The first subseries, Private Collectors, Scholars, Dealers, et al., 1944-1976, is in its original order and thus arranged alphabetically by the individual's surname, with some exceptions. Various topics covered in this correspondence include attribution inquiries and solicitations to purchase West-related items. Several letters are in German. Of particular interest are the letters between von Erffa and the historian James Thomas Flexner.

The second subseries, Public Institutions, 1944-1977, also in its original order, deals with museums, universities and auction houses. This correspondence is filed alphabetically by city. Christies is an exception, filed under "C." Topics covered include exhibition announcements, requests for photo or print reproductions of works by West or other artists influenced by West, and questions of attribution.

Subseries 3, Author's Query, 1951, 1958, 1960, deals with correspondence to and from various publications in which von Erffa submitted requests to readers for any information regarding Benjamin West.

The fourth subseries, Graduate Students Writing on West-related Topics, 1976, n.d., consists of several letters written to von Erffa because of his expertise on Benjamin West and the art of that period.

Within the Subjects of Paintings subseries, the "classical" folder contains only notes to literary sources, rather than a specific painting by West of a classical subject. The "religious" folder deals with only one of West's religious works, specifically his designs for the Four Dispensations of Revealed Religion for the Royal Chapel at Windsor.

Unusual but nonetheless relevant topics are briefly addressed in the Provenance and Attribution Issues subseries. While one file pertains to private and public collection holders confirming they do not have any works by West, another deals with one painting that was incorrectly attributed not only to West but to the artist Edward Bird as well. Certain material is restricted until January 1, 2025.

The third subgroup, Influence of Other Artists, documents West's belief in the need to study earlier masters and other artists. The material in the fourth subgroup, Primary Research Sources, is in its original order and consists of references to or complete photostats of contemporary published materials. A copy of von Erffa's alphabetical index to these papers is in the first folder, however, the index lists more sources than are actually documented here. The "Xerox" list also included in the first folder was not part of these papers but was added since it appears to list the same documents. The West letters at Haverford College Library have also been included in this subgroup and filed under "W." As originally filed, these papers are alphabetically sorted in various ways - by individual, by research facility or by publication title. In one case, the material regarding the Hamilton papers at the Library of Congress is filed under "W" as von Erffa apparently considered them to be and noted them as "worthless."

The fifth subseries, Bibliography, is the most difficult to decipher because of the brevity of many of the notations. Included are references either to studies of West or general art historical studies. The Archives of American Art folder appears to be citations to HSP collections, but exactly which collection is unclear as none are specifically noted except "Gratz Coll." Copies of bibliographies from other West studies are in the fourth folder. Some of these, however, do not note the title of the study.

Miscellaneous Topics consists of research material for more general or indirectly related topics to the study of Benjamin West. Topics in this subseries ranges from working notes on various artists and the use of realism and nature in art to book reviews of studies of George III and von Erffa's research travel plans.

The Reproductions subseries consists of 11 subgroups, all dealing with the acquisition of reprints of works by West or related artists. The first is von Erffa's original correspondence file, alphabetically arranged, dealing with correspondence between him and DeCapo Press/Plenum Publishing and between those individuals or institutions holding works by West and Plenum Publishing. This correspondence deals with granting permission to reproduce images. Certain material is restricted until January 1, 2025.

The bulk of material processed as Drafts of Catalogue are three typescript volumes, with paintings arranged by subject category. Some of von Erffa's earliest musings on the subject can be found in the folder containing notes on introductory chapters, objectives and catalogue outline.

This series consists of von Erffa's earlier West projects conducted during the 1950s and 1960s. Most of the folders in this series contain von Erffa's drafts and related correspondence. Each study is listed separately in the inventory. The folders regarding von Erffa's rejected proposal for an Art Bulletin catalogue and his involvement with an exhibition catalogue for James Graham & Sons contain correspondence only.

