Box 86

Scope and Contents From the Sub-Series: D'Harnoncourt's father is again the primary subject here. Folder titles include all documented information, including name of photographer, locale, and other individuals in the photograph. Most of the sitters in the group photograph that includes the artist John Marin remain unidentified. The "Carr relatives" folder consists of six photographs of d'Harnoncourt's maternal relatives. While most of these are current images of family members, there is also a copyprint of a 1923 portrait of...

Scope and Contents From the Sub-Series: D'Harnoncourt's father is again the primary subject here. Folder titles include all documented information, including name of photographer, locale, and other individuals in the photograph. Most of the sitters in the group photograph that includes the artist John Marin remain unidentified. The "Carr relatives" folder consists of six photographs of d'Harnoncourt's maternal relatives. While most of these are current images of family members, there is also a copyprint of a 1923 portrait of...

Scope and Contents From the Sub-Series: D'Harnoncourt's father is again the primary subject here. Folder titles include all documented information, including name of photographer, locale, and other individuals in the photograph. Most of the sitters in the group photograph that includes the artist John Marin remain unidentified. The "Carr relatives" folder consists of six photographs of d'Harnoncourt's maternal relatives. While most of these are current images of family members, there is also a copyprint of a 1923 portrait of...

Scope and Contents From the Sub-Series: As the amount of third-party correspondence makes evident, d'Harnoncourt received many inquiries and publishing requests in regard to her father. His expertise of Mexican and Native American art as well as his tenure at the Museum of Modern Art (MoMA) were points of interest with many scholars. While she could not always answer the inquiries, d'Harnoncourt would at the least steer scholars to more appropriate sources--from MoMA's archives to her own mother. Occasionally, correspondents would...

Scope and Contents From the Sub-Series: As the amount of third-party correspondence makes evident, d'Harnoncourt received many inquiries and publishing requests in regard to her father. His expertise of Mexican and Native American art as well as his tenure at the Museum of Modern Art (MoMA) were points of interest with many scholars. While she could not always answer the inquiries, d'Harnoncourt would at the least steer scholars to more appropriate sources--from MoMA's archives to her own mother. Occasionally, correspondents would...

Scope and Contents From the Sub-Series: D'Harnoncourt's father is again the primary subject here. Folder titles include all documented information, including name of photographer, locale, and other individuals in the photograph. Most of the sitters in the group photograph that includes the artist John Marin remain unidentified. The "Carr relatives" folder consists of six photographs of d'Harnoncourt's maternal relatives. While most of these are current images of family members, there is also a copyprint of a 1923 portrait of...