INVENTORY OF THE HEINRICH SCHWARZ PAPERS, 1928-1988

Finding aid created by Vanessa Walker-Oakes, Jocelyn Gibbs, and Annette Leddy
Getty Research Institute
Research Library
Special Collections and Visual Resources
1200 Getty Center Drive, Suite 1100
Los Angeles, California 90049-1688
Phone: (310) 440-7390
Fax: (310) 440-7780
Email Requests: http://www.getty.edu/research/conducting_research/library/reference_form.html
URL: http://www.getty.edu/research/conducting_research/library
©1998
J. Paul Getty Trust.

INVENTORY OF THE HEINRICH SCHWARZ PAPERS, 1928-1988

Accession no. 920033

Finding aid prepared by Vanessa Walker-Oakes, Jocelyn Gibbs, and Annette Leddy
Getty Research Institute

Contact Information:

  • The Getty Research Institute
  • Research Library
  • Special Collections and Visual Resources
  • 1200 Getty Center Drive, Suite 1100
  • Los Angeles, California 90049-1688
  • Phone: (310) 440-7390
  • Fax: (310) 440-7780
  • Email Requests: http://www.getty.edu/research/conducting_research/library/reference_form.html
  • URL: http://www.getty.edu/research/conducting_research/library/
Processed by:
Vanessa Walker-Oakes, Jocelyn Gibbs, Annette Leddy
Date Completed:
1996
Encoded by:
Philip Curtis
©1998 J. Paul Getty Trust.

Descriptive Summary

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.
Request Materials: To access physical materials on site, go to the library catalog record  for this collection and click "Request an Item." Click here for access policy .
Language: Collection material in English, and German

Administrative Information

Access

Open for use by qualified researchers.

Publication Rights

Preferred Citation

Heinrich Schwarz papers, 1894-1974, Getty Research Institute, Research Library, Accession no. 920033.

Acquisition Information

Acquired in 1992.

Processing History

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.

Biographical/Historical Note

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

Indexing Terms

Subjects

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

Genres and Forms of Material

Ephemera
Inventories
Lantern slides
Photographic prints
Photographs, Original

Contributors

Schwarz, Elisabeth
Newhall, Beaumont, 1908-

Bibliography

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.

 

Series I.  Heinrich Schwarz Research Files, ca. 1928-1970

Physical Description: 23 boxes

Scope and Content Note

Schwarz' working files for teaching, reference, and idea development contain primarily unpublished materials, including handwritten and typed notes, correspondence, manuscripts, and a voluminous photograph collection. The series is organized in eight subseries, each of which represents a primary field of research.
 

Series I.A.  History of the Graphic Arts, ca. 1950-1974

Physical Description: 1 box

Scope and Content Note

Files contain his dissertation, Die Anfänge der Lithographie in Österreich, notes on printing techniques, Old Masters, Italian, French, and German Renaissance and Baroque printmaking, a proposal for a book on lithography, and documents from his work as Curator of Prints at Wesleyan.
Box 1, Folder 1

History

Scope and Content Note

Notes for a history of printmaking, with outines for "A History of the Graphic Arts." [c. 78 items].
Box 1, Folder 2

Techniques

Scope and Content Note

Reproduced pages describing various printmaking techniques. [c. 22 items]
Box 1, Folder 3

Intaglio

Scope and Content Note

Most regarding 15th century works, notes on both the process and practitioners of intaglio printmaking, including Dürer, Schongauer, Veit Stoss, and others. [c. 19 items]
Box 1, Folder 4

Engraving

Scope and Content Note

A Guide to the Processes and Schools of Engraving, British Museum, 1923; 9 photographs; 6 pp. correspondence. [17 items]
Box 1, Folder 5

Masters

Scope and Content Note

Typed copy list of 15th to 18th century graphic artists. [2 pp.]
Box 1, Folder 6

Italy 15th/16th Century

Scope and Content Note

Handwritten citations of works consulted. [c. 10 items]
Box 1, Folder 7

France 15th/16th Century

Scope and Content Note

Handwritten and typed citation notes concerning French Renaissance printing. [7 items]
Box 1, Folder 8

Dürer

Scope and Content Note

"Summary of the Exhibit: 'Dürer Before and After,'" notes on Dürer's art and influence. [c. 31 items]
Box 1, Folder 9

Germany 16th Century (Post-Dürer)

Scope and Content Note

Notes, with citations and commentary. [12 items]
Box 1, Folder 10

17th Century

Scope and Content Note

Handwritten notes on Rembrandt, Hals, Rubens, Callot and others. [c. 35 items]
Box 1, Folder 11

18th Century

Scope and Content Note

Notes regarding work of Tiepolo, Hogarth, and others. [18 items]
Box 1, Folder 12

19th Century

Scope and Content Note

Notes, clippings, and very brief correspondence regarding 19th century graphic artists and the process of lithography. [c. 40 items]
Box 1, Folder 13

Meryon

Scope and Content Note

Includes 6 pp. of notes on Meryon works, 18 photographs, a letter from Fritz Novotny (1974), and a 16 pp. Knoedler catalogue for a Meryon sale. [26 items]
Box 1, Folder 14

Color(ed) Printmaking

Scope and Content Note

Notes, 1 p. on the history of "Clairs-Obscurs." [6 items]
Box 1, Folder 15

Proposal for a Book on Lithography

Scope and Content Note

[4 pp. typed]
Box 1, Folder 16

Wesleyan Print Collections

Scope and Content Note

lists of prints (1955-1956, n.d.) and book list. [18 items]
Box 1, Folder 17

Print Curatorship, 1954

Scope and Content Note

printed materials, 1954, n.d. [11 items]
Box 1, Folder 18

Print Council of America, Annual Meeting, 1972

Scope and Content Note

Minutes, 8 pp.; Report on the Bibliography of Oeuvre-Catalogues, 10 pp.; Trustees, 5 pp.; Directors, 1 pp. [24 pp.]
Box 1, Folder 19

Oeuvre-Catalogues of Graphic Artists, Index

Scope and Content Note

[6 pp. photocopied]
Box 1, Folder 20

Oeuvre-Catalogues of Graphic Artists

Scope and Content Note

Checklist of the oeuvre-catalogues of graphic artists to be included in Print Council publication (1972). [92 pp.]
 

Series I.B.  Art and Photography, ca. 1940-1960

Physical Description: 3 boxes

Scope and Content Note

Art and Photography files include correspondence, notes, and a notebook of photography. Correspondents include Beaumont Newhall, André Weil, Meyer Shapiro, Edward Steichen, Charles Sheeler, Ansel Adams, and others, most dating from the 1940's and 1950's. Notes, correspondence, and occasional photographs relate to particular topics in this subject area, such as "early photography and the camera obscura," "photography and technology," and "photosculpture." Schwarz also collected articles on photography by colleagues, relevant clippings, and exhibition catalogues, all of which are housed here.
Box 2, Folder 1

General Correspondence on Photography 1941-1950

Scope and Content Note

Most are photo requests and letters of thanks, although some do discuss photographic concerns. Correspondents include: Walter Clark (1941-5); Meyer Shapiro, handwritten (1942, 1944); Edward Steichen (1944); Charles Sheeler, handwritten (1944); Ansel Adams (1944); Walter Arensberg (1944); Monroe Wheeler (1947); and others.
Box 2, Folder 2

Beaumont Newhall/H.S. Correspondence 1941-1950

Scope and Content Note

Letters to and from Beaumont Newhall (MoMA) regarding photo requests, research interests and projects. Subjects include art and photography, camera obscura prints, Stieglitz letters, Talbot's Sun pictures, and recent discoveries. [32 items]
Box 2, Folder 3

Andrá Weil/H.S. Correspondence 1944

Scope and Content Note

Letter from Weil discusses photographs by Degas he sent to H.S. Other brief letters regard Weil's "Carmontelle" exhibition. [4 pp.] See also "Diorama," Box 6, f.4 for A. Weil correspondence.
Box 2, Folder 4

General Correspondence on Photography, in German

Scope and Content Note

Includes letter from Carl Schniewind, Art Institute of Chicago, requesting a loan of Schwarz photographs (1941); Erica Tietze, discussing Mantegna and the camera obscura (1948); Correspondence with Lotte Schönitzer-Külm and Hermann Speer, regarding her father's, Heinrich Kühn's, estate (1948, 1950); A. Baillou (1949); Hans Roth, regarding D.O. Hill (1965); Süddeutsche Zeitung photo of Soviet fortifications in the forefront of Moscow University (1957). [29 items]
Box 2, Folder 5

Photography Notebook

Scope and Content Note

H.S. notes on various issues pertaining to the history of photography and divided as follows:
  • (1) Bibliographies of early photography; Early illustrated books and photomagazines
  • (2) Photographic Clubs and Societies (cf. also "Exhibitions")
  • (3) Precursors of Photography
  • (4) Early Photography in the U.S., Germany, and Italy
  • (5) Austrian (Viennese), French and English Photographers, Franz Antoine, and Ludwig Angerer
  • (6) Photographic Museums and Exhibitions; Collections
  • (7) Photo literature
  • (8) Notes on photographs of which reproductions are in existence
Box 2, Folder 6

Photography Notebook

Scope and Content Note

  • (9) Notes on individual photographers (arranged in alphabetical order), including Atget, Denis-Baldus, Delaroche, Cameron, Carroll, Daguerre, Delamotte, Nadar, Petit, Stieglitz (obit.), Talbot, Weston, and others.
Box 3, Folder 1

History of Photography

Scope and Content Note

Thirteen index cards with notes on the role of photography in the history of art; printed materials (1957, n.d.); notes; photo of early photographic objects. [65 items]
Box 3, Folder 2

John Ruskin

Scope and Content Note

Photographs of the Ruskin drawing, "The Towers of Fribourg"; notes on Ruskin's writing and art. [18 items]
Box 3, Folder 3

Early Photography and the Camera Obscura

Scope and Content Note

Notes with annotations, primarily bibliographic; book orders; catalogue. [72 items]
Box 3, Folder 4

Catalogues and Articles on Early Photography

Scope and Content Note

1967. [9 items]
Box 3, Folder 5

Clichés-verre

Scope and Content Note

Notes on technique and practitioners; photos of etchings on glass; printed matter. [35 items]
Box 3, Folder 6

Cartoons of Photography

Scope and Content Note

Notes, primarily from 19th-century publications; copies and clippings of cartoons. [47 items]
Box 3, Folder 7

Photographic Conventions in Painting

Scope and Content Note

Schwarz' title for a collection of gallery catalogues of trompe l'oeil, portrait, and still life painting (1948-49, 1951-52, 1957, 1961); c. 30 pages of clippings dealing with the above topics, most from the The New York Times. [c. 47 items]
Box 3, Folder 8

Photosculpture

Scope and Content Note

Notes on photosculpture in the 1860's; articles (1864, 1958). photographs. [c. 36 items]
Box 3, Folder 9

Photography's Escape from Painting, 1946-1962

Scope and Content Note

Schwarz's title for a group of exhibition catalogues, photos, and clippings, most from The New York Times (1946-1947, 1959, 1962), on contemporary art movements. [18 items]
Box 3, Folder 10

