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INVENTORY OF THE HEINRICH SCHWARZ PAPERS,
1928-1988
920033
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Table of contents
Title: Heinrich Schwarz papers
Date (inclusive): 1894-1974
Collection number: 920033
Creator:
Schwarz, Heinrich, 1894-1974
Extent:
15 linear feet
(41
boxes)
Repository:
Getty Research Institute
Research Library
Special Collections and Visual Resources
1200 Getty Center Drive, Suite 1100
Los Angeles, CA
90049-1688
Abstract: Art historian, born in Prague. Manuscripts,
correspondence, and printed materials related to Schwarz's research, writings, curatorial work, and teaching about photography,
photography's relationship to art, the iconology of the mirror and the
owl, and Austrian art, as well as optical phenomenon. Much material relates to Schwarz's popular work,
D. O. Hill: Master of Photography.
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Language: Collection material in English, and German
Open for use by qualified researchers.
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Library Rights and Reproductions
Heinrich Schwarz papers, 1894-1974, Getty
Research Institute, Research Library, Accession no. 920033.
Acquired in 1992.
The collection was partly organized and processed in 1993. Vanessa
Walker-Oakes completed the physical processing and wrote the first draft of the
finding aid in 1995. Jocelyn Gibbs and Annette Leddy edited and rewrote
portions in 1996. Annette Leddy produced the final version.
Born in Prague in 1894, Heinrich Schwarz began his studies in
Classical Archaeology and Philosophy at the University of Vienna in 1913. When
the war began in 1914, Schwarz interrupted his studies for four years while he
served in the Austro-Hungarian military service for which he received several
decorations for bravery. In 1918, he resumed his training at the University of
Vienna, receiving a Ph.D. in 1921 for his doctoral work,
Der Anfänge der Lithographie in Wien (published
posthumously by Böhlau Verlag in 1988).
Dr. Schwarz began his curatorial training in 1921 at the Albertina
Print Room, Vienna, and was appointed Curator of the Austrian State Gallery,
Belvedere Palace, in 1923. Schwarz collaborated in the creation of this new
museum, which consisted of the Barockmuseum, the Gallery of the Nineteenth
Century, and the Modern Gallery. In 1926, he published
Salzburg und das Salzkammergut: Eine künstlerische
Entdeckung
, which appeared most recently in a fourth edition in 1977.
Dr. Schwarz' publications in the fields of both Austrian art and the treasures
of his new museum are many, including journals, "Amicis" editions,
Galerie des 19.Jahrhunderts and
Moderne Galerie.
In addition to his research in Austrian art, Schwarz also published,
in his early years at the Austrian State Gallery, the results of his research
into the art and technology of early photography, which focused on the work of
David Octavius Hill.
David Octavius Hill: Der Meister der Photographie, first
published in 1930 in German and translated to English in 1931 and 1932, is
considered to be the first true monograph of a photographer ever written. Dr.
Schwarz' contributions in the field of early photography and the evolution of
photography continued throughout his career.
In 1938, Dr. Schwarz emigrated to the United States, where by 1941 he
had settled as a research scholar at the Albright Art Gallery, Buffalo, New
York. From the Albright, Dr. Schwarz moved in 1943 to the Museum of the Rhode
Island School of Design (RISD), Providence, R.I., as Curator of Paintings,
Drawings, and Prints. In 1954, Dr. Schwarz finally settled at Wesleyan
University in Middletown, CT, in the position of Professor of the History of
Art and Curator of the Davison Art Collection, where he remained until his
retirement in 1972. During his time at Wesleyan, Dr. Schwarz corresponded
widely with his colleagues, including Beaumont Newhall, Erwin Panofsky, and
many others at museums and libraries in the U.S. and Europe. He also served as
a Visiting Professor at Wellesley (1953-4), Mt. Holyoke (1954), and Columbia
(1966-8). Throughout this period Dr. Schwarz wrote and lectured primarily on
the machine's interjection into art through the centuries, early photography,
and iconography, including most specifically the symbolism of the owl and the
mirror in art.