Most of von Erffa's cards deal with specific catalogue topics and are divided into nine subseries. All group headings, with the exception of "Contacts," are those von Erffa assigned. The first group of index cards, West Paintings Arranged by Subject, appear to be von Erffa's earliest compilation of catalogue entries. The first card to this group notes that this compilation was begun in 1945 and is based on the paintings and drawings by West listed in Galt's 1820 catalogue and those from the 1938 West exhibition at the Philadelphia Museum of Art. The cards are divided by subject, with one painting title per card. Compared to the catalogue format, some of the subject categories in this series are further defined. Historical subjects are divided into the subgroups of ancient and modern history, and the New Testament is further divided into scenes regarding the Nativity, Miracles and Passion of Christ. Poetry is also a separate category here. Some paintings have multiple cards as its information warrants. General catalogue information is given for most entries, including: title, date, size, Galt page reference, exhibition history, current location, and illustrated sources. Some entries appear to include provenance history as well as other observations by von Erffa. An envelope of unfiled cards of various subjects are inserted at the end of this group.

Next are cards regarding engravings and drawings. These are also divided by subject.

The other subseries of von Erffa's index cards includes a Listing of Titles divided chronologically by the decade in which each was exhibited, from 1764 to 1819. Based on these dates, these are works exhibited during West's lifetime.

Other index card groups, such as Sales Catalogues and Notes on Some of West's Paintings have only a handful of cards.

Notes on Men and Events around B. West is misleading as most of these cards refer to people whom von Erffa contacted and only the last five cards appear to refer to individuals contemporary with West.

The Contacts cards are similar in information content to an office rolodex. Most note an institution's contact name, address, and phone number.

Bibliography cards refer to published works regarding West and related topics. Most of these studies are listed alphabetically by author.

Like Staley's other documentation (described below), most of his index cards relate to specific catalogue issues. Used in combination, these various groups of cards closely reflect all the information provided in the catalogue, except for the entry narratives.

Catalogue Abbreviations corresponds with the bibliographic reference sources used throughout the catalogue entries and cited in full at the end of the book.

Other Bibliography lists approximately thirty sources not cited in the catalogue but relevant to this study.

Provenance by Collection Type reflects the general division of these cards, such as Public Institutions-US. Each card notes a specific collection as well as the paintings in that collection. Certain material is restricted until January 1, 2025.

The next group of index cards is Unidentified. Arranged alphabetically by surname, each card notes an individual, a number and a date, which would appear to represent a private collector, a catalogue entry number and the acquisition date. However, not every card date agrees with that particular entry's provenance history date. Many of these cards also include additional codes or grades, none of which are explained.

Reproductions consists of approximately seventy index cards that appear to note the availability and quality of reproductions by institution and private collector.

The next subseries of approximately 250 yellow index cards also deals with Provenance. However, rather than divide the collections by type, as in the previous provenance subseries, these cards are listed alphabetically by proper name, with no separation between individual or institution. Arranged by collector name, each card also lists the paintings held by that individual or institution, a code to its subject category and place in the catalogue (i.e. "NT53" represents the fifty-third entry of New Testament paintings) and the date that particular person or institution held the painting. Apparently, this was an earlier working list since some of the holdings dated as "present" no longer are correct when compared to the catalogue. (Example: the William Abercromby portrait is no longer in a private collection. Its location is now unknown).

The final subseries, Subjects (multiple cards per entry) is the most extensive and is similar to each painting's catalogue entry. Like the catalogue, these cards are arranged by subject. However, apparently following the format von Erffa used in Series 4, the subject categories of History and New Testament are divided further into specific subcategories. The first six cards serve as a key and explain the arrangement of the subseries. Cards for each painting are color-coded to represent the different types of information relating to that particular work. The code is as follows: (a) orange index cards signify that the painting was exhibited before West's death in 1820 and note the appropriate exhibition and date; (b) green cards signify that the work was listed in one of the four catalogues published during his lifetime or the one published by Galt in 1821; (c) white cards list any sales and exhibitions after 1820; (d) blue cards cite the known finished version, its size, location, and any engravings of the image; (e) the next white card appears to recap most of this information; and (f) white cards with yellow stripes in the upper right corner detail any engravings made of that image. Most of the cards are also coded with its subject category and place in the catalogue, like those in the preceding subseries. Many also include a "VE#" code. This probably refers to a draft typescript by von Erffa that is not included in this collection since none of his drafts in the collection include numbered painting entries.

