Collections : [University of Michigan History of Art Visual Resources Collection]

The Ajanta Caves collection is composed of approximately 2,500 black-and-white photographs of the Ajanta caves in Maharashtra, India. The photographs depict 29 of the 31 rock-cut caves within the Ajanta complex taken by Dr. Walter Spink during the course of his research in the latter half of the 20th century.

The Ajanta Caves collection is composed of approximately 2,500 black-and-white photographs of the Ajanta caves. The photographs depict 29 of the 31 rock-cut caves within the Ajanta complex and were taken by Dr. Walter Spink during the course of his research in the latter half of the 20th century. The prints depict panoramic views of the complex, as well as detailed photographs of the façade, porch, court, and interiors of each cave. The prints of the interiors capture plasters, shrines, and detailed carvings within the caves.

The American Council for Southern Asian Art (ACSAA) Slide Distribution Collection produced color slides of Southern Asian art and architecture for teaching art history. The ACSAA Color Slide Distribution Project created and distributed 166 sets of original and duplicate 35 mm slides between 1974 and 2006. The VRC holds copies of approximately 148 of these sets.

The American Council for Southern Asian Art (ACSAA) Slide Distribution Collection produced color slides of Southern Asian art and architecture for teaching art history. The ACSAA Color Distribution Project created and distributed 166 sets of original and duplicate 35 mm slides between 1974 and 2006. The VRC holds copies of approximately 148 of these complete sets. The sets contain about 100 slides each, with a total of more than 14,800 slides. The sets highlight various types of art, including Buddhist, Hindu, Jain, Mughal, Himalayan, Baroque, Sri Lankan, and Southeast Asian. ACSAA and the University of Michigan partnered with ArtStor and approximately 12,000 images are now available online. Additional images are available through the VRC, as well.

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The Asian Art Photographic Distribution (AAPD) project was established at the University of Michigan in 1970 with excess funds left over from the Palace Museum Archive from the National Palace Museum in Taiwan. From 1971-2006, AAPD produced and sold sets of 35mm slides depicting Asian artworks from various museum collections and exhibitions.

Slides are grouped into sets based on the repository or exhibition of the artworks documented. The objects represented by this collection came from public and private collections as well as traveling exhibitions. Subjects cover a wide range of artistic media including painting, sculpture, calligraphy, etc. Geographic regions include China, Japan, and central Asia. Time periods covered range from ancient to twentieth century.

Supplementing the slides are two file folder cabinet drawers, approximately three linear feet in total, of documentation relating to the creation and sales of AAPD slide sets.

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The Borobudur collection is composed of approximately 4,000 color and black-and-white slides depicting the Borobudur temple. The collection contains slides from the Southeast Asia Art Foundation (SAAF) Archive and from Patrick Young's expedition to the Buddhist temple in 1983.

The Borobudur collection is composed of approximately 4,000 color and black-and-white slides depicting the Borobudur temple. The collection contains slides from the Southeast Asia Art Foundation (SAAF) Archive and from Patrick Young's expedition to the Buddhist temple in 1983. The slides depict general views of the temple and the complex from different directions. The collection also contains individual views of the reliefs on the balustrades and walls, as well as the stupas and the Buddhas.

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The Islamic Art Archives is composed of six collections, including those of Mehmet Ağa-Oğlu, Arthur Upham Pope, Donald Newton Wilber, Oleg Grabar, Marianna Shreve Simpson, and the Afghanistan Archaeological Remains Photographs Collection. The collection also includes photographic prints of the pages of the illustrated manuscripts Maqamat and Shah Nama, and additional photographs of Islamic architecture.