Dr. Schwarz also involved himself in the development of exhibitions,
and was also the curator/donor of his own rich collection of early calotypes,
many by D. O. Hill and Robert Adamson. This collection was exhibited a MoMA
(1941 and 1949), RISD, and Yale. In 1964, Schwarz was awarded the Cross of
Honour, First Class, "Litteribus et Artibus" by the Austrian Government for his
learned contributions.
Heinrich Schwarz died in 1974. His wife, Elisabeth Schwarz, and
colleagues continued efforts to publish the large quantity of extant,
unpublished research material collected by Dr. Schwarz. Mrs. Schwarz succeeded
in overseeing a number of publications: a fourth edition of
Salzburg und das Salzkammergut (1977); in cooperation with
the Österreichische Galerie and in commemoration of Nestroy's 175th
birthday,
Johann Nestroy im Bild: eine Ikonographie (1979); a
collection of Dr. Schwarz' essays and lectures,
Art and Photography: Forerunners and Influences (1985);
and the first published edition of Dr. Schwarz' dissertation (1921),
Die Anfänge der Lithographie in Österreich
(1988).
Scope and Content of Collection
The papers of Heinrich Schwarz consist primarily of manuscripts,
research material, correspondence, and photoprints from the 1940's to 1972, the
period during which Dr. Schwarz was most active in the United States. Little
remains of his early work in Austria, although some early records of his
research into photography and lithography appear in the form of handwritten
notes, an early edition of
D.O. Hill with comments and corrections, and a handful of
early letters pertaining to this material. Nor are there consistent documents
of a personal nature from either Europe or America, although scattered personal
insights emerge in correspondence with colleagues and friends throughout the
collection. The abundance of the material relates to his professional career
and contacts made as a professor, author, and lecturer at RISD and at Wesleyan,
from 1943-1972.
Further, files containing the correspondence of Elisabeth Schwarz
(1973-85) document her efforts to publish her husband's research material after
his death in 1974. These letters, corrected manuscripts, publication contracts
and revenues offer insight into the posthumous reception and continuing impact
of Dr. Schwarz' research.
Arrangement
The collection is organized in five series:
Series I:
Research Files
;
Series
II: Bibliographic Files
;
Series
III: Publishing and Lectures
;
Series
IV: Heinrich Schwarz Correspondence
;
Series V:
Elisabeth Schwarz Correspondence
.
Hill, David Octavius, 1802-1870
Schwarz, Heinrich, 1894-1974
Art and Photography
Camera lucidas—History
Camera obscuras
Mirrors
Optics and art
Owls
Peep shows—History
Photographers
Photography—History
Photomechanical processes
Ephemera
Inventories
Lantern slides
Photographic prints
Photographs, Original
Schwarz, Elisabeth
Newhall, Beaumont, 1908-
Schwarz, Heinrich. "Eine Handzeichnung von Abraham Bloomaert,"
Mittelungen der Gesellschaft für vervierfältinge
Kunst
, Heft 2/3 (1919), pp. 36-38.
Die Anfänge der Lithographie in Wien, 1921
(Ms.).
"Unbekannte französische und italienische
Lithographie-Inkunabeln in Wiener Sammlungen,"
Mitteilungen der Geselschaft für Vervielfältigende
Kunst
, Wien (1921), pp. 34 ff.
"Nachträge zu Andresens Deutschen Malerradierern,"
Mitteilungen der Gesellschaft für Vervielfältigende
Kunst
, Wien (1924), pp. 411 ff.
"Renoirs Baigneuses,"
Belvedere, Heft 32-33 (März 1925), pp.
65-69.
"Die Lithographien J.A.D. Ingres,"
Mitteilungen der Gesellschaft für Vervielfaltigende
Kunst
, Wien (1926), pp. 74 ff.
"Eine unbekannte Mailänder
Lithographie-Inkunabeln,"
Mitteilungen der Gesellschaft für Vervielfältigende
Kunst
, Wien (1928), pp. 11 ff.
