The Winterthur Library

 The Joseph Downs Collection of Manuscripts and Printed Ephemera

Henry Francis du Pont Winterthur Museum

5105 Kennett Pike, Winterthur, DE  19735

302-888-4600 or 800-448-3883

 

 

OVERVIEW OF THE COLLECTION

 

Creator:         Keck, Caroline K. (Caroline Kohn)                                       

Title:               Papers

Dates:             1934-2005

Call No.:         Col. 664         

Acc. No.:        98x29; 08x153; 12x64; 15x109; 15x110

Quantity:        95 boxes, 68 film reels, 4 audio tapes (33 cu. ft.)

Location:        507 A-D 1-4

 

 

 

BIOGRAPHICAL STATEMENT

 

Caroline Martin Kohn Keck and her husband Sheldon Waugh Keck were art conservators.  Caroline was the daughter of Albert and Laura Underhill Kohn.  She was educated at Vassar College, Radcliffe College, where she earned a master’s degree in art history, and the University of Berlin.  Sheldon was the son of Fred R. and Myra Waugh Keck, born on May 30, 1910, in Utica, New York.  He graduated from Harvard University in 1932, where he had majored in art history, and apprenticed as an art conservator at the Fogg Museum of Art.  The Kecks met while both were taking classes at the Fogg.  They married on October 31, 1933, and had two sons, Lawrence (also a conservator) and Albert. 

 

The Kecks were painting conservators for the Brooklyn Museum (they went there in 1934), the Museum of Modern Art, the Guggenheim Museum, and the New York State Historical Association in Cooperstown, as well as doing work for other museums and private owners.  They taught conservation courses at the Brooklyn Museum, which became the basis of the curriculum at the New York University Conservation Center.  The Kecks also founded the Cooperstown Graduate Program in Conservation, and they served as advisors when the Winterthur/University of Delaware Program in Art Conservation was begun. 

 

During World War II, Sheldon Keck served in the American army.  Because of his art conservation background, he was assigned to Monuments, Fine Arts and Archives Section (“Monuments Men”), which handled the art treasures which had been stolen by the Germans during the war.  At the end of the war, he worked at the art collecting point established in Marburg, Germany.  Sheldon Keck was awarded Fulbright and Guggenheim fellowships.  He was noted for his research into the works of the artists William Harnett, John Frederick Peto, and Albert Pinkham Ryder. 

 

The Kecks worked together as a team, each with his and her own strengths.  They published numerous articles, several books, and produced six films about painting conservation.  Caroline Keck was the first woman to deliver the IIC Forbes Prize lecture.  They were members of the International Institute for Conservation (IIC; Sheldon served two terms as president; both were honorary fellows), American Institute for Conservation (AIC, of which Sheldon was president), the American Association of Museums (AAM), and other professional organizations.  The AIC named its award for excellence in teaching conservation the Sheldon and Caroline Keck Award.  The IIC presents a Keck Award to honor public outreach in the conservation field.  An obituary of Sheldon Keck appears in the AIC News, volume 18, number 5 (September 1993).  Caroline Keck died on December 17, 2007, at the age of 99. 

 

 

SCOPE AND CONTENT

 

The papers reflect the careers of Sheldon and Caroline Keck.  Of especial interest is the summary of the conservation treatments which they performed from 1934-circa 2000.  More than this, however, are the logs in which they recorded their work (1934-1999), and more detailed treatment reports, some in numerical order and others filed by client name.  Also included are the photographs which they took before, during, and after conservation treatments.  As well, there are files relating to the conservation programs in which the Kecks were involved, especially that located in Cooperstown, New York; the conservation organizations of which they were members; articles written by them; articles and notes gathered as part of their work; and files on several artists, especially the American artist Albert Pinkham Ryder.  A number of 16 mm films pertain to treatments which the Kecks performed or to the Exposition of Painting Conservation, held in 1962.  The papers also include correspondence with other conservators, a number of whom trained under the Kecks.  Caroline Keck was known for her strong opinions, but she had great affection for many of her trainees, many of whom called her “Ma.”    

 

A small part of the collection relates to Sheldon Keck’s World War II army service as part of the Monuments, Fine Arts and Archives Section (“Monuments Men”).  In addition to copies of military orders and lists of monuments, there will be found Keck’s notes or diaries about his activities.  As well, there are a few photographs taken during or just after the war.  This series also includes post-war correspondence with Keck about his military service.  As well, the lab coats he wore in his post-war conservation career are filed with this series.

 

 

ORGANIZATION

           

The papers are divided into six series:

I.                    General files (arranged alphabetically by folder title);

II.                 Artists files (especially A. P. Ryder);

III.              Treatment records, including photographs (the summaries of the conservation treatments are in Boxes 1-2 of this series);

IV.              Publications, including publications of the Kecks;

V.                Films and audio tapes; and

VI.              Sheldon Keck’s World War II files.

 

The papers came in several groups; unmarked folders are part of accession 98x29; folders from other accessions are so marked.

 

 

LANGUAGE OF MATERIALS

 

Most of the materials are in English.  Some journal publications and letters are in other languages.

 

 

RESTRICTIONS ON ACCESS

 

Collection is open to the public.  Copyright restrictions may apply.  Some restrictions pertain to the treatment reports; information on these restrictions is available at this repository.

 

 

PROVENANCE

           

Accession 98x29: gift of Caroline Keck, Cooperstown, New York.

Accession 08x153: gift of Keck estate.

Accession 12x64: gift of Sarah Fisher.

Accession 15x109: gift of the estate of Caroline Keck, through Joyce Hill Stoner.  (This was mostly correspondence, with a few treatment reports.  The treatment reports were interfiled with the reports already in the collection, and are so noted on the folders in which they are filed.)

Accession 15x110: gift of Judith Childs; in a folder with her name.

 

 

RELATED MATERIALS

 

Caroline Keck was Georgia O’Keeffe’s art conservator, and they had a long professional relationship.  Correspondence between Caroline Keck and Georgia O’Keeffe is held by the Georgia O’Keeffe Museum, Santa Fe, New Mexico.  A book based on the letters and work done by Keck for O’Keeffe is Georgia O’Keeffe: Color and Conservation, by René Paul Barilleaux and Sarah Whitaker Peters (Jackson: Mississippi Museum of Art, 2006).

 

 

ACCESS POINTS

 

People:

            Ryder, Albert Pinkham, 1847-1917.

            Vermeer, Johannes, 1632-1675.

 

Topics:

            Art – Conservation and restoration.

            Paintings – Conservation and restoration.

            Museum conservation methods.

            World War, 1939-1945 - Art and the war.

            Art restorers.

 

Additional author:

            Keck, S. (Sheldon).