Abstract Art, 1948

Scope and Content Note

Photographs, two newspaper articles (1948 and n.d.). [12 items]
Box 3, Folder 11

Art and Technology, 1944-1963

Scope and Content Note

Notes, gallery announcements, clippings (1944-5, 1958-60, 1963); photographs. [38 items]
Box 3, Folder 12

Photography and Technology, 1948-1963

Scope and Content Note

Clippings (1948, 1950, 1956-63), photographs and notes collected to illustrate uses of photography in advanced technology, esp. in naval and space programs. [29 items]
Box 3, Folder 13

Photography and Travel

Scope and Content Note

Brief correspondence, clippings, and photographs. [14 items]
Box 3, Folder 14

Art and Travel

Scope and Content Note

Exhibition catalogues, photograph. [6 items]
Box 4, Folder 1

Miscellaneous Notes on Art and Photography

Scope and Content Note

[18 items]
Box 4, Folder 2

Bibliographic Notes on Art and Photography

Scope and Content Note

References to art, photography, and symbolism. [103 pp.]
Box 4, Folder 3

Articles by Colleagues, 1944-1967

Scope and Content Note

Beaumont Newhall (1944, 1967); Helmut Gernsheim (1950-1952); A. Hyatt Mayor (1959) and others. [26 items]
Box 4, Folder 4

Exhibition Invitations and Catalogues, Photography, 1960-1963

Box 4, Folder 5

Exhibition Invitations and Catalogues, Painting, Sculpture, and Graphics

Scope and Content Note

[20 items]
Box 4, Folder 6

Magazine Clippings, 1944-1954

Scope and Content Note

Popular articles relating to art and photography, many from Life, (1944, 1950-54).
Box 4, Folder 7

Newspaper Clippings

Scope and Content Note

Popular articles relating to art and photography.
 

Series I.C.  Optical Phenomena and Instruments, 1933-1970

Physical Description: 2 boxes

Scope and Content Note

Files contain materials concerned with the evolution of optical devices before photography. There are files on anamorphosis, camera obscura, diorama, magic lantern, microcope, and peepshow, among others. Contents include copious notes, photos of devices and of original documents describing instrument use, cartoons, and clippings.
Box 5, Folder 1

Bibliography

Scope and Content Note

Heavily annotated in preparation for proposed publication; citations for glass plate negatives, machine à dessiner, and artists who utilized optical technology in the production of their art. [100+ pp.]
Box 5, Folder 2

Anamorphosis

Scope and Content Note

Notes on its history and literature. [21 pp.]
Box 5, Folder 3

Anamorphosis - Letters and Clippings

Scope and Content Note

[15 items]
Box 5, Folder 4

Wahren Christianthum - Correspondence

Scope and Content Note

Requesting editions at U.S. libraries for Schwarz's optical inquiries; images discussed. [11 pp.]
Box 5, Folder 5

Wahren Christianthum - Notes

Scope and Content Note

On Arndt's work and photocopies of several of the images. [c. 32 items]
Box 5, Folder 6

Camera Obscura - Correspondence

Scope and Content Note

Also references to other optical phenomena; Correspondence with Meyer Shapiro (1944), A. Hyatt Mayor (1944), Walter Clark (1944), H.V.S. Ogden (1947), Beaumont Newhall (1948-49, 1966), Gaston Bensimon (1950); letters discuss references to the camera obscura in art, literature, and history; several in-depth discussions of artists' technique with the camera obscura, such as Canaletto, Guardi, Vermeer, and others. [c. 49 items]
Box 5, Folder 7

Camera Obscura - Research Notes

Scope and Content Note

A chronological history of the camera obscura, beginning in 350 B.C. with sources and bibliographic citations; [c. 150+ pp.]
Box 5, Folder 8

Camera Obscura - Research Notes

Scope and Content Note

A log of references to the camera obscura. [c. 150+ pp.]
Box 5, Folder 9

Camera Obscura - Primary Sources I

Scope and Content Note

Photocopies and photographs of books and manuscripts discussing the camera obscura, most c. 1950. [c. 75 pp.]
Box 5, Folder 10

Camera Obscura - Primary Sources II

Scope and Content Note

[c. 70 pp.]
Box 6, Folder 1

Camera Obscura - Catalogues and Clippings

Scope and Content Note

Harvard Exhibition of Scientific Instruments (1949); E.P. Goldschmidt & Co. catalog; magazine article. [5 items]
Box 6, Folder 2

Camera Lucida - Research Notes

Scope and Content Note

Typed notes recording references to the camera lucida and descriptions of artists who used the apparatus. [c. 30 pp.]
Box 6, Folder 3

Camera Lucida - Source Materials

Scope and Content Note

Photocopies of letters, treatises, and articles that document the history. [c.50 pp.]
Box 6, Folder 4

Diorama - Correspondence and Notes

Scope and Content Note

A letter and a page of notes, "Notes on the Carmontelle Exhibition held at the Galerie André Weil, from André Weil (1944); Schwarz' notes on diorama exhibition; Bibliography of the Diorama (1933). [20 pp.]
Box 6, Folder 5

Diorama - Articles and Photographs

Scope and Content Note

[8 items]
Box 6, Folder 6

Magic Lantern (see also Camera Obscura) - Correspondence and Notes

Scope and Content Note

[33 pp.]
Box 6, Folder 7

Magic Lantern (see also Camera Obscura) - Primary sources and clippings

Scope and Content Note

photocopies of "La Physique Occulte" (1696) and "Philosophical Transactions" (1668) on the magic lantern; contemporary articles on magic lantern. [16 items]
Box 6, Folder 8

Mechanical Musical Instruments

Scope and Content Note

notes on the history of mechanical musical instruments; photographs of cartoons; print dealer's catalogue (1956). [13 items]
Box 6, Folder 9

Microscope

Scope and Content Note

2 letters; typed notes, photostat, "La Philosophie du Microcosme," Jaques Callot, pp. 135-145; photographs. [23 items]
Box 6, Folder 10

Peepshows - Correspondence and Notes

Scope and Content Note

"Fürmitziger Curiositet-Narr." 1 p. from Abraham a Sancta Clara Centifolium Stultorum in Quarto , Wien 1709; "Die Rarekiek" 1 p. lithograph taken from book; 2 pp. correspondence (plus 2 photos) from Frick Collection, regarding a Drouais portrait (1966); typed research notes on the history of the peepshow. [62 items]
Box 6, Folder 11

Peepshows - Primary Sources

Scope and Content Note

Photocopies of original sources for Schwarz' history of the peepshow, including Valenciennes, "Élémens de Perspective Pratique..." and Moritz von Rohr; "Peep-show or Case?" in Kunsthistorische Mededeelingen (1949); two photographs. [23 items]
Box 6, Folder 12

Perspective - Primary Sources

Scope and Content Note

Documents on the use of perspective and the pentograph, including "Della Perspectiva" and an 18th century travel diary. [24 pp.]
Box 6, Folder 13

Physionotrace - Notes

Scope and Content Note

[54 pp.]
Box 6, Folder 14

Physionotrace - Primary sources and Catalogues

Scope and Content Note

Photocopies, catalogues and clippings. [17 items]
Box 6, Folder 15

Silhouette - Notes

Scope and Content Note

Notes on the history and technique. [21 pp.]
Box 6, Folder 16

Silhouette - Articles

Scope and Content Note

[8 items]
 

Series I.D.  The Mirror, ca. 1940-1966

Physical Description: 1 box

Scope and Content Note

The Mirror files contain materials collected in preparation for a book on the iconology of the mirror in art. Correspondents include H.W. Janson, Julius Held, Creighton Gilbert, and Erwin Panofsky. Note topics include the various attributes of the mirror, "Bonum," "Malum," and "Speculum sine Macula," the Claude glass or black mirror, and primary sources consulted.
Box 7, Folder 1

Correspondence

Scope and Content Note

Copy letter from Erwin Panofsky to John E. McCall regarding Brunelleschi's use of a perspective device and Ivin's "garbled account;" (1941); letters to and from Julius Held; many letters to Schwarz requesting advice/critique on the use of the mirror in art, attributions, and photo requests (bulk 1950's). [75 pp.]
Box 7, Folder 2

Research Notes

Scope and Content Note

Typed notes on Schwarz's research into the role of the mirror in art, with bibliographic references, quotations from the consulted texts, and commentary. [c. 100-150 pp.]
Box 7, Folder 3

Notes

Scope and Content Note

Typed and handwritten notes, many on notepaper or library call slips, recording Schwarz's research into the role of the mirror in art; a continuation of the previous folder, although the latter notes contain less quotation and commentary in general. [c. 100 items]
Box 7, Folder 4

The Black Mirror (or Claude Glass) - Notes

Scope and Content Note

Typed and handwritten notes recording Schwarz's research into the use of the Black Mirror in art and literature. [c. 50-75 pp.]
Box 7, Folder 5

"Speculum sine Macula" - Notes and Sources

Scope and Content Note

Typed notes on the iconography of the mirror as a symbol of the Virgin; photocopies from the Pancarpium Marianum. [9 pp.]
Box 7, Folder 6

Iconography of the Mirror in Art - Notes

Scope and Content Note

Typed notes, with citations and commentary arranged with the respective attribute, including Visus, Luxuria, Vanitas, Sirens, Prudentia, Superba, Venus, and Truth. [41 pp.]
Box 7, Folder 7

Parmigianino's Self-Portrait, Wien

Scope and Content Note

Correspondence; three pp. of calculations and graphs pertaining to the use of the mirror in Parmigianino's work; photographs of the "Self-Portrait," one with labelled axes which refer to the graphs. [10 pp.]
Box 7, Folder 8

Primary Sources

Scope and Content Note

Photocopies of original documents dealing with the mirror; two photographs of the mirror in art too large to be housed in the appropriate binder. [23 pp.]
Box 7, Folder 9

Scholarly Articles

Scope and Content Note

Erling Eng 1962 ("With best wishes, E.E."); Gustav Künstler 1959 (also inscribed to H.S.); Bruno Schweig 1940; trans. of William Suida, "The History of Mirrors" 1954; Carla Gottlieb 1960 (with inscription to H.S.), 1966; and others.
Box 7, Folder 10

Scholarly Articles

Scope and Content Note

Jean Boullet, "Le Monde des Miroirs," 1962; David G. Carter 1954 (inscribed, "For your mirror file"); two MMA Bulletins; and others. [13 items]
Box 7, Folder 11

Newspaper Clippings

Scope and Content Note

[18 items].
 

