Finding aid for the George E. Stone Photographs of Architecture, Fine Arts and Decorative Arts, 1916-1992
Descriptive Summary
Title: George E. Stone photographs of architecture, fine arts and decorative arts
Date (inclusive): 1916-1992
Number: 87.P.7
Creator/Collector:
Stone, George Eathl
Physical Description:
17.9 linear feet
(30 boxes)
Repository:
The Getty Research Institute
Special Collections
1200 Getty Center Drive, Suite 1100
Los Angeles, California, 90049-1688
(310) 440-7390
Abstract: The George E. Stone photographs of architecture, fine arts and decorative arts are comprised of images of works of art and
architecture in England and Italy made by this photographer and educator on a year-long trip to Europe in 1930 and 1931. The
archive also includes a small number of photographs from other projects, as well as related documentation of Stone's career.
Request Materials: Request access to the physical materials described in this inventory through the
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Language: Collection material is in
English.
Biographical/Historical Note
George Eathl Stone was a documentary filmmaker, photographer, zoologist and educator. Stone was born February 22, 1889 in
Annandale, Minnesota, but by 1900 the family had moved to the Los Angeles area. Stone's interest in photography developed
early and he purchased his first camera while still a teenager.
Stone enjoyed an extended undergraduate career at the University of California, Berkeley, completing his B.A. in the sciences
in 1916. His studies at the university were marked by frequent breaks. He worked for the Zoology Department in various capacities;
traveled in Central and South America; spent the 1913/1914 academic year in New York working as a microscope salesman for
Leitz; worked at the Laboratory of Scientific Photography at Berkeley; and married May Gray, whose family resources allowed
Stone to build his own studio/laboratory in Berkeley late in 1914. During these years, all of Stone's interests - natural
science, photography, microscopy - came together, and by his graduation in 1916 he had completed a four-reel film,
How Life Begins. One of the first educational science films made in this country, the documentary was noteworthy for being both scientifically
accurate and aesthetically pleasing, as well as having been made primarily using a process and apparatus of Stone's invention.
The film brought Stone to the attention of Prizma, Inc., a pioneering company in the use of color in motion pictures. In 1916,
Stone went to work for Prizma applying their color process to nature and scientific films. His work for Prizma was soon interrupted
by his World War I military service as a photographer for the Army Signal Corps, first in France, and then in Germany after
the armistice. Stone returned to work for Prizma late in 1919 and spent the following years creating color motion picture
films and managing Prizma's laboratory in Hollywood. Stone created numerous documentaries for Prizma, including
A Day with John Burroughs (1919), a look at the life of the noted naturalist;
Hagopian the Rugmaker (1920), the story of an itinerant Armenian craftsman;
The Living World (1920), the sequel to
How Life Begins; and
The Sunshine Gatherers (1921), essentially a Del Monte advertisement in the guise of tracing the history of California. The Prizma process proved
too expensive to compete with other emerging color technologies, and in 1923 Stone was let go.
Stone promptly moved on to other photographic ventures, shifting his focus from motion pictures to still photography. Stone
spent most of the 1920s as a commercial photographer, specializing in nature photography. In this period, the Stones moved
to Carmel, where again Stone was able to build a private laboratory/studio. He pursued his scientific and zoological interests
by serving from November 1923 to January 1924 as photographer on G. Allan Hancock's expedition to the Galapagos Islands. On
a more mundane level, Stone was hired to supply photographs for commercial clients, including the images for a guide to Mount
Whitney in 1925 and a Yosemite travel booklet for the Southern Pacific Railroad in 1926. Stone was also independently selling
his work, especially as stereographs.
In 1927 Stone was one of the founders, and then served as director, of Visual Education Service, Inc., which promoted the
use of visual materials in education and served as an image stockhouse. By 1929, however, Visual Education Service was experiencing
financial difficulties. Stone's catalogs from this period offered lantern slides, stereographs, prints and films, with the
bulk of listings drawn from the areas of science and nature. Stone and his wife departed for Europe in the spring of 1930,
intending to spend a year photographing works of art. It was envisioned that these new images would expand the stockhouse's
offerings into areas of the humanities and provide a boost to the business. However, the Stones came home to America in 1931
to a worsening economy and the hoped-for benefit never materialized. They soon sold the house in Carmel and moved back to
Berkeley, where Stone returned to the university and received his M.A. in zoology in 1933. He also returned to another earlier
activity, accompanying Hancock on another expedition to the Galapagos around this time.