 

 

 

DETAILED DESCRIPTION OF THE COLLECTION

 

Location: 507 A-D 1-4

 

 

Series I: General files

 

Box 1:

 

Folder 1:          Adhesives

 

Folder 2:          Aesthetics; artists’ audiences

 

Folder 3:          Aiken, Carol

 

Folder 4:          American Association for State and Local History (AASLH)

 

Folder 5:          AASLH: permissions for photographs in handbook

 

Folder 6:          American Association of Museums

 

Folder 7:          American Federation of Arts

 

Folder 8:          American Institute for Conservation (AIC): associated communications and correspondence

 

Folder 9:          American Institute for Conservation (AIC): Committee on National Institute for Conservation, 1975

 

Folders 10-11: American Institute for Conservation (AIC): FAIC

 

Folder 12:        American Institute for Conservation (AIC): FAIC financial reports, 1984-1985

 

Folder 13:        American Institute for Conservation (AIC): FAIC refresher courses

                        [continues in next box]

 

 

Box 2:

 

Folder 1:          American Institute for Conservation (AIC): FAIC refresher courses

                        [continued from previous box]

 

Folders 2-3:     American Institute for Conservation (AIC): FAIC refresher course, 1983   (acc. 12x64)

 

Folder 4:          American Institute for Conservation (AIC): FAIC refresher course, 1983: handouts  (acc. 12x64)

 

Folder 5:          American Institute for Conservation (AIC): FAIC refresher course, 1983: photographs  (acc. 12x64)

 

Folder 6:          American Institute for Conservation (AIC): FAIC refresher course, 1983: post-course business  (acc. 12x64)

 

Folders 7-8:     American Institute for Conservation (AIC): FAIC refresher course, 1984  (acc. 12x64)

 

Folder 9:          American Institute for Conservation (AIC): FAIC refresher course, 1984: participants  (acc. 12x64)

 

 

Box 3:

 

Folder 1:          American Institute for Conservation (AIC): FAIC refresher course, 1984: post-course business  (acc. 12x64)

 

Folder 2:          American painting technology: research bibliography

 

Folder 3:          Angst, Walter and Inge

 

Folder 4:          Annie S. Kemerer Museum (Bethlehem, Penn.)

 

Folder 5:          Art in wood treatment

 

Folder 6:          Atlanta Cyclorama

 

Folder 7:          Bailey, Forrest

 

Folder 8:          Berger, Gustav

 

Folder 9:          Bewer, Francesca

 

Folder 10:        Black, James (University of London, Institute of Archaelogy)

 

Folder 11:        Book draft(?): first part, chapter I

 

Folder 12:        book draft(?): chapters II and IV

 

 

Box 4:

Folder 1:          Bosshard, Emil and Veroncia

 

Folder 2:          Brinkley, Joe: packing pictures, 1969 (photos)

 

Folder 3:          Bronzes, cement, ivory, colors (tests for), stone, tools, 1930-1977

 

Folder 4:          Brooklyn Museum, including Keck memorial service

 

Folder 5:          Broun, Betsy (National Museum of American Art)

 

Folder 6:          Buchholz & Homann (Ralf Buchholz and Hannes Homann)

 

Folder 7:          Buck, Richard D.

 

Folder 8:          Cannon, Deborah J.

 

Folder 9:          Cartoons and drawings

 

Folder 10:        Cellulose: papers on deterioration, 1950-1965

 

Folder 11:        Cellulose mixed ether

 

Folder 12:        Century Association (N.Y.)

 

Folder 13:        Century Association (N.Y.): paintings

[includes treatment reports of Daniel Huntington’s portrait of Asher B. Durand]

 

 

Box 5:

 

Folder 1:          Century Association (N.Y.): portrait of Asher B. Durand

 

Folder 2:          Chapman, Joseph

 

Folder 3:          Childs, Judith: correspondence from her files pertaining to the Kecks (acc. 15x110)

 

Folder 4:          Coatings technology

 

Folder 5:          Cohn, Jerry (Marjorie B.)

 

Folder 6:          Colonial Williamsburg Foundation

 

Folder 7:          Colonial Williamsburg Foundation: new conservation facility (1990s)

 

Folder 8:          Color notation: Munsell system

 

Folder 9:          Conference: American Association of Museums (AAM) (1971, 1982)

 

Folder 10:        Conference on Emergency Protection, Works of Art, Harvard [no date, possibly 1940s]

 

Folder 11:        Conference: Gilding Conservation Symposium, 1988

 

Folder 12:        Conference: “Preservation and Conservation, Principles and Practices” (1972)

 

Folder 13:        Conferences and congresses

 

Folder 14:        Conservation classes: outlines and notes

 

Folder 15:        Conservation ethics in Brazil

 

Folder 16:        Conservation of paintings

 

Folder 17:        Conservators at “Exploratory Conference on Conservation,” funded by Rockefeller Foundation and held at Brooklyn Museum, hosted by the Kecks, 1958 (photos) (acc. 08x153)

                        [see also the folder: Rockefeller Conference: exploratory conference on conservation]

 

Folder 18:        Conservators, restorers

 

 

Box 6:

 

Folder 1:          Cooperstown graduate program: class in curatorial practice (HM 391)

 

Folder 2:          Cooperstown graduate program: exams

 

Folder 3:          Cooperstown graduate program: greeting cards

 

Folder 4:          Cooperstown graduate program: Guldbeck course

 

Folder 5:          Cooperstown graduate program: lecture notes

 

Folder 6:          Cooperstown graduate program: photo of museum studies students, 1970

 

Folder 7:          Cooperstown graduate program: reference data for classes

 

Folder 8:          Cooperstown graduate program: reports and publicity

 

Folder 9:          Cooperstown graduate program: resignations of Kecks

 

Folder 10:        Coremans, Paul

 

 

Box 7: Correspondence

 

Folders 1-9:     Correspondence, A-Z, 1930s-2000s

 

Folder 5:          Correspondence: surname unknown or illegible

 

 

Box 8:

 

Folder 1:          Correspondence: Keck, Sheldon

 

Folder 2:          Correspondence: letters to Kecks about their resignation from Cooperstown training program

 

Folder 3:          Cowley, Ed

 

Folder 4:          Critical temperature of paint

 

Folder 5:          Curran, Ona

                        [see also treatment reports for Curran]

 

Folder 6:          Dennis, Roger

 

Folder 7:          Deterioration of fabric supported paint films (paper by J. Colville and M.F. Mecklenburg), 1978

 

Folder 8:          Digital thermometer system

 

Folder 9:          Duncluce, Lord and Lady (Alexander MacDonnell or McDonnell, Earl of Antrim)

 

Folder 10:        Early American painting – bibliography and notes, 1941

 

Folder 11:        Eastern National Park and Monument Association

 

Folders 12-13: Education and training of conservators

 

Folder 14:        Educational standards for conservation, 1970

 

 

Box 9:

 

Folder 1:          Educational standards for professional practice, 1966

 

Folder 2:          Eisendrath, David B.