Series I.E.  The Symbolic Owl, ca. 1944-1974

Physical Description: 2 boxes

Scope and Content Note

The Symbolic Owl files contain Schwarz' extensive research into the iconology of the owl in art, and includes correspondence with colleagues, notes, articles by scholars in this area, zoological references, and abundant ephemera collected both by H.S. and received as gifts from amused friends.
Box 8, Folder 1

Bollingen Grant Correspondence, 1962

Scope and Content Note

Communications regarding the application process for a Bollingen grant, which H.S. hoped to receive for his project on the symbolism of the owl. [39 pp.]
Box 8, Folder 2

Herbert Friedman/ H.S. Correspondence, 1965-1973

Scope and Content Note

Letters regarding Schwarz's review of Friedman's manuscript The Symbolic Goldfinch (1945) and articles and lectures on the symbolism of the owl. [22 pp.]
Box 8, Folder 3

General Correspondence, 1954-1964

Scope and Content Note

Letters to and from H.S. regarding his research on owl symbolism, including letters to other scholars, galleries and libraries regarding citations, photo requests and publications.
Box 8, Folder 4

General Correspondence, 1965-1973

Scope and Content Note

[58 pp.]
Box 8, Folder 5

Research Notes

Scope and Content Note

Primarily bibliographic or reference notes on the history of owl symbolism, with some brief correspondence and clippings. Subjects and groupings have been maintained as they were arranged by H.S: natural history and folklore, church fathers, prints and miniatures, devices, signatures, stamps, synagogue, ape and owl. [c. 100 items]
Box 8, Folder 6

Research Notes

Scope and Content Note

On night, decoy, solitude, virtues, death, owl persecuted, jeux de la chouette, Greco-Roman and Celtic, misc. paintings, sculptures, prints. [c. 100 items]
Box 8, Folder 7

Research Notes

Scope and Content Note

On scriptures, Shakespeare, A.A. Milne, bestiaries, physiologies, medieval poems. [c. 75 items]
Box 8, Folder 8

Research Notes

Scope and Content Note

Pages of typed notes listing references and works consulted on the owl and owl symbolism, with quotations of text, descriptions, and brief annotations. [c. 50 items]
Box 9, Folder 1

Articles by Colleagues and Scholars

Scope and Content Note

Wolfgang Wegner (1957); Karl-August Wirth (1968); several zoological articles on avian nomenclature and animal design in art; "The Owl of Athena," Louis Halle. [11 items]
Box 9, Folder 2

Source Materials

Scope and Content Note

Photocopies of early documents relevant to the history of owl symbolism, including "La Chouette," The Physiologus, Johnson's Natural History, excerpt from Der Reformationsteppich in Weimarer Schloßmuseum und sein Meister Seger Bombeck ; photographs. [81 pp.]
Box 9, Folder 3

Catalogues

Scope and Content Note

Depictions of owls in art and literature. [18 items]
Box 9, Folder 4

Catalogues

Scope and Content Note

Continuation of folder 3, above. [16 items]
Box 9, Folder 5-6

Newspaper Clippings.

Box 9, Folder 7

Ephemera

Scope and Content Note

Ticket stubs, cocktail napkins, greeting cards, and advertisements illustrating owl symbolism in contemporary society.
 

Series I.F.  Inventories of Research Materials, ca. 1942-1974

Physical Description: 1 box

Scope and Content Note

Inventories of Research Materials includes inventories of the research materials in Schwarz' offices and homes, personal inventories such as his curriculum vitae and miscellaneous articles and catalogues not originally filed with any particular research area.
Box 10, Folder 1

Curriculum Vitae of Dr. Heinrich Schwarz

Scope and Content Note

First drafted around 1942, the C.V. was later revised, presumably by his wife; lists most important publications and appointments. [20 pp. including photocopied duplicates]
Box 10, Folder 2

Inventories - Wesleyan Office

Scope and Content Note

Photocopy of a card catalogue recording lecture and research materials collected by H.S. and arranged at Wesleyan University. [c. 50-75 pp.]
Box 10, Folder 3

Inventories - New York Apartment

Scope and Content Note

List of research materials and articles stored in New York (c. 1973). [5 pp.]
Box 10, Folder 4

Inventories - H.S. Articles

Scope and Content Note

Photocopy of card catalogue of H.S. articles. [c. 40 pp.]
Box 10, Folder 5

Inventories - Files on Art and Photography

Scope and Content Note

List of major subject areas for Schwarz's research files on art and photography. [7 pp.]
Box 10, Folder 6

Inventories - H.S. Library

Scope and Content Note

Photocopy of a card catalogue of Schwarz's personal library. [c. 75-100 pp.]
Box 10, Folder 7

Miscellaneous - Photo requests

Scope and Content Note

Several miscellaneous letter; notes. [6 pp.]
Box 10, Folder 8

Miscellaneous - Articles

Scope and Content Note

Art News from 1942 and 1943; sele arte 1958; New Yorker. [9 items]
Box 10, Folder 9

Miscellaneous - Catalogues

Scope and Content Note

. [7 items]
Box 10, Folder 10

Miscellaneous

Scope and Content Note

Notes, clippings. [4 items]
 

Series I.G.  Photographs, ca. 1940-1970

Physical Description: 11 binders

Scope and Content Note

The photographs are arranged by topic paralleling the earlier research files, from "Art and Photography" through the "Owl." These photographs and glass negatives were collected for research, for the illustration of articles, and for teaching purposes.
11 binders contain color and black-and-white photographic prints collected by H.S. from museums and libraries in the U.S. and in Europe. This subseries provides a visual companion to the notes, correspondence, and other textual research materials housed in Series I, Subseries A to F.
Box 11

Research Files - Art and Photography

Scope and Content Note

Research photographs relevant to Schwarz's investigation of the relationship between art and photography in general; more specific or focused collections of photographs follow the general collection of photographs on art and photography (in binders 13 and 14).
Box 12

Research Files - Art and Photography

Scope and Content Note

Research photographs on Art and Photography, General files (continued).
Box 13

Research Files - Art and Photography

Scope and Content Note

Research photographs on Art and Photography, General (continued); Early Photography; Cartoons on Photography.
Box 14

Research Files - Art and Photography; Optical Phenomena

Scope and Content Note

Research photographs on Photographic Conventions in Painting; Photography and Painting; and Optical Phenomena, General.
Box 15

Research Files - Optical Phenomena

Scope and Content Note

Photographs concerning Optical Phenomena, General (continued); Anamorphosis; Bird's Eye View; and the Camera Obscura.
Box 16

Research Files - Optical Phenomena

Scope and Content Note

Photographs concerning the Camera Obscura (continued); Camera Lucida; and the Magic Lantern.
Box 17

Research Files - Optical Phenomena

Scope and Content Note

Photographs concerning Peepshows; Physionotrace; and Silhouette.
Box 18

Research Files - The Mirror in Art

Scope and Content Note

Photographs collected in the course of Schwarz's investigation of the iconography of the mirror in art; the photos in this binder illustrate the history of the mirror as a positive element, "Bonum."
Box 19

Research Files - The Mirror in Art

Scope and Content Note

Photographs for Schwarz's study of the mirror as a negative element, or the mirror "Malum," in art.
Box 20

Research Files - The Symbolic Owl

Scope and Content Note

Photographs for Schwarz's proposed study and publication, "The Symbolic Owl."
Box 21

Research Files - The Symbolic Owl

Scope and Content Note

A continuation of photographs for "The Symbolic Owl."
Box 22*

Research Files - Oversize Photographs

Box 22*, Folder 1

Research Files - Art and Photography - Early Photography

Scope and Content Note

Reproductions of portrait photographs of writers, politicians, etc. taken by Nadar, Carjat, and other 19th century photographers. [30 items]
Box 22*, Folder 2

Research Files - Art and Photography - Photography and Painting

Scope and Content Note

Oversized photographs from Schwarz's Art and Photography research files. [6 items]
Box 22*, Folder 3

Research Files - Art and Photography - Newspaper Clippings

Scope and Content Note

Life, 26 April 1954 and December 1966. [2 items]
Box 22*, Folder 4

Research Files - Optical Phenomena - Machines pour dessiner

Scope and Content Note

Oversize photographs. [8 items]
Box 22*, Folder 5

Research Files - The Mirror

Scope and Content Note

Oversize photos from Schwarz's collection of research material on the symbolism of the mirror in art; artists include van Eyck, Parmigianino, Metsys, Artemesia Gentilleschi, and others. [20 items]
Box 22*, Folder 6

Research Files - The Mirror - Clippings

Scope and Content Note

Oversize clippings from Life and other sources; catalogue from the Aachen celebration and pilgrimage, 1958. [6 items]
Box 22*, Folder 7

Research Files - The Owl

Scope and Content Note

Oversize photographs considered for the "Eule" article. [6 items]
Box 22*, Folder 8

Research Files - The Owl - Newspaper Clippings

Scope and Content Note

. [6 pp.]
Box 23

Research Files - Lantern Slides

Box 23, Folder 1

"Végétation aux Iles Sons-le-Vent," 1880

Box 23, Folder 2

Paul Gauguin, "Pape Moe," 1893

Box 23, Folder 3

Wife of Gauguin's Cook in Atuana, Marquesas Islands, 1902

Box 23, Folder 4

Paul Gauguin, "Woman with Fan," 1902.

Box 23, Folder 5

Paul Gauguin, "Ancestors of Tehaman," 1893

Box 23, Folder 6

"Les Lutteurs Marseilles Frères"

Box 23, Folder 7

Gustave Courbet, "Les Letteurs," 1853

Box 23, Folder 8

Honore Daumier, "Wrestlers"

Box 23, Folder 9

Edouard Manet, "Course au Bois de Boulogne"

Box 23, Folder 10

Edouard Muybridge, "Galopping Horses," 1902

Box 23, Folder 11

Edgar Degas, Horse, Bronze

Box 23, Folder 12

Gauguin, "Nude Javanese," 1893

Box 23, Folder 13

Edgar Degas, "Courses en Provence," 1873

Box 23, Folder 14

Georges Roualt, "Charles Baudelaire," 1927

Box 23, Folder 15

Carjat, "Portrait of Charles Baudelaire," 1927

Box 23, Folder 16

Paul Cezanne, "The Bather," 1885-1890

Box 23, Folder 17

Photograph of the Model Used for "The Bather," 1885-1890

Box 23, Folder 18

Harold E. Edgarton, "Bobby Jones with Driver," 1933

Box 23, Folder 19

Thomas Eakins, "Pole Vaulter," 1885

Box 23, Folder 20

"2/5 of U.S. Land Area composed of 310 prints," U.S. Navy, 1954

Box 23, Folder 21

Gustav Courbet, "P.J. Proudhon and his Family," 1853 1865

Box 23, Folder 22

Reutlinger, after Carjat, after Amedie Bourson, "Portrait of P.-J. Proudhon," before 1865

Box 23, Folder 23

Werner Graeff

Box 23, Folder 24

Nadar, "Portrait of Charles Baudelaire"

Box 23, Folder 25

Manet, "Portrait of Charles Baudelaire"

Box 23, Folder 26

Canaletto, "Sta. Maria della Salute"

Box 23, Folder 27

R. de la Nezíère, "La Photographie and l'histoire naturelle," 1901

Box 23, Folder 28

Goya, "The Bull Fight"

Box 23, Folder 29

Aimé-Nicholas Morot, "Rézonville 16 août 1870"

Box 23, Folder 30

French, Instantaneous photograph, c. 1900

Box 23, Folder 31

Henri Toulouse-Lautrec, "Poster for Paul Sescau," 1894

Folder 32

Paul Sescau, "A La Mie," 1891

Box 23, Folder 33

Punch cartoon, 1953

Box 23, Folder 34

George Cruikshank, Sun Drawing, 1841

Box 23, Folder 35

Nadar, "Ingratitude de la peinture, qui refuse la plus petite place de son exposition à la photographie, à qui elle doit tant," 17 Jan 1857

Box 23, Folder 36

New Hampshire License Plate 1963

Box 23, Folder 37

Henri Toulouse-Lautrec, "A La Mie," 1891

Box 23, Folder 38

Franz V. Lenbach, "The Artist and his Family," 1903

Box 23, Folder 39

Alfred Stevens, "Parisian Celebrities," 1900?

