The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer
The collection documents the rich history of the Council of the Virginia Museum of Fine Arts, the museum's oldest and longest-running support group. Founded in 1955 by a group of interested women, the Council has grown greatly over the years in membership, events, projects, and support given to the museum. The collection spans the entire six decade history of the Council through minutes, officers' reports, committee reports, subject/event files, and some past Presidents' files. A large portion of the documentation is devoted to the Council Sales Shop, begun in 1962, and turned over to the museum in 2010
This small collection documents the relationship between T. Catesby Jones, prominent lawyer and art collector, and Michael Agelasto, cotton broker and later Greek consul to the Port of Norfolk. While they met professionally as younger men in Norfolk, their lifelong friendship was sustained by a common appreciation for modern art, as evidenced by the content of the collections' correspondence between Jones' widow, Louisa Brooke Jones, and Agelasto, after Catesby's death in 1946
The collection documents the career of renowned lensless photographer Willie Anne Wright. Wright's paintings, serigraphs and drawings were her professional focus until 1972 when pinhole photography became her primary creative medium. Comprised mainly of the exhibition files Wright maintained, as well as information about gallery representation and art sales, the collection traces the evolution of her artistic journey over four decades.
The collection documents the history of R.E. Lee Camp, No. 1, Confederate Veterans, a large residential complex for poor and infirm Confederate veterans of the Civil War. Altogether a total of nearly three thousand veterans from thirty-three states called the camp home, and after the camp's closing, the Commonwealth eventually granted use of the buildings and land to the Virginia Museum of Fine Arts. The collection is comprised of photographs and postcards that document the changing landscape of the camp over 50 years, a rare guest register that includes thousands of guest signatures and a page signed by ten members of the Blackfeet Nation, and two extremely rare artifacts – reunion ribbons – provide material testimony to the reconciliation efforts of Confederate and Union veterans only twenty years after they faced each other as enemies during the Civil War.