 

Folder 3:          Elliott, Bo (Dorothy Baden)  

 

Folder 4:          Elvax, 1961

 

Folder 5:          Equipment (photos)

 

Folder 6:          Essex Institute (photos)

 

Folder 7:          Examination worksheets [from various institutions and conservators]

 

Folders 8-11:   Exposition of Painting Conservation, Brooklyn Museum, 1962

 

Folder 12:        “Extracts from Charles Jervas’s ‘Sales Catalogues’ (1739): An Account of Eighteenth-century Painting Materials and Equipment,” article by M. Kirby Talley, from The Burlington Magazine, 1978

 

Folder 13:        “Extracts from the Executors Account-book of Sir Peter Lely, 1679-1691: An Account of the Contents of Sir Peter’s Studio,” article by M. Kirby Talley, from The Burlington Magazine, 1978

 

Folder 14:        Faries, Molly (Iindiana University)

 

Folder 15:        Feller, Robert L.

 

 

Box 10:

 

Folder 1:          Feller, Robert L.: “History and Genesis”

 

Folder 2:          Feller, Robert L. and Keck, Sheldon: paper, 1959-1963, about fake Zuburan

 

Folder 3:          Film cracks: mechanical alteration, (includes paper by S. Keck), 1967

 

Folder 4:          Film scripts, written by Kecks

 

Folder 5:          Films on conservation, by Kecks and others

 

Folder 6:          Fine arts insurance forms

 

Folder 7:          Finke, Hans-Joachim: “Basic Tender Loving Care for Paintings”

 

Folder 8:          Fishburne, S. J.

 

Folder 9:          Fisher, Sarah; two rubber stamps given by Caroline Keck to Sarah Fisher; the stamps read “Approved by Ma” and “Not Approved by Ma” [“Ma” being Caroline Keck]  (acc. 12x64)

 

Folder 10:        Floods

 

Folder 11:        Fong, Sammy

 

Folder 12:        Ford, Alice

 

Folder 13:        Franco, Barbara

 

Folder 14:        Frankenstein, Alfred: correspondence and articles

 

Folder 15:        Frick Art Reference Library

 

Folder 16:        “Fundamentals of Painting Conservation”: course given by Kecks at Brooklyn Museum

 

Folder 17:        Gallery Association of New York State

 

Folder 18:        General plan of introduction to the study of conservation, 1963 (in Spanish) (acc. 98x29)

                        [see also the folder: Mexico report, 1966]

 

Folder 19:        Gettens, Rutherford John

 

 

Box 11:

 

Folder 1:          Glass, 1962

 

Folder 2:          Goltz, Michael van der

 

Folder 3:          Göteborgs University (Sweden)

                                    [mostly correspondence with Jan Rosvall]

 

Folder 4:          Guldbeck, Per and Janni

 

Folder 5:          Ham, Dick (Dick Ham Productions)

 

Folder 6:          Hamilton College

[includes some treatment reports]

 

Folder 7:          Hardness and flexibility of natural and synthetic resin varnishes

 

Folder 8:          Harry N. Abrams, Inc. (Newton Pincus)

 

Folder 9:          Held, Julius

 

Folder 10:        Henderson, David English (1832-1887): conservation of paintings by Henderson

 

Folder 11:        Hiram H. Hoelzer, Inc.: testimonials against

 

Folder 12:        Holden, Donald

 

Folder 13:        Holographic methods for painting diagnostics

 

Folder 14:        Horizon

 

Folder 15:        Hot table

 

Folder 16:        Hotton, Julia   

 

Folder 17:        Huston, Perry

 

 

Box 12:

           

Folder 1:          Inpainting lectures, 1981

 

Folder 2:          International Council of Museums (ICOM), Committee for Museum Laboratories, 1960

 

Folder 3:          International Council of Museums: papers, 1963-1965

 

Folder 4:          International Institute for Conservation (IIC): correspondence

 

Folder 5:          International Institute for Conservation (IIC): Keck Award

 

Folder 6:          International Institute for Conservation (IIC)-American Group: public relations and show

 

Folder 7:          International Institute for Conservation (IIC)-NFK: joint international congress with NKF (Nordiska Konservatorforbundets), 1975

 

Folder 8:          IIC-NFK Forbes Prize Lecture: “Preserving the Wasa,” by Lars Barkman, 1975

 

Folder 9:          Japanese conservation techniques

 

Folder 10:        Jedrzejewska, Hanna

 

 

Box 13:

 

Folder 1:          Jenssen, Victoria

 

Folder 2:          Katz, Kenny and Anne

 

Folder 3:          Keck, Caroline and Sheldon: talk: “Elementary Insight,” 1968

 

Folders 4-7:     Keck, Caroline: papers, talks, and lectures

 

 

Box 14:

 

Folder 1:          Keck, Sheldon: International Centre Committee

 

Folder 2:          Keck, Sheldon: notebook, 1950

 

Folder 3:          Keck, Sheldon: notebook: “Florence, 1937,” and notes on pigments

 

Folder 4:          Keck, Sheldon: notebook: “Hand Book of Restoration”

 

Folder 5:          Keck, Sheldon: notebook: “Methods and Processes of Painting,” and miscellaneous notes

 

Folder 6:          Keck, Sheldon: notebook: notes on students’ work; equipment to be ordered; experiments research testing project; bibliography

 

Folders 7-8:     Keck, Sheldon: papers, talks, and lectures

                                    [continues in next box]

 

 

Box 15:

 

Folder 1:          Keck, Sheldon: papers, talks, and lectures

                                    [continued from previous box]

 

Folder 2:          Kecks: Christmas cards, 1962, 1976

 

Folder 3:          Kecks: honors

 

Folder 4:          Kecks: library, list of films, photo equipment list, etc.

 

Folder 5:          Kecks: miscellaneous notes

 

Folder 6:          Kecks: personal and biographical

 

Folder 7:          Kecks: photos of

 

Folder 8:          Kelly, Lavern

 

Folder 9:          Kerschner, Rich and Sally

 

Folder 10:        Keyes, Keiko

 

Folder 11:        Kiehart, Paul P.

 

Folder 12:        Konrad, Anton

 

Folder 13:        Koszewnik, Fred

 

Folder 14:        Lawton, Mark (New York State Historic Trust)

 

Folder 15:        Lebron, Jim: orders for stretchers

 

 

Box 16:

 

Folder 1:          Lighting

 

Folder 2:          Liste du Personnel, Belgium [unknown organization]

 

Folder 3:          Little, David

 

Folder 4:          Lockfoam, made by NOPCo Chemical Co. (catalog, 1953)

 

Folder 5:          Martin, A. B.

                                    [chiefly about the artist A.P. Ryder]

 

Folder 6:          Materials and techniques of paintings, Upper Hudson Valley, 1700-1750

 

Folder 7:          Materials of art and archaeology: solid state crystallography, 1962

 

Folder 8:          Materials of conservation, 1961

 

Folder 9:          McGiffen, Robert F.

