8 1/2 x 11 Gouache on paper
Box 17
8 1/2 x 11 Gouache on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
6 x 9 Colored pencils on paper
Box 17
7 x 5 Colored pencils on paper
Box 17
4 1/2 x 6 1/4 Colored pencils on paper
Box 17
7 7/8 x 4 7/8 Ink on paper
Box 17
5 x 3 Colored pencils on paper
Box 17
4 7/8 x 7 7/8 Graphite pencil on paper
Box 17
4 7/8 x 7 7/8 Ink on paper
Box 17
3 3/4 x 6 5/8 Ink on paper
Box 17
Drawn on verso of RMS Queen Elizabeth stationery. 5 1/4 x 6 7/8 Conte crayon on paper
Box 17
4 1/2 x 6 3/8 Conte crayon on paper
Box 17
3 x 5 Ink on paper
Box 17
6 x 9 Ink on paper
Box 17
Drawn on scrap. Typing on verso. 3 x 3 5/8 Pastels on paper
Box 17
Drawn on scrop. Typing on verso. 3 3/4 x 4 3/8 Ink on paper
Box 17
4 x 6 Conte crayon on paper
Box 17
3 x 5 Graphite pencil on paper
Box 17
5 x 3 Ink on paper
Box 17
5 x 3 Ink on paper
Box 17
Drawn on verso of RMS Queen Elizabeth stationery. 5 1/4 x 6 7/8 Colored pencils on paper
Box 17
7 x 4 7/8 Colored pencils on paper
Box 17
7 5/8 x 5 3/4 Pastels on paper
Box 17
6 x 4 Graphite pencil on paper
Box 17
3 x 5 Graphite pencil on paper
Box 17
6 x 4 Conte crayon on paper
Box 17
9 7/8 x 9 7/8 Ink on paper
Box 17
5 x 8 Ink on paper
Box 17
5 x 8 Ink and oil paint on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
8 1/2 x 11 Gouache on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
9 x 12 Conte crayon on paper
Box 17
Drawn on detached pamphlet sheet. Typing on verso. 9 x 12 1/2 Ink on paper
Box 17
Drawn on detached pamphlet sheet. Typing on verso. 9 x 12 1/2 Ink on paper
Box 17
Drawn on detached pamphlet sheet. Typing on verso. 9 x 12 1/2 Ink on paper
Box 17
Drawn on detached pamphlet sheet. Typing on verso. 9 x 12 1/2 Ink on paper
Box 17
Drawn on detached pamphlet sheet. Typing on verso. 9 x 12 1/2 Ink on paper
Box 17
4 x 6 Ink on paper
Box 17
4 x 6 Ink on paper
Box 17
Drawn on scrap. Typing on verso. 3 x 5 1/2 Ink on paper
Box 17
4 x 6 Ink on paper
Box 17
6 x 4 Ink on paper
Box 17
4 x 6 Ink on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
11 x 8 1/2 Pastels on paper
Box 17
11 x 8 1/2 Pastels on paper
Box 17
11 x 8 1/2 Ink on paper
Box 17
9 x 12 Gouache on paper
Box 17
11 x 8 1/2 Oil paint on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
11 x 8 1/2 Pastels and oil paint on paper
Box 17
12 x 8 1/2 Ink and pastels on paper
Box 17
8 1/2 x 12 Conte crayon on paper
Box 17
8 1/2 x 12 Pastels on paper
Box 17
8 1/2 x 12 7/8 Graphite pencil on paper
Box 17
8 1/2 x 12 Conte crayon on paper
Box 17
8 1/2 x 12 Conte crayon on paper
Box 17
8 1/2 x 12 Ink and conte crayon on paper
Box 17
8 1/2 x 12 Gouache on paper
Box 17
8 1/8 x 7 Ink on paper
Box 17
8 1/2 x 12 Conte crayon on paper
Box 17
8 1/2 x 11 Gouache on paper
Box 17
9 7/8 x 9 7/8 Pastel on paper
Box 17
8 1/2 x 11 Pastels on paper
Box 17
11 x 15 Oil paint on paper
Box 18
8 7/8 x 11 7/8 Pastels on paper
Box 18
Drawn on detached pamphlet sheet. Typing on verso. 9 x 12 1/2 Ink and Ink on paper
Box 18
Drawn on announcement card for exhibition of Wolf Kahn's work at Borgenicht Gallery dated 1969 February 1-28. 8 1/2 x 3 3/4 Ink on paper
Box 18
Inscribed on verso: drawn in Florida. 7 7/8 x 4 7/8 Conte crayon on paper
Box 18
8 1/2 x 11 Ink on paper
Box 18
6 x 4 Ink on paper
Box 18
12 x 9 Crayon on paper
Box 18
11 x 8 1/2 Ink on paper
Box 18
8 3/8 x 12 Conte crayon on paper
Box 18
10 7/8 x 8 1/2 Goauche on paper
Box 18
8 3/8 x 12 Gouache and Ink on paper
Box 18
8 1/2 x 11 Pastels on paper
Box 18
11 x 8 1/2 Gouache on paper
Box 18
12 x 8 1/2 Pastels on paper
Box 18
7 1/2 x 11 Gouache on paper
Box 18
8 1/2 x 11 Pastels on paper
Box 18
12 x 8 1/2 Pastels on paper
Box 18
Inscribed on verso: Florida. 6 x 4 Colored pencils on paper
Box 18
Inscribed on verso: Florida. 6 1/4 x 4 1/2 Colored pencils on paper
Box 18
Inscribed on verso: Florida. 6 x 4 Colored pencils on paper
Box 18
4 3/8 x 5 7/8 Colored pencils on paper
Box 18
Inscribed on recto: Florida. 6 x 4 Colored pencils on paper
Box 18
8 x 5 Pastels on paper
Box 18
6 x 4 Colored pencils on paper
Box 18
6 x 4 Colored pencils on paper
Box 18
8 1/2 x 11 Pastels and Ink on paper
Box 18
11 x 8 1/2 Pastels on paper
Box 18
8 1/2 x 11 Pastels and oil paint on paper
Box 18
12 x 8 1/2 Pastels on paper
Box 18
Inscribed on verso: see same subject 1969 July. 8 1/2 x 11 Pastels on paper
Box 18
15 1/8 x 11 Crayon on paper
Box 18
4 x 6 Graphite pencil on paper
Box 18
Accompanied by detached sketch for drawing measuring 5 x 3. 5 1/2 x 7 3/8 Crayon on paper
Box 18
8 x 5 Ink on paper
Box 18
5 x 8 Crayon on paper
Box 18
5 x 8 Crayon on paper
Box 18
5 x 8 Crayon on paper
Box 18
5 x 8 Graphite pencil on cardboard
Box 18
Drawn on scrap.Typing on verso. 5 x 6 Ink on paper
Box 18
5 1/4 x 8 1/4 Graphite pencil on paper
Box 18
6 x 4 Graphite pencil on paper
Box 18
6 x 4 Conte crayon on paper
Box 18
4 3/8 x 6 1/4 Ink on paper
Box 18
6 x 4 Ink on paper
Box 18
6 x 4 Ink on paper
Box 18
8 x 5 Ink on paper
Box 18
12 x 8 3/8 Conte crayon and graphite pencil on paper
Box 18
5 7/8 x 9 1/2 Ink on paper
Box 18
9 x 6 Crayon on paper
Box 18
4 7/8 x 7 7/8 Ink on paper
Box 18
6 1/8 x 9 Oil paint on paper
Box 18
6 x 4 Colored pencils on paper
Box 18
3 3/4 x 6 Ink and colored pencil on paper
Box 18
8 1/2 x 11 Gouache on paper
