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Samuel Colman papers, 1855-1901

Creator:
Colman, Samuel, 1832-1920  Search this
Subject:
Boughton, George Henry  Search this
Colman, William  Search this
Type:
Drawings
Citation:
Samuel Colman papers, 1855-1901. Archives of American Art, Smithsonian Institution.
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7493
(DSI-AAA_SIRISBib)209652
AAA_collcode_colmsamu
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209652

Correspondence, Andrews, Ambrose - Harding, Chester

Creator:
Beal, Gifford, 1879-1956  Search this
Andrews, Ambrose, 1805-1859  Search this
Bates, Edward, 1793-1869  Search this
Bohrod, Aaron  Search this
Cloar, Carroll  Search this
Colman, Samuel, 1832-1920  Search this
Bacon, Josephine Daskam, 1876-1961  Search this
Rogers, Daniel Denison, 1751-1825  Search this
Elliot, William Parker  Search this
Brush, George de Forest, 1855-1941  Search this
Harding, Chester, 1792-1866  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Beach, Ella  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Town, Ithiel, 1784-1844  Search this
Watson, Forbes, 1880-1960  Search this
Collection Creator:
Brumbaugh, Thomas B. (Thomas Brendle), 1921-  Search this
Extent:
14 Items (Letters, written in ink, ball point, graphite, typewritter)
Type:
Archival materials
Lithographs
Correspondence
Place:
New York (N.Y.)
Date:
1779-1981
Scope and Contents:
This folder is an amalgamation of letters written and recieved by prominent figures in 19th and 20th century American art. Included in the folder are letters by Ambrose Andrews, Edward Bates, Gifford Beal, Aaron Bohrod, Carroll Clear, Samuel Colman, Josephine Daskam, Daniel Denison Rogers, William Elliot, George de Forest Brush, and Chester Harding. The letters' subjects cover a wide range of topics, including the buying and selling of art, invitations to dinner, and general correspondence.
Arrangement:
Organized alphabetically by author.
Biographical / Historical:
Ambrose Andrews was a portrait, miniature, and landscape portrait who worked throughout New England and the United States. He was born in Stockbridge, Massachusetts in 1801 and studied at the National Academy of Design. He exhibited paintings at many different institutions, including his portraits of Henry Clay and Sam Houston. Andrews's work is now in the New York Historical Society.
Edward Bates was a representative for Missouri in the mid-1800s. He served in the War of 1812 as a sergeant in a volunteer brigade, studied and practiced law, attended the state constitutional convention, was district attorney from 1821 to 1826, and was a member of the state senate. He declined to serve as Secretary of War for President Fillmore, but was appointed Attorney General of the United States by President Lincoln, and served from March 5, 1861 to September 1864. Bates died on March 25, 1869.
Admiral Charles Henry Davis was born on January 16, 1807, and served as Chief of the Bureau of Navigation between 1862 and 1865. He then served as Superintendent of the Naval Observatory. He had three ships named after him.
Forbes Watson was an art critic, lecturer, and administrator in New York City in the early 20th century. He served as art critic for the New York Evening Post. In 1933 he was appointed Technical Director of the first New Deal art program, the Public Works of Art Project, which provided work for artists in the decoration of non-federal buildings. He later worked at the Treasury Department of Painting and Sculpture, which administered funding for decorating federal buildings. Watson finally served in the Treasury Department's War Finance Division, where he organized exhibitions and posters by combat artists to promote the sale of war bonds. Forbes Watson's papers are held in the Archives of American Art.
Gifford Beal was an American artist who worked with many organizations for the advancements of the arts, finding inspiration from a wide variety of sources, including holiday scenes, every-day life, and landscapes. Beal loved spontaneity and was influenced by French Impressionists. He was commissioned by the government to paint two murals: one on the post office in Allentown, Pennsylvania, and one in the Main Interior Building in Washington, D.C. Beal's papers are held in the Archives of American Art.