 

Folder 10:        Mellon Institute of Industrial Research: reports for National Gallery of Art, 1956

 

Folder 11:        Metals, 1963

 

Folder 12:        Metals: non-mechanical treatments, 1973

 

Folder 13:        Methocel

 

Folder 14:        Metropolitan Museum of Art (including Kueffner, Nancy)

 

Folder 15:        Mexico report, 1966 (acc. 98x29)

                        [see also the folder: General plan: introduction to the study of conservation, 1963]

 

Folder 16:        Microcrystalline waxes and Acryloid A-11

 

 

Box 17:

 

Folder 1:          Mid-West Regional Conservation Guild and David Miller

 

Folder 2:          Moving art works (photos)

 

Folder 3:          Muller, Norman

 

Folder 4:          Museum of Modern Art (MoMA) (including photos)

 

Folder 5:          Nathans, Jerome

 

Folder 6:          National Conservation Advisory Council (NCAC):

 

Folder 7:          National Conservation Advisory Council (NCAC): Committee on National Institute for Conservation, 1977

 

Folder 8:          National Gallery of Art (Washington, D.C.)

 

Folder 9:          National Gallery of Art (Washington, D.C.): Conservation of its collections, 1978

 

Folder 9:          National Gallery of Canada

 

Folder 11:        National Institute for the Conservation of Cultural Property: a draft report, 1977

 

Folder 12:        National Portrait Gallery (Washington, D.C.)

 

Folder 13:        Nelson-Whitehead Paper Corp. (formerly Stevens-Nelson Paper Corp.)

                                    Includes some paper samples

 

Folder 14:        New York directory listings for artists’ supplies [19th century]

 

Folder 15:        New York State Council on the Arts

 

Folder 16:        New York State Historical Association

 

Folder 17:        New York State Historical Association: Seminars on American Culture

                                    [continues in next box]

 

 

Box 18:

 

Folder 1:          New York State Historical Association: Seminars on American Culture

                                    [continued from previous box]

 

Folder 2:          Nishio, Yoshi

 

Folder 3:          Nkrumah, Joe D. K.

 

Folder 4:          Oil paints and color, 1935-1962

 

Folder 5:          O’Keeffe, Georgia: correspondence about her (no letters to or from her)

 

Folder 6:          Olana [Frederic Edwin Church home, New York]

 

Folder 7:          Organ, Robert

 

Folder 8:          Organic chemicals

 

Folder 9:          Organization of slides

 

Folder 10:        Orosco, James

 

Folder 11:        Orraca, Jose and Sadako [also includes a letter from Georgia O’Keeffe about Orraca]

 

Folder 12:        Pace, Lawrence

 

Folder 13:        Packard, Elisabeth

 

Folder 14:        Page, Arthur and Debbie       

 

Folder 15:        Page Conservation, Inc.

 

Folder 16:        Paintings: examination and recording (radiography and microspectroscopy), 1969-1972

 

 

Box 19:

 

Folders 1-3:     Paper, 1965-1967; 1969; 1970

 

Folder 4:          Paper cleaning: thesis by Katherine Giles Eirk, 1972: “An Experimental Evaluation of Accepted Methods of Removing Spots and Stains from Works of Art on Paper” (George Washington University)

                       

Folder 5:          Paper: deterioration and treatment, 1961-1962

 

Folder 6:          Paper making: commentary on slides, by R. D. Buck, 1969

 

Folder 7:          Paul, Robert

 

Folder 8:          Phillimore, Elizabeth

 

Folder 9:          Photography: infrared, ultraviolet, and fluorescence

 

 

Box 20:

 

Folder 1:          Pigments and dyes, 1941-1965

 

Folder 2:          Podany, Jerry

 

Folder 3:          Polyethylene

 

Folder 4:          Pomerantz, Louis

 

Folder 5:          Porter, Mary Kay

 

Folder 6:          Portell, Jean D.

 

Folder 7:          Primer on museum security

 

Folder 8:          Rabin, Bernard

 

Folder 9:          Rabin, Bernard: Goya

 

Folder 10:        Radiography of paintings, 1963

 

Folder 11:        “Report regarding tests upon aged samples of methacrylate polymers,” 1957

 

Folder 12:        Resins

 

 

Box 21:

 

Folder 1:          Restoration of paintings

 

Folder 2:          Robertson, Clement

 

Folder 3:          Rockefeller Conference: Exploratory Conference on Conservation

                        [see also the folder: Conservators: exploratory conference on conservation, 1958 (photos)]

 

Folder 4:          Rockwell, Thornton (Tony)

 

Folders 5-6:     Rocky Mountain Regional Conservation Center: ethics dispute

 

Folder 7:          Rome Centre

 

Folder 8:          Roth, James

 

Folder 9:          Ruhemann, Helmut

 

Folder 10:        Saltonstall, David

 

Folder 11:        Santowax R technical bulletin

 

Folder 12:        Schrock, Nancy

 

Folder 13:        Sealed framing, current project, 1985

                                    [includes treatment report for D. Rice]

 

Folder 14:        Sebera, Mary, and Swiklick [or Swicklick], Michael

 

Folder 15:        Shelburne Museum

 

Folder 16:        Sistine Chapel ceiling: controversy about cleaning

 

 

Box 22:

 

Folder 1:          Smith, William A., and Jones, Sian

 

Folder 2:          Snow, Lee (Nancy Lee)

                                    [includes treatment reports: see note on folder]

 

Folder 3:          Solvents

 

Folder 4:          Source material for articles

 

Folder 5:          Spectrographs and spectrometers

 

Folder 6:          Stone, 1965

 

Folders 7-8:     Stoner, Joyce Hill

 

Folder 9:          Stow, Cynthia

 

Folder 10:        Structural treatment of paintings, 1968

 

Folder 11:        Supply and equipment orders and information

 

Folder 12:        Surface active agents

 

 

Box 23:

 

Folder 1:          Sweeney, J. Grey

 

Folder 2:          Tables to determine age of examined paintings, 1968

 

Folder 3           “The techniques of chromatography,” by S. Z. Levin,1962

 

Folder 4:          Time-Life Books (including Jane Scholl, Susan Rayfield, George P. Hunt)

 

Folder 5:          Trela, Rick and Ellen Terry

 

Folder 6:          Transfer of paintings to new supports

 

Folder 7:          Tribolet, Harold (of R.R. Donnelley & Sons Co.)