"Ein Relief Johann Georg Dorfmeisters,"
Magyar Müvészet, (Ungarishe Kunst), Heft 9
(1927), pp. 567-569.
"Heinrich Reinholds Bericht über seine Reise nach
Salzburg, Tirol und Oberösterreich im Sommer 1818,"
Mitteilungen der Gesellschaft für Salzburger
Landeskunde
, Salzburg 1927.
"August Heinrich und die geistigen Voraussetzungen
seiner Malerei,"
Amicis, Jahrbuch der Österreichischen Galerie
1926
, Wien (1927), pp. 9-16.
"Ein unbekannter Brief Franz Pforrs und Friedrich
Overbecks,"
Amicis, Jahrbuch der Österreichischen Galerie
1926
, Wien (1927), pp. 28-32.
"Zwei Landschaften von Heinrich Reinhold,"
Amicis, Jahrbuch der Österreichischen Galerie
1926
, Wien (1927), pp. 61-65.
"Dorfmeisters Türkische Figurine,"
Amicis, Jahrbuch der Österreichischen Galerie
1926
, Wien (1927), pp. 69-71.
"Anna Dorothea Therbuschs Bildnis des Landschaftsmalers
Jacob Philipp Hackert,"
Amicis, Jahrbuch der Österreichischen Galerie
1926
, Wien (1927), pp. 86-87.
"Zu Carl Georg Heise, Museumsbilder auf Reisen,"
Amicis, Jahrbuch der Österreichischen Galerie
1926
, Wien (1927), pp. 99-100.
"Der Almanach für Damen auf das Jahr 1809. Das
erste Buch mit lithographischen Illustrationen,"
Zeitschrift für Bücherfreunde, Neue Folge
20. Jahrgang, Heft 3 (1928), pp. 44-49.
"Eine unbekannte Mailander Lithographie-Inkunabel,"
Mitteilungen der Gesellschaft für vervielfältingende
Kunst
, Band 51 (1928), pp. 11-12.
Katalog einer Sammlung zur Geschichte der Entwicklung und
Blüte der Künstler-Lithographie 1800-1860
, Kunstantiquariat
Artaria (1928).
"Bildnisse Zacharias Werners,"
Hochland, Monatschrift für alle Gebiete des Wissens, der
Literatur und Kunst
, Heft 4 (1929/30), pp. 354-359.
"Neuerwerbungen der Galerie des 19.Jahrhundert,"
Österreichische Kunst, (January 1930).
"L'Oeuvre de Renger-Patzsch,"
Bulletin de la Société Francaise de Photographie
et de Cinématographie
, Tome XVII, No.5. (Mai 1930), pp.
149-152.
David Octavius Hill: der Meister der Photographie.
Leipzig: Insel, 1931.
Beiträge zum Werke von Carl Schindler,"
Die Graphische Künste, with Franz Martin
Haberditzl, Heft 2/3 (1931).
David Octavius Hill: Master of Photography. Translated
by Helen E. Fraenkel. London: George C. Harrap & Co., 1932.
"A Conversation with the Editor,"
The Gallery, A Monthly Review of International
Pictorial Photography, Vol. 1, No. 5 (15 July 1933), pp. 60ff.
"Uber Photographie,"
Die Galerie (Vienna), Heft 1 (März 1933), pp.
I-IV.
"Om Fotografi,"
Foto Tidskrift for International Fotografi
(Copenhagen), (Marts 1933), pp. 4-5.
"The Camera Obscura,"
The Gallery (London), Vol. 1, No. 9 (Nov. 1933), pp.
111 ff.
"Zur Geschichte der Camera Obscura,"
Die Galerie (Vienna), Heft 11 (Januar 1934), pp.
LXXIX-LXXXIV.
"Hugo Erfurth,"
Photographik (Berlin), Heft 2 (Februar 1934), pp.
1-5.
"Austria,"
L'Illustrazione Italiana, Anno LXI, no. 19 (maggio
1934), p.714.
