Having this week completed a reorganization of fifteen boxes of offprints from the Johannes Wilde bequest; I thought I would write a few words on the material preserved within these boxes. This fragment of Wilde’s legacy collection, significant in size and content, is yet to be catalogued on the library’s OPAC, but can be searched by card index (see below). The main bequest of books and manuscripts, as well as his archive of teaching materials, is fully catalogued and kept in the library’s special collections – both can be consulted on filling in a CABS request form.
What began as a vast swathe of offprints has now been streamlined into a shipshape assemblage of just over 600 texts, most of which have personal inscriptions to Wilde. There is a broad scope of material chiefly published in the 1930s, ‘40s and ‘50s, but going as far back as a volume Jahrbuch der Königlich preussischen Kunstsammlungen from 1893. Written in several languages (chiefly German but also English, French, Italian and Hungarian), it contains a lot of Wilde’s own writings, as well as a good amount on Michelangelo – as you might expect – Renaissance art, and architecture.
As well as official offprints from periodicals such as Oud Holland, The Burlington Magazine, the Mitteilungen des Kunsthistorischen Institutes in Florenz, and Athenaeum, the collection also contains some full issues of journals; festschrifts for scholars such as Julius Schlosser, Paul Clemen and Max Friedländer; and ephemeral items including business cards, compliment slips, newspaper and magazine clippings, and proofs.
Most of the items are marked with Wilde’s distinctive handwriting, either denoting the author’s name at the top of the page (as above on a clipping from The Listener entitled ‘How Cézanne saw and used colour’ by Gerard Frankl), or with his notes or corrections alongside the text. There are also a great number of personal inscriptions written from the various authors, such as this affectionate example from Antoine Seilern to Julia and Johannes Wilde, from his piece on ‘An ‘Entombment’ by Rubens’ (The Burlington Magazine Vol. 95, No. 609, December 1953).
What is interesting is the network of figures that emerges from these inscriptions, giving you a tangible picture of the who’s who of art historians and scholars from the first half of the twentieth century, with a particular emphasis on the ‘Vienna School’ and on émigrés such as Wilde, Seilern, Charles de Tolnay, Erwin Panofsky and many others. It is an interesting piece of Courtauld Institute history in itself, demonstrating how professors, peers and students influenced one another and continued to correspond throughout their careers. Below you can see an envelope addressed to Professor Wilde from Katherine Freemantle, containing a proof copy of some biographical particulars and a bibliography of Professor Jan van Gelder.
For more information on the Wilde Collection, see the Special Collections page of the book library website. Further archive material on Wilde is held at UCL’s School of Slavonic and East European Studies. If you want to have a look at the offprints collection, we have a holdings list behind the issue desk in the book library.