 

Folder 8:          Tucker, Linda: letters from Florence, 1975-1976

 

Folder 9:          UNESCO

 

Folder 10:        United States Information Agency (USIA)

 

Folder 11:        University of Delaware: doctoral degree battle, 2000

 

Folder 12:        University of Delaware: Coremans Fellowship

 

Folder 13:        van Gogh, Vincent Willem

 

Folder 14:        van Schendel, Arthur

 

Folder 15:        Varnishes

 

Folder 16:        Vassar College

 

Folder 17:        Victoria and Albert Museum conservation suppliers, 1965

 

Folder 18:        Virginia Museum of Fine Arts

 

Folder 19:        Volzenburg (Library, Hermitage, Leningrad, USSR)

 

Folder 20:        Vose Galleries

 

 

Box 24:

 

Folder 1:          Waller, Sydney L.

 

Folder 2:          Watson-Guptill Publications

 

Folder 3:          Wax-resin adhesives, 1975

 

Folder 4:          Weil, Phoebe Paxton Dent

 

Folder 5:          Western Association for Art Conservation (WAAC)

 

Folder 6:          Winsor & Newton color charts, 1980

 

Folder 7:          Winterthur Library

 

Folder 8:          Witham, Mrs. Karl: Director, The Hammond Museum, 1971

 

Folder 9:          Wolanin, Barbara

 

Folder 10:        Wolbers, Richard

 

Folder 11:        Wood, 1958-1961

 

Folder 12:        Wood: anatomy and structure, 1963

 

Folder 13:        Wood: deterioration, 1963

 

Folder 14:        Wood preservatives and creosote

 

Folder 15:        Woolworth, Mireille (“Wonder Child”)

 

Folder 16:        Workshop: Cleaning of Paintings (Wolbers, 1988)

 

Folder 17:        Wright & Gardner canvas stretchers

 

Folder 18:        X-ray machines and x-rays

 

Folder 19:        Xylamon – Hardening

 

 

Box 25: legal size files

 

Folder 1:          Blanching, 1968

 

Folder 2:          International Institute for the Conservation of Museum Objects: articles of association (1950)

 

Folder 3:          “Light and the Optical Properties of Paint,” lecture or paper

 

Folder 4:          Metals, NYU, 1971

 

Folder 5:          Microchemistry, 1958

 

Folder 6:          National Gallery of Canada, “The toilet of Venus,” 1962

 

Folder 7:          New York University: Institute of Fine Arts News

 

Folder 8:          Paper, 1965

 

Folder 9:          Stone, bibliography, 1969-1973

 

Folder 10:        Vanishing art, 1989

 

Folder 11:        Wood: conservation of, N.S. Brommelle, 1963

 

Folder 12:        Wood, leather, 1949-1969

 


 

Series II: Artist files [all acc. 90x29]

 

Box 1: Artist files

 

Folder 1:          Botticelli (attributed to): “The Portrait of Simonetta Vespucci,” research report [most of text is in Japanese, but some has been translated into English]

 

Folder 2:          Cole, Thomas: “Hunter’s Return,” examination report, 1983

 

Folder 3:          Cranach, Lucas: “The Crucifixion”

 

Folder 4:          Cranach, Lucas: Martin Luther and Wife, 1965

 

Folder 5:          Harnett, William, and Peto, John Frederick

 

Folder 6:          Ryder, Albert Pinkham, 1890-1990

 

Folder 7:          Ryder: Baskin, Leonard: report on his Ryder, 1976

 

Folder 8:          Ryder: Brooklyn Museum, 1991

 

Folder 9:          Ryder: Centenary exhibition, 1947

 

Folder 10:        Ryder: “Constance,” report on, 1969

 

Folder 11:        Ryder: at the Corcoran, and American paintings at the Corcoran Gallery, 1947, 1961

 

Folder 12:        Ryder: correspondence about, 1976-1989

 

Folder 13:        Ryder: correspondence about, 1990

 

Folder 14:        Ryder: fakes and possible fakes

 

Folder 15:        Ryder: Goodrich, Lloyd, correspondence, 1959, 1987

 

Folder 16:        Ryder: Goossen article, 1970

 

Folder 17:        Ryder: Homer, William, on Ryder, 1987-1989

 

 

Box 2: Artist files

 

Folder 1:          Ryder: Homer’s and Betsy Brown’s books, publicity on, 1989-1990

 

Folder 2:          Ryder: Keck chronology

 

Folder 3:          Ryder: Keck-Odds chronology, 1969-1990

 

Folder 4:          Ryder: Keck manuscript, final version, 1988

 

Folder 5:          Ryder: Keck manuscript: C. Keck’s copy, 1988

 

Folder 6:          Ryder: Life article, 1951

 

Folder 7:          Ryder: MOMA, 1930

 

Folder 8:          Ryder: negatives, 1918-1988

 

Folder 9:          Ryder: “Newman, Ryder, Couture, and Hero-Worship in Art History,” by Albert Boime, 1971

 

Folder 10:        Ryder: “The Old Mill by Moonlight,” 1948-1986

 

Folder 11:        Ryder: Photographs of Ryder paintings, 1890s

 

 

Box 3: Artist files

 

Note cards about Ryder’s paintings

 

 

Box 4: Artist files

 

Folder 1:          Ryder: photographs

 

Folder 2:          Ryder: photographs from National Museum of American Art, National Collection of Fine Art

 

Folder 3:          Ryder: publications about and notes on

 

Folder 4:          Ryder: reports, NCFA, 1965-1967

 

Folder 5:          Ryder: reports, private or other 1959

 

Folder 6:          Ryder: Sea Tragedy, 1972

 

Folder 7:          Ryder: Simmons article, 1990  [note: oversize folder, on shelf, not in box]

 

Folder 8:          Ryder: “A Study in Appreciation,” by Price

 

Folders 9-12:   Ryder: slides of Ryder’s works

 

 

Box 5: Artist files

 

Folders 1-10:   Ryder: slides of Ryder’s works

 

Folder 11:        Ryder: Smithsonian Institution on Ryder, 1987-1989

 

Folder 12:        Leonardo da Vinci: La Belle Ferronniere, 1985

 

Folder 13:        Van Gogh, 1990

 

Folder 14:        Van Meegeren (attributed to): Annunciation, style of Van Eyck, 1964

 

Folder 15:        Van Meegeren (attributed to): Annunciation, style of Van Eyck, 1965

 

Folder 16:        Vermeer, 1981

 

 

Box 6: Artist files

 

Folder 1:          Vermeer: Girl with Blue Bow, 1965

 

Folder 2:          Vermeer: National Gallery of Art Observations on the Vermeer paintings

 

Folder 3:          Vermeer: paintings examination report, 1964

 

 


Series III: Treatment records and photographs

 

Note: the restoration notebooks in Box 3 list treatments for which there are not more comprehensive treatment reports, which are found in Boxes 1 and 2.  Furthermore, treatment reports in Boxes 3-5 may contain information not found in the reports found in Boxes 1 and 2.

