Manuscript Collections
Whitney Manuscript Collections encompass primary materials generated by external organizations or individuals that supports research complementary to the Museum’s collections and programming.
Portrait of Edward and Josephine Hopper at Two Lights, Cape Elizabeth, Maine, 1927, The Sanborn Hopper Archive at the Whitney Museum of American Art, Frances Mulhall Achilles Library, Gift of The Arthayer R. Sanborn Hopper Collection Trust, Series: Personal Papers, Edward Hopper, Photographs
The Sanborn Hopper Archive at the Whitney Museum of American Art
Donated by the Arthayer R. Sanborn Hopper Collection Trust, this collection consists of about 4,000 items including more than 300 letters and notes from Hopper to his family, friends, and colleagues; twenty-one notebooks in Hopper’s own hand; and ninety notebooks by Hopper’s wife, Josephine Nivison Hopper; as well as extensive archival material relating to Hopper’s artistic career and personal life, such as photographs, personal papers, and dealer records. The Sanborn-Hopper Archive will be open to scholars by appointment after the collection is catalogued, processed, and researched, as the Whitney plans to explore potential exhibitions, programs, and publications making use of the Archive’s extraordinarily rich materials.
Finding Aid Digital Collection
Funding for the processing of the Sanborn Hopper Archive is generously provided by the Leon Levy Foundation.
Barbara Moore at work in the Something Else Press office. Photos by Peter Moore. Frances Mulhall Achilles Library and Archives, Whitney Museum of American Art, N.Y. © Estate of Peter Moore / VAGA, NY
The Avant-Garde Reference Files of Barbara Moore, c. 1960–2015
A collection of printed matter, ephemera, announcements, brochures, artists’ books, and editions collected by art historian, writer, former rare book dealer, and director of the Peter Moore Photography Archive for sixty years, Barbara Moore. Significant materials relate to the international activities of artists, publishers, and alternative spaces working across performance art, conceptual art, mail art; video and multimedia; and artists’ groups from the 1960s to the early 2000s. Materials also include original drawings and handmade objects, as well as media in multiple formats.
Lloyd Goodrich with painting Human Pool Tables, 1938 by Reginald Marsh, Whitney Museum of American Art, N.Y. 55.34. The painting was shown in the 1955 exhibition Reginald Marsh (Sept. 21-Nov.6, 1955) at the museum. Frances Mulhall Achilles Library and Archives, Whitney Museum of American Art, N.Y. Photograph Brooks Elder
Lloyd Goodrich Artists Correspondence, 1917–1978
Forming an illuminating portrait of Lloyd Goodrich’s social world and art interests, this varied collection consists of letters, postcards, holiday cards, invitations, and exhibition notices that the former director of the Whitney and his wife Edith exchanged with artists, collectors, Museum staff, and other friends.
Cover, Clement Greenberg: A Life by Florence Rubenfeld. University of Minnesota Press, 2004, Minneapolis, MN
Florence Rubenfeld’s Collection of Archival Material for Clement Greenberg: A Life, 1935–1999
Materials generated by writer Florence Rubenfeld during a decade of research supporting the writing and publication of Clement Greenberg: A Life (New York: Scribners, 1998) by art critic Florence Rubenfeld. Materials include the author’s notebooks, correspondence, transcripts of interviews, audio recordings, and articles.
Announcement by 291 (Magazine 1915-1917) for Opening of Modern Gallery, 500 Fifth Avenue, N.Y, N.Y., October 7, 1915. New York, N.Y. Francis M. Naumann Research Collection for How, When and Why Modern Art Came to New York by Marius de Zayas, 1910-1936. Frances Mulhall Achilles Library and Archives, Whitney Museum of American Art, N.Y.
Francis M. Naumann Research Collection for How, When and Why Modern Art Came to New York by Marius de Zayas, 1910–1936
Assembled by editor Francis M. Naumann for the publication of How, When and Why Modern Art Came to New York (Cambridge: MIT Press, 1996), this collection centers on Marius de Zayas, an influential yet largely behind-the-scenes participant in the new avant-garde art scene in New York and Paris in the 1910s and early 1920s.