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The article focuses on the autobiographical notes by painter Gerald Murphy from the papers of curator Douglas MacAgy. On May 17, 1962, MacAgy wrote to Murphy and requested him to expand and clarify certain points of biography and work. MacAgy's inquiries and Murphy's notes are contained in the Douglas MacAgy Papers at the Archives of American Art, Smithsonian Institution. An excerpt from Murphy's October 24, 1962 set of notes commenting on MacAgy's summary of his production is provided. According to the article, Murphy's numbered answers correspond to numbers in MacAgy's typescript.

In 2019, the National Gallery of Australia committed to a gender equity program and exhibition titled Know My Name. This article details how the Research Library and Archives has contributed to the understanding of gender equity across the gallery, and specifically within the print monographs and exhibition catalogs. [This article is a revision of a paper presented at the 50th annual ARLIS/NA conference held in Chicago, Illinois, in April 2022]. [ABSTRACT FROM AUTHOR]

Graph: Scene from opening of exhibition Made from Paper, Museum of Contemporary Crafts, New York, 1977. Photograph by Renita Hanfling. Paul J. Smith Papers. [Extracted from the article]

Vicki Ann Funk was an American botanist and a leading figure on the taxonomy, systematics, and biogeography of Compositae in the late twentieth and early twenty-first centuries. Of her many contributions to these fields, Vicki's ardent defense of the value and necessity of strong collections-based research for plant systematics was highly prominent. We will delve into Vicki's contribution to Compositae systematics and explore how she was often at the forefront of research in the areas of plant phylogenetics, systematics, and collections. She pioneered the use of cladistics in plant systematics in the late 1970s and the early 1980s and helped develop and put in practice novel methods for understanding plant evolutionary relationships. During the next-generation sequencing revolution of the 2010s, she was again at the leading edge developing new tools for studying the world's largest flowering plant family. Throughout this, she continuously made use of the latest methods and approaches to study evolutionary diversification, biogeography, and classification in Compositae. She spared no effort in supporting small herbaria across the globe, constantly aware (and reminding those around her) of the paramount importance of collections at all levels of plant research. She envisioned producing a global database to track nomenclature in Compositae and saw this massive effort from its origin to its implementation by encouraging contributions from researchers across the globe. In all her work, there was a genuine desire to connect people in pursuit of deeper understanding of the Compositae. [ABSTRACT FROM AUTHOR]

This paper contains editions of three previously unpublished omen texts and one commentary text from the collections of the British Museum. BM 36165 and BM 34999 are Late Babylonian manuscripts of Šumma ālu tablet 1 while K 6260 is a join to Šumma izbu tablet 4. BM 47684+ is part of a large Late Babylonian four-column tablet containing a new commentary on physiognomic omens. The edition of these tablets is accompanied by an extensive commentary that discusses the placement of the tablets within the divinatory series, as well as orthographic and interpretative issues. [ABSTRACT FROM AUTHOR]

Although they describe Bronze Age technologies and techniques, the Akkadian glassmaking texts are primarily known through later copies from Ashurbanipal's libraries. The first portion of this paper provides editions of three fragments of previously unknown glass texts from the Middle Assyrian period and examines how and why they came to be written down. The second portion discusses metaphors concerning kinship and bodily experience that explain the relationship between the glassmaker in Mesopotamia, his tools, and his creative process. It is argued here that only by embracing the entire context of the craft process—this includes the behaviors chosen during manufacture as well as the allusions made to social relationships through language, performance, and materials—can we begin to appreciate how knowledge about technologies was transmitted. [ABSTRACT FROM AUTHOR]

Graph: Emanuel Martínez working on Colorado Springs mural Arte Mestiza, 1986. Emanuel Martínez Papers, Archives of American Art, Smithsonian Institution. [Extracted from the article]

Graph: Laddie John Dill, Elyse Grinstein, Chuck Arnoldi, Andy Warhol, and unidentified individual at the Brentwood, CA, home of Elyse and Stanley Grinstein, May 9, 1970. Stanley and Elyse Grinstein Papers. [Extracted from the article]