Box 23, Folder 40

Nadar, "Painting offering to photography a place at the exposition," 1957

Box 23, Folder 41

Nadar, "La Photographie solicitant une toute petite place a l'exposition des beaux-arts," 1857

Box 23, Folder 42

Jean-Louis Meissonier, "Portrait of Leland Stanford," 1881

Box 23, Folder 43

Anton V. Werner, Moltke near Paris," 1873

Box 23, Folder 44

Abel Damourette, "Daguerrotype Cartoons," 1858

Box 23, Folder 45

James Ensor, "Mon portrait Squeletisé," 1889

Box 23, Folder 46

"Portrait of James Ensor," 1889

Box 23, Folder 47

General Count Moltke on a horse dummy, 1871

Box 23, Folder 48

Edvard Munch, "Death in a Sickroom," 1893

Box 23, Folder 49

X-ray photo, Shell of the pearly nautilus

Box 23, Folder 50

H. Fantin-Latour, "Mrs. Edwin Edwards"

Box 23, Folder 51

Between Acts, 1958

Box 23, Folder 52

Degas, Horse, Bronze.

Scope and Content Note

52 glass plates housed in original wooden case.
 

Series II.  Bibliographic Files, ca. 1928-1974

Physical Description: 3 boxes

Scope and Content Note

A collection of 3 x 5 inch and 4 x 6 inch index cards are inscribed with information on sources consulted in the course of Schwarz' research. They are arranged by topic and include an alphabetical file of sources in general.
Box 24

Bibliographic Card File - Sources

Scope and Content Note

A to Z (3 x 5 in.) card file of primary sources and works consulted with a bibliographic record on each card. Rich in 18th and 19th century sources relevant to Schwarz's primary areas of research.
Box 25

Bibliographic Card File - Art and Photography

Scope and Content Note

Card file (4 x 6 in.) on art and photography with citations for works in this subject and annotations by H.S.
Box 26

Bibliographic Card File

Scope and Content Note

Card file (3 x 5 in.) of bibliographic and biographical data on photographers Nadar and D.O. Hill; the Hill file is divided into sections by the dates 1821-59, 1861-79, 1879-99, 1900-19, 1920ff., each with a full set of duplicates. Also in this box are several other groups of reference cards, including a section of Artists' Monographs, the addresses of art and photography dealers and galleries, and a bibliography of Schwarz's publications and papers.
 

Series III.  Writings, Lectures, and Publications, 1928-1985

Physical Description: 12 boxes

Scope and Content Note

Publications are arranged chronologically and contain manuscripts, correspondence, and photographs, galleys and printed matter for articles published between 1928-1973, with some material dating to 1985. Lectures are arranged by topic and include some correspondence, and printed ephemera. chronologically within their topic. With the lectures are also filed some correspondence, typescripts, notes, invitations or announcements, and ephemera.
Arranged in 2 subseries, writings and lectures.
 

Series III.A.  Writings, 1928-1985

Physical Description: 10 boxes

Scope and Content Note

Manuscripts, correspondence, galleys, printed matter for Schwarz's articles and books, published 1928-1973, with some material dating to 1985. Much of the material relates to Schwarz's writings on D.O. Hill.
Box 27, Folder 1

D.O. Hill Book - Proofs

Physical Description:

Scope and Content Note

Proof from Insel-Veralg; with annotations by H.S. (21 October 1930).
Box 27, Folder 2

D.O. Hill: Der Meister der Photographie

Scope and Content Note

1931 Edition (in German) of Schwarz's first book, with annotations (interleaved pages removed and placed in Box 26, Folder 3).
Box 27, Folder 3

D.O. Hill Book

Scope and Content Note

Interleaved pages removed from Schwarz's copy of D.O. Hill book; pages contain additional notes, bibliographic citations, and references to artworks.
Box 27, Folder 4

D.O. Hill Exhibition, MoMA, 1941 - Correspondence

Scope and Content Note

To Francis Henry Taylor at MoMA (1941) pledging Schwarz's commitment to making the show a success (3-26-41); letter from George Wm. Eggers commending Schwarz's loan to the MoMA and his work on the Hill show (10-4-41); and others. [9 pp.]
Box 27, Folder 5

D.O. Hill Exhibition, MoMA, 1941 - Beaumont Newhall Correspondence

Scope and Content Note

Letters to and from B.N. regarding the staging of the 1941 Hill exhibition at MoMA; letter from B.N. concerning a citation about Hill's original exposure in the U.S., with a quote from Alfred Stieglitz (to B.N.) (2-22-40); from B.N. regarding prints made from Schwarz's Hill calotypes and the possibility of offering the MoMA a set (1-26-41); to B.N. offering a gift of antique photographs and inquiring as to the necessary length of Schwarz's article for the MoMA Bulletin (8-4-41); from B.N. regarding the 1941 exhibition of Schwarz's prints at MoMA, including details of display and lighting (8-15-41); to B.N. with disappointment at their dwindling exhibition scheme (8-18-41); and others incl. list of Schwarz's calotype collection. [18 pp.]
Box 27, Folder 6

"D.O. Hill" for The American Encyclopedia of Photography, 1941

Scope and Content Note

Letters from W.M. Morgan requesting Schwarz's contribution at the recommendation of B.N. (1941). [6 pp.]
Box 27, Folder 7

"D.O. Hill and Robert Adamson," Museum Notes, 1942

Scope and Content Note

Photocopy of brief H.S. article. [1 p.]
Box 27, Folder 8

"D.O. Hill" for Minicam Photography, 1943 - Correspondence

Scope and Content Note

Letters from A.M. Mathieu regarding the preparation and proofing of this article. [28 pp.]
Box 27, Folder 9

"D.O. Hill" for Minicam Photography, 1943 - Proofs

Scope and Content Note

Galley proofs. [6 pp.]
Box 27, Folder 10

"D.O. Hill Calotypes" for Museum Notes, RISD, 1944

Scope and Content Note

Three letters from Alfred Neumeyer, Mills College, requesting the exhibition be allowed to travel (December 6 and 24, 1944); other correspondence; typed draft for article in Museum Notes; two copies of Museum Notes, December 1944. [40 pp.]
Box 27, Folder 11

D.O. Hill - Connoisseurship and Collection Development, 1944-1974

Scope and Content Note

Correspondence regarding Schwarz's Hill connoisseurship and his personal and professional collecting activities. [25 pp.]
Box 27, Folder 12

"D.O. Hill and Robert Adamson and the Photographic Exhibitions," undated

Scope and Content Note

Six drafts of this article, including one in German.
Box 27, Folder 13

D.O. Hill Exhibition, MoMA - Edward Steichen Correspondence, 1949

Scope and Content Note

Letters to and from Edward Steichen regarding a loan of H.S. calotypes for a MoMA exhibition to open April 1949 (3-28-49); H.S. reply sends 58 calotypes not shown in 1941 (3-30-49); from E.S., requesting more Hill-Adamson prints and suggesting his hunch that Adamson was the dominant collaborator (4-6-49); handwritten receipt from E.S. (4-9-49); thank you from E.S. (5-10-49); and others. [18 pp.]
Box 27, Folder 12

D.O. Hill Exhibition, University of Glasgow, 1954

Scope and Content Note

Xerox of catalogue and an invitation to a private viewing. [10 items]
Box 27, Folder 13

"An Exhibition of Victorian Calotypes," Victorian Studies, 1958

Scope and Content Note

Three copies of the article; 2 clippings on exhibitions of 19th century calotypes. [9 items]
Box 27, Folder 14

"Great Masters of Early Photography," Davison Art Center, 1962

Scope and Content Note

Invitations; typescript of Schwarz's talk on the exhibition [4 pp.]; clippings pertaining to both Schwarz's lecture and the exhibition. [24 items]
Box 28, Folder 1

"Great Masters of Early Photography"

Scope and Content Note

Exhibition catalogue paste-up, with annotations by H.S. [c. 50 pp.]
Box 28, Folder 2

"Calotypes by D.O. Hill and Robert Adamson," Davison Art Center, 1970

Scope and Content Note

Invitation and H.S. brochure for exhibition; correspondence thanking H.S. for offprints, exhibition. [18 pp.]
Box 28, Folder 3

"Hill-Adamson Calotypes," Scottish Art Review, 1970

Scope and Content Note

Drafts of this article and correspondence regarding the publication. [c. 60 pp.]
Box 28, Folder 4

"D.O. Hill: A Centenary Exhibition," Scottish Arts Council Gallery, 1970

Scope and Content Note

Correspondence regarding the inclusion of Schwarz's calotypes; invitation and postcards from the exhibition; two copies of Creative Camera with D.O. Hill article by Helmut Gernsheim; clipping: review of exhibition. [c. 27 items]
Box 28, Folder 5

"Hill and Adamson Judged by their Contemporaries," Apollo Correspondence, 1972

Scope and Content Note

Correspondence regarding the publication of this article, including letters to and from Apollo editors and to and from libraries and museums, from whom H.S. wished to acquire photographs; also thank-yous from colleagues to whom he had sent reprints. [85 pp.]
Box 28, Folder 6

"Hill and Adamson Judged by their Contemporaries" Apollo Typescripts, 1972

Scope and Content Note

Nine typescripts of the article, including one in German, some with annotations or changes. [84 pp.]
Box 28, Folder 7

"Hill and Adamson Judged by their Contemporaries," Galleys Apollo, 1972

Scope and Content Note

One original and two photocopies of the galley for the article, with H.S. corrections. [24 pp.]
Box 28, Folder 8

"Hill and Adamson Judged by their Contemporaries," ApolloPhotographs, 1972

Scope and Content Note

Photoprints for the article's illustration. [27 items]
Box 28, Folder 9

D.O. Hill Book, second edition (unrealized)

Scope and Content Note

Extensive correspondence between H.S. and the publishing firms with whom he had contracts and proposals pending over the years for a production of a second edition of his Hill monograph, including Insel-Verlag, Aperture, Edinburgh University Press, Oliver & Boyd; also correspondence with colleagues regarding this second edition, including A. Hyatt Mayor, Beaumont Newhall, Keith Andrews, and others. (See also Elisabeth Schwarz Correspondence for her efforts in this project after Dr. Schwarz' death.) [c. 80 pp.]
Box 28, Folder 10

Schwarz Calotype Collection

Scope and Content Note

Proof sheets of Schwarz' calotype collection. [10 photographs]
Box 29, Folder 1

"Der Almanach für Damen auf das Jahr 1809: Das erste Buch mit Lithographischen Illustrationen," Zeitschrift für Bücherfreunde, 1928