Aaron Bohrod was born in Chicago, Illinois on November 21, 1907, where he studied art at the Art Institute of Chicago. He worked for a while in the advertising art department at the Fair Department Store in Chicago, but eventually moved to New York City, where he joined the Art Students League. He died on April 3, 1992. During World War II, Bohrod worked as an artist for the United States Army Corps of Engineer and Life magazine in Europe.
Carroll Cloar was an American realist and surrealist who lived from 1913 to 1993. He grew up in Arkansas, but later moved to Tennessee, travelled Europe, and joined the Art Students League in New York City. During World War II, he joined the U.S. Army Air Corps, and although he did complete some artwork during this period, none of it survives. Cloar then settled in Memphis. One of his paintings was chosen to commemorate President Clinton's inauguration in 1993. Cloar died of a self-inflicted gunshot wound on April 10, 1993, after a long battle with cancer.
Samuel Colman was an American painter who belonged to the Hudson River School, and is most well-remembered for his landscapes. He was born in Portland, Maine, in 1832, and began exhibiting at the young age of 18. At 27 he was elected an associate of the National Academy, and later studied abroad in Paris and Spain. He was made a full Academician upon his return to the United States, and both founded and served as the first president of the American Water-color Society. He continued to both study in Europe and exhibit artwork, moving from New York to Rhode Island. Colman is represented in the metropolitan Museum, Chicago Art Institute, and many other collections. He died in New York City in 1920.
Josephine Daskam Bacon was an American writer known for writing about "women's issues" and using female protagonists. She wrote a series of juvenile mysteries and helped pioneer the Girl Scouts movement, writing a guidebook for the organization.
Daniel Denison Rogers is perhaps most widely remembered for the painting that John Singleton Copley completed of his wife, Abigail Bromfield.
Ithiel Town was an American architect and civil engineer who lived from October 3, 1784 to June 13, 1844. He worked in the Federal and revivalist Greek and Gothic styles, and was widely copied. He was born in Connecticut, and built both Center Church and Trinity Church in New Haven. Town patented a wooden lattice truss bridge, which made him quite wealthy. He formed a professional architecture firm with Alexander Jackson Davis. One of Town's most amazing feats was the construction of the Potomac Aqueduct in Washington, D.C., which allowed fully loaded canal boats to cross the Potomac River.
William Parker Elliot designed the old U.S. Patent Office, a very important Greek Revival building, with Ithiel Town.
George de Forest Brush was an American painter who grew up in Connecticut and is typified by his paintings and drawings of Native Americans. Even after moving from Wyoming, where he met the Native Americans, back to the East, Brush still occasionally enjoyed living in a teepee. Brush's artistic style later developed into Renaissance-inspired portraits. He was friends with Abbott H. Thayer, and along with Brush's wife, Mary, and son, Gerome, they all contributed to early camouflage designs. Brush died in New Hampshire in 1941.
Chester Harding was an American portrait painter born in Massachusetts in 1792. He worked in many different professions, finally becoming a self-taught itinerant portrait painter. Harding settled in Beacon Hill, Boston, Massachusetts, in a building that now houses the Boston Bar Association (the Chester Harding House, a Historic National Landmark). He studied at the Philadelphia School of Design, later setting up a studio in London, where he befriended and painted for royalty and nobility. Harding finally returned to Boston, where he died in 1866.
Local Numbers:
FSA A2009.06 4
Other Archival Materials:
Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists, 1876-1994 (bulk 1960s-1994); Also located at Archives of American Art, Smithsonian Institution.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, American  Search this
Real property  Search this
Drawing  Search this
Genre/Form:
Lithographs -- 1950-2000
Correspondence -- 19th century
Correspondence -- 20th century
Collection Citation:
The Brumbaugh Collection of Artist Letters. FSA.A2009.06. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A2009.06, Series FSA A2009.06 4
See more items in:
The Brumbaugh Collection of Artist Letters
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
GUID:
https://n2t.net/ark:/65665/dc3fe083cf2-c3ca-489b-b0ee-4f49e62444b0
EDAN-URL:
ead_component:sova-fsa-a2009-06-ref2