W. T. H. Howe (1868–1939) was one of the most prominent book collectors and literary patrons of the Golden Era of book collecting, yet his efforts have been largely forgotten. This piece strives to correct that oversight, providing information about Howe's life and situating him among American book collectors of his period. Fellow collectors such as Barton Currie and Richard Curle lauded his foresighted purchases of Poe and Hawthorne works at the famous Wakeman sale of 1924; later he made splashy purchases of Lewis Carroll first editions that positioned him as a major contributor to the 1932 New York "Alice" exhibition. Howe accumulated a huge treasure trove of literary manuscripts and rare books that he kept in Cincinnati, where he was president of the world's largest textbook publisher, the American Book Company. Friends with rare booksellers such as Walter Hill of Chicago and Alfred Goldsmith of New York, Howe shaped collecting trends to emphasize nineteenth-century and contemporary writers. When Howe died suddenly without a will, his collection was slated for auction, but bookman Mitchell Kennerley brokered a deal with Alfred Berg, who purchased the library en bloc and donated it to the New York Public Library. Ironically, this saved Howe's collection intact, but obscured his role in building the foundation of today's Berg Collection. [ABSTRACT FROM AUTHOR]

Premise of research. Natural history collections are essential resources for taxonomy, systematics, and ecological and climate change research. Mass digitization of these collections provides the opportunity to study broad biological patterns among specimens and their associated metadata at a scale that was previously impossible. The specimen metadata can also be used to study the contributions of the people that collected and identified these specimens. A proper accounting of these contributions impacts our understanding of the history of these collections and who played a role in their growth. Methodology. Here, we provide an assessment of the scientific contributions of past women in science at the Smithsonian Institution, focusing on their specimen collections and identifications. We evaluate natural history specimen collections records available from the Global Biodiversity Information Facility and Smithsonian annual reports, volumes dating to the founding of the Smithsonian in 1846. Pivotal results. We identify 40 women with specimen collections or identifications, with a total of more than 120,000 total specimens attributed to them. In cases where specimens are not yet digitized, we are able to learn more about the women's contributions using annual reports, which provide a richer picture of their work at the Smithsonian. This work relies on collaboration as well as deep institutional knowledge. We also release a semantic search application, which allows users to search the Smithsonian annual reports. Conclusions. Collections records are a rich resource, but there are significant barriers to accurate specimen attribution, which disproportionately affect women collectors and determiners. We propose ways that we might document these problems at scale and remedy cases of misattribution in digital repositories of record. [ABSTRACT FROM AUTHOR]

Biblical archaeology collections at colleges and universities are typically remnants of an earlier era of collecting and teaching. These collections nonetheless still hunker, dusty and underused, in many university closets today. What larger stories do their histories reveal, and what good are legacy teaching collections now? In this article a recent Oberlin College graduate and one of his college faculty mentors team up to address these questions and offer practical advice for revitalizing legacy biblical archaeology collections, using the Oberlin Near East Study Collection (ONESC) as a case study. [ABSTRACT FROM AUTHOR]

The article reports on the various collections acquired by the Archives. The collection of Frazer Family papers which include portrait painter Oliver Frazer's letters to his family owned by the University of Kentucky library was microfilmed for the Archives. These letters showed Frazer's disappointment with his instructors, descriptions of his art training, visits to European museums, and other activities. Meanwhile, Charles Pollock's papers acquired by the Archives consist of correspondence for his family, wife, friends and associates of the 1930s.

Mixture choice data consist of the joint distribution of choices of a group of agents from a collection of menus, comprising the implied stochastic choice function plus any cross-menu correlations. When agents are heterogeneous with respect to both preferences and other aspects of cognition, we show that these two determinants of behavior are identified simultaneously by suitable mixture choice data. We also demonstrate how this finding can be extended to allow for specialized assumptions about cognition, focusing on models of random satisficing thresholds and "quantal Fechnerian" choice. [ABSTRACT FROM AUTHOR]

This volume of essays examines the collection of manuscripts and old books owned by Robert Edward Hart (1878-1946), now housed at the Blackburn Museum and Art Gallery in Lancashire. McKendrick focuses instead on a fifteenth-century manuscript book of hours in a contribution titled "Contextualising the Art and Innovations of the Master of Edward IV in the Blackburn Hours (Blackburn Museum and Art Gallery, Hart MS 20884)." Richly illustrated with beautiful color images, the book is intended to celebrate the life and passions of Robert Edward Hart, a ropemaker and bibliophile with a desire to collect early printed and manuscript books for himself and for the next generation. [Extracted from the article]

Somewhat frustratingly, there are so many that some magazines, such as the 1920s periodical I The Flapper i (1922) and the music publication I Hep Cat's Review i (1956), are not discussed in the main text. In her introduction to the volume, magazine scholar Heather Haveman notes that "between 1825 and 1850, almost three thousand new magazines were launched, followed by almost sixteen hundred the next decade. [Extracted from the article]

The article discusses the collections of the Archives of American Art. This Smithsonian research unit, whose staff is composed of art historians and archival workers, has research centers in Boston, New York, Detroit, Los Angeles and Washington DC. Some of the Archives' collections include the David Smith papers, a large collection of documentation covering the artist's career and the Rockwell Kent papers, an immense collection of books, catalogues and articles about Kent. The largest and richest single collection of the Archives is the records of the Carnegie Institute, Museum of Art in Pittsburgh, Pennsylvania.