Scope and Content Note

Photocopy of the article. [6 pp]
Box 29, Folder 2

"Carl Weber und Lithographie" - Correspondence, 1920-1934

Scope and Content Note

Correspondence gathering information for and regarding the publication of the article, in German. [14 pp.]
Box 29, Folder 3

"Julia Margaret Cameron," The Complete Photographer Notecards, 1941

Scope and Content Note

Approximately 50 notecards cataloguing the portraits of J.M. Cameron interleaved with 18 small photographs of Cameron originals; eight photographs for use in article. [76 items]
Box 29, Folder 4

"J.M. Cameron," The Complete Photographer Correspondence, 1941

Scope and Content Note

Two letters from H.S. to Willard Morgan, General Editor; copy of The Complete Photographer, Issue 10, vol. 2. [3 items]
Box 29, Folder 5

"J.M. Cameron," The Complete Photographer, 1941

Scope and Content Note

[20 pp.]
Box 29, Folder 6

"Nadar," The Complete Photographer Photographs, 1941

Scope and Content Note

[23 photographs]
Box 29, Folder 7

"Nadar," The Complete Photographer Research Materials, 1941

Scope and Content Note

Photocopies of early articles, scholarly journals. [9 items]
Box 29, Folder 8

Art and Photography, Book Proposal

Scope and Content Note

Two-page outline for a book on art and photography. [2 pp.]
Box 29, Folder 9

Delacroix Article, proposed - Correspondence

Scope and Content Note

Correspondence with Beaumont Newhall regarding their simultaneous proposal of a Delacroix article to the Magazine of Art (1949). [7 pp.]
Box 29, Folder 10

Delacroix Article, proposed - Notes and Photographs

Scope and Content Note

Notes and photographs gathered in preparation for an article on Delacroix. [c. 35 pp.]
Box 29, Folder 11

Delacroix Article, proposed - Research Materials

Scope and Content Note

Magazine of Art, 1952, with an article on Delacroix and photography by Beaumont Newhall and 1962, with an article on Delacroix and photography by Van Deren Coke. [2 items]
Box 29, Folder 12

"Art and Photography: Forerunners and Influences," Magazine of Art Proofs and Typescripts, 1949

Scope and Content Note

Two publisher's proofs with brief corrections by H.S.; several draft versions of the article; correspondence with Thames and Hudson proposing a book based on this material (1960). [115 pp.]
Box 29, Folder 13

"The Mirror in Art," Art Quarterly Correspondence and Reprint, 1952

Scope and Content Note

Correspondence; reprint. [7 items]
Box 29, Folder 14

"Daumier, Gill, and Nadar," Gazette des Beaux-Arts, 1957 - Correspondence

Scope and Content Note

Correspondence regarding the publication of Schwarz's article, including Erwin Panofsky, whose letter includes a detailed critique of Schwarz's article (1957(2)); Van Deren Coke (1957); Creighton Gilbert, introducing Van Deren Coke (1957); William Ivins, who wrote his letter in ink made according to Palatino's recipe of 1533 (1957); Gazette des Beaux-Arts (1956, 1957); Art Quarterly (1956). [c. 50 pp.]
Box 29, Folder 15

"Daumier, Gill, and Nadar," Gazette des Beaux-Arts Typescripts, 1957

Scope and Content Note

Two copies of the typescript for the article. [42 pp.]
Box 29, Folder 16

"Daumier, Gill, and Nadar," Notes Gazette des Beaux-Arts, 1957

Box 29, Folder 17

"Daumier, Gill, and Nadar," Gazette des Beaux-Arts Photographs 1957

Scope and Content Note

Prints for the article. [12 items]
Box 30, Folder 1

"Goya's Portrait of Goulon," College Art Journal, 1957

Scope and Content Note

One reprint.
Box 30, Folder 2

"The Mirror of the Artist and the Mirror of the Devout," Suida Festschrift Correspondence, 1958

Scope and Content Note

Correspondence including letters from Erwin Panofsky, thanking H.S. for the offprint and defining his term, "eccentric perspective" (1959); from E.H. Gombrich (1957), who dicusses the finishing touches on his book Art and Illusion and the "wishful thinking" of Panofsky's "symbolische Form"; from Sonia Delaunay regarding her husband's knowledge of Konrad Witz in his painting of "St. Severin" (n.d.); from Julian Held, including a Christmas card with suggestions for a lecturing forum for H.S. (1957); William Suida; I. Grafe at Phaidon Press; and many others. [c. 100 pp.]
Box 30, Folder 3

"The Mirror of the Artist and the Mirror of the Devout," Suida Festschrift Reprint, 1958

Scope and Content Note

[1 item]
Box 30, Folder 4

"The Mirror of the Artist and the Mirror of the Devout," Suida Festschrift Notes, 1958

Scope and Content Note

Notes and clippings collected for the mirror article, particularly on Robert Delaunay and Konrad Witz, Aachen cathedral. [c.100 pp.]
Box 30, Folder 5

"The Mirror of the Artist and the Mirror of the Devout," Suida Festschrift - Photographs, 1958

Scope and Content Note

[11 items]
Box 30, Folder 6

"William Etty's 'Self-Portrait' in the London National Portrait Gallery," Art Quarterly - Correspondence, 1958

Scope and Content Note

Correspondence regarding the publication, with Burlington Magazine and with Art Quarterly; notes thanking H.S. for reprints of the article, including one from Beaumont Newhall. [c. 39 pp.]
Box 30, Folder 7

"William Etty's 'Self-Portrait' in the London National Portrait Gallery," Art Quarterly - Typescripts, 1958

Scope and Content Note

Three drafts of the article with brief notes; photographs. [28 pp.]
Box 30, Folder 8

Salzburg und das Salzkammergut - Correspondence, 1958

Scope and Content Note

Letter from Erwin Panofsky, thanking H.S. for sending the book and praising the manner in which Schwarz's book evokes the "Romantic" period of German painting. [1 p.]
Box 30, Folder 9

"Ingres Graveur," Gazette des Beaux-Arts, Correspondence, 1939-1959

Scope and Content Note

Early correspondence, 1939-1943, requests permission from Sacheverell Sittwell to reproduce his Ingres drawings; correspondence, 1955-1959, records Schwarz's publishing activities as they pertain to this article, i.e. letters to his publishers, including extensive correspondence with the Gazette des Beaux-Arts, letters requesting photographs, correspondence with colleagues, including Hans Naef, A. Hyatt Mayor, and others, letters to and from his translator. [c. 100 pp.]
Box 30, Folder 10

"Ingres Graveur," Gazette des Beaux-Arts Correspondence, 1959-1967

Scope and Content Note

Letter from Erwin Panofsky (1960) thanking H.S. for the "Ingres" reprint and for hosting E.P. and his wife at Camden; similar letters from Hans Naef, Agnes Mongan, Otto Kurz; letters to 1967. [c 75 pp.]
Box 30, Folder 11

"Ingres Graveur," Gazette des Beaux-Arts Notes and Clippings, 1936-1959

Scope and Content Note

Copy of "Ingres as Lithographer" by Hans Naef (1957); relevant newspaper articles; Museum Notes from the Toledo Museum of Art (1936); typed notes. [c. 50 pp]
Box 30, Folder 12

"Ingres Graveur," Gazette des Beaux-Arts Typescripts, 1959

Scope and Content Note

Two pp. "Résumé" outlining the subject matter and intellectual purpose of Schwarz's proposed article; 22 page draft of article. [24 pp.]
Box 30, Folder 13

"Ingres Graveur," Gazette des Beaux-Arts Photographs, 1959

Scope and Content Note

[19 items]
Box 31, Folder 1

"August Heinrich und die geistigen Voraussetzungen seiner Malerei," Mitteilungen der Österreichischen Galerie, 1960 (originally published in Amicis, 1926) - Correspondence 1925-1935

Scope and Content Note

Letters, in German. [c. 20 pp.]
Box 31, Folder 2

"August Heinrich und die geistigen Voraussetzungen seiner Malerei," Mitteilungen der Österreichischen Galerie, 1960 (originally published in Amicis, 1926) - Correspondence 1960-1962

Scope and Content Note

List of colleagues, institutions to whom H.S. sent reprints; many letters of thanks, especially from German and Austrian colleagues, with comments on the article and other events (1960-63); many in German. [c. 40 items]
Box 31, Folder 3

"August Heinrich und die geistigen Voraussetzungen seiner Malerei," Mitteilungen der Österreichischen Galerie, 1960 (originally published in Amicis, 1926) - Reprint

Scope and Content Note

[1 item]
Box 31, Folder 4

"August Heinrich und die geistigen Voraussetzungen seiner Malerei," Mitteilungen der Österreichischen Galerie, 1960 (originally published in Amicis, 1926) - Photographs

Scope and Content Note

[55 items]
Box 31, Folder 5

"Die Graphischen Werke von Egon Schiele" und "Nachtrag," Philobiblon, Correspondence, 1961-1962

Scope and Content Note

Letters concerning the preparation and publication of the article, including photo requests, requests for information and advice; letters expressing gratitude for reprints. [c. 70 pp.]
Box 31, Folder 6

"Die Graphischen Werke von Egon Schiele" und "Nachtrag," Philobiblon Notes, 1961-1962

Scope and Content Note

Includes notes and research materials, e.g. gallery catalogues, bibliographic references. [c. 30 pp.]
Box 31, Folder 7

"Die Graphischen Werke von Egon Schiele" und "Nachtrag," Philobiblon Photographs, 1961-1962

Scope and Content Note

[30 items]
Box 31, Folder 8

"Franz Anton Palko als Bildnismaler," Mitteilungen der Öesterreichischen Galerie Correspondence, 1962

Scope and Content Note

Correspondence regarding this article, primarily thank-you letters for reprints received; also some photo requests. [c.50 pp.]
Box 31, Folder 9

"Franz Anton Palko als Bildnismaler," Mitteilungen der Öesterreichischen Galerie Typescripts, 1962

Scope and Content Note

Correction of R. Pettit translation, 14 pp.; two 18 pp. typescripts in English (original and copy); leaves from actual publication (with copy). [c. 65 pp.]
Box 31, Folder 10

"Franz Anton Palko als Bildnismaler," Mitteilungen der Öesterreichischen Galerie, 1962 - Notes and Research Materials

Scope and Content Note

Bundle of note pages, typed and handwritten; "Wiener Staatsoper" 1963-64; Central Europe 1600-1800, Ringling Museum of Art (1972); article on Palko by Klara Garas (1961). [c. 33 items]
Box 31, Folder 11

"Franz Anton Palko als Bildnismaler," Mitteilungen der Öesterreichischen Galerie, 1962 - Photographs.

