The Robert B. Fisk Papers consist of family correspondence and business papers created and accumulated by Robert B. Fisk during the course of his career as an attorney and land developer in Potter County, South Dakota. Correspondence broadly documents nineteenth- and early twentieth-century South Dakota life, including the rapidly growing settler population, business and real estate transactions, politics and the transition to statehood, the conditions of workers and prisoners, and the effect of the Panics of 1893 and 1907 on the local population. Business records include correspondence from mortgage and wholesale companies for whom Fisk worked as a collections agent. Additionally, letters from family members document life in contemporary Kentucky.
The Robert Browning and Elizabeth Barrett Browning collection is a mixed-provenance collection of material by and related to Robert Browning and Elizabeth Barrett Browning. Series I, Robert Browning Papers, contains a few manuscripts by him, as well as many letters, most written after 1870. Recipients include Mrs. Bayne; Isabel Jane Blagden; Moncure Conway; Charles Deschamps; Frank Hill; William Charles Macready; Felix Moscheles, and William Wetmore Story. Letters to Browning include an extensive series of literary letters from J. D. Williams, as well as letters from Sophia Ann Landor and Amelia Ann Blanford Edwards. The series also contains a few photographs of the Brownings, and artwork and a commonplace book by Browning's father, Robert Browning (1781-1866). Series II, Elizabeth Barrett Browning Papers, contains manuscripts and correspondence. Manuscripts include autograph drafts of Casa Guidi Windows; Last Poems; Poems and Sonnets; and The Runaway Slave at Pilgrim's Point. Corrrespondence includes letters to Hugh Stuart Boyd, Cornelius Mathews, Mary Russell Mitford and John Ruskin; the collection also contains letters from Harriet Martineau to Barrett Browning (housed in a scrapbook in Box 8).
The Robert Byron papers consist of correspondence, writings, photographs, drawings, and other material that document his work as a writer and art critic. The papers provide evidence of Byron's travels and writing career as well as his work as a propagandist during World War II.
The papers include correspondence, writings, journals, sketchbooks, workbooks, photographs, clippings and other papers, artwork, and audiovisual materials. Correspondence includes letters with many fellow poets, painters, and gardeners. Writings include typescripts and manuscripts by Dash and others. Journals and workbooks include writings, drawings, and other documents pertaining mainly to paintings and the evolution of the gardens at Dash's Long Island estate, Madoo. Artwork includes drawings, oil paintings, lithographs, and photographs by Dash, James Schuyler, and Joe Brainard.
The Robert Ferro Papers consist of personal correspondence and material related to his published and unpublished writings, with a few files of academic and personal papers. The bulk of the collection concerns Ferro's writings, particularly his four novels, which with their semi-autobiographical themes of homosexuality, family, and illness, tell much about his community in the 1970s and 1980s. His earlier writings often refer to his experiences of living in Italy. Ferro also wrote critical reviews for various gay newspapers, and the collection contains snapshot photographs of Gay Pride marches in New York. While his correspondence files are not extensive, they do hold letters from others writers working in the United States and abroad.
Series I, Correspondence, consists chiefly of incoming personal and professional correspondence and family correspondence. The collection is particularly rich for its correspondence with poets, editors, translators, publishers, and literary scholars and critics during the middle part of the 20th century. There are letters from many well-known poets writing in English during this period, including W.H. Auden, John Berryman, Elizabeth Bishop, Louise Bogan, James Dickey, T.S. Eliot, Seamus Heaney, Robert Lowell, Archibald MacLeish, James Merrill, Ezra Pound, Laura Riding, and William Carlos Williams. Critics include R.P. Blackmur and Francis Fergusson. Larger files exist for Dudley Fitts, Caroline Gordon, James Laughlin, T.S. Matthews, John Frederick Nims, and Allen Tate. Series II, Writings of Robert Fitzgerald, is subdivided for articles and essays, autobiographical writings, criticism, diaries, edited works, lectures and speeches, obituaries and tributes, open letters, plays, poetry, reviews, school work, short stories, and translations. Translations include corrected drafts and galley proofs for the Iliad and drafts, setting copies, and page proofs for the Aeneid. Series III, Writings of Others, contains drafts and printed versions of work by others, including writers, colleagues, and students. In general, there are drafts of work for students (or former students) and clippings or copies of printed work for better-known writers, though there are drafts of poems by Dudley Fitts, James Laughlin, Archibald MacLeish, and Allen Tate. Series IV, Financial and Legal Records, is subdivided for bank records, bills and receipts, contracts, copyright registration, insurance documents, loan records, material relating to Fitzgerald estates, real estate, royalty statements, and tax documents. Series V, Personal Papers, is subdivided for artwork, clippings, family papers, material relating to Time magazine, medical and military records, notes and notebooks, photographs, printed ephemera, real estate, school records, speaking engagements, and teaching and course material.
A collection of European and American portrait and topographical prints that includes work by printmakers Samuel Arlent Edwards, George Edward Perine, Eugène Sadoux, and others.
The papers consist of photographs, correspondence, diaries, financial papers, and printed materials documenting Robert Giard's career as a photographer and personal life, spanning the years 1972 to 2002. The bulk of the papers contain photographic prints by Giard in several sizes of various subjects, including portraits of gay and lesbian writers, landscapes, nudes, still lifes, and portraits of the Thanks Be To Grandmother Winifred Foundation grant recipients.
Correspondence, writings, artwork, photographs, and printed material which document the life of Robert Henri. Principal correspondents include his parents, brother, first wife, George Bellows, Emilia Cimino, Randall Davey, Hartman Kuhn Harris, Helen Niles, Edward Redfield, Mary Fanton and William Carman Roberts, John Sloan, and the J.B. Lippincott Company. Henri wrote lengthy letters to his family in the 1880s and 1890s, corresponded with art colleagues, discussing his work and that of others, his students, exhibitions, and new art theories and tools. There are holographs and typescripts of his book Art Spirit, journals, lecture notes, and drafts of articles. There are eleven notebooks studying Hardesty Maratta's theories of color and composition and the "Whirling Square" theory of Jay Hambidge. There are also clippings about Henri, exhibition catalogs, and course catalogs. There are over forty photographs, of Henri and others in Paris and in the United States, and Henri and his artwork. There are also family papers belonging to Henri's parents, and papers belonging to his sister-in-law Violet Organ, who transcribed many of Henri's letters and wrote a biography of Henri.
The papers contain writings and other materials documenting the early career of playwright Robert J. Hare Powel. Writings include scenarios, outlines, and drafts for scripts of stage plays, most of which appear to date from the late-1920s to mid-1930s. Other materials include correspondence, photographs, and a scrapbook documenting Powel's work and theater generally. Correspondence consists of letters to Powel and comments regarding productions of his plays. Photographs consist of stage shots of Yale productions and cartes de visite of actors. The scrapbook contains clippings, printed ephemera, such as theater programs, and photographs.
Connecticut's Archives Online 