The article reports on the project of the Archives of American Art in Philadelphia, Pennsylvania, which involves transferring records to microfilm, in particular the holdings of the Historical Society of Pennsylvania. The first set of microfilms were of the Sartain family papers, which include selections from the Centennial Exhibition records, Henry Gilpin's letters, journals and selections from the Hopkinson Family papers. Other donations included in the collection are catalogues, reviews, press releases and some Beatrice Fenton materials.

The article reports on the collection of papers given to the Archive of American Art Regional Center in Southern California. Among the papers received were those of Laura Andreson and Constance Perkins as well as the Southern California Artists Index, 1930-1945, which were donated by Joseph H. Krause of California State University. Another important addition was a set of seventy-three sketchbooks by the late Carlos Almaraz, on loan for microfilming. An addition to the Woman's Building collection consisting of thirty-one boxes of records of the founding of a feminist art organization is also included.

The article examines collection development in the global context of contemporary art materials published in Asia, Latin America and Africa. It offers a few useful purchasing strategies and discusses the importance of specialist book dealers to collecting in a new subject area. It emphasizes the need to become familiar with different authors and publishing houses that are represented in respected library collections when building a solid new collection.

Most research libraries house substantial quantities of publishers' bindings, but it is not clear how well they accommodate them from a collection management or descriptive cataloging perspective. To gain some insight on this issue, a survey was carried out across four research libraries in the United Kingdom: the Wellcome Collection, the Victoria and Albert Museum, University College London, and Senate House Library (University of London). This article presents and discusses the survey's findings and makes several recommendations designed to improve professional practice in this area. [ABSTRACT FROM AUTHOR]

The article presents news briefs pertaining to the preservation of library collections, as of December 1985. The Northeast Document Conservation Center received a grant from the National Endowment for the Humanities aside from the grants it received from the National Historical Publication and Records Commission and the J. Paul Getty Trust. Meanwhile, on-site consultation service to libraries and other repositories is being provided by the Southeastern Library Network Inc.

What is an offprint and why was it important in the humanities? This article will approach this question in five steps. Following some terminological remarks and an overview of the format's history, it examines the offprint's different uses through major offprint collections held at the Institute for Advanced Study in Princeton and Deutsches Literaturarchiv in Marbach. This informs a praxeological analysis of the format and circulation of offprints in the humanities. Finally, I consider contemporary nostalgia for the offprint, due not only to the ongoing digitalization of media, but also to the fact that interactions centered on the offprint used to bolster a particular self-image of the scholarly persona. [ABSTRACT FROM AUTHOR]

The article reports on developments related to the Archives of American Art in Southeast U.S. as of March 1999. The records of Fendrick Gallery and Barbara Fendrick Gallery was donated to the Archives by art dealer Barbara Fendrick. Art collectors and authors Chuck and Jan Rosenak also donated their research files such as letters, writings and notes for their book "The Saint Makers: Contemporary Santeras Y Santeros" to the Archives. Sculptor Una Hanbury's papers were also donated by daughter Jillian Poole to the Archives' collection with a New Mexican connection.

The article provides a journal report dealing with the west coast collections along with the new status of the Southern California center. Included in the collections acquired are the papers made by Wallace Berman, Alson Skinner Clark, Miklos Gaspar, Imogen Cunningham, and Carlos Almaraz. Berman, considered as the most important and influential artist, worked in California and was credited as the father of California assemblage. Clark, on the other hand, was considered as the Impressionist painter who was able to exhibit his work "The Violinist" at the Paris Salons of 1901-1904. Considered as Chicago's prolific muralist was Gaspar. His commissions were documented like his firsthand experience of World War I. Contributions of Cunningham and Almaraz are also provided in the article.