Scope and Content Note

[25 items]
Box 32, Folder 1

"Carl Weber and Lithography," unpublished(?) - Correspondence 1962-1964

Scope and Content Note

Letters seeking information and advice regarding the lithographic occupation of Weber, prints of Weber scores, etc.; in German and English. [12 pp.]
Box 32, Folder 2

"Carl Weber and Lithography," unpublished(?) - Drafts

Scope and Content Note

Two copies of a draft for a short article on Weber's role in the early history of Lithography with photocopied illustrations. [13 pp.]
Box 32, Folder 3

"Carl Weber and Lithography," unpublished(?) - Notes and Research Materials

Scope and Content Note

Handwritten and typed notes on Carl Weber; photocopies of relevant articles and sources. [39 pp.]
Box 32, Folder 4

"Carl Weber and Lithography," unpublished(?) - Photographs

Scope and Content Note

[12 items]
Box 32, Folder 5

"Ferdinand Olivier's 'St. Karlskirche in Wien'" Festschrift Otto Erich Deutsch, 1963 - Correspondence

Scope and Content Note

Letters to and from H.S. regarding the publication of the article and the receipt of reprints; includes correspondence with Bärenreiter-Verlag, Fritz Novotny (1969), Otto Erich Deutsch (1962, 1963), and Dr. Scheidig, Direktor der Staatlichen Kunstsammlungen in Weimar (1959, 1962); many other museums, galleries, and colleagues. [c.50 pp.]
Box 32, Folder 6

"Ferdinand Olivier's 'St. Karlskirche in Wien'" Festschrift Otto Erich Deutsch, 1963 - Galley and Drafts

Scope and Content Note

Galley with corrections (3pp.)
Box 32, Folder 7

"Ferdinand Olivier's 'St. Karlskirche in Wien'" Festschrift Otto Erich Deutsch, 1963 - Research Materials

Scope and Content Note

Handwritten and typed notes; Karlsplatz, a small book by the Historisches Museum der Stadt Wien. [c. 15 items]
Box 32, Folder 8

"Ferdinand Olivier's 'St. Karlskirche in Wien'" Festschrift Otto Erich Deutsch, 1963 - Photographs

Scope and Content Note

Photographs used in the article; print view of the Karlskirche. [8 photos; 1 print]
Box 32, Folder 9

"Julius Schnorr von Carolsfeld in Salzburg und Berchtesgaden," Kunstjahrbuch der Stadt Linz, 1963 - Correspondence

Scope and Content Note

Correspondence with primarily German and Austrian colleagues, including the Magistrat der Landeshauptstadt Linz, Hans Aurenhammer of the Österreichischen Galerie, and the Stadtmuseum Linz.
Box 32, Folder 10

"Julius Schnorr von Carolsfeld in Salzburg und Berchtesgaden," Kunstjahrbuch der Stadt Linz, 1963 - Notes

Scope and Content Note

Brief notes, references. [12 pp.]
Box 32, Folder 11

"Julius Schnorr von Carolsfeld in Salzburg und Berchtesgaden," Kunstjahrbuch der Stadt Linz, 1963 - Drafts

Scope and Content Note

Article typescript. [17 pp.]
Box 32, Folder 12

"A Unique Woodcut by Hans Lautensack," Pantheon, 1964 - Correspondence

Scope and Content Note

Communication with Pantheon regarding publication, corrections, and reprints; many-thank you letters from colleagues and institutions which received offprints of the article, including Panofsky (1964), Ackerman (1964); original offer to Burlington Magazine of the Lautensack paper (1963). [c. 75 pp.]
Box 32, Folder 13

"A Unique Woodcut by Hans Lautensack," Pantheon, 1964 - Notes

Scope and Content Note

[c. 45 pp.]
Box 32, Folder 14

"A Unique Woodcut by Hans Lautensack," Pantheon, 1964 - Photographs

Scope and Content Note

[20 items]
Box 32, Folder 15

Honoré Daumier, Exhibition Catalogue, 1965 - Correspondence

Scope and Content Note

Letters from colleagues and libraries express gratitude for the copies of Schwarz's catalogue received; originals plus photocopies. [c. 45 items]
Box 32, Folder 16

Honoré Daumier, Exhibition Catalogue, 1965 - Photographs

Scope and Content Note

Photographs from the article. [43 items]
Box 33, Folder 1

"Palma Giovane and his Family: Observations on some Portrait Drawings," Master Drawings, 1965 - Correspondence

Scope and Content Note

Letter from Perry Cott, Chief Curator at the National Gallery of Art, Washington D.C. thanking H.S. for the article and expressing his intention to change the attribution of the "Vittoria" bust in their collection due to Schwarz's research; letters to and from the editors of Master Drawings regarding the publication of the article; many letters requesting references and photos; thank you letters from colleagues and institutions regarding reprints. [c. 75 pp.]
Box 33, Folder 2

"Palma Giovane and his Family: Observations on some Portrait Drawings," Master Drawings, 1965 - Notes

Scope and Content Note

Handwritten notes and several photocopied references; Record of the Art Museum, Princeton University. [c. 50 items]
Box 33, Folder 3

"Palma Giovane and his Family: Observations on some Portrait Drawings," Master Drawings, 1965 - Photographs

Scope and Content Note

[80 items]
Box 33, Folder 4

"Heinrich Reinhold in Italien," Jahrbuch der Hamburger Kunstsammlungen, 1965 - Correspondence

Scope and Content Note

Correspondence regarding information about Heinrich Reinhold works in other museums and galleries, incl. the Hamburg Kunsthalle; letters from colleagues expressing gratitude for reprints received, incl. Keith Andrews, National Gallery Scotland and Otto Kurz, the Warburg Institute; correspondence with the publisher. [c. 75 pp.]
Box 33, Folder 5

"Heinrich Reinhold in Italien," Jahrbuch der Hamburger Kunstsammlungen, 1965 - Notes and Research Materials

Scope and Content Note

Handwritten copy of Heinrich Reinhold's last letter; Reinhold article from the 1936 Künstlerlexicon; 1928, 1929, and 1824 articles on Heinrich Reinhold (photocopies); extensive handwritten notes on biography and art; newspaper clippings. [c. 40 pp.]
Box 33, Folder 6

"Heinrich Reinhold in Italien," Jahrbuch der Hamburger Kunstsammlungen, 1965 - Photographs

Scope and Content Note

[77 items]
Box 33, Folder 7

Lexicon der Christlichen Iconographie, 1965 - Correspondence

Scope and Content Note

Letter from H.S. offering his services as author of an article on the Owl, the Mirror, or other topics; correspondence with Verlag Herder Freiburg; lists of topics in the Lexicon with brief notes. [c. 60 pp.]
Box 34, Folder 1

"Louis Dorigny in Wien," Mitteilungen der Österreichischen Galerie, 1966 - Correspondence

Scope and Content Note

Extensive correspondence with Hans Aurenhammer, Österreichischen Galerie, regarding Louis Dorigny's work and the article's publication; requests for photographs of and references to Dorigny's work; many receipts for reprints received by colleagues and institutions. [c. 100 pp.]
Box 34, Folder 2

"Louis Dorigny in Wien," Mitteilungen der Österreichischen Galerie, 1966 - Notes

Scope and Content Note

Handwritten and typed notes made during H.S. research; a few photocopies of source materials. [c. 50 pp.]
Box 34, Folder 3

"Louis Dorigny in Wien," Mitteilungen der Österreichischen Galerie, 1966 - Photographs

Scope and Content Note

[22 items]
Box 34, Folder 4

"Vermeer and the Camera Obscura," Pantheon, 1966 - Correspondence

Scope and Content Note

Letters to and from colleagues regarding this article, including Erwin Panofsky (1966), who admired the article yet offers his criticism of the use of a Hoogstraten etching in the essay; James Ackerman, Fogg Museum, who thanks H.S. for the paper and remarks that he intends to use some of its information in connection with his seminar, "Art and Science in the Renaissance" (1966); Jakob Rosenberg, National Gallery of Art, also expresses gratitude for the reprint and interest in Schwarz's work (1966); William Sebastian Heckscher, Duke University, describes the recent Vermeer show by deVries at the Hague as the "ultimate in gruesome distortion" and raves about Schwarz's treatment of the topic (n.d.);Beaumont Newhall (1966); Julius Held states that he enjoyed the article but remains skeptical of the role of science in art (1966); Van Deren Coke (1966); correspondence with Pantheon regarding publication matters; Charles Seymour, Jr. correspondence regarding his review of Schwarz's "Vermeer..." manuscript, as it responds to earlier work by Seymour (1965). [c. 125 pp.]
Box 34, Folder 5

"Vermeer and the Camera Obscura," Pantheon, 1966 - Notes

Scope and Content Note

Handwritten and typed research notes on Vermeer and optical devices. [48 pp.]
Box 34, Folder 6

"Vermeer and the Camera Obscura," Pantheon, 1966 - Photographs

Scope and Content Note

Photos for inclusion in the published article. [24 items]
Box 34, Folder 7

"Schiele, Dürer and the Mirror," Art Quarterly,1968 - General Correspondence

Scope and Content Note

Many letters thanking H.S. for reprints sent and commenting on the article and recent work by colleagues; letter from Erwin Panofsky to Dr. Gustav Künstler commenting on the latter's recent "Las Meninas" article (1960); Alessandra Comini, informing H.S. that she has "requested" him for her dissertation defense, as she has responded to his work in her paper (1967, 1968); letter from H.S. to the d'Offay Couper Gallery declaring a recent Schiele offering misattributed (1968); d'Offray response (1968). [c. 100 items]
Box 34, Folder 8

"Schiele, Dürer and the Mirror," Art Quarterly,1968 - Viennese Correspondence

Scope and Content Note

Letters from Frau Melanie Schüster Schiele, describing her brother's view of self, his use of the mirror in his studio, and the floorplan of his studio (8/8/1967; 5/7/1967); sketch of Schiele's studio by Mrs. Jella Reif-Pollack, who visited Schiele there in 1917 (1967); correspondence with Wolfgang Fischer of Marlborough Fine Art, Ltd., London, regarding the specifics of Schiele's studio, the placement of mirrors, introductions to living acquaintances (1965-6). [17 items]
Box 34, Folder 9

"Schiele, Dürer and the Mirror," Art Quarterly Correspondence, 1968

Scope and Content Note

Letters to and from the editors of Art Quarterly in the course of the preparation of Schwarz's article for publication. [36 pp.]
Box 34, Folder 10

"Schiele, Dürer and the Mirror," Art Quarterly,1968 - Publication Correspondence

Scope and Content Note

Correspondence regarding unsuccessful submissions of Schwarz's paper to the College Art Association, Burlington Magazine, Hauswedell & Co. Verlag, and others. [c.35 pp.]
Box 34, Folder 11

"Schiele, Dürer and the Mirror," Art Quarterly, 1968 - Typescripts and Corrections

Scope and Content Note

Two photocopies of pre-publication versions of the article with corrections. [c. 35 pp.]
Box 34, Folder 12

"Schiele, Dürer and the Mirror," Art Quarterly,1968 - Notes and Research Materials

Scope and Content Note

Handwritten and typed notes; clippings. [c.40 pp]
Box 34, Folder 13

"Schiele, Dürer and the Mirror," The Art Quarterly ,1968 - Photographs

Scope and Content Note

[17 items]
Box 35, Folder 1

"Joseph Rosa und das Museé Napoleon," Mitteilungen der Österreichischen Galerie, 1968 - Correspondence

Scope and Content Note

Extensive correspondence with Hans Aurenhammer of the Österreichische Galerie (1968); many expressions of gratitude for reprints received. [c. 50 pp.]
Box 35, Folder 2