As its title suggests, this series most closely resembles the format of the published catalogue (excluding the introductory chapters), and could be considered a draft of the 400-plus pages of entries. There is a folder of research material for every painting listed in the catalogue. However, if there are several paintings of the same subject, all are covered in one folder.

A photocopy of the front of Staley's original folder has been included because of the additional information it provides. These folder notations include: the title of the painting, or some version of the title; the catalogue entry number; and a subject code indicating the painting's general subject and its placement within that subject category. Other information includes: the present location of the painting; comments on the status of available reproductions; and, as on the index cards, a "VE#" code.

As in Series 4 and 5, the Historical subject category in this series is divided into Ancient, English and Modern history and the categories of Mythology and Literature each include a subcategory of Poetry. Although the published catalogue does not note these subdivisions, the paintings are in the same placement order so that the catalogue entry numbers noted on the folder covers are in numerical order as well.

The materials within the folders make evident Staley's use of his former colleague's earlier research efforts. Most of the folders contain correspondence and notes of both Staley and von Erffa and thus cover a span of twenty to thirty years. Most of the folders also contain other types of documentation, including: four-color or black-and-white reprints of the painting or related paintings and drawings; published material regarding the painting; a typed draft of the catalogue entry narrative; research notes; and von Erffa's mimeographed worksheet for that particular painting. The finding aid inventory of this series lists each painting as titled in the catalogue along with its entry number.

Although this series, and the next two, are clearly the work of Staley, all three contain von Erffa papers as well, thus illustrating the latter historian's use of the previous historian's original research.

Certain material is restricted until January 1, 2025.

This series comprises the paintings or drawings Staley determined were not the work of Benjamin West. Most of the papers consist of correspondence between Staley or von Erffa and the holder of the work in question. Related photographic images have been kept with their corresponding papers and all are arranged chronologically.

As in Series 6, the works of art are grouped by subject, with the exception of several folders that were not originally included here. Documentation type is also similar to the previous series in its variety, including a copy of Staley's original folder cover, correspondence, notes, and reprints of the questionable painting as well as of related images. The amount of documentation per painting varies, with some of the folders consisting of a reprint and worksheet only. Thus there is often no explanation of Staley's or von Erffa's determination that a painting was not the work of Benjamin West.

Included in this series is a folder of notes and reprints regarding the sketches of biblical scenes for the Royal Chapel at Windsor Castle. Although Staley discusses the paintings West completed for this project in Appendix I of the catalogue, there is apparently some question as to the authorship of these design sketches. In the catalogue caption to these sketches, West's name is followed by a parenthetical question mark.

In his original files to this series, Staley included empty folders to represent certain paintings that he cross-referenced to other related titles. Because all this information was noted on the folder tab, these folders were removed. The painting titles, however, are included on the inventory with a folder listing as "none."

Staley clearly marked four folders "rejected," with one folder per year from 1997 to 2000. Much of the correspondence is outgoing and clearly documents why he thinks the work in question is not by West. Since the catalogue was published in 1986, this later correspondence also affirms Staley's reputation as the expert on Benjamin West. Unlike the other material in Series 7, however, the breakdown of this additional material is by date of correspondence, rather than by subject.

This series consists of incoming and outgoing correspondence of Staley and von Erffa, arranged chronologically. Most of the letters have relevant reprints attached. Staley identified the first two folders as "doubtful portraits." The remaining files, however, were identified only as "questionable," and have been processed here by date of correspondence. The four folders within this series that Staley clearly identified as "rejected" were moved to Series 7.

The materials in Series 9 through 12 were rearranged slightly and processed under categories that would best reflect the use of these materials in the preparation of the catalogue. This series includes photocopies of and/or notes on the four categories of documentation Staley discussed in the catalogue introduction (pages 159-163). These categories are part of every entry in the catalogue raisonné. The finding aid inventory identifies each file by the specific document Staley references.

Most of the Provenance material consists of notes and lists compiled from the documents cited. A reprint of John Galt's 1820 biography of West that Staley refers to in the Provenance documentation is also in Series 15.