Science museums come in all shapes and sizes. In order to provide an overview of the present-day landscape of science museums, this survey proposes a typology based on their historical origins. It suggests that, despite their distinct beginnings, museums of various types have converged in their institutional identities. [ABSTRACT FROM AUTHOR]

Information visualization techniques are being used increasingly by scholars, museum curators, and collection managers to analyze cultural heritage data sets in novel and dynamic ways. Shifting palettes, spatial density, and other material aspects of works can now be examined digitally to provide new insights into creativity, form, genre, and change. Cultural heritage professionals are also beginning to use visualizations and computational tools to expand the availability and explorability of their collections. This article locates the current field of information visualization within its historical context, demonstrating the shift in aesthetic practice within the field from the mid-eighteenth century to the present day. A number of current projects are presented to illustrate how information visualization is mediating formal humanities research and the study and management of collections. [ABSTRACT FROM AUTHOR]

During the first half of the nineteenth century, while Georges Cuvier ruled over natural history and the Muséum d'Histoire Naturelle (MHN) was at its institutional acme, a French banker and industrialist with a Swiss family background, Benjamin Delessert, was developing an important botanical museum in Paris. His private collection included both a rich botanical library and a massive herbarium: the close integration of these two dimensions, together with the magnanimity of Delessert's patronage, contributed to making this private institution a worthy rival to the powerful and state-funded MHN. Delessert's museum had the favor of both professional and amateur naturalists. Knowledgeable and dedicated assistants (Antoine Guillemin and Antoine Lasègue) curated the collections. Moreover, Delessert was an intimate friend of the Genevan botanist Augustin-Pyramus de Candolle. Although Delessert's herbarium followed the Linnaean order, the Delessert Botanical Museum (DBM) contributed to the development of Candolle's natural system, especially through the publication of costly volumes of engravings, the Icones selectae plantarum rariorum. This essay draws together the main steps in the evolution of Delessert's collections, stressing the interdependency between books and dried plants. It focuses on the DBM as a case of cooperation between institutional and amateur expertise, private and public collections, and field collectors and cabinet naturalists. [ABSTRACT FROM AUTHOR]

The article provides the West Coast regional report on Northern California art historians Albert Elsen and Peter Selz's contributions to the collections of the Archives of the American Art. The first contribution of Elsen is Seymour Lipton research files which triggers the formation of a silent sub-group within the Elsen papers. Moreover, from 1942-1984, Elsen's files include letters, photographs, Elsen's first monograph entitled "The Sculpture of Seymour Lipton," and unpublished manuscript known as "The Sculpture of Seymour Lipton as Portrait of the Artist." Unlike the contributions of Elsen, Selz's donation is of different character because it is divided into two groups which are his personal files and his files regarding Mark Rothko. Lipton's autobiographical statement is also provided.

The article discusses the scientific methods utilized by archives since the era known as the early modern period of history. According to the article, libraries are recognized as repositories of knowledge and are considered the equal of laboratories and observatories as significant sites for research. The article states that archival science depends upon data and specimens that are preserved, and that archival science also projects the needs of future science in the creation of collections. According to the article, the early modern period saw the beginning of distinct practices of archival sciences that eventually established a hermeneutics of reading and seeing.

This research project surveyed forty-five Web sites pertaining to visual resources collections to examine the information they present on a variety of topics, including what types of content and services they offer to patrons, how they support patrons with image presentation tools, and whether they offer copyright guidelines and information about fair use. Findings of the study suggest that visual resources collections Web sites should communicate more articulately about the collections' content and services staff provide to remain a viable resource within academic communities. [ABSTRACT FROM AUTHOR]

Examines the lithic collection from the Omo sites. Antiquity of the collections; Management of the raw material; Differences in technology between apes.

The article discusses the three steps for developing a graphic novel/comic book collection in the art industry. First is to develop parameters that evaluate user group, garner support and define scope of the collection. The second would be acquiring materials that establish funds, make connections and solicit gifts. Third is to provide access for catalogers and consider binding collection.

This response from the museum workplace to the previous three "Focus" essays has two main thrusts. First, it seeks to place the recent interest in museums from historians of science within the broader study of museums in general and points to the value of this broad context for locating scientific practice. Second, it reminds historians of science that museums are not only objects of study but also living resources for public communication, and it reflects on how the "Focus" essays relate to the role the history of science can play in museums with science collections. [ABSTRACT FROM AUTHOR]

Describes the collection of artists' books at the Design, Architecture, Art and Planning (DAAP) Library of the University of Cincinnati in Ohio. Growth of the collection; Description of the alphabet book included in the collection; Characteristics of the DAAP collection of snow globes and snow globe pens.

The article points out that the research on the Francis D. Millet papers offer an informative example of the intricacies involved in tracking a widely scattered collection. It is also observed that they provide an example of the benefits of maintaining a network of friendly researchers and other interested parties.

The article highlights a session on rare books in art libraries during the Art Libraries Society of North America's conference on February 11, 1986. Georgina Toth was the moderator at the session. She introduced the idea that art libraries inherit rare books collections through gifts or because books acquired in the past acquire over time the status of rare. The lecturers were Joan Friedman, Peter Kraus and Dr. Jack Hagstrom.