"Eine Zeichnung Paul Trogers zum Fresko der Melker
Studentenkapelle,"
Kirchenkunst, VI (1934/35), pp. 36-39.
"Maria Pauli-Rottler,"
Die Pause, 1. Jahrgang, Heft 7, pp. 29-30.
"Regesten zum Leben und Werk des Malers Joseph Ignaz
Mildorfer,"
Kirchenkunst, Heft 3/4 (1935), p. 89ff.
Kaiser Franz Joseph Austellung: Secession Wien. Wien:
Verein der Museumsfreunde in Wien.
"Neue Nachträge zu Andresens Deutschen
Malerradierern,"
Die Graphischen Künste, N.F. I (1936), pp. 142
ff.
"Die künstlerische Entdeckung Salzburg und des
Salzkammerguts,"
Die Pause, 2. Jahrgang, Heft 2, pp. 23ff.
"Salzburg im Jahre 1815. Nach den Reisebriefen des
Arztes Ludwig Hermann Friedländer,"
Salzburger Museumsblätter, Herausgegeben vom
Salzburger Museums Verein, Nos. 1-3 (1936), Spalte 1-12.
"Notizen zu Salzburger Künstlern,"
Salzburger Museumsblätter, Herausgegeben vom
Salzburger Museums Verein, No. 6 (Nov.-Dec. 1936), pp. 1-6.
"Julius Schnorr von Carolsfeld und Julius Schoppe in
Salzburg (1817),"
Salzburger Museumsblätter, Nos. 1-2 (Jan.-Apr.
1937), pp. 1-8.
"Anton Franz Maulbertsch,"
Beaux-Arts (May-June 1937), pp. 16.
"Eine unbekannte Lithographie von Andrea Appiani,"
Die Graphischen Künste, N.F. II (1937), pp. 109
ff.
"David Octavius Hill,"
The Complete Photographer, Vol. 6, Issue 31 (1941),
pp. 1974-1978.
"Julia Margaret Cameron,"
Ibid., Vol. 2, Issue 10 (1941), pp. 593-595.
"Nadar,"
Ibid., Vol. 7, Issue 41 (1941), pp.
2665-2667.
"David Octavius Hill,"
Minicam Photography, c. 1943.
"American Folk Painting,"
Museum Notes, Museum of Art R.I.S.D., Vol. 2, no. 1
(Jan. 1944), pp. 2-3.
"New Acquisitions of Pre-Columbian Art: Peru and
Venezuela,"
Museum Notes, Museum of Art R.I.S.D., Vol. 2, no. 4
(Apr. 1944), pp. 1-2.
"Utrillo's Château Blanc,"
Museum Notes, Museum of Art R.I.S.D., Vol. 2, no. 6
(Sept.-Oct. 1944), pp. 1-2.
"Calotypes by D.O. Hill and R. Adamson,"
Museum Notes R.I.S.D., Vol. 2, No. 8 (Dec. 1944), pp.
1-2.
"Daumier,"
Museum Notes R.I.S.D., Vol. 3, no. 8 (Nov.
1945)
"An Unnoticed Drawing by Van Gogh,"
Museum Notes R.I.S.D., Vol. 4, no. 4 (April 1946) pp.
2-3.
"A Landscape by Gustave Courbet,"
Museum Notes, R.I.S.D., Vol. 4, no. 5 (May 1946), pp.
2-3.
"Two Mexican Sculptures,"
Studies: Museum of Art (Rhode Island School of
Design), 1947.
"An Exhibition of Recent Acquisitions of the Print
Room,"
Museum Notes, R.I.S.D., Vol. 5, no. 5 (October 1947)
pp. 2-3.
"A Rare Engraving,"
Museum Notes, R.I.S.D., Vol. 6, no. 6 (November 1948),
p. 4.
"Art and Photography: Forerunners and Influences,"
Magazine of Art, Vol. 42, No. 11 (November
1949).