In 1934, Stone's career again took a new direction. Soon after enrolling as a student at San Jose State University (then San
Jose State College) Stone was asked to be an instructor. Stone had a long career as an educator, building the photography
program at San Jose State from a very small venture into a thriving department, of which he served as the first chairman.
During World War II, Stone took a leave of absence to serve as a photographic officer in the army. After the war, he returned
to teaching and also wrote a book,
Progressive Photography, a laboratory manual for college students, which went through three editions. Stone retired with the academic rank of an
Associate Professor in 1956.
Administrative Information
Access
Open for use by qualified researchers, with the exception of the negatives.
Publication Rights
Preferred Citation
George E. Stone photographs of architecture, fine arts and decorative arts, 1916-1992, The Getty Research Institute, Los Angeles,
Accession no. 87.P.7
hdl.handle.net/10020/cifa87p7
Acquisition Information
After his retirement in 1956, Stone presented his entire photographic collection to the Science Department at San Jose State
University, which soon dispersed the material. The portion of the Stone's collection currently held by the Getty Research
Institute was deaccessioned by San Jose State in the 1960s and given to Luraine Tansey, a former student of Stone's and at
that time, the university's Art and Slide Librarian. In 1987, Tansey gave the collection to the Photo Archive at the Getty.
Processing History
In 1991-1992, the Getty Research Institute created a set of copy negatives and a set of contact prints from Stone's original
nitrate negatives. All notes from Stone's negative sleeves were transcribed into the Photo Archive database, ANTNEGS. In 2014,
Cassandra D'Cruz, under the supervision of Ann Harrison, conducted research on the collection, collated the information in
the ANTNEGS database with the contact prints and created the inventory.
Related Archival Materials
San Jose State University has retained some George E. Stone holdings, including the Stone Photographic archive (MSS.2014.02.28)
and material within the San Jose State University archives photograph collection (MSS.2006.05.01). San Jose State may also
hold Stone's photographs and documentation from his participation in G. Allan Hancock's expeditions to the Galapagos Islands.
Materials relating to Stone's service in World War I are in the George E. Stone papers in the Hoover Institution archives
at Stanford University. Many repositories hold individual works or small groups of Stone's photographic output. For example,
the Monterey Public Library, the Santa Cruz Museum of Art and History and the Library of Congress hold Stone stereographs.
Scope and Content of Collection
The George E. Stone photographs of architecture, fine arts and decorative arts are comprised of images of works of art and
architecture in England and Italy made by this photographer and educator on a year-long trip to Europe in 1930 and 1931. The
archive also includes a small number of photographs from other projects, as well as related documentation of Stone's career.
The collection, as received by the Getty Research Institute, consisted of over 1300 nitrate negatives; ten enlarged and mounted,
gelatin silver photographic prints; a set of file cards indexing Stone's photographs typologically; a set of photographic
stocksheets; and a scrapbook. Subsequently, a set of copy negatives and a set of black-and-white contact prints were produced
from the nitrate negatives, in order to preserve and facilitate access to Stone's images. These Getty-produced materials now
form the bulk of the archive.
Overall, the photographs made by Stone on his European trip record a diverse array of artwork with a broad chronological range,
reaching from the prehistoric period to the late nineteenth century. Within this span, there is a focus on certain periods
and media: English architecture; Italian architecture; Classical antiquities; and Italian Renaissance sculpture and paintings,
decorative and minor arts, with an emphasis on the work of Michelangelo. Because the purpose of Stone's trip was to obtain
images for his photographic stockhouse, Visual Education Services, the photographs are for the most part standard art historical
choices, supplemented with places and objects of historical or literary significance. In addition to the European photographs,
the archive contains a small number of other photographs, including images Stone made at an exhibit of modern American sculpture
held in San Francisco in 1929 and copies of Edizioni Brogi photographs. Perhaps because his background was scientific rather
than art historical and his photography often displayed different conventions of framing and lighting, Stone's photographs
reveal new aspects of familiar artworks.
The archive also preserves some of Stone's documentation of his photographic collection and his career. A card catalog records
Stone's art photographs, including some not represented in this collection. Multiple versions of these index cards with identification
of the object, the negative number and a brief description are sorted by chronological and cultural categories. A similar
cultural/chronological categorization of Stone's images is found in the photographic stocksheets in the archive. The scrapbook
records Stone's broader career through letters, clippings, photographs and ephemera, with a strong emphasis on his roles as
a filmmaker and educator. Items preserved in the scrapbook relating to the photographs in this collection include museum permits,
letters of introduction, and catalogs listing his available work.