 

Box 1: (acc. 98x29)

 

Folder 1:          guide to conservation/treatment records

                                    [includes letters to institutions which were given copy of disks with treatment reports]

 

Folders 2-23:   Conservation/treatment records, 1934-1955

                                    [see also reports from accession 08x153]

 

 

Box 2: (acc. 98x29)

 

Folders 1-23:   Conservation/treatment records, 1956-1979

                                    [see also reports from accession 08x153]

 

 

Box 3: (acc. 08x153)

 

Folders 1-6:     Restoration records, Books 1-8, 1934-1999

                                    These records list all the work done by the Kecks; there are not comprehensive reports for all the work they did. 

                                    [note: for Book 1, there is the original notebook and a copy; the copy should be used first]

 

Folders 7-9:     Treatment reports, numbers 03539, 42272-491118

                                    [note: there is not a report for every number]

 

 

Box 4: (acc. 08x153)

 

Folders 1-7:     Treatment reports, numbers 491121-703473

                                    [note: there is not a report for every number]

 

Box 5: (acc. 08x153)

 

Folders 1-5:     Treatment reports, numbers 703474-054287

                                    [note: there is not a report for every number]

 

 

Box 6: Treatment reports (folders 7-9: by client name)

 

Folder 1:          Treatment photograph album, with partial index

 

Folder 2:          Copley portrait of Mrs. Humphrey Devereux, 1964

 

Folder 3:          Greek icon

 

Folder 4:          “Lady Jane” [portrait of a lady]

 

Folder 5:          Seurat paintings

 

Folder 6:          various clients (“Current work”)

 

Folder 7:          Abbe

 

Folder 7:          Adirondack Museum

 

Folder 8:          Albany Academy for Girls; Albany Institute of History and Art; Albany Medical College

 

Folder 9:          Allen; Alport; Amory; Arakelian; Armstrong

 

 

Box 7: Treatment reports: by client name

 

Folder 1:          Arnot Art Gallery

 

Folder 2:          Arquin; Aquavella; Ashley, C.; Ashley, Mrs. S.D.

 

Folder 3:          Bach; Ball State University Art Gallery; Baltimore Museum of Art; Bar Harbor Historical Society; Bartholomew; Basloe; Baum; Baxter House Museum; Bayes

 

Folder 4:          Beck, W.C.

 

Folder 5:          Bender; Bernas; Bishop Museum; Blatz; Blazier; Bolger; Bordley; Bowers; Bradley-Smith; Brewster; Brooklyn Museum; Brooks; Bruns

 

Folder 6:          Buffalo and Erie County Historical Society; Burden; Burghardt

 

Folder 7:          Canajoharie Library and Art Gallery (N.Y.)

 

Folder 8:          Canajoharie Library and Art Gallery (N.Y.): Homer paitning

 

 

Box 8: Treatment reports: by client name

 

Folder 1:          Cannon; Carpenter; Carr; Carter; Cary; Catal; Centuray Association; Church of St. James (Delhi, N.Y.)

 

Folder 2:          Clark Art Institute

 

Folder 3:          Clark, Jane; Clark, Janet

 

Folder 4:          Cleveland Museum of Art

 

Folder 5:          Clough; Coates; Cogswell; Collins; Cook; Cooper, D.; Cooper, H.; Cooper, W.M.; Coppenrath; Coppens

 

Folder 6:          Corning Museum of Glass

 

Folder 7:          Corning; Cortland County Historical Society (N.Y.); Creech & Brush; Crowell; Crummey; Cunningham

 

Folder 8:          Curran, Peter and Ona

[see also correspondence]

 

Folder 9:          Darling; Dean; De Haas; Dembinski; Demeritt; Detroit Institute of Arts; De Troy; Dewey

 

Folder 10:        DeWitt Historical Society of Tompkins County, Inc.

 

Folder 11:        Dickinson; Dietrich; Doane Stuart School; Doliber

 

Folder 12:        Eaton; Eberle; Edmunds, R.C.; Edmunds, R.T.; Ellithorp; Erskine; Etnier; Evans, D.; Evans, G. & A., Evans, W.; Evans, W.B.

 

 

Box 9: Treatment reports: by client name

 

Folder 1:          Falck; Fava; Felton; Flanagan; Fletcher; Fleury; Friery; Folds

 

Folder 2:          Fort Orange Club (Albany, N.Y.)

 

Folder 3:          Fowler; Fox; Frankenstein; Frey; Gelbsman

 

Folder 4:          Gerry

 

Folder 5:          Goff (and Brewster); Gonzalez; Goodyear; Gronewalt; Gwynn (for Cathedral of All Saints, Albany, N.Y.)

 

Folder 6:          Haas, Walter A. (Mrs.)

 

Folder 7:          Hall; Halverson; Hamalian; Haney/Albert; Hanson; Hargrove; Heffenreffer/Marshall; Henriques; Herkimer County Historical Society (N.Y.); Hickey

 

Folder 8:          Historic Charleston Foundation; Holley

 

Folder 9:          Hoes; Hoheb; Homer Central School (Homer, N.Y.)

 

Folder 10:        Houston Museum of Fine Arts (and correspondence with James Johnson Sweeney)

 

Folder 11:        Hoyt; Hunt

 

Folder 12:        Hyde Collection

 

 

Box 10: Treatment reports: by client name

 

Folder 1:          Jackson; Jefferson County Historical Society (N.Y.); Johnson; Kandel

 

Folder 2:          Keck

 

Folder 3:          Keene; Kennedy; King; Klinger; Knoedler & Co.; Knox Gelatine, Inc. (Graham); Kolle; Koolakian; Kopp

 

Folder 4:          Kreager; Lamont; Lancaster; Lass; Lindsay; Luhrs

 

Folder 5:          MacMahon; Maine Maritime Museum; Martin; Mary I. Bassett Hospital; McGlynn; McGowan; McMurray

 

Folder 6:          Menil; Miller; Miss Hall’s School; Montclair Art Museum; [Munson-Williams-Proctor Institute – see separate folder]; Murray; [Museum of Modern Art – see separate folder]; Myers

 

Folder 7:          Munson-Williams-Proctor Institute

 

Folder 8:          Museum of Modern Art (MoMA): Monet painting

 

 

Box 11: Treatment reports: by client name

 

Folder 1:          Nelson; New York, State of; New York Public Library

 

Folder 2:          New York State Historical Association

 

Folder 3:          Newman; Newton; Nichols; Nolan; Noldan; Oliver; Onondaga Historical Society (N.Y.); Osborne; Ott

 

Folder 4:          Paley, William S.

 

Folder 5:          Parker; Parkhill; Payne; Pearlman; Petheridge; Philadelphia Museum of Art; Phillips Gallery; Pitcairn; Platt (Blodgett); Pruyn House (N.Y.);

 

Folder 6:          Ramsey; Rath; Reid; Rexford (or Refford)

 

Folder 7:          Rice, Norman

 

Folder 8:          Richman; Roberson Memorial Center (N.Y.); Roberts; Rubin; Rutan; Ryder; St. John; Salvatore; Samuels; Sargent

 

Folder 9:          Schenectady County Historical Society (N.Y.)