"Joseph Rosa und das Museé Napoleon," Mitteilungen der Österreichischen Galerie, 1968 - Notes

Scope and Content Note

Handwritten and typed notes including several transcriptions of Joseph Rosa letters. [c. 30 pp.]
Box 35, Folder 3

"Joseph Rosa und das Museé Napoleon," Mitteilungen der Österreichischen Galerie, 1968 - Photographs

Scope and Content Note

[10 items]
Box 35, Folder 4

"J. August Heinrich," Neue Deutsche Biographie, 1969 - Correspondence

Scope and Content Note

Correspondence with the Neue Deutsche Biographie, regarding publication; with colleagues and galleries in reference to photo requests, reprints received, and translation of the ariticle. [c. 100 pp.]
Box 35, Folder 5

"J. August Heinrich," Neue Deutsche Biographie, 1969 - Drafts and notes

Scope and Content Note

Examples of previous biographies; a reprint of Schwarz's biography of August Heinrich; handwritten and typed notes; research source articles, photocopied. [c. 50 pp.]
Box 35, Folder 6

"J. August Heinrich," Neue Deutsche Biographie, 1969 - Photographs

Scope and Content Note

Photographs and photocopies of August Heinrich's diary. [14 items]
Box 35, Folder 7

"Eule," Reallexikon zur Deutschen Kunstgeschichte, 1970 - Correspondence

Scope and Content Note

Correspondence regarding reproductions for and reprints of Schwarz's article. [c. 50 pp.]
Box 35, Folder 8

"Eule," Reallexikon zur Deutschen Kunstgeschichte, 1970 - Reallexikon Correspondence and Contracts

Scope and Content Note

Original contract between H.S. and the Reallexikon; guidelines for authors; correspondence. [c. 40 pp.]
Box 35, Folder 9

"Eule," Reallexikon zur Deutschen Kunstgeschichte, 1970 - Typescript with Corrections

Scope and Content Note

Typescript and photocopy of the article; corrections and annotations, notes regarding selection of illustrations. [c. 70 pp.]
Box 35, Folder 10

"Eule," Reallexikon zur Deutschen Kunstgeschichte, 1970 - Proofs

Scope and Content Note

Typed proof with handwritten corrections. [c. 50 pp.]
Box 35, Folder 11

"Eule," Reallexikon zur Deutschen Kunstgeschichte, 1970 - Notes and Research Materials

Scope and Content Note

Extensive typed notes on the symbolism of the owl; photocopies of significant references, sources. [c. 100 pp.]
Box 35, Folder 12

"Annual Report," Davison Art Center and Wesleyan Art Department, 1971-192

Scope and Content Note

Authored by H.S. and others, file contains photocopies of each. [c. 25 pp.]
Box 35, Folder 13

"Early Lithography, 1801-1835," Davison Art Center, 1972

Scope and Content Note

Catalogue, with statement by H.S. [1 item]
Box 36, Folder 1

Davison Art Center Selected Acquisitions, 1955-1972

Scope and Content Note

Three copies of this catalogue, which includes "A Tribute to H.S." by Alan Shestack; 27 reprints of Shestack's article; correspondence from colleagues who received a copy of this publication, incl. Otto Kurz and William Sebastian Heckscher. [40 items]
Box 36, Folder 2

Wesleyan, Summer 1972

Scope and Content Note

Two copies of this issue, which includes "Shaping a Collection" about H.S. by Alan Shestack. [2 items]
Box 36, Folder 3

Shestack, "Prints at Wesleyan University," from The Print Collector's Newsletter, 1972

Scope and Content Note

[1 p.]
Box 36, Folder 4

"An Eighteenth Century English Poem on the Camera Obscura," pub. post-1974 - Ms. and Reprint

Scope and Content Note

Handwritten ms.; two corrected typescripts, one corrected by Mrs. Van Deren Coke; reprint of the article as published. [40 pp.]
Box 36, Folder 5

Johann Nestroy im Bild, 1977 - Typescript of "Forword"

Scope and Content Note

Typed draft of the "Forword" published posthumously in Nestroy im Bild, 1977; draft dated 1958. [c. 40 pp.]
Box 36, Folder 6

"On Photography, Part II," (title not given by author) Art and Photography: Forerunners and Influences, 1985 - Typescript

Scope and Content Note

Photocopied typescript originally written in the 1960's, but not published until 1985; corrected by third party in preparation for publication. [33 pp.]
Box 36, Folder 7

"Art and Photography: Forerunners and Influences," published posthumously as "On Photography, Part I," Art and Photography: Forerunners and Influences, 1985 - Typescripts

Scope and Content Note

One typed draft; one photocopied draft with corrections by third party, perhaps J&V Verlag. [29 pp.]
Box 36, Folder 8

Art and Photography: Forerunners and Influences, 1985 - Reviews

Scope and Content Note

Photocopies of various reviews of Schwarz's book of essays. [c. 25 pp.]
 

Series III.B.  Lectures, 1957-1970

Physical Description: 2 boxes

Scope and Content Note

Correspondence, manuscripts, and printed ephemera relating to Schwarz's lectures at museums and universities.
Box 37, Folder 1

"The Owl in Art," Lecture at the Metropolitan Museum of Art, Correspondence, 1957

Scope and Content Note

Letter from Julius Held (11/6/57), thanking H.S. for a "stimulating lecture" and remarking Panofsky's approval of one of Held's theories; the Met's announcements listing the lecture. [3 items]
Box 37, Folder 2

"The Owl in Art," Lecture at Smith College, 1963

Scope and Content Note

Sign from H.S. lecture at Smith College (3/18/63) and an invitation to a post-lecture meeting at the home of Esther and Leonard Baskin; The Sophian, Smith College Newspaper (3/19/63) with review of Schwarz lecture. [3 items]
Box 37, Folder 3

"Art and Photography: Symptoms and Trends of a New Vision," Lecture at the Metropolitan Museum of Art, 1958

Scope and Content Note

Letters arranging the lecture with the Dean of Education, Sterling A. Callisen, at the Metropolitan; letters from H.S. to invite friends and colleagues, including Harry Bober (NYU), to whom Schwarz expresses his disappointment at James Ackerman's rejection of this paper for The Art Bulletin and his interest in Bober's assessment. [22 pp.]
Box 37, Folder 4

"Art and Photography: Symptoms and Trends of a New Vision," which is elsewhere titled, "After 1839: Effects and Examples of a New Vision,"

Scope and Content Note

Four complete typescripts of this paper in various stages of refinement. [c. 130 pp.]
Box 37, Folder 5

"Art and Photography: Symptoms and Trends of a New Vision," Lecture at the Metropolitan Museum of Art, 1958 - Notes

Scope and Content Note

Typed slide list for the lecture; handwritten notes; "MMA Calendar" October 1958, which advertises Schwarz's October 19th lecture. [17 pp.]
Box 37, Folder 6

"Art and Photography: Symptoms and Trends of a New Vision," Lecture at the Fogg Art Museum, Harvard University, 1959 - Correspondence

Scope and Content Note

A letter from Jakob Rosenburg inviting H.S. for a Spring lecture at Harvard (12/1958); letters arranging the lecture; an expression of regret from Georgy Kepes (1959) who could not attend; congratulations from colleagues; Fogg Bulletin listing lecture. [22 pp.]
Box 37, Folder 7

"After 1839: Effects and Examples of a New Medium," Worcester Art Museum, 1966 - Correspondence and Typescript

Scope and Content Note

Correspondence regarding the arrangements for the lecture and the honorarium; typescript of lecture; Museum Bulletin announcing the lecture. [26 pp.]
Box 37, Folder 8

"Art and Photography: Effects and Examples of a new Medium," Columbia University, 1966 - Announcements

Scope and Content Note

Announcements and letter. [5 pp.]
Box 37, Folder 9

"After 1839: Effects and Examples of a New Medium," Philadelphia Museum of Art, 1970 - Correspondence

Scope and Content Note

Correspondence with Kneeland McNulty and Philadelphia Museum regarding choice of topic and logistics of lecture; brief notes and slide instructions; museum schedule listing Schwarz's talk. [16 pp.]
Box 37, Folder 10

"After 1839: Effects and Examples of a New Medium," Philadelphia Museum of Art, 1970 - Typescripts

Scope and Content Note

Typescripts with corrections. [62 pp.]
Box 37, Folder 11

"Before 1839: Symptoms and Trends," College Art Association, 1963 - Correspondence with Beaumont Newhall

Scope and Content Note

Beaumont Newhall, elected chairman of a panel on the relationship of art and photography for a CAA session, invites H.S. to be the first panelist (30 July 1962); H.S. responds to B.N. that he would be honored to participate but that he was rather interested in the circumstances by which the CAA had chosen this topic, as H.S. had recently proposed it (11 September 1962); B.N. writes that the other panelists are Henry Holmes Smith, Van Deren Coke, and George Amberg (17 September 1962); B.N. requests that H.S. submit his topic as soon as possible, as Herschel Chipp would like them by 4 November for advertising purposes (30 October 1962); B.N. thanks H.S. for his successful lecture and requests permission to use an "amazingly modern picture' discovered by H.S. (27 January 1963); continuing correspondence regarding the publication of Schwarz's lectures given at the CAA meeting in Baltimore, although B.N. is unable to help; and others. [22 pp. plus 1 photograph]
Box 37, Folder 12

"Before 1839: Symptoms and Trends," College Art Association Meeting, Baltimore, 1963 - Ephemera

Scope and Content Note

Preliminary and final programs; announcement; accomodations at the Lord Baltimore Hotel; Annual Business Meeting of the CAA agenda. [8 items]
Box 37, Folder 13

"Art and Photography," Mt. Holyoke College, 1964-Correspondence

Scope and Content Note

Letters to and from Jean Harris, Chairman, Mt. Holyoke Friends of Art regarding the arrangements for Schwarz's lecture (Oct. 1963-Jan. 1964); announcement; school pamphlet. [10 pp.]
Box 37, Folder 14

"Before 1839: Symptoms and Trends," George Eastman House, 1964 - Transcription and Typescripts

Scope and Content Note

Three typescripts (one original, typed) including slidelist; two transcriptions (photocopied). [c. 75 pp.]
Box 37, Folder 15

"Franz Anton Palko as a Portrait Painter," Czechoslovak Society of Arts and Sciences in America, Third Congress, 1966 - Correspondence

Scope and Content Note

Letters arranging the specifics of the lecture forum and content; also, letters regarding the possible publication of Schwarz's article in Czechoslovakia: Past and Present, a book which grew out of this third congress.
Box 37, Folder 16

"Franz Anton Palko as a Portrait Painter," Czechoslovak Society of Arts and Sciences in America, Third Congress, 1966 - Pamphlets

Scope and Content Note

[6 items]
Box 37, Folder 17

"Numerical Order and Symbolism," Davison Art Center, 1967 - Correspondence

Scope and Content Note

Correspondence from friends and colleagues regarding Schwarz's lecture; announcement. [c. 20 pp.]
Box 37, Folder 18

"Numerical Order and Symbolism," Davison Art Center, 1967 - Notes and Clippings

Scope and Content Note

Handwritten and typed notes in preparation for the exhibition; relevant newspaper clipptings. [c. 40 pp.]
Box 38, Folder 1