Box 18
11 x 8 1/2 Pastels on paper
Box 18
8 1/2 x 11 Pastels on paper
Box 18
8 1/2 x 10 5/8 Oil paint on cardboard
Box 18
9 x 12 Pastels on paper
Box 18
11 x 7 1/2 Gouache on paper
Box 18
Inscribed on verso: for oil painting on board, in hill house studio. 8 1/2 x 11 Pastels on paper
Box 18
12 x 8 Oil paint on cardboard
Box 18
11 x 15 Gouache on paper
Box 18
8 1/2 x 11 Watercolor on paper
Box 18
8 1/2 x 10 7/8 Watercolor on paper
Box 18
8 3/8 x 12 Pastels on paper
Box 18
8 1/2 x 11 Gouache on paper
Box 18
8 1/2 x 11 Pastels on paper
Box 18
7 1/2 x 6 1/4 Ink on paper
Box 18
12 x 8 1/2 Pastels on paper
Box 18
9 3/4 x 11 1/4 Oil paint on paper
Box 18
12 x 8 1/4 Pastels on paper
Box 18
10 x 9 7/8 Ink on paper
Box 18
15 x 11 Oil paint on paper
Box 18
11 x 14 7/8 Oil paint on paper
Box 18
[8 1/2 x 11] Pastels on paper
Box 18
8 1/2 x 12 Pastels on paper
Box 18
9 x 12 Gouache on paper
Box 18
12 x 8 1/2 Ink on paper
Box 18
6 x 8 1/2 Oil paint on cardboard
Box 18
Inscribed on verso: Florida - 5858 Midnight Pass Road. 6 x 4 Graphite pencil on paper
Box 18
6 x 4 Ink on paper
Box 18
Inscribed on verso: Florida. 6 x 4 Crayons and watercolor on paper
Box 18
8 1/2 x 11 Pastels on paper
Box 18
12 x 8 1/2 Conte crayon on paper
Box 18
8 1/2 x 12 Ink on paper
Box 18
11 x 8 1/2 Pastels on paper
Box 18
6 1/8 x 9 1/8 Oil paint on paper
Box 18
Drawn on scrap. Typing on verso. 8 1/2 x 5 3/4 Ink on paper
Box 18
7 7/8 x 4 7/8 Ink on paper
Box 18
7 7/8 x 4 7/8 Ink on paper
Box 18
7 7/8 x 4 7/8 Ink on paper
Box 18
7 7/8 x 4 7/8 Ink on paper
Box 18
7 7/8 x 4 7/8 Ink on paper
Box 18
9 3/4 x 11 7/8 Crayon on paper
Box 18
8 3/8 x 12 Crayon on paper
Box 18
8 1/2 x 12 Crayon on paper
Box 18
11 x 8 1/2 Crayons on paper
Box 18
8 1/2 x 12 Gouache on paper
Box 18
4 7/8 x 7 7/8 Ink on paper
Box 18
4 7/8 x 7 7/8 Ink on paper
Box 18
5 x 8 Pastels and ink on paper
Box 18
8 1/2 x 11 Pastels on paper
Box 18
3 x 5 Ink on paper
Box 18
8 1/2 x 11 Pastels on paper
Box 18
5 1/2 x 8 1/4 Pastels on paper
Box 18
6 x 4 Ink on paper
Box 18
10 x 10 Pastels on paper
Box 18
Accompanied by sketch measuring 4 x 6. 9 x 12 Oil on canvas board
Box 18
11 x 7 3/4 Ink on paper
Box 18
8 7/8 x 11 7/8 Pastels on paper
Box 19
6 x 4 Pastels on paper
Box 19
4 1/2 x 6 1/8 Ink on paper
Box 19
3 1/2 x 6 Conte crayon on paper
Box 19
4 x 6 Pastels on paper
Box 19
3 1/2 x 6 Conte crayon on paper
Box 19
3 x 5 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
4 x 6 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
4 x 6 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
4 x 6 Ink on paper
Box 19
6 x 4 Ink on paper
Box 19
5 x 3 Graphite pencil on paper
Box 19
5 x 3 Graphite pencil on paper
Box 19
6 1/4 x 4 1/8 Ink on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
6 x 4 Graphite pencil on paper
Box 19
6 x 4 Graphite pencil on paper
Box 19
4 x 3 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
4 x 6 Graphite pencil on paper
Box 19
4 x 6 Ink on paper
Box 19
4 1/2 x 6 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
4 3/4 x 3 3/8 Ink on paper
Box 19
5 1/4 x 8 1/2 Ink on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
6 x 4 Ink on paper
Box 19
3 1/2 x 6 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
6 x 4 Ink on paper
Box 19
4 x 6 Graphite pencil on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
3 x 5 Graphite pencil on paper
Box 19
6 x 4 Ink on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
6 x 4 Ink on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
3 x 5 Conte crayon on paper
Box 19
3 x 5 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
4 x 6 Ink on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
4 x 6 Ink on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
6 x 4 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
4 x 6 Pastels on paper
Box 19
4 x 6 Graphite pencil on paper
Box 19
4 x 6 Graphite pencil on paper
Box 19
4 x 6 Ink on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
4 x 6 Patels on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
6 x 4 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
4 1/2 x 6 1/4 Ink on paper
Box 19
5 x 3 Graphite pencil on paper
Box 19
Drawing on verso. 3 x 5 Graphite pencil on paper
Box 19
Drawing on verso. 5 x 3 Graphite pencil on paper
Box 19
5 x 3 Graphite pencil on paper
Box 19
6 x 4 1/2 Conte crayon on paper
Box 19
5 x 3 Graphite pencil on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
4 1/2 x 5 3/8 Conte crayon on paper
Box 19
6 x 4 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
5 x 3 Ink on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
6 x 4 Ink on paper
Box 19
5 x 3 Ink on paper
Box 19
6 x 4 Graphite pencil on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
3 1/8 x 5 3/8 Ink on scrap
Box 19
3 x 5 Graphite pencil on cardboard
Box 19
5 1/4 x 4 1/8 Ink on paper
Box 19
6 x 4 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
4 x 6 Graphite pencil on paper
Box 19
6 x 4 Ink on paper
Box 19
Drawing on verso. 4 x 6 Ink on cardboard
Box 19
6 x 4 Conte crayon on paper
Box 19
Drawing on verso. 5 x 3 Graphite pencil on paper
Box 19
6 x 4 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
6 x 4 Ink on paper
Box 19
5 x 3 Graphite pecil on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
