General correspondence, 1890s-1986

The General Correspondence series contains letters between curators and individuals, corporations, and institutions. The subjects discussed include requests for photographs of objects and help with decisions about purchasing works of art as well as substantive scholarly discourse.

The earliest correspondence in this series is between William H. Goodyear, the Museum’s curator of Fine Arts, and Director William H. Fox regarding various excavations and initiatives. The letters of the first curator of the Department of Antiquities, Jean Capart, span the years 1931 to 1947 and include discussions regarding the organization and development of the Egyptological and classical collections.

There is considerable correspondence between John D. Cooney and Elizabeth Riefstahl. Riefstahl managed the operations of the department while Cooney served in the military in World War II. Cooney’s letters to Riefstahl include advice on curatorial matters and descriptions of objects or books available for purchase in England. In addition to discussing scholarly and work-related issues, their exchange is light-hearted and friendly. Cooney also had long correspondence with many colleagues, including James H. Breasted of the Los Angeles County Museum of Art; Dows Dunham of the Museum of Fine Arts, Boston; J. Cerny of the University College, London; Etienne Drioton; Jean Leclant, Université de Strasbourg; Rosalind Moss of the Griffith Institute, London; Herman Ranke of the University Museum, University of Pennsylvania; and Ray W. Smith. The series also includes extensive correspondence between Cooney and Georg Steindorff, a German Egyptologist who fled Nazi Germany. Cooney was instrumental in helping Steindorff become established in the United States and was one of the principal figures in a group that provided him with financial support and medical care. He also assisted in Steindorff’s effort to publish a new Coptic grammar in English.

Also of interest are letters between Cooney and Bernard Bothmer regarding Bothmer’s efforts to emigrate from Germany during World War II. These letters include information on collectors such as Louise Starke; Alastair B. Martin; Hollis Baker, a furniture manufacturer and collector who wanted to publish texts on ancient furniture; Theodora Wilbour; Jean and Dominique DeMenil; and Albert Gallatin. In addition, there are letters regarding the development of Alastair B. Martin’s art collection, known as the Guennol Collection.

General correspondence: T–Z, 1969–79 is missing.