Much of the material cited for Exhibitions and Listed (listings of a painting compiled during West's lifetime) are photocopies of the relevant pages of the actual documents. The only source Staley refers to within the Listed material that is not documented in this series is Dillenberger's 1977 study of West's religious works. A copy of the book, however, is available in Series 15.

The document Staley refers to as Literature is the Farington Diary. Joseph Farington was a friend of West and, as noted in the catalogue introduction, his diary is the "most important single contemporary source of information for the later part of West's career." (p. 162) The collection folder consists of a typescript of the diary index and related passages.

This series consits of materials that relate to topics Staley referenced more generally in the catalogue's introductory chapters of the catalogue, such as West's Royal Academy lectures and his descendants as collectors. Other catalogue issues include bibliographic sources and authorization for photographic reproduction. Notes, correspondence and reproduction authorization forms make up the documentation. Most of the bibliography notes are reference lists from approximately one dozen other publications. Certain material is restricted until January 1, 2025.

Although the papers in this series were originally identified by Staley as "additional research materials," they have been further processed to reflect more specific and probable research categories. The categories include published material about West; materials providing provenance references; compiled listings of West's works (referring to lists compiled by Staley and his research assistants as opposed to those produced during the eighteenth and early nineteenth centuries); and materials produced by Staley's research assistant, which have been filed by research category as well. The bulk of the provenance reference material consists of working lists of the various types of collections with paintings by West. Many of the paintings on these lists have been cross-referenced with their catalogue entry number.

Rather than document a specific chapter or section, the material in this series represents research generally referred to in the catalogue. The type of material varies: much of the published material consists of photocopies or reprints of articles; provenance material consists of von Erffa and Staley correspondence, notes, sales catalogues and reproductions. The working notes and lists of paintings by West compiled from specific research institutions were processed in the subseries "Compiled Listings" by institution, namely: National Museum of American Art (inventory of American Paintings); Witt Library, Courtauld Institute of Art, London; Frick Art Reference Library (FARL), New York and the Paul Mellon Collection at the Yale Center for British Art. Also processed as part of this series are the working notes of one of Staley's research assistants. Although most of these working notes were not identified as belonging to any of Staley's assistants, the handwriting matches that of the papers in the one original folder marked as such.

Certain material is restricted until January 1, 2025.

This series deals with topics about Benjamin West that the catalogue does not address at all or in any great detail, such as his influence on other artists. There are photographs and photocopies of pages from the West sketchbooks at HSP and the Royal Academy. There are also quite a few reprints of other drawings by West. All of these are worth noting since the catalogue deals only with West's paintings. The documentation regarding the portraits of West by other artists is also thin. Most folders consist of a page or two of notes or correspondence and often a reprint of the image. Despite this dearth of the material, the compilation of such a list of artists can be useful to the researcher as it reflects the impact West had on his contemporaries.

The subseries in this series include Works by West (not included in the catalogue); Artists Influenced by West; and Portraits of West by Other Artists.

This small series consists of three folders of correspondence and related photos regarding several paintings and a drawing that were received after publication of the catalogue and determined by Staley to be possible works by West.

The information contained herein clearly illustrates the type of analyses required in determining attribution. The first folder deals with about ten portraits and consists of correspondence to and from Staley as well as reprints of most of the images in question. The correspondence ranges in date from 1985 to 1999. The two other folders contain far less material, each dealing with one work only. One is a drawing from The Brooklyn Museum, the other a painting of an unknown subject. Staley's brief notations written on the incoming correspondence (of 1995 and 1992, respectively) are the only record of his reaction to these works.

This series documents Staley's post-publication revisions and additional references and comments. After publication of the catalogue, Staley made annotations to certain entries, most noting additional analysis of the painting or additional reference sources. Because the original marked-up volume was returned to Staley, this series consists of photocopies of those pages he marked.

This series consists of 27 other publications about Benjamin West, most of which were annotated by von Erffa or Staley. A few include related notes or news clippings. Three of Staley's other studies of West are included. The subjects include studies of specific paintings, of specific categories, such as religious works or drawings, and West's career in general. The publications include museum exhibit catalogues, auction house catalogues, journal articles and general studies.

See Box 51