6 x 4 Graphite pencil on paper
Box 19
4 x 6 Ink on paper
Box 19
6 x 4 Ink on paper
Box 19
Inscription on verso. 3 5/8 x 3 Ink on paper
Box 19
5 x 3 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
5 x 3 Graphite pencil on paper
Box 19
5 x 3 Graphite pencil on paper
Box 19
5 x 3 Graphite pencil on paper
Box 19
3 x 5 Graphite pencil on paper
Box 19
3 x 5 Graphite pencil on paper
Box 19
6 x 4 Ink on paper
Box 19
6 x 4 Graphite pencil on paper
Box 19
Typing on verso. 2 1/2 x 3 1/2 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
4 x 6 Graphite pencil on paper
Box 19
4 x 6 Ink on paper
Box 19
6 x 4 Ink on paper
Box 19
6 x 4 Graphite pencil on paper
Box 19
6 x 4 Ink on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
3 x 5 Ink on paper
Box 19
3 x 5 Ink on paper
Box 19
4 x 6 Conte crayon on paper
Box 19
6 x 4 Conte crayon on paper
Box 19
6 x 4 Graphite pencil on paper
Box 19
3 x 5 Graphite pencil on paper
Box 19
Drawn on detached libretto page. 9 x 6 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
6 x 4 Graphite pencil on paper
Box 19
4 x 6 Graphite pencil on paper
Box 19
4 x 6 Ink on lined paper
Box 19
4 x 6 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
4 x 6 Ink on paper
Box 19
6 x 4 Ink on paper
Box 19
Three sheets. Drawings on verso and recto. 6 x 9 Ink on paper
Box 19
4 x 6 Graphite pencil on paper
Box 19
6 x 4 Graphite pencil on paper
Box 19
4 x 6 1/4 Ink on scrap
Box 19
5 x 3 Ink on paper
Box 19
3 3/8 x 5 1/2 Ink on paper
Box 20
11 x 8 1/2 Oil paint and pastels on paper
Box 20
8 1/2 x 11 Oil paint and pastels on paper
Box 20
8 1/2 x 11 Oil paint on paper
Box 20
11 x 8 1/2 Gouache on paper
Box 20
11 x 8 1/2 Oil paint on paper
Box 20
Inscrived on verso: from XLIX. 8 1/2 x 11 Gouache on paper
Box 20
8 1/2 x 12 Pastels on paper
Box 20
5 x 7 1/2 Oil paint on paper
Box 20
8 7/8 x 11 7/8 Pastels on paper
Box 20
11 x 8 1/2 Conte crayon on paper
Box 20
12 x 8 1/2 Pastels on paper
Box 20
9 1/2 x 8 1/4 Pastels on paper
Box 20
12 x 8 1/2 Pastels on paper
Box 20
8 1/2 x 12 Pastels on paper
Box 20
11 7/8 x 9 Ink on vellum
Box 20
8 1/2 x 12 Pastels on paper
Box 20
9 x 12 Oil paint on canvas board
Box 20
8 1/2 x 12 Gouache on paper
Box 20
8 1/2 x 11 Pastels on paper
Box 20
12 x 8 1/2 Pastels on paper
Box 20
11 7/8 x 8 7/8 Pastels on paper
Box 20
12 x 8 3/8 Gouache on paper
Box 20
9 x 12 Pastels on paper
Box 20
Drawing on verso. 9 x 12 Ink on paper
Box 20
12 x 8 1/2 Gouache on paper
Box 20
12 x 8 1/2 Gouache on paper
Box 20
Inscribed on verso: see same subject dated 6/30/73. 8 7/8 x 11 7/8 Pastels on paper
Box 20
Inscribed on verso: see same subject dated 6/30/73. 8 7/8 x 11 7/8 Pastels on paper
Box 20
12 x 8 1/2 Pastels on paper
Box 20
8 7/8 x 11 7/8 Pastels on paper
Box 20
8 1/2 x 12 Pastels on paper
Box 20
11 x 7 1/2 Gouache on paper
Box 20
8 1/2 x 12 Ink on paper
Box 20
Inscribed on verso: see same subject dated 1960s? 8 1/2 x 11 Pastels on paper
Box 20
7 1/2 x 11 Gouache on paper
Box 20
7 1/2 x 11 Conte crayon on paper
Box 20
8 1/2 x 12 Pastels on paper
Box 20
8 1/2 x 12 Gouache on paper
Box 20
8 1/2 x 12 Pastels on paper
Box 20
8 1/2 x 12 Gouache on paper
Box 20
8 1/2 x 12 Pastels on paper
Box 20
8 1/2 x 12 Gouache on paper
Box 20
12 x 8 1/2 Pastels on paper
Box 20
8 1/2 x 12 Gouache on paper
Box 20
12 x 8 1/2 Conte crayon on paper
Box 20
8 1/2 x 11 Pastels on paper
Box 20
8 1/2 x 12 Pastels on paper
Box 20
8 1/2 x 12 Pastels on paper
Box 20
12 x 8 1/2 Pastels on paper
Box 20
Photocopy of original drawing. 11 x 8 1/2 Ink on paper
Box 20
11 x 8 1/2 Goauche on paper
Box 20
4 1/8 x 5 3/8 Graphite pencil on paper
Box 20
4 1/8 x 5 3/8 Ink on paper
Box 20
8 1/2 x 12 Pastels and Ink on paper
Box 20
12 x 8 1/2 Pastels on paper
Box 20
Drawn on concert program. Drawing on verso and recto. 9 x 6 Ink on paper
Box 20
11 7/8 x 8 7/8 Pastels on paper
Box 20
8 1/4 x 9 1/2 Gouache on paper
Box 20
Drawing on verso. 12 x 8 1/2 Conte crayon on paper
Box 20
11 x 8 1/2 Conte crayon and colored pencil on paper
Box 20
11 x 8 1/2 Colored pencil on paper
Box 20
Drawn on concert program. 9 x 6 Ink on paper
Box 20
8 1/2 x 12 Pastels on paper
Box 20
8 1/2 x 11 Pastels on paper
Box 21
11 x 8 1/2 Ink on paper
Box 21
6 x 4 Ink on paper
Box 21
6 x 4 Ink on paper
Box 21
6 x 4 Ink on paper
Box 21
6 x 4 Ink on paper
Box 21
6 x 8 1/2 Ink on paper
Box 21
5 1/2 x 8 3/4 Ink on paper
Box 21
8 5/8 x 5 1/2 Ink on paper
Box 21
11 1/4 x 8 3/4 Graphite pencil on paper
Box 21
7 x 5 Pastels on paper
Box 21
8 1/2 x 11 Pastels on paper
Box 21
8 1/2 x 12 Oil paint on paper
Box 21
8 1/2 x 12 Ink on paper
Box 21
8 1/2 x 10 1/2 Pastels on paper
Box 21
8 3/4 x 11 1/4 Pastels on paper
Box 21
4 7/8 x 7 7/8 Ink on paper
Box 21
Inscribed on verso: Fla. 7 5/8 x 5 3/4 Pastels on paper
Box 21
3 x 5 Ink on paper
Box 21
11 x 8 1/2 Oil paint on paper
Box 21
8 1/2 x 5 1/2 Watercolor on paper
Box 21
4 x 6 Ink on paper
Box 21
11 1/4 x 8 7/8 Crayon on paper
Box 21
8 1/2 x 11 Ink on paper
Box 21
6 x 8 1/2 Ink on paper
Box 21
8 1/2 x 12 Oil paint on paper
Box 21
7 3/4 x 5 Colored pencil on paper
Box 21
8 1/2 x 11 Ink on paper
Box 21
5 1/2 x 3 1/2 Ink on paper
Box 21
Drawn on exhibition card for Philip Guston paintings at the David McKee gallery dated 1979. 5 7/8 x 4 1/4 Ink on paper
