SC. Special Collections
Found in 36 Collections and/or Records:
The collection is comprised of over 100 mounted exhibition prints by members of the Camera Club of Richmond. Almost all of the prints were taken by Philip M. Luce, however there are several prints by William Edwin Booth (co-founder of the Club in 1932) and Vallie L. Booth.
The collection documents the relationship between the equestrian artist Alvan Fisher and one of his patrons, New York lawyer and horse breeder Charles Henry Hall. The letters discuss the likenesses of the horses Fisher painted, as well as upcoming races, and the noted 19th century racehorse American Eclipse.
The collection documents the life of William "Bill" Robert Gaines, artist and long-time program director at the Virginia Museum of Fine Arts. The collection is comprised of a partial manuscript of his autobiography as well as photographs, clippings, and other documents related to his career at the museum.
The collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera.
The collection documents the relationship between T. Catesby Jones, prominent lawyer and art collector, and Michael Agelasto, cotton broker and later Greek consul to the Port of Norfolk. While they met professionally as younger men in Norfolk, their lifelong friendship was sustained by a common appreciation for modern art, as evidenced by the content of the collections’ correspondence between Jones’ widow, Louisa Brooke Jones, and Agelasto, after Catesby’s death in 1946.
The collection contains research files on VMFA history created by Robert “Bob” Merritt, who was a theater and arts critic for the "Richmond Times-Dispatch" newspaper from the 1970s through the 1990s and wrote about VMFA frequently. The boxes were originally labeled “narrative history,” a project which was sponsored by the museum's Marketing and Public Affairs department, probably as part of the plans to commemorate the museum's 50th anniversary in 1986.
The collection consists of various forms of memorabilia (postcards, cartoons, brochures, greeting cards, buttons, pins, stickers) depicting Leonardo da Vinci’s "Mona Lisa" as appropriated art. The collection was assembled by Mary Moore Jacoby in honor of Pinkney L. Near, Virginia Museum of Fine Arts' senior curator, who died in 1990.
The collection includes photographs, articles, and correspondence related to the collection and subsequent donation of 18th century Meissen porcelain by Margaret M. and Arthur J. and Margaret Mourot.
The collection consists of two bound albums of postcards mostly depicting art and architecture throughout Europe and the United States. The volumes belonged to Harriet Severance Munn, and many contain correspondence between Harriet, her sister Marjorie, and other family members.
The collection is comprised of photographs of architectural works designed by Charles Rennie Mackintosh and Margaret Macdonald Mackintosh in Glasgow, Scotland. The photographs were taken by architectural historian William Bainter O'Neal in 1949 and feature the Glasgow School of Art, Hill House, Willow Tea Rooms, and Queen's Cross Church. The envelope that housed the images features diagrams and notes about the Glasgow School or Art presumably written by O'Neal.
The collection is comprised of eight rare 78 rpm shellac records of Native American chant recordings. Recorded in the early 1950s by Manuel Archuleta, the first Native American in the United States to own his own record label, the chants preserve the songs and dances from several Southwestern pueblos, including the Hopi, Zuni, and San Juan peoples.
The collection includes postcards, concert and recital announcements, subscription offers, Richmond newspaper accounts of Hubbard’s visit, Roycroft Fraternity membership, an original manuscript of “A Visit to the House of Shakespeare” with handwritten annotations by Hubbard, a blank copy of Memory Book in its original box and other ephemeral material.
The collection helps document the formation of the Kamoinge Workshop in the early 1960s, including a notebook with minutes from their earliest meetings. Photographs from the collection show the early members of Kamoinge, and in particular focuses on the life of Louis H. Draper (1935-2002).
This collection’s inclusive dates are 1959-2008. It is comprised of newspaper clippings, letters (mainly from Mallory Freeman, fellow Virginia Museum Theater actor), event invitations and programs, and an audiotape.