Arrangement
Arranged by type of material: photographic work, photograph documentation, and a scrapbook.
Indexing Terms
Subjects - Names
Michelangelo Buonarroti, 1475-1564
Stone, George Eathl -- Photograph collections
Subjects - Topics
Architecture--England
Architecture--Italy
Classical antiquities
Decorative arts--Italy
Painting, Italian
Painting, Renaissance--Italy
Sculpture, Italian
Sculpture, Renaissance--Italy
Genres and Forms of Material
Black-and-white negatives
Black-and-white prints (photographs)
Cellulose nitrate film
Gelatin silver prints
Scrapbooks
George E. Stone photographs of architecture, fine arts and decorative arts
Photographic work,
1929-1931, 1991-1992
Photographic prints,
1991-1992
Scope and Content Note
In 1991-1992, the Getty Research Institute created a set of 5 x 7 inch contact prints from Stone's negatives. Some negatives
also have 8 x 10 inch enlargements and some have multiple contact prints of varying tonalities or quality. The prints are
labeled with transcriptions of Stone's notes taken from the nitrate negative sleeves. These notes include Stone's negative
number and an identification of the image, as well as the date in many cases. The photographic prints are primarily from the
negatives made on Stone's 1930-1931 European trip, but a small number derive from Stone's negatives of modern American sculpture
made in 1929, and his copies of Edizioni Brogi photographs.
Box 10, Folder 1
Austria: Tyrol
Scope and Content Note
Photographs taken in October 1930.
England
Scope and Content Note
Primarily photographs of architecture and in-situ sculpture, taken in August and September 1930. The photographs from the
British Museum and Somerset House document antiquities, manuscripts, sculpture, prints and drawings, and paintings and photographs.
The emphasis is on portraiture of great figures in history: rulers and political figures; scientists, explorers, literary
figures.
Box 2, Folder 10
Salisbury/Stonehange/Old Sarum
Italy
Scope and Content Note
Primarily photographs works of art, with a small amount of architecture and general views, taken from October 1930 to March
1931.
Box 4-5
Museo Nazionale del Bargello
Box 8, Folder 1
Museo Nazionale di San Marco
Box 7, Folder 6-8
Palazzo Pitti, Galleria Palatina
Box 7, Folder 9
Palazzo Vecchio / Ponte Vecchio
Box 7, Folder 10
San Lorenzo, New Sacristy
Box 8, Folder 4
Santa Maria del Carmine, Brancacci Chapel
Box 7, Folder 5
Santa Maria del Fiore (Duomo), Baptistry and Campanile
Box 10, Folder 6
Naples / Vesuvius / Pompeii
Box 9, Folder 3
Museo Nazionale di Villa Giulia
Box 9, Folder 4-6
Museo Nazionale Romano (Terme)
Box 9, Folder 8
Foro Romano and related monuments
Box 9, Folder 17
Paintings by Ettore Forti
Box 9, Folder 16
Various locations and works of art
Other photographic prints
Box 10, Folder 12-13
Copies of Edizioni Brogi photographs
Scope and Content Note
Architecture and works of art from Antiquity through the Renaissance, with an overwhelming focus on the work of Michelangelo.
Box 11, Folder 8
Modern American sculpture
Scope and Content Note
Photographs made in 1929 at the National Sculpture Society's
All-American Exhibition of Contemporary Sculpture at the California Palace of the Legion of Honor in San Francisco.
Box 23-30
Stone's original nitrate negatives,
1929-1931, undated
Scope and Content Note
Restricted material.
Box 18-22
Copy negatives created by the Getty Research Institute,
1991-1992
Scope and Content Note
Restricted material.
Box 16*
Mounted enlargements,
undated
Scope and Content Note
Includes both photographs made by Stone and those copied from Brogi photographs; size varies, generally mounted on 16 x 20
inch board.
Photograph documentation,
undated
Box 12
Photographic stock sheets
Scope and Content Note
10.5 x 14 inch photographs with multiple thumbnail images of Stone's photographs sorted by topic: Amoeba to Man; Antiquities
(Neolithic-Roman); England; American Sculpture; Italian Art; Michelangelo; Moorish, Scandinavian, Spanish, Dutch and Flemish
art.
Box 17*
Scrapbook,
1916-1958
Scope and Content Note
The scrapbook contains letters received, pamphlets, advertisements and announcements, reviews, articles by and about Stone,
newspaper clippings, photographs, museum permits and letters of introduction, catalogs of Stone's work.