Box 21
8 1/2 x 11 Pastels on paper
Box 21
6 x 4 Ink on paper
Box 21
4 x 6 Ink on paper
Box 21
8 1/2 x 12 Ink on paper
Box 21
8 1/2 x 12 Ink on paper
Box 21
8 1/2 x 11 1/2 Ink on paper
Box 21
5 1/2 x 8 1/2 Ink on paper
Box 21
Inscribed on verso: Fla. 7 3/4 x 5 3/4 Pastels on paper
Box 21
8 1/2 x 12 Pastels on paper
Box 21
8 1/2 x 12 Ink on paper
Box 21
11 x 8 1/2 Ink on paper
Box 21
8 1/2 x 11 Pastels on paper
Box 21
8 1/2 x 11 Oil paint on paper
Box 21
Postcard of Nicolas Poussin's "Paysage avec Orion aveugle" included. Inscribed on verso and signed "Eva and Jim". 4 x 6 Pen on paper
Box 21
5 x 3 Ink on paper
Box 21
3 1/2 x 5 1/2 Ink on paper
Box 21
5 x 3 Ink on paper
Box 21
5 x 3 Ink on paper
Box 21
8 1/2 x 11 Crayons on paper
Box 21
8 x 5 Pastels on paper
Box 21
7 7/8 x 4 7/8 Ink on paper
Box 21
7 7/8 x 4 7/8 Ink on paper
Box 21
4 x 6 Ink on paper
Box 21
8 1/2 x 5 1/2 Watercolor and ink on paper
Box 21
8 1/2 x 11 Pastels on paper
Box 21
6 x 4 Ink on paper
Box 21
3 3/4 x 7 1/2 Pastel on paper
Box 21
11 x 8 1/2 Ink on paper
Box 21
8 1/2 x 11 Ink on paper
Box 21
8 1/2 x 12 Pastel on paper
Box 21
11 x 8 1/2 Oil paint on paper
Box 21
8 1/2 x 11 Pastels on paper
Box 21
11 x 15 Oil paint on paper
Box 21
12 x 8 3/8 Ink on paper
Box 21
8 1/2 x 11 Ink and pastels on paper
Box 21
Inscribed on verso: see 1960? of same subject. 8 1/2 x 12 Ink on paper
Box 21
8 1/2 x 11 Pastels on paper
Box 21
8 1/2 x 11 Ink on paper
Box 21
5 x 3 Ink on paper
Box 21
7 7/8 x 5 7/8 Ink on paper
Box 21
11 1/4 x 8 7/8 Crayon on paper
Box 21
11 1/4 x 8 3/4 Crayon on paper
Box 21
11 1/4 x 8 3/4 Crayon on paper
Box 21
3 x 4 7/8 Ink on cardboard
Box 21
8 3/4 x 11 1/4 Ink on paper
Box 21
11 1/4 x 8 7/8 Graphite pencil on paper
Box 21
11 1/4 x 8 7/8 Ink on paper
Box 21
11 1/4 x 8 3/4 Crayon on paper
Box 21
6 x 9 Ink on paper
Box 21
4 x 6 Ink on paper
Box 21
7 x 5 Pastels on scrap
Box 21
4 x 6 Ink on cardboard
Box 21
7 7/8 x 5 Ink on paper
Box 21
3 x 4 3/4 Graphite pencil on paper
Box 21
8 3/4 x 11 1/4 Ink on paper
Box 21
Drawn on detached pamphlet sheet. Typing on verso. 8 1/2 x 13 Ink on paper
Box 21
8 1/2 x 12 Ink on paper
Box 21
4 x 6 Ink on paper
Box 21
4 x 6 Ink on paper
Box 21
8 1/2 x 11 Pastels on paper
Box 21
6 x 8 1/2 Ink on paper
Box 21
4 x 6 Ink on paper
Box 21
8 1/2 x 12 Ink on paper
Box 21
8 1/2 x 11 Pastels on paper
Box 21
9 x 11 1/2 Ink on paper
Box 21
8 1/2 x 12 Pastels on paper
Box 21
8 3/4 x 11 1/4 Ink on paper
Box 21
8 3/4 x 11 1/4 Ink on paper
Box 21
Two sheets. 5 x 3 Ink on paper
Box 21
7 3/4 x 5 3/4 Conte crayon on paper
Box 21
3 3/4 x 8 Ink on paper
Box 21
6 x 4 Ink and colored pencil on paper
Box 21
6 x 4 Ink on paper
Box 21
11 x 8 1/2 Graphite pencil on paper
Box 21
11 1/4 x 8 3/4 Ink on paper
Box 21
11 1/4 x 8 3/4 Ink on paper
Box 21
9 1/2 x 6 1/2 Ink and pastels on paper
Box 21
6 x 4 Pastels on paper
Box 21
5 x 8 Ink on paper
Box 21
Inscribed on verso. 4 1/4 x 4 3/4 Ink on scrap
Box 21
3 x 5 Ink on paper
Box 21
3 3/4 x 5 1/4 Ink on scrap
Box 21
11 1/4 x 8 3/4 Conte crayon on paper
Box 21
8 1/4 x 11 1/4 Pastels on paper
Box 21
8 3/4 x 11 1/4 Pastels on paper
Box 21
8 3/4 x 11 1/4 Conte crayon on paper
Box 21
11 1/4 x 8 7/8 Watercolor and graphite pencil on paper
Box 21
11 1/4 x 8 7/8 Watercolor and graphite pencil on paper
Box 21
8 1/2 x 11 Oil paint on paper
Box 21
4 x 6 Ink on paper
Box 21
11 x 8 1/2 Ink on paper
Box 21
3 x 5 Graphite pencil on paper
Box 21
5 7/8 x 3 5/8 Ink on scrap
Box 21
8 1/2 x 11 Ink on paper
Box 21
4 x 6 Ink on paper
Box 21
8 1/2 x 12 Pastels on paper
Box 21
4 x 6 Graphite pencil on paper
Box 21
4 x 6 Ink on paper
Box 21
Drawn on detached diary page. 6 3/4 x 4 Ink on paper
Box 21
6 x 4 Ink on paper
Box 21
4 x 6 Pastels on paper
Box 21
4 x 6 Ink on paper
Box 21
3 x 5 Ink on paper
Box 21
8 1/2 x 12 Gouache on paper
Box 21
8 1/2 x 11 Ink on paper
Box 21
6 x 4 Ink on paper
Box 21
4 x 6 Ink on paper
Box 21
4 x 6 Graphite pencil on paper
Box 21
4 x 6 Graphite pencil on paper
Box 21
6 x 4 Graphite pencil on paper
Box 21
6 x 4 Ink on paper
Box 21
8 1/2 x 12 Oil paint on paper
Box 21
Inscribed on verso: see 1960? of same subject. 8 1/2 x 12 Ink on paper
Box 21
5 x 3 Ink on paper
Box 21
5 x 3 Ink on paper
Box 21
Drawing of hillside in Vermont on verso. 7 x 5 1/8 Ink on cardboard
Box 21
8 1/2 x 12 Pastels on paper
Box 21
8 1/2 x 11 Ink and pastels on paper
Box 21
8 1/2 x 6 Ink on paper
Box 21
8 1/2 x 12 Gouache on paper
Box 21
8 1/2 x 11 Pastels on paper
Box 21
8 1/2 x 6 Ink on paper
Box 21
9 1/2 x 6 1/2 Ink on paper
Box 21
9 1/2 x 6 3/8 Ink on paper
Box 21
5 x 3 Ink on paper
Box 22
10 x 7 7/8 Ink on paper
Box 22
9 7/8 x 10 3/4 Crayon on paper
Box 22
9 7/8 x 9 7/8 Pastels on paper
Box 22
9 7/8 x 5 Pastels on paper
Box 22
9 7/8 x 9 7/8 Pastels on paper
Box 22
9 7/8 x 9 7/8 Pastels on paper
Box 22
9 7/8 x 9 7/8 Pastels on paper
Box 22
9 7/8 x 9 7/8 Pastels on paper
Box 22
9 7/8 x 9 7/8 Pastels on paper
Box 22
9 7/8 x 9 7/8 Pastels on paper
Box 22
9 7/8 x 9 7/8 Pastels on paper
Box 22
9 7/8 x 9 7/8 Pastels on paper
Box 22
9 7/8 x 9 7/8 Pastels on paper
Box 22
9 7/8 x 9 7/8 Pastels on paper
Box 22
11 x 7 1/2 Graphite pencil on paper
Box 22
9 7/8 x 9 7/8 Pastels and ink on paper
Box 22
8 1/2 x 11 Watercolor on paper
Box 22