"A Drawing by Rembrandt,"
Museum Notes, R.I.S.D., Vol. 7, no. 2 (November 1949)
pp. 1-4.
"A Landscape by Sébastien Bourdon,"
Museum Notes, R.I.S.D., Vol. 9, no. 2 (January 1952)
pp. 1-3. (Reprinted in
The Art Quarterly,
Spring 1952)
"The Mirror in Art,"
Art Quarterly, Vol. XV, No. 2 (Summer 1952), pp.
96-118.
"A Painting by Francesco Guardi,"
Museum Notes, R.I.S.D., Vol. 10, no. 4 (May 1953) pp.
1-3.
"A Water-colour attributed to Dürer,"
The Burlington Magazine, Vol. XCV, no. 602 (May 1953)
pp. 148-150.
"Jan Gossaert's Adam and Eve Drawings,"
Gazette des Beaux-Arts, Series VI, Vol. XLII (October
1953) pp. 145-168. Reprinted in
Essays in Honor of
Hans Tietze
, 1880-1954, New York (1958) pp. 171-194.
"Two Drawings attributed to Domenico Passignano,"
Art Quarterly, XVI, no. 4 (Winter 1953) pp.
337-340.
"The Workshop of an XVII Century Goldsmith. An
Unrecorded French Print,"
Gazette des Beaux-Arts, Series VI, vol. XLIII (April
1954) pp. 231-242.
"A Portrait Drawing by Edme Bouchardon,"
Gazette des Beaux-Arts, Series VI, Vol. XLIV
(September 1954) pp. 123-6.
"Johann Adam Klein in Salzburg (1818),"
Mitteilungen der Gesellschaft für Salzburger
Landeskunde
, Bd. 96 (1956) pp. 217-222.
"Daumier, Gill, and Nadar,"
Gazette de Beaux-Arts, Series VI (1957).
Salzburg und das Salzkammergut: Die künstlerische
Entdeckung der Stadt und der Landschaft im 19.Jahrhundert
, 3rd Ed.
Vienna: Anton Schroll, 1957.
"Goya's Portrait of Gaulon,"
College Art Journal (Fall 1957).
"Two Unrecorded Engravings by Master S,"
Musées Royaux des Beaux-Arts bulletin,
Bruxelles, VI, No. 1 (March 1957) pp. 39-42.
"Zum Werke von Carl Schindler,"
Studien aus Wien, Herausgegeben vom Historischenb
Museum der Stadt Wien, Heft 5 (1957) pp. 257-265.
"An Exhibition of Victorian Calotypes,"
Victorian Studies: A Quarterly Journal of the Humanities and
Sciences
, Vol. 1, No. 4 (1958), pp. 354-356.
"The Mirror of the Artist and the Mirror of the Devout,"
Suida Festschrift. London: Phaidon Verlag, 1958, pp.
90-106.
"William Etty's 'Self-Portrait' in the London National
Portrait Gallery,"
Art Quarterly, Vol. XXI, No. 4 (Winter 1958), pp.
391-396.
"Two Unknown Portraits of Manet,"
Gazette des Beaux-Arts, Vol. LIII (April 1959) pp.
247-254.
"Ingres Graveur,"
Gazette des Beaux Arts, Decembre 1959. (Reprint of
1926 article)
"Franz Anton Maulbertsch in American Museums,"
The Baltimore Museum of Art News, VO. XXIII, no. 1
(Fall 1959) pp. 9-15.
"August Heinrich und die geistigen Voraussetzungen
seiner Malerei,"
Mittelungen der Österreichischen Galerie 1960.
Previously published in Amicis, Wien, 1926.
"Die Graphischen Werke von Egon Schiele,"
Philobiblion, Vol. 1/1 (1961).
"Die Graphischen Werke von Egon Schiele: Nachtrag,"
Philobiblion, Vol. 1/2 (1962). (Together, Dr. Schwarz'
Philobiblion Vol. 1 and 2 articles comprise a
Catalogue Raisonné of Egon Schiele's graphic works.)