 

Folder 10:        Schmidt; Schultz; Seneca Falls Historical Society (N.Y.); Severen; Shea; Shearman; Shoemaker; Slingerland; Sloan

 

 

Box 12: Treatment reports: by client name

 

Folder 1:          Smith, B.G.; Smith, L.; Smith, R.; Smith, S.; Soccorso; Solberg; Sorge; Sprague; State University of New York (SUNY) – Binghamton; Stokes (Watson-Stokes); Stoltenborg; Sutherland;

 

Folder 2:          Tagliaferri; Tipper; Thompson; Tower; Turner; Tuska; Underhill

 

Folder 2:          University of Kentucky Art Gallery

 

Folder 3:          Van Horne, William (Mrs.)

 

Folder 4:          Van Laar; Vayo; Vincent/Reiss

 

Folder 5:          Wadsworth Atheneum

 

Folder 6:          Wadsworth; Waller; Warwick

 

Folder 7:          Webb; Weil, H.; Weil, S.; Wertenbacker; White; Wildenstein & Co.; Williams, E.; Williams, M.; Williams, W.

 

Folder 8:          Wright; Wyckoff; Yager; Yates; Yonuschot

 

 

Box 13: note cards

 

Note cards about treatments (in order by treatment number, 39122-48910)

 

 

Box 14: Photographs

 

Folders 1-4:     Art

 

Folder 5:          Art, English

 

 

Box 15: Photographs

 

Folder 1:          Art, French and modern

 

Folder 2:          Artists and their studios

 

Folders 3-4:     Deterioration

 

Folder 5:          Deterioration (color photos)

 

Folder 6:          Examination photos

 

Folder 7:          Fakes

 

 

Box 16: Photographs

 

Folder 1:          Fraud: examination

 

Folder 2:          Leonardo da Vinci: Mona Lisa drawing photos

 

Folder 3:          Odds and ends

 

Folder 4:          Rembrandt

 

Folders 5-6:     Rubens

 

Folder 7:          St. James Church: Italian Madonna, Child, Saints

 

Folder 8:          Thorne, Victor: Impannata (Raphael)  [note: oversize folder, on shelf, not in box]

 

Folder 9:          Treatment photos

 

 

Box 17: Photographs

 

Folders 1-6:     Treatment photos and negatives, 1982-1995

                        [prints of some of the negatives are found in Box 40]

 

Folder 7:          Treatment photos and negatives, no numbers (many of Ryder paintings)

 

Folder 8:          Treatment reports: negatives for works in progress

 

Folders 9-10:   negatives and color negatives

 

Folder 11:        Caroline’s negatives (color) (Bob Knoll)

 

Folder 12:        Slides

 

 

Boxes 18-39

 

Photographs and negatives of paintings conserved and treated by Sheldon and Caroline Keck, filed by number, 03403-783626; the numbers on the envelopes correspond with the numbers on the conservation/treatment records in boxes 1-2. 

 

Box 40:

 

Prints for treatments 783627-873784.  (There are not prints for all those numbers.  Strip negatives for prints 843690-873784 may be found in Box 17.) 

As well, the box includes some treatment photos which lack numbers, and photos and negatives which are numbered, but the numbers do not fit into the main sequence of treatment report numbers.

 

Boxes 41-46

 

 

Prints and negatives which are filed by artist’s name.  Some of these are marked with treatment numbers, but were nevertheless found filed by name, not by number.  Box 46 also contains negatives for works by unknown artists, and these continue into Box 47.

 

Box 47

 

Negatives and prints for works by unknown artists (continued from Box 47).

Negatives and prints for paintings owned by the Kecks.

Negatives and prints illustrating structure and materials of paintings, techniques, and deterioration; examination and infrared photos; photos of equipment, etc.

 

 

Box 48

 

Miscellaneous photographs and negatives; glass slides of watermarks.

 

 

Box 49: Slides

 

“Technical Assistance: Where to find it and what to expect”: slides for lecture and script for slide show [script in separate folder, filed with box of slides];

glass mounted slides

 

Box 50: Slides

 

Slides illustrating paints and pigments, paper, examinations, counterfeits, deterioration, etc.

 

Box 51: Slides

 

American paintings

Icon: Nativity

Arkell Hall

Miscellaneous slides

 

Box 52: Slides

 

Still lifes, genre paintings, history paintings, etc.

Conservators at work

Miscellaneous slides

 

 

Boxes 53-54:

 

Two boxes containing canisters of rolled negatives, plus samples taken from a painting by Vermeer, and a varnish sample from treatment 843694


Series IV: Publications and articles

 

Box 1: articles by or about the Kecks

 

Folder 1:          articles co-written by Caroline and Sheldon Keck

 

Folder 2:          articles by Caroline Keck

 

Folder 3:          articles by Caroline Keck: typescripts and some correspondence

 

Folder 4:          Caroline Keck’s conservation column in History News

 

Folders 5-6:     articles by Sheldon Keck

 

Folder 7:          articles which mention the Kecks

 

 

Box 2:

 

Folder 1:          books by Caroline Keck: Safeguarding Your Collection in Travel and A Handbook on the Care of Paintings

 

Folders 2-4:     IIC Bulletin of the American Group, vol. 2, no. 1-2; vol. 3, no. 2; vol. 5-11, no. 1-2; vol. 12, no. 1; v. 11, (1961-1963, 1964-1971)

 

Folder 5:          Ochrona Zabytrow, r. 2, nr. 1 (1949) and r. 6, nr. 4 (1953) (Polish journals)

 

Folder 6:          5 issues of a Russian journal, 1957-1960

 

 

Box 3:

 

Folder 1:          Exhibit catalog: “American Historical Prints,” 1965

 

Folder 2:          Exhibit catalog: “Hudson Valley Paintings, 1700-1750,” 1959

 

Folder 3:          Exhibit catalog: “James E. Johnson: Rural Artist,” 1975

 

Folder 4:          Exhibit catalogs: Ralph Earl (exhibit 1945-1946) and William Harnett (exhibit 1948)

 

Folder 5:          “Caring for Your Collections” technical leaflets

 

Folder 6:          Alexander, Shirley: “Notes on the Use of Gold-Leaf in Egyptian Papyri,” 1965

 

Folder 7:          Buck, R. D.: “Some applications of mechanics to the treatment of panel paintings,” 1961

 

Folder 8:          Farnsworth, Marie: “Greek Pottery: A Mineralogical Study,” 1964

 

Folder 9:          Harrison, Laurence S.: “Report on the Deteriorating Effects of Modern Light Sources,” no date

 

Folder 10:        Horner, Helmut: “Röntgenuntersuchung von Gemälden,” 1963

 

Folder 11:        Marijnissen, R. H.: “What’s Cooking in Modern Painting?”