10 x 9 7/8 Pastels on paper
Box 22
9 7/8 x 9 7/8 Pastels on paper
Box 23
12 x 9 Oil paint on paper
Box 23
9 3/8 x 8 1/8 Oil paint on fiberboard
Box 23
12 1/2 x 9 1/2 Crayon on paper
Box 23
Drawings after Michelangelo figures of Sistine Chapel on verso. 11 1/2 x 9 Graphite pencil on paper
Box 23
9 1/8 x 5 1/2 Graphite pencil on paper
Box 23
Inscribed on verso: cut from a sketchbook? 7 3/8 x 5 1/8 Ink on paper
Box 23
8 3/8 x 6 3/4 Pastels on lined paper
Box 23
10 1/2 x 8 Ink on Columbia University Library letterhead stationery
Box 23
6 x 4 Graphite pencil on paper
Box 23
6 x 4 Graphite pencil on paper
Box 23
Photocopy of original drawing in unnumbered sketchbook, paginated 71. 8 x 5 Crayon on paper
Box 23
Photocopy of original drawing. 8 1/4 x 5 1/2 Crayon on paper
Box 23
Photocopy of original drawing. 8 1/2 x 5 3/4 Crayon on paper
Box 23
Inscribed on verso: from VIII. 11 x 8 1/2 Conte crayon on paper
Box 23
8 x 5 Ink on paper
Box 23
Drawing on verso. 5 1/2 x 8 1/2 Graphite pencil on paper
Box 23
Drawing on verso. 10 7/8 x 8 5/8 Graphite pencil on paper
Box 23
11 x 8 1/2 Conte crayon on paper
Box 23
Photocopy of original, paginated 63. 8 1/4 x 6 Graphite pencil on paper
Box 23
7 x 5 Ink on paper
Box 23
Photocopy of original from unnumbered sketchbook, paginated 67. 8 x 5 Graphite pencil on paper
Box 23
11 x 8 1/2 Graphite pencil on paper
Box 23
Photocopy of original, paginated 66. 8 1/2 x 6 1/4 Graphite pencil on paper
Box 23
Photocopy of original, paginated 42. 8 1/2 x 6 Ink on paper
Box 23
Photocopy of original, paginated 66. 9 1/2 x 6 1/2 Graphite pencil on paper
Box 23
Photocopy of original, paginated 63. 9 1/2 x 6 1/2 Graphite pencil on paper
Box 23
Photocopy of original, paginated 59. 8 1/2 x 6 Ink on paper
Box 23
Photocopy of original, paginated 53A. 8 1/2 x 6 Graphite pencil on paper
Box 23
Photocopy of original, paginated 24. 8 1/2 x 6 1/4 Crayon on paper
Box 23
Photocopy of original, paginated 11. 11 x 8 1/2 Graphite pencil on paper
Box 23
Photocopy of original, paginated 19. 9 1/2 x 6 1/4 Graphite pencil on paper
Box 23
Photocopy of original, paginated 4. 8 1/2 x 11 Graphite pencil on paper
Box 23
Photocopy of original, paginated 3. 9 1/2 x 6 1/2 Ink and graphite pencil on paper
Box 23
8 x 5 Ink on paper
Box 23
6 x 4 Graphite pencil on paper
Box 23
6 x 4 Ink on paper
Box 23
6 x 4 Ink on paper
Box 23
Photocopy of original, paginated 3. 8 1/2 x 6 Ink and graphite pencil on paper
Box 23
Photocopy of original. 7 x 5 Crayon on paper
Box 23
Photocopy of original. 8 1/2 x 5 1/2 Crayon on paper
Box 23
Photocopy of original. 6 3/4 x 4 3/8 Crayon on paper
Box 23
5 x 3 Ink on card index
Box 23
6 x 4 Ink on card index
Box 23
Photocopy of original from unnumbered sketchbook, paginated 69. 8 x 5 Crayon on paper
Box 23
Photocopy of original, paginated 76. 8 1/2 x 6 Graphite pencil on paper
Box 23
Photocopy of original, paginated 73. 9 1/2 x 6 1/4 Crayon on paper
Box 23
5 7/8 x 4 3/8 Ink on paper
Box 23
Photocopy of original. 11 x 8 1/2 Ink on paper
Box 23
Photocopy of original, paginated 20. 11 x 8 1/2 Graphite pencil on paper
Box 23
6 x 4 Ink on paper
Box 23
Photocopy of original, paginated 123. 9 1/2 x 6 1/2 Ink on paper
Box 23
5 x 3 Graphite pencil on paper
Box 23
6 x 4 Ink on paper
Box 23
6 x 4 Ink on paper
Box 23
8 7/8 x 6 Ink on paper
Box 23
9 x 7 Conte crayon on paper
Box 23
13 x 10 Ink on paper
Box 23
11 x 8 1/2 Conte crayon on paper
Box 23
9 3/8 x 6 Oil on paper
Box 23
8 1/2 x 5 1/4 Graphite pencil on paper
Box 23
8 1/2 x 5 1/2 Charcoal on paper
Box 23
10 7/8 x 8 1/2 Conte crayon on paper
Box 23
10 1/2 x 8 Ink on paper
Box 23
10 1/2 x 8 Graphite pencil on Columbia University letterhead stationery.
Box 23
9 1/2 x 6 7/8 Oil on cardboard
Box 23
11 1/4 x 8 5/8 Colored pencil on paper
Box 23
12 7/8 x 9 3/8 Conte crayon on paper
Box 23
12 3/4 x 9 1/2 Conte crayon on paper
Box 23
6 x 4 Ink on paper
Box 23
7 x 5 Ink on paper
Box 23
8 x 5 Ink on paper
Box 23
11 x 8 5/8 Ink on paper
Box 23
6 x 4 Conte crayon on paper
Box 23
6 x 4 Conte crayon on paper
Box 23
10 7/8 x 8 1/2 Conte crayon on paper
Box 23
11 x 8 1/2 Conte crayon on paper
Box 23
10 7/8 x 8 3/8 Conte crayon on paper
Box 23
11 1/2 x 8 Charcoal on paper
Box 23
12 x 10 Graphite pencil on paper
Box 23
12 1/2 x 9 5/8 Graphite pencil on paper
Box 24
6 1/8 x 9 Ink on paper, Etching
Box 24
12 x 8 5/8 Monotype print, Ink on paper
Box 24
5 x 3 3/4 Etching, Ink on paper
Box 24
11 3/8 x 8 Etching, Ink on paper
Box 24
Accompanied by two copies of same print. 9 1/2 x 6 1/8 Unknown
Box 24
Two copies. 7 1/4 x 10 7/8 Etching, Ink on paper
Box 24
scopecontentcard is an invitation to a lecture at New York University, dated 1939 January 20. 3 1/2 x 5 1/2 Ink on scopecontentcard
Box 24
Accompanied by three sheets with copies of same print. 11 x 8 1/2 Linoleum-block-block print, Ink on paper
Box 24
8 x 5 1/8 Ink on paper
Box 24
4 x 6 Ink on paper
Box 24
4 x 6 Ink on paper
Box 24
Accompanied by one copy of same print. 8 7/8 x 6 1/8 Linoleum-block-block print, Ink on paper
Box 24
Four folded sheets. 5 1/2 x 7 Gouache on paper
Box 24
Inscribed on recto: for College magazine cover. 9 x 5 3/4 Etching, Ink on paper
Accompanied by three sheets with copies of same print. 9 x 5 3/4 Etching, Ink on paper
Box 24