The Islamic Art Archives is composed of six collections, including those of Mehmet Ağa-Oğlu, Arthur Upham Pope, Donald Newton Wilber, Oleg Grabar, Marianna Shreve Simpson, and the Afghanistan Archaeological Remains Photograph. The Mehmet Ağa-Oğlu collection documents the Islamic and pre-Islamic art and architecture of the Middle East, Persia, the Caucasus, Western Asia, North Africa, and Southern Spain. Arthur Upham Pope focused primarily on Persian architecture and monuments, but his collection also includes photographs of Persian ceramics, textiles, and illustrated manuscripts. Wilber, Pope's colleague, also primarily studied Iranian monuments but he focused on those built during the Achaemenid and Sasanian empires. Oleg Grabar's work focused on the architecture of the seventh and eighth centuries of the Umayyad dynasty, the architecture of Jerusalem under Islamic rule, Arabic and Persian illustrated manuscripts and ornaments, and contemporary Islamic architecture. On the other hand, the Afghanistan Archaeological Remains Photograph collection depicts Afghanistan sculptures, statues, figural reliefs, pottery, and other archaeological remains, the majority of which are from the Kabul Museum in Afghanistan. Finally, Dr. Simpson's collection documents her work and her notes from her study of Islamic manuscripts around the world. The collection also includes photographic prints of the pages of the illustrated manuscripts Maqamat and Shah Nama.

The Marianna Shreve Simpson Islamic Manuscripts Collection is comprised of Dr. Simpson's notes on Islamic manuscripts from around the world. The collection contains approximately 5,455 digitized pages of her notes pertaining to about 610 Islamic manuscripts from around the world. This manuscript collection spans the history of the Islamic book between 1300 and 1600 CE.

The Marianna Shreve Simpson Islamic Manuscript Collection is comprised of approximately 5,455 digitized pages of Dr. Simpson's notes on about 610 manuscripts. The collection also contains approximately 4,800 unprocessed images, which Dr. Simpson collected during her research. Simpson's collection spans the history of Islamic book art and pays particular attention of illustrated manuscripts from 1300 and 1600 CE. Dr. Shreve Simpson created a documentation template which she used during her research with each manuscript. The template allowed her to create a detailed record of the titles of each manuscript, names of calligraphers, painters, patrons, date and places of production, and dimensions of each folio or text block, as well as additional descriptive details. Her notes span 4 decades of research in libraries, museums, and private collections. The Marianna Shreve Simpson Islamic Manuscript Collection is part of the Islamic Art Archive Collection.

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The collection contains 11,469 black & white and color slides intended for classroom and/or coursework. Nearly all the slides are attributed with the artwork’s title, artist’s name, and artwork’s date. Occasionally, the institutional site of the artwork (i.e. museum, gallery) is stated on the slide. Approximately eighty percent of the slides are filed under individual artist names; the balance is filed under topics and themes in the History of Art.

The collection offers students, researchers, and educators the opportunity to study and/or teach a survey of 20th century Modern and Contemporary art through various media such as painting, sculpture, illustrations, prints, photography, architecture, and site-specific art. In general it is categorized by the artists name, without distinction within his/her/their body of work or notation of the art movements in which the artwork belonged. The strengths of the collection are in the quality of the slide images and the breadth of artists who are represented, totaling over one thousand. A substantial portion of the collection is devoted to the category of painting, followed by sculpture. The majority of the slide images were taken of art in situ and/or from publications. Nearly all the slide objects are in very good condition. The collection is in the process of being digitized.

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The Southeast Asia Art Foundation (SAAF) Archive is composed of approximately 200,000 photographs of Southeast Asia artwork compiled by John Adams Thierry during the latter half of the 20th century. The photos are drawn from approximately 30 different sources, sculptures, or monuments throughout Southeastern Asia that have since been vandalized, damaged, insensitively stored, or destroyed.

Southeast Asia Art Foundation (SAAF) Archive is composed of about 200,000 photographs drawn from at least 30 different sources, including 10,000 photos from sites in Cambodia, Java, and Thailand, 1,100 aerial photos of unexplored archaeological sites, and approximately 3,000 photos from leading art dealers. The collection is housed in a series of black binders and is broken down into 1149 binders of images of objects from various regions and object types, 114 binders with museums' holdings and dealers’ photographs, 24 binders of aerial photographs, 2 binders that contain microfiche, and 3 boxes of photographs. Many of the photos depict sculptures or monuments that have since been vandalized, damaged, insensitively stored, or destroyed. Some of the sculptures have also been sold into private collections and are no longer accessible to the public. The photographs of Yves Coffin, a former French diplomat to Cambodia, are now considered one of the best collections of Cham and Khmer architecture and sculpture. Most of the aerial photographs of Thailand in the mid-1950's came from William-Hunt. Some of the microfiche in the collection came from the National Research Centre of Archaeology on Indonesia from 1901 to 1956, while more microfiche was contributed by the Kern Institute, University of Leiden. In addition to the approximately 100,000 photographs and slides, materials also came from an expedition to Java, which sent Patrick Young to photograph the Buddhist monument of Borobudur. The Department of the History of Art at the University of Michigan organized the expedition, which was partially funded by Southeast Asia Art Foundation and its trustee, John A. Thierry.