"Franz Anton Palko als Bildnismaler,"
Mitteilungen der Österreichischer Galerie, No. 50
(1962). Paper presented at the Czechoslovak Society of Arts and Sciences in
America, Inc. On September 3 1966, Columbia University.
"Ferdinand Oliviers `St. Carls Kirche in Wien,'"
Festschrift Otto Erich Deutsch, Kassel:
Bärenreiter, 1963.
"Art and Photography,"
Yearbook of the American Philosophical Society (1963)
pp. 599-600.
"Julius Schnorr von Carolsfeld in Salzburg and
Berchtesgaden 1817,"
Kunstjahrbuch der Stadt Linz, 1963.
"Carl Maria von Weber as a lithographer,"
(1961).
"Before 1839: Forerunners and Influences," Paper
presented at the College Art Association Meeting, Baltimore (1963) and the
Symposium at the International Museum of Photography, George Eastman House
(1964); published posthumously in
Art and Photography:
Forerunners and Influences
(1985). Much of this paper is a revision of
his earlier article for the
Magazine of Art
(1949).
"A Unique Woodcut by Hans Lautensach,"
Pantheon, 1964.
Honoré Daumier: Drawings, Lithographs, Sculptures,
Books
, Autumn 1965 (Exhibition Catalogue).
"Palma Giovane and his Family: Observations on Some
Portrait Drawings,"
Master Drawings, Vol. III (1965), No. 2.
"Heinrich Reinhold in Italien,"
Jahrbuch der Hamburger Kunstsammlungen, Vol. 10
(1965), p. 96.
Kirchbaum.
Lexicon der Christlichen Iconographie. Heinrich
Schwarz, Mitarbeiter. Freiburg: Verlag Herder, 1965.
Schwarz, Heinrich. "Louis Dorigny in Wien,"
Mitteilungen der Österreichischen Galerie,
1966.
"After 1839: Effects and Examples of a New Vision,"
lecture given at Worcester Museum of Art (10 March 1966), Temple University (11
March 1968), and the Philadelphia Museum of Art (20 April 1970). Also known by
the title, "Art and Photography: Symptoms and Trends".
"Vermeer and the Camera Obscura,"
Pantheon: Internationale Zeitschrift fur Kunst,
Mai/Juni 1966.
"Schiele, Dürer, and the Mirror,"
Art Quarterly, Vol. XXX (1967), Nos. 3-4.
"Joseph Rosa und das Museé Napoleon,"
Mitteilungen der Österreichischen Galerie,
1968.
"J. August Heinrich,"
Neue Deutsche Biographie 8 (1969).
"Eule,"
Reallexicon zur Deutsche Kunstgeschichte, Herausgeber:
Zentralinstitut für Kunstgeschichte, München, Band VII (1981). Ms.
completed in 1970.
"Hill-Adamson Calotypes,"
The Scottish Art Review, Vol. XII, No. 4 (1970), pp.
1-5, 33.
"The Calotypes of D.O. Hill and Robert Adamson: Some
Contemporary Judgements,"
Apollo, Vol. XCV (Feb. 1972), No. 120, pp.
123-128.
"German Artists in Austria in the First Quarter of the
Nineteenth Century," Correlations Between German and Non-German Art in the
Nineteenth Century (Seminar at Yale University on the theme "Deutsche
Romantik"),
Yale University Art Gallery Bulletin, Vol. 33, No. 3
(1974).
Article in
Festscrift for Beaumont Newhall (1975)
Nestroy im Bild: eine Ikonographie. Wien,
München: Verlag Jugend und Volk, 1977.
Art and Photography: Forerunners and Influences.
William Parker, ed. Layton, UT and Rochester, NY: Gibbs M. Smith, Inc.,
Peregrine Smith Books in association with Visual Studies Workshop Press,
1985.
Die Anfänge der Lithographie in Österreich.
Bearbeitet von Elisabeth Hermann-Fichtenau. Wien: Böhlau, 1988.