4 1/4 x 3 3/4 Etching, Ink on paper
Box 24
Inscribed on verso: printed by Andre Racz, 1980. 6 1/4 x 8 Etching, Ink on paper
Two copies of same print. 6 1/4 x 8 Etching, Ink on paper
Box 24
9 1/2 x 11 3/4 Etching, Ink on paper
Box 24
7 1/4 x 6 1/4 Etching, Ink on paper
Box 24
10 3/4 x 8 Etching, Ink on paper
Box 24
9 x 12 Linoleum-block-block print, Ink on paper
Box 24
Accompanied by two copies of same print measuring 6 1/4 x 8. 11 1/4 x 7 Etching, Ink on paper
Box 24
Accompanied by five copies of same print. 10 x 6 1/4 Linoleum-block-block print, Ink on paper
Box 24
Accompanied by one copy of same print. 10 x 8 Linoleum-block-block print, Ink on canvas
Box 24
Accompanied by one copy of same print. 12 5/8 x 8 1/8 Etching, Ink on paper
Box 24
Accompanied by one copy of same print measuring 8 7/8 x 11 1/4. 12 x 9 3/4 Linoleum-block-block print, Ink on paper
Box 24
5 x 3 1/4 Crayon on paper
Box 24
Two sheets. 10 1/2 x 6 Print, Ink on paper
Box 24
11 1/2 x 9 1/8 Linoleum-block-block print, Ink on paper
Box 24
9 x 12 Monotype print, Ink on paper
Box 24
5 x 7 1/2 Etching, Ink on paper
Box 24
11 1/4 x 7 3/8 Linoleum-block-block print, Ink on paper
Box 24
6 x 7 1/8 Linoleum-block-block print, Ink on paper
Box 24
9 1/2 x 12 1/2 Etching, Ink on paper
Box 24
Accompanied by one copy of same print. 9 1/4 x 7 7/8 Linoleum-block-block print, Ink on paper
Box 24
5 5/8 x 8 3/8 Conte crayon on paper
Box 24
Accompanied by original metal printing plate. 6 1/4 x 7 1/4 Etching, Ink on paper
Box 24
Drawn on scrap paper. Typing on verso. 5 x 3 1/4 Graphite pencil on paper
Box 24
Drawn on scrap paper. Typing on verso. 5 x 3 1/4 Graphite pencil on paper
Box 24
Accompanied by five sheets with copies of same print. 9 x 12 Linoleum-block print, Ink on paper
Box 24
6 1/4 x 4 3/4 Linoleum-block print, Ink on paper
Box 24
4 x 3 1/2 Linoleum-block print, Ink on paper
Box 24
7 x 11 1/4 Etching, Ink on paper
Box 24
12 1/2 x 9 1/2 Etching, Ink on paper
Box 24
5 x 8 Graphite pencil on paper
Box 24
5 5/8 x 7 Etching, Ink on paper
Box 24
11 x 8 1/2 Linoleum-block print, Ink on paper
Box 24
Photocopy of original etching. 4 3/8 x 6 Etching, Ink on paper
Box 25
11 1/2 x 8 Charcoal on paper
Box 25
9 3/4 x 7 3/8 Linoleum-block print, Ink on paper
Box 25
Accompanied by two postcards of Nicholas Poussin's "The Infant Bacchus Entrsuted to the Nymphs." 7 x 11 1/4 Etching, Ink on paper
Box 25
8 1/2 x 10 1/8 Linoleum-block print, Ink on paper
Box 25
10 3/4 x 8 3/4 Etching and aquatint, Ink on paper
Box 25
7 1/2 x 10 Etching, Ink on paper
Box 25
11 1/2 x 16 Etching, Ink on paper
Box 25
11 1/2 x 8 1/2 Linoleum-block print, Ink on paper
Box 29
CU18 16 x 12 Oil paint on canvas
Box 29
17 1/4 x 13 13/4 Oil paint on canvas
Box 29
Accompanied by scopecontent: not hung in Vermont. 12 x 18 Oil paint on canvas
Box 30
14 x 24 Oil paint on canvas
Box 30
CU12 14 1/8 x 18 Oil paint on canvas
Box 30
17 5/8 x 13 5/8 Oil paint on wallboard
Box 30
CU10. 12 x 16 Oil paint on canvas board
Inscribed on verso: from memory, after drawing sketch circa 1925-1926. 12 x 16 Oil paint on canvas board
Box 30
16 x 19 7/8 Oil paint on canvas board
Box 30
16 x 19 Oil paint on fiberboard
Box 30
Inscribed on verso: 110.Studio. 20 x 16 Oil paint on canvas board
Box 30
14 3/8 x 19 1/2 Oil paint on fiberboard
Box 31
16 x 20 Oil paint on canvas
Box 31
16 x 20 Oil paint on canvas
Box 31
20 x 16 Oil paint on canvas
Box 31
CU4 16 x 20 1/8 Oil paint on canvas
Box 32
22 x 18 Oil paint on canvas
Box 32
18 x 22 Oil paint on canvas
Box 32
18 x 22 Oil paint on canvas
Box 33
CU23 18 x 24 Oil paint on canvas
Box 33
22 x 18 Oil paint on canvas
Box 33
CU26 18 x 24 Oil paint on canvas
Box 33
CU15 18 x 24 Oil paint on canvas
Box 34
16 x 20 1/8 Oil paint on canvas
Box 34
16 x 20 1/8 Oil paint on canvas
Box 34
16 x 20 Oil paint on canvas
Box 35
17 7/8 x 23 7/8 Oil paint on canvas
Box 35
16 x 20 1/8 Oil paint on canvas
Box 35
CU2 18 x 24 Oil paint on canvas
Box 35
CU11 18 x 24 Oil paint on canvas
Box 36
CU14 20 x 26 Oil paint on canvas
Box 36
CU16 26 x 20 Oil paint on canvas
Box 37
19 3/4 x 30 Oil paint on canvas
Box 37
30 x 24 Oil paint on canvas
Box 51
30 x 25 Oil paint on canvas
Box 38
19 x 24 1/4 Oil paint on paper
Box 38
14 x 18 3/4 Oil paint on paper
Box 38
Accompanied by scopecontent: several drawings for this painting are dated 12/25/34. 18 1/2 x 14 1/2 Oil paint on paper
Box 38
CU20 12 x 19 Oil paint on paper
Box 38
CU3 9 1/2 x 12 1/2 Oil paint on paper
Box 38
CU 57; cat.32 8 1/4 x 10 5/8 Graphite pencil on paper
Box 38
9 1/2 x 12 1/2 Oil paint on paper
Box 38
11 x 15 Watercolor on paper
Box 38
19 x 14 5/8 Oil paint on paper
Box 38
CU 78; Accompanied by scopecontent: basement corridor. 8 3/4 x 6 1/8 Oil paint on paper
Box 38
CU47 11 x 8 3/8 Ink on paper
Box 38
CU76 5 1/2 x 6 1/4 Gouache on paper
Box 38
CU104, cat.13 8 3/8 x 11 Ink on paper
Box 38
CU20, cat.40 16 x 10 1/4 Etching
Box 38
CU117, cat.55 8 3/8 x 12 Gouache on paper
Box 38
CU82, cat.3 10 1/4 x 8 1/2 Charcoal on paper
Box 38
CU99, cat.19 8 1/2 x 11 Graphite pencil on paper
Box 38
CU112, cat.30 9 x 11 1/2 Oil paint on paper
Box 38
CU79, cat.58 14 x 11 Crayon on paper
Box 38
CU5, cat.34 9 x 11 1/2 Oil paint on paper
Box 38
CU12, cat.47 11 3/8 x 8 Etching
Box 38
CU108, cat.35 10 x 6 1/8 Oil paint on paper