The collection also contains vast documentation about the legacy of the artwork and the archive itself, including work from leading scholars such as Carol Stratton, Sarah M. Bekker, A.B. Griswold, and Miriam McNair Scott. John Adams Thierry's research and additional articles are incorporated in the collection.

The photo archive is part of the Southeast Asia Art Foundation Archive, which is now housed in three locations within the University of Michigan. The University of Michigan-Museum of Art houses Thierry's collection of 19 sculptures, while the University of Michigan Library houses Thierry's personal library of books on Southeast Asian Art, many of which are rare or difficult to find.

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The Southeast Asian Art Archive is composed of seven collections, including the Southeast Asia Art Foundation Archive (SAAF), the Breezewood Collection, the Ajanta Caves Collection, the Walter Spink Indian Caves Collection, the Walter Spink Collection, the Borobudur Collection, and the American Council for Southeast Asian Art (ACSAA) Collection. The collection contains photographs and slides of Southeast Asian monuments, sculptures, Indian rock-cut architecture, and more.

The Southeast Asian Art Archive is composed of seven smaller collections, including the Southeast Asia Art Foundation Archive, the Breezewood Collection, the Ajanta Caves Collection, the Walter Spink Indian Caves Collection, the Walter Spink Collection, the Borobudur Collection, and the American Council for Southeast Asian Art Collection (ACSAA). The Southeast Asia Art Foundation Archive contains photographs, collected by John Adams Thierry, that document sculptures, monuments, and archaeological sites in Cambodia, Java, and Thailand. Many of these sculptures and monuments were vandalized, damaged, insensitively restored, or destroyed. The Breezewood Collection focuses on the art and architecture of Thailand, but also includes examples of sculptures, decorative arts, ceramics, and paintings from Burma, Cambodia, India, and Indonesia. The Ajanta Caves Collection contains the research work of Walter Spink and photographically documents 29 of the 31 rock-cut caves. The photographs range from panoramic views of the Ajanta complex to detailed photographs of the façades, porches, courts, shrines, and interiors. The Walter Spink Indian Caves Collection further documents the research of Walter Spink by looking at rock-cut architecture of other caves throughout India, including Aurangabad, Badami, Bagh, Bedse, Bhaja, Elephanta, Ellora, Kanheri, and others. The Walter Spink Collection contains additional research of the rock-cut architecture of temples, shrines, and monuments throughout India. The Borobudur Collection documents the Buddhist monument of Borobudur, found in Central Java, in detail. The last collection is the American Council for Southern Asian Art (ACSAA) Slide Distribution Collection. This collection contains a wide array of materials depicting Southern Asian art and architecture.

The Roberta Keniston Postcard Collection contains six boxes of postcards and other visual ephemera from the 20th century. The collection focuses mostly in European architecture and painting. The majority of the postcards are blank, but some do include correspondence.

The Roberta Keniston Postcard Collection contains six boxes of postcards and other visual ephemera from the 20th century. The boxes are first organized by donor, and then very broadly divided by the type of architecture or artwork depicted on the postcards. These subdivisions are arranged by geographic region, media, and/or subject of the work shown on the postcard.

The majority of items in this collection are postcards dating from 1900-1918, which was during the “golden age” of postcard collecting, lasting from about 1895 to 1915. Other items, including photographs, souvenir photo books, greeting cards, and exhibition announcements in this collection were published throughout the 20th century. Correspondence to and from History of Art faculty and staff appear on some of the postcards.