Assorted Negatives for articles

Scope and Content Note

Negatives of images used for the articles, "Ingres Graveur," "Daumier, Gill, and Nadar," "Eule," and others. [14 items]
Box 38, Folder 2

Negatives - "Before 1839" Lecture

Scope and Content Note

[9 items]
Box 38, Folder 3

Negatives - Art and Photography Lectures

Scope and Content Note

[18 items]
 

Series IV.  Correspondence, 1943-1974

Physical Description: 1 box

Scope and Content Note

Assorted, largely personal correspondence arranged chronologically. The bulk of the letters falls within the 1960s and early 1970s.
Box 39, Folder 1

A.E. Marshall, 1943-1945

Scope and Content Note

Marshall and H.S. discuss Marshall's support for Schwarz's work (by paying Schwarz's research assistants for a brief period), collecting activities, and early photography.
Box 39, Folder 2

Research Assistants, 1945

Scope and Content Note

Correspondence between H.S. and two of his research assistants, Hedwig Schleiffer in Cambridge, Massachusetts and Elisabeth Colman in New York. [c. 50 pp.]
Box 39, Folder 3

Miscellaneous Personal Correspondence, 1952-1972

Scope and Content Note

Letters from friends travelling with personal and professional concerns; an invitation from Jasper Johns (signed), extended at the request of John Cage (1967); many letters from 1972ff. wishing H.S. a speedy recovery from his illness. [c. 50 pp.]
Box 39, Folder 4

Miscellaneous Photo Requests, 1958-1972

Scope and Content Note

Misc. requests for reproductions from museums and galleries for study purposes. [c. 75 pp.]
Box 39, Folder 5

Keith Andrews Correspondence, 1959-1960

Scope and Content Note

Letters primarily from K. Andrews, National Gallery of Scotland regarding publications and interests. [8 pp.]
Box 39, Folder 6

Herschel B. Chipp Correspondence, 1962

Scope and Content Note

Letters to and from H. B. Chipp, regarding a mutual interest in Viennese Expressionism. [5 pp.]
Box 39, Folder 7

Alan Shestack Correspondence, 1972

Scope and Content Note

Letters to and from A. Shestack, regarding mutual health concerns and the disposition of Schwarz's calotype collection. [4 pp.]
Box 39, Folder 8

Hans Frank Correspondence, 1972

Scope and Content Note

Correspondence concerning the opening of the Photomuseum Schloß Arensberg, Salzburg (in German). [6 pp.]
Box 39, Folder 9

Alessandra Comini, 1972

Scope and Content Note

Letter and invitation to a lecture; c.v. with photo of Comini. [5 items]
Box 39, Folder 10

Reception for H.S., Davison Art Center, 4 May 1972

Scope and Content Note

Invitation; campus report (1 July 1972); transcript of speech by John Risley. [4 pp.]
Box 39, Folder 11

Teaching Evaluations, 1972

Scope and Content Note

Highly favorable student evaluations of Schwarz's teaching at Wesleyan. [3 pp.]
Box 39, Folder 12

Miscellaneous Personal Correspondence, 1973-1974

Scope and Content Note

Letters from Harold Joachim, Otto Kurz, Winslow Ames and others regarding Schwarz's health and academic happenings. [c. 45 pp.]
Box 39, Folder 13

Miscellaneous Personal Correspondence (in German), 1973-1974

Scope and Content Note

[c. 45 pp.]
Box 39, Folder 14

Inventory of Personal Affects, 1973

Scope and Content Note

Inventory of Schwarz's personal items remaining at the Davison Art Center, Wesleyan University and at home; handwritten. [10 pp.]
Box 39, Folder 15

Articles by Otto Kurz

Scope and Content Note

Six reprints of articles sent to H.S. by Otto Kurz in 1973 or 1974. [7 items]
 

Series V.  Elisabeth Schwarz Correspondence, 1973-1985

Physical Description: 2 boxes

Scope and Content Note

Elisabeth Schwarz's correspondence concerns her efforts to publish the large body of unpublished research left by her husband upon his death in 1974. The letters range in date from 1973 to 1985 and involve many of his former colleagues. The correspondence also concerns the disposition of Schwarz' calotype collection. Correspondents include Weston Naef, Fritz Novotny, Alan Shestack, and Jugend und Volk Verlag, publisher of Johann Nestroy im Bild.
Box 40, Folder 1

Miscellaneous Personal Correspondence, 1973

Scope and Content Note

Letters to Elisabeth Schwarz of personal content, i.e. health, interests, and travel, from friends and colleagues of H.S., including Kneeland McNulty, John Szarkowski, Walter Hugelhofer. [16 pp.]
Box 40, Folder 2

Colin Campbell and William Kerr, Wesleyan University, Correspondence, 1974-1981

Scope and Content Note

These letters document Elisabeth Schwarz's ongoing relationship with Wesleyan after her husband's death, including invitations to events, financial arrangements, and the removal of Schwarz's personal affects. [c. 50+ pp.]
Box 40, Folder 3

Heinrich Schwarz Archive Disposition

Scope and Content Note

Correspondence between Elisabeth Schwarz and peers, scholars, and friends regarding her attempts to place Schwarz's archive of photographs and research materials with a gallery or academic institution; letters to Julius Held (1978); to and from Everett Fahy (1976), Otto Kurz (1974-76), Alan Shestack (1977), Harold Joachim (1980), and many others; letters often include financial, aesthetic, and scholarly evaluations of the archive. [c. 100 pp.]
Box 40, Folder 4

Fritz Novotny Correspondence, 1975-1978

Scope and Content Note

Letters to and from Fritz Novotny, Kunsthistorisches Institut der Universität Wien, regarding recent academic and intellectual developments on the Continent; publishing prospects for Schwarz's works; contacts and friends, including Meyer Shapiro (entirely in German). [c. 75 pp.]
Box 40, Folder 5

Weston Naef Correspondence, 1975-1978, 1985

Scope and Content Note

Correspondence with Weston Naef, Metropolitan Musuem of Art, New York, and subsequently the J. Paul Getty Museum, concerning primarily the storage and disposition of Schwarz's archive. calotype collection of H.S. stored at MMA and valued at $250,000.00 in a preliminary receipt (1975); further correspondence on preparation of a second edition of the D.O. Hill monograph (1975-1978); W.Naef resigns as collaborator on second edition (1978); letters as Curator of Photographs at Getty Museum expresses Naef's interest in the collection for the Getty Research Library (1985). [c. 100 items]
Box 40, Folder 6

Douglas Druick Correspondence, 1975-1980

Scope and Content Note

Letters to and from Douglas Druick, Curator of Prints, The National Gallery of Canada, who agrees to edit and complete Schwarz's "Bibliography of Lithography" for publication (1975); D.D. later must resign from the project due to other obligations (1979). [c. 60 pp.]
Box 40, Folder 7

Nestroy Collection Correspondence, 1976-1977

Scope and Content Note

Correspondence with Jeanne Newlin, Harvard Theatre Collection, concerning the possible placement of Schwarz's Nestroy materials there; no resolution in this collection. [12 pp.]
Box 40, Folder 8

Johann Nestroy im Bild: eine Ikonographie, 1977

Scope and Content Note

Original contract between Jugend und Volk Verlag and Elisabeth Schwarz (8/1976); correspondence concerning editing of the text, royalties and honorarium, and release (1974-77); correspondence between Elisabeth Schwarz and the Institut für Theaterwissenschaft, Universität Wien, in cooperation with whom the book was released; announcement from The Germanic Review of the 175th anniversary of Nestroy's birthday, including a note about the festival and H.S. book (Summer 1979); accounting printouts of sales and revenue from the book in 1981 and 1983 with Elisabeth Schwarz's royalties. [c. 150 items]
Box 40, Folder 9

Hans Boudouin Correspondence, 1977-1978

Scope and Content Note

Correspondence concerning a "Crucifixion" owned by Elisabeth Schwarz, identified as a Gillis Mostaert by Boudouin, Keeper, Kunsthistorische Musea, Stad Antwerpen (1978); reprint of Boudouin article. [10 pp.]
Box 40, Folder 10

Hans Aurenhammer Correspondence, 1977-1983

Scope and Content Note

Letters to and from Hans Aurenhammer, Direktor der Österreichischen Galerie, concerning publication opportunites for Schwarz's materials, happenings in Austria, and personal sentiments. [17 pp.]
Box 40, Folder 11

Alan Shestack Correspondence, 1977-1983

Scope and Content Note

Correspondence between Elisabeth Schwarz and Alan Shestack, Curator, Yale University Art Gallery, most often concerning publication of Schwarz's work and disposition of his archive, for which Elisabeth Schwarz sought Shestack's advice; Shestack letter of 1977 describes his last-minute decision to reject The Art Institute of Chicago, which left Shestack "persona non grata" there; Shestack writes also to arrange a viewing of the collection for himself and a student; other topics include the Hill book revision, the library, and possible contacts. [c. 40 pp.]
Box 40, Folder 12

D.O. Hill, Second Edition, proposed

Scope and Content Note

Correspondence generated by Elisabeth Schwarz's search for an editor and publisher of a second edition of H.S. first book; correspondents include Michael Hoffman, Aperture; The Royal Photographic Society; Peter Galassi, MoMA; letters to and from several prospective editors. [21 pp.]
Box 40, Folder 13

Insel-Verlag Correspondence, 1978

Scope and Content Note

Correspondence between Elisabeth Schwarz's legal representatives and the publishing firm regarding Elisabeth Schwarz's rights to publish the content of the D.O. Hill book in a second edition. [7 pp.]
Box 40, Folder 14

Keith Andrews Correspondence, 1978-1979

Scope and Content Note

Letters attempting to schedule a meeting between Andrews, National Gallery of Scotland, and Elisabeth Schwarz concerning Schwarz's work. [11 pp.]
Box 40, Folder 15

H.S. Calotype Collection - Research Correspondence, 1979

Scope and Content Note

Letters from a student of Beaumont Newhall's requesting the opportunity to view Schwarz's collection in New York; photocopy of a list of H.S. calotypes compiled by Beaumont Newhall in 1941. [22 pp.]
Box 40, Folder 16

H.K. Heinisch Correspondence, 1983-1985

Scope and Content Note

Correspondence regarding publication of Schwarz's "Before 1839" lecture on the History of Photography. [14 pp.]
Box 41, Folder 1

Art and Photography Correspondence, 1985

Scope and Content Note

Correspondence between various galleries and museums regarding reproduction fees; lists of illustrations with photocopies; extensive correspondence between Elisabeth Schwarz and Nathan Lyons; transcript of "Before 1839: Symptoms and Trends" lecture. [c. 200 pp.]
Box 41, Folder 2

Die Anfänge der Lithographie in Österreich Correspondence, 1983-1985

Scope and Content Note

Letters to and from Professor Walter Koschatzky, Direktor der Albertina, concerning the publication of H.S. dissertation (1921) by the Albertina, realized 1988. [17 pp.]
Box 41, Folder 3

Newspaper Clippings

Scope and Content Note

Three large newspaper sections. [3 items]