Box 38a
CU D81 POL, cat.6 11 x 8 3/8 Charcoal on paper
Box 38a
CU27, cat.53 12 3/8 x 9 1/2 Conte crayon on paper
Box 38a
CU122, cat.2 9 x 12 Oil paint on paper
Box 38a
Box 38a
CU33, cat31 8 1/2 x 11 1/2 Oil paint on paper
Accompanied by scopecontent: corridor (near dining room). 8 1/2 x 11 1/2 Oil paint on paper
Box 38a
CU21 12 x 16 Oil paint on canvas board
Box 38a
CU19 12 x 15 3/4 Oil paint on paper
Box 38a
14 x 15 3/4 Pastels on paper
Box 38a
CU91 11 1/2 x 9 Ink on paper
Box 38a
Accompanied by scopecontent: drawn for Kurt Seligman. 8 1/2 x 11 Watercolor on paper
Accompanied by one typed and one handwritten transcription of poem inscribed on painting. 8 1/2 x 11 Watercolor on paper
Box 38a
CU88 12 x 9 1/4 Oil paint on paper
Box 38a
CU47 9 1/2 x 12 1/2 Oil paint on paper
Box 38a
Painted by Lillian, not Meyer Schapiro. 9 1/2 x 12 1/2 Oil paint on paper
Box 38a
Accompanied by scopecontent: 1933 sketch for oil painting on canvas dated 1933 given by Meyer Schapiro to Sophie Esterman in 1968. 10 x 12 1/2 Oil paint on paper
Box 38a
6 x 10 1/8 Watercolor on paper
Box 38a
9 x 12 Conte crayon on paper
Box 38a
10 x 12 1/2 Watercolor on paper
Box 38a
CU1 9 1/2 x 12 1/2 Oil paint on paper
Box 38a
9 1/2 x 12 1/2 Oil paint on paper
Box 38a
CU110, cat.18 11 x 8 1/2 Crayon on paper
Box 38a
CU51, cat.20 11 x 8 1/2 Crayon on paper
Box 38a
CU46, cat.1 11 x 8 1/2 Graphite pencil on paper
Box 38a
CU54, cat.38 12 x 9 Watercolor on paper
Accompanied by scopecontent: April 1940, Meyer's drawing, Miriam's color 12 x 9 Watercolor on paper
Box 38a
11 x 15 Oil paint on paper
Box 38a
12 5/8 x 9 1/2 Oil paint on paper
Box 38a
Accompanied by scopecontent: 279 West 4th Street. 9 1/2 x 12 1/2 Watercolor on paper
Box 38a
Nine photocopies. Various
Box 39
Inscribed on recto: to Lloyd, with love, for his long awaited return 1/26/64. 8 1/4 x 14 Colored pencil on paper
Accompanied by approximately fifty photocopies of original. 8 1/4 x 14 Colored pencil on paper
Box 39b
19 x 12 1/8 Oil paint on paper
Box 39a
18 1/2 x 8 1/2 Charcoal on cardboard
Box 39b
10 7/8 x 9 1/2 Charcoal on paper
Box 39b
19 1/2 x 12 3/8 Graphite pencil on paper
Box 39b
12 x 18 Graphite pencil on paper
Box 40a
16 1/8 x 12 7/16 Gouache on paper
Box 39b
19 x 12 Crayon on paper
Box 39b
14 5/8 x 19 1/16 Oil paint on paper
Box 39a
16 7/8 x 12 1/4 Ink on paper
Box 39b
19 x 12 3/8 Graphite pencil on paper
Box 39b
12 1/2 x 9 1/2 Paint on paper
Box 39b
18 x 12 Charcoal on paper
Box 39b
19 1/2 x 12 1/2 Ink on paper
Box 39a
11 1/16 x 14 7/16 Oil paint on paper
Box 39a
16 3/8 x 12 3/4 Oil paint and graphite pencil on paper
Box 39b
14 1/2 x 19 Crayon on paper
Box 39b
14 1/2 x 19 Crayon on paper
Box 39b
12 x 18 Graphite pencil on paper
Box 39b
117 x 13 3/4 Crayon on paper
Box 39b
12 3/4 x 19 1/8 Charcoal on paper
Box 39b
12 1/2 x 18 3/4 Gouache on paper
Box 39b
18 x 12 Graphite pencil on paper
Box 39a
15 1/8 x 12 1/8 Gouache on paper
Box 39b
19x 12 Crayon on paper
Box 39a
14 7/8 x 11 1/16 Oil paint on paper
Box 39b
18 x 12 Crayon on paper
Box 39b
18 x 12 Charcoal on paper
Box 39b
12 x 18 Graphite pencil on paper
Box 39b
14 x 17 6/8 Charcoal on paper
Box 40a
19 7/8 x 13 7/8 Graphite pencil on paper
Box 40a
19 7/8 x 13 7/8 Graphite pencil on paper
Box 40a
16 3/4 x 23 Paint on paper
Box 39a
12 x 16 3/4 Gouache on paper
Box 39b
19 1/8 x 12 Charcoal on paper
Box 39b
19 x 14 3/4 Oil paint on paper
Box 39b
19 x 12 1/8 Charcoal on paper
Box 39b
18 x 12 Graphite pencil on paper
Box 39b
19 x 12 `1/8 Crayon on paper
Box 40a
19 7/8 x 13 7/8 Crayon on paper
Box 39b
12 1/2 x 19 Charcoal on paper
Box 39b
12 3/4 x 19 Charcoal on paper
Box 39b
19 x 12 3/4 Graphite pencil on paper
Box 39b
12 7/16 x 19 Gouache on paper
Box 39b
19 1/16 x 14 5/8 Oil paint on paper
19 x 12 3/4 Charcoal on paper
Not found as of July 2022; could be one of unnumbered/unidentified works.
Box 40a
19 1/8 x 12 7/8 Charcoal on paper
Box 41
See item 3035 for additional print and item 3049 for corresponding plate. 25 x 15 1/4 Ink on paper
Box 39a
11 1/16 x 14 15/16 Oil paint on paper
Box 41
18 1/8 x 24 1/8 Graphite pencil on paper
Box 41
19 1/8 x 25 1/2 Oil paint on paper
Box 40a
12 1/8 x 19 1/8 Oil paint on paper
Box 41
19 1/8 x 25 7/8 Oil paint and charcoal on paper
Box 41
Item 3029-1121 is also a print and 3049 is the corresponding plate. 25 1/2 x 15 1/4 Lithograph, Ink on paper
Box 41
19 1/8 x 25 1/4 Oil paint on paper
Box 41
25 1/4 x 19 1/8 Graphite pencil on paper
Box 39b
15 1/4 x 19 1/8 Oil paint on paper
Box 41
24 1/2 x 17 Monotype, Ink on paper
Box 41
24 1/2 x 17 Monotype, Ink on paper
Box 41
24 1/2 x 17 Monotype, Ink on paper
Box 41
17 x 24 1/2 Monotype, Ink on paper
Box 41
17 x 24 1/2 Monotype, Ink on paper
Box 41
24 1/2 x 17 Monotype, Ink on paper
Box 41
24 1/4 x 17 Monotype, Ink on paper
Box 41
24 1/4 x 17 Monotype, Ink on paper
Box 41
20 x 24 1/4 Monotype, Ink on paper
Box 41
Recto and verso. 24 1/4 x 20 Monotype, Ink on paper
Box 41
Accompanied by two prints. 25 1/2 x 15 1/4 Lithographic plate, Ink on paper
Items 3029-1121 and 3035 are also prints. 25 1/2 x 15 1/4 Lithographic plate, Ink on paper
Box 40
12 x 8 3/8 Pastels on paper
Box 39a
11 1/2 x 9 Conte crayon on paper
Box 39b
13 1/2 x 13 1/2 Oil paint on paper
Box 39b