 

Folder 12:        Packard, Elisabeth C. G.: “A Bellini painting from the Procuratia di Ultra Venice,” 1970-1971

 

Folder 13:        Pomerantz, Louis: “Preventative Care of Paintings: What to Do about It,” 1971 (also articles about him)

 

Folder 14:        Ross, S.: “Faraday Consults the Scholars: the Origins of the Terms of Electrochemistry,” 1961

 

Folder 15:        Stolow, Nathan: articles by him

 

Folder 16:        Terada, Shun-Ichi: “Traitement protective de la peinture a l’huile,” 1961

 

Folder 17:        Wassen, Henry: “A Forged Maya Codex on Parchment: a Warning,” 1941

 

Folder 18:        Weiss, Harry B., and Carruthers, Ralph H.: Insect Enemies of Books, 1945

 

Folders 19-20: Articles and publications of interest to the Kecks

 

 

Box 4:

 

Folders 1-2:     Foreign brochures and articles

 

Folder 3:          Printed pictures: “Assumption of the Virgin” by Titian, and photos from an archaeological expedition in Egypt, 1921-1922

 


Series V: Films

 

Note: all films are 16 mm unless otherwise specified.  All films are accession 08x153.

 

Films are divided into 3 groups: small films in acid-free boxes, numbered metal film cans, and unnumbered metal film cans.  Films of the same subjects can be found in more than one group.

 

 

Small films, in acid-free boxes:

 

Box 1:

 

Albany painting, boxes 1-2, 1953;

Brooklyn Museum, extra footage, boxes 1-8;

Copley;

Dana and Copley – cuts

            [see also film in metal film can];

Details;

EPC discards, box 1 (not on spools)

            [continues in next box]

 

Box 2:

 

EPC discards, boxes 2-5 (not on spools)

            [continued from previous box];

Fragonard, Ochtervelt, 1955;

Future for the Past (film no. 14);

Governor New York state, decay of support, 1953;

Hicks, boxes 1-8 (includes cuts and footage of moving before treatment);

 

Box 3:

 

Hubert, boxes 1-2

            [see also original film in metal film can];

Leader;

Legar – abstraction with Larry Keck, 1953;

Morse – copy – cuts;

Paris cuts;

Renoir, boxes 1-6;

Sky from van [torn];

Tacking, cutting cork, retouching, 1953

 

Boxes 4-5:

 

Wertmuller, boxes 1-3

            [see also metal film can]

Unidentified films, boxes 1-31

 

 

Films in metal film canisters:

 

Numbered films [note: list of these is in a folder in series I; list gives more details; often these films show treatments):

 

  1. “View from Apple Hill,” by Samuel F. B. Morse
  2. “Portrait of Two Girls,” in Munson William Proctor Museum
  3. Painting by Lovis Corinth
  4. Landscape with barn and animals, by Durrie
  5. Portrait of Richard Dana by Copley
  6. Hubert painting
  7. Copley painting
  8. and 8.A.  Peale painting of mother and child [8.A. not on list, but is labeled]
  9. “Hidden life of a painting”
  10. “Take Care” show at Brooklyn Museum
  11. and 11.A.  cleaning of “Dejeuner des Canotiers” by Renoir
  12. and 12.A. and 12.B.  “de David” by Toulouse-Lautrec
  13. and 13.A. and 13.B.  “Peaceable Kingdom” by Edward Hicks
  14. “Future for the Past”
  15. “High House at Arles” by van Gogh
  16. Compilation film of Hicks painting and Morse’s “Apple Hill”
  17. EPC [Exposition of Painting Conservation] film

 

Unnumbered films in metal film canisters:

 

Cooperstown, but film canister also marked van Gough – “Mill” – treatment

 

Dana by Copley (orig.)

            [see also film no. 5]

 

Exposition of Painting Conservation, held at the Brooklyn Museum, 1962

            [note: the film can is also labeled Life of Painting, but the reel inside the can is marked EPC];

EPC cuts: 2 reels, one in a can marked Bermuda 1955;

EPC original, from which EPC film was cut;

EPC original and cuts (2 reels in one can, with the can labeled “Future for Past”);

EPC reel # 4

 

“Future for Past”: Frank Bear film production (2 film cans)

 

Hubert original

            [see also small film canister in Box 3]

 

Keck – Brooklyn Museum – extra footage to go behind film titles and W.P.

 

Wertmuller

            [see also small film canister in Box 4]

 

Two unidentified canisters: the title on one of them is too blurry to read; the other is in a box addressed to the Connecticut Historical Society

 

 

Audio tapes:

 

IIC-AG meeting, Detroit, 1961, AAM Art Tech Section, boxes 1-2 (Wright recording);

Short 840 classic ed. No. 1, Mother’s March [title from label on box];

unidentified audio tape

 


Series VI: Sheldon Keck’s World War II files

 

Box 1:

 

Folder 1:          Address books

 

Folder 2:          Articles about missing and stolen art

 

Folder 3:          Coats of arms (with letters on the back of the drawings)

 

Folder 4:          Directives (U.S. Army)

 

Folder 5:          German documents

 

Folder 6:          Italy

 

Folder 7:          Letters and notes about service, 1987-1991

 

Folder 8:          List of places where Germans stored art and libraries

 

Folder 9:          miscellaneous papers

 

Folder 10:        Monuments, Fine Arts & Archives (M, FA & A) papers, and cover of folder which held the papers

 

Folder 11:        notebooks [diaries] about M, FA & A work

 

Folder 12:        Official list of protected monuments

 

Folder 13:        photographs (and negatives) of Europe, and aboard ship

[not all negatives have a corresponding print]

 

Folder 14:        negatives of Europe, aboard ship, and New York City[?] (acc. 15x109)

 

Folder 14:        Portfolio, canvas and leather

                        [contents in next folder]

 

Folder 15:        contents of portfolio

 

 

Box 2:

 

Folder 1:          Post cards of places in 9th Army route

 

Folder 2:          Separation [discharge] papers

 

Folder 3:          Service records

 

Folder 4:          Service records jacket [now empty]

 

Folder 5:          Technical Notes [instructions] for use of M, FA & A (October 1944)

 

Folder 6:          Exhibition catalogs

 

Folder 7:          Foreign language publications

 

Folder 8:          “Official History of the 2d Military Government Regiment”

 

Folder 9:          publications about protection of art during war

 

Folder 10:        “Report of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas” (Washington, D.C.: U.S. G.P.O., 1946)

 

Folder 11:        War Department publications

 

 

Box 3:

 

Folder 1:          Smyth, Craig Hugh, “The Return of Art to the Netherlands after the Second World War,”  and “Repatriation of Art from the Collecting Point in Munich after World War II”

 

Folder 2:          ceramic tile from Marburg, Germany, decorated with town seal

 

 

Box 4:

 

Sheldon Keck’s lab coats (not from World War II, but from his work after the war)