Marked CU15. 13 x 12 1/4 Etching, Ink on paper
Box 39b
19 x 12 1/2 Oil paint on paper
Box 39b
18 x 12 Crayon on paper
Box 39a
12 1/2 x 10 Crayon on paper
Box 39b
19 x 9 1/2 Charcoal on paper
Box 39b
19 x 12 Crayon on paper
Box 39b
19 x 12 1/8 Oil paint on paper
Box 39b
12 x 19 Oil paint and graphite pencil on paper
Box 40
20 x 12 1/4 Graphite pencil on paper
Box 40
20 x 12 1/4 Graphite pencil on paper
Box 40
20 1/8 x 11 3/4 Pastels on paper
Box 40
20 1/8 x 12 3/8 Pastels on paper
Box 40
19 7/8 x 12 1/4 Pastels on paper
Box 40
20 x 14 Crayon on paper
Box 39a
9 1/2 x 12 Oil paint on paper
Box 39b
12 3/4 x 10 1/4 Oil paint on paper
Box 39a
Attribution to Meyer Schapiro uncertain. 6 3/4 x 7 7/8 Etching, Ink on paper
Accompanied by one additional print. 6 3/4 x 7 7/8 Etching, Ink on paper
Box 39a
Accompanied by additional sheet. 11 3/8 x 8 3/4 Ink on paper
Box 39b
Inscribed: by Ernest Schapiro. 19 x 12 3/4 Crayon on paper
Box 40
Inscribed on recto: Miriam Schapiro, 6th Class. 10 3/8 x 13 Paint on paper
Box 39a
Marked C39. 11 x 8 1/2 Oil paint and pastels on paper
Box 39a
Marked C45. 12 3/4 x 17 3/4 Oil paint on paper
Box 39a
15 1/8 x 11 Oil paint on paper
Box 39b
19 x 12 1/2 Oil paint and charcoal on paper
Box 40
20 1/2 x 14 1/4 Oil paint and charcoal on paper
Box 39b
19 x 12 1/2 Oil paint and graphite pencil on paper
Box 39b
14 5/8 x 19 Oil paint and graphite pencil on paper
Box 40
12 x 21 Oil paint on paper
Box 39a
11 x 8 1/2 Pastels on paper
Box 39a
10 x 9 7/8 Pastels on paper
Box 39b
12 x 17 1/4 Gouache on paper
Box 39a
11 x 14 7/8 Oil paint on paper
Box 40
8 1/2 x 12 Pastels on paper
Box 39b
14 3/4 x 19 1/8 Oil paint on paper
12 x 8 1/2 Crayon on paper
Not found as of August 2022. See unidentified and unnumbered items
Box 39a
14 1/8 x 11 Oil paint on paper
Box 39a
9 1/4 x 13 1/8 Gouache on paper
Box 39a
Marked CU77 and "from XLVII." 8 1/4 x 9 1/4 Gouache on paper
Box 39b
19 x 12 1/2 Crayon on paper
Box 39b
19 x 12 1/2 Crayon on paper
Box 39b
19 x 12 1/2 Crayon on paper
Box 39b
19 x 12 1/2 Crayon on paper
Box 39a
9 7/8 x 9 7/8 Pastels on paper
Box 39a
10 x 9 Oil paint on paper
Box 39a
7 1/2 x 8 3/8 Tempera on paper
Box 39a
8 3/8 x 12 Ink on paper
Box 39a
11 x 8 1/2 Oil paint and pastels on paper
Box 39b
12 x 15 Oil paint on paper
Box 39a
12 x 14 Crayon on paper
Box 40
19 1/8 x 14 5/8 Oil paint on paper
Box 42
19 3/4 x 24 1/2 Raised relief, Plaster on fiberboard
Box 42
4 wood sculptures, 2 wood bases.
Box 43
1 wood sculpture.
Box 44
1 cut-copper sculpture with wood base (damaged), 2 clay sculptures (both damaged), 1 plaster sculpture.
Box 45
2 1/2 x 3 1/8 Copper printing plate
Box 46
3 3/8 x 3 Copper printing plate
Box 46
See item 2356-1121. 7 x 5 Printing plate
Box 46
See item 2353-1121. 5 x 4 Copper printing plate
Box 46
See item 2348-1121. 5 x 4 Printing plate
Box 46
See item 2463-1121. 6 x 4 Printing plate
Box 46
See item 2475-1121. 5 x 4 Printing plate
Box 46
See item 2389-1121. 5 x 4 Printing plate
Box 46
5 x 4 Printing plate
Box 47
1 cut-copper sculpture on wood base.
Box 48
1 cut-copper sculpture on wood base (damaged), 2 aluminum-cut sculptures on wood bases, 1 unfinished wood carving and one wood block with sketch affixed.
Box 49
1 wood sculpture.
Box 50 contains the original Linoleum printing blocks for the prints found in box 24 and box 25.
Box 50
5 1/2 x 3 1/8 Linoleum printing block
Box 50
7 7/8 x 7 1/4 Linoleum printing block
Box 50
6 x 5 Linoleum printing block
Box 50
3 1/2 x 4 1/8 Linoleum printing block
Box 50
8 x 7 1/2 Linoleum printing block
Box 50
5 3/4 x 5 3/7 Linoleum printing block
Box 50
4 1/4 x 7 5/8 Linoleum printing block
Box 50
5 7/8 x 4 7/8 Linoleum printing block
Box 50
4 1/2 x 5 1/2 Linoleum printing block
Box 50
13 x 11 Linoleum printing block
Box 50
4 1/8 x 6 Linoleum printing block
Box 50
7 1/4 x 5 3/4 Linoleum printing block
Box 50
6 1/2 x 4 1/8 Linoleum printing block
Box 50
See item 2337-1121. 5 1/2 x 5 3/4 Linoleum printing block
Box 50
7 3/4 x 5 1/2 Linoleum printing block
Box 50
5 7/8 x 4 7/8 Linoleum printing block
Box 50
7 1/4 x 6 3/8 Linoleum printing block
Box 50
4 x 6 Linoleum printing block
Box 50
12 1/2 x 13 1/4 Linoleum printing block
Box 50
7 1/2 x 7 Linoleum printing block
Box 52
Marked CU37. 4 5/8 x 6 3/4
Box 52
8 1/4 x 5 5/8
Box 52
Contains drawings of Sophie(1968). 8 1/4 x 5 1/2
Box 52
Contains mainly landscapes and self-portraits. 8 1/4 x 5 1/2
Box 52
8 x 5 1/4
Box 52
7 3/4 x 5 3/4
Box 52
Marked CU28. 7 3/4 x 5 3/4
Box 52
8 1/4 x 5 3/4
Box 52
8 1/4 x 5 1/2
Box 52
8 1/4 x 5 5/8
Box 52
Contains sketches of Lillian. 8 1/4 x 5 3/4
Box 52
6 3/4 x 4 1/2
Box 52
6 3/4 x 5 1/2
Box 52
8 x 5 1/4
Box 52
Marked CU40. 7 1/8 x 5 1/4
Box 52
Marked CU39. 7 1/4 x 5 1/4
Box 52
Marked CU34. 6 3/4 x 4 1/8
Box 52
6 3/4 x 4 1/2
Box 52
Marked CU30. 6 3/4 x 4 1/2
Box 52
Marked CU29. 8 1/2 x 6 3/4
Box 52
Contains analyses of paintings and sketches of Columbia campus. 8 1/2 x 11
Box 52
10 x 8
Box 52
6 1/2 x 10
Box 52
8 1/4 x 6 `1/2
Box 52
6 x 9
Box 52
9 3/4 x 6 1/4
Box 52
5 1/8 x 3 5/8
Box 52
6 x 4
Box 52
Marked CU45. 7 1/2 x 4 7/8
Box 53
6 x 9
Box 53
8 3/4 x 12
Box 53
9 3/4 x 8 1/2
Box 53
12 1/4 x 9
Box 53
9 3/4 x 8 1/2
Box 53
13 x 9 3/4
Box 54
Marked CU35. 11 x 14
Box 54
Marked XXIV. 13 x 16
Box 54
14 x 17
Box 54
14 x 17