Samuel Colman papers

Creator:
Colman, Samuel, 1832-1920  Search this
Names:
Boughton, George Henry, 1834-1905  Search this
Colman, William  Search this
Extent:
0.01 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Date:
1855-1901
Summary:
The papers of New York-based landscape painter Samuel Colman measure 0.01 linear feet and date from 1855 to 1901. The collection consists of 15 letters to his sister Mela, his brother-in-law Emerson Howard, and other family, dated 1855-1861; also one undated letter and one written in 1901 to Kate; and an undated letter of a descendant. Colman also writes of painter George H. Boughton, with whom he shared a studio and rooms. In addition there are 16 drawings and sketches, probably the work of several persons, and "The Death Song of a Cherokee Indian," written by William Colman in 1809.
Scope and Contents:
The papers of New York-based landscape painter Samuel Colman measure 0.01 linear feet and date from 1855 to 1901. The collection consists of 15 letters to his sister Mela, his brother-in-law Emerson Howard, and other family, dated 1855-1861; also one undated letter and one written in 1901 to Kate; and an undated letter of a descendant. In Colman's letters from France, he writes of life there, and expresses sentiments for the family. Colman also writes of painter George H. Boughton, with whom he shared a studio and rooms. In addition there are 16 drawings and sketches, probably the work of several persons, and "The Death Song of a Cherokee Indian," written by William Colman in 1809.
Arrangement:
Due to the small size of this collection, the papers are arranged as one series.

Series 1: Samuel Colman Papers, 1855-1901 (Folder 1; 34 Items)
Biographical / Historical:
Samuel Colman (1832-1920) was a painter of landscape and genre subjects, etcher and watercolorist who was primarily based in New York City. He was born in Portland, Maine and studied in New York with Asher B. Durand, and abroad. Last name is alternatively spelled Coleman.
Provenance:
The Samuel Colman papers were donated to the Archives of American Art by Mrs. David Prince, Colman's grandniece, in 1973.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Landscape painters -- New York (State) -- New York  Search this
Watercolorists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Citation:
Samuel Colman papers, 1855-1901. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.colmsamu
See more items in:
Samuel Colman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95fdf8732-09c8-4cb9-90c3-70da146f5a69
EDAN-URL:
ead_collection:sova-aaa-colmsamu
Online Media:

Samuel Colman : east and west from Portland / paintings from the estate of the artist and others, January 10, 1981-February 20, 1981

Author:
Barridoff Galleries  Search this
Subject:
Colman, Samuel 1832-1920  Search this
Physical description:
[12] p. : ill. ; 22 x 23 cm
Type:
Books
Exhibitions
Date:
1981
Call number:
N40.1.C688 B2
N40.1.C688B2
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_145111

The romantic landscapes of Samuel Colman at Kennedy Galleries, September 20 to October 15, 1983

Author:
Colman, Samuel 1832-1920  Search this
Kennedy Galleries  Search this
Subject:
Colman, Samuel 1832-1920  Search this
Physical description:
[24] p. : ill. (some col.) ; 21 x 23 cm
Type:
Exhibitions
Date:
1983
[1983]
Topic:
Landscapes in art  Search this
Call number:
N40.1.C688 K3
N40.1.C688K3
ND237.C6747A4 1983X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_187470

Abbott Handerson Thayer and Thayer Family papers

Creator:
Thayer, Abbott Handerson, 1849-1921  Search this
Names:
Clemens, Samuel Langhorne, 1835-1910  Search this
Colman, Samuel, 1832-1920  Search this
Cortissoz, Royal, 1869-1948  Search this
Dow, Thomas Millie  Search this
Emerson, Edward Waldo, 1844-1930  Search this
Emerson, Ralph Waldo, 1803-1882  Search this
Faulkner, Barry, 1881-1966  Search this
Foster, Ben, 1852-1926  Search this
Freer, Charles Lang, 1856-1919  Search this
French, Daniel Chester, 1850-1931  Search this
Fuertes, Louis Agassiz, 1874-1927  Search this
Gellatly, John, 1853-1931  Search this
Kent, Rockwell, 1882-1971  Search this
Meryman, Richard Sumner, 1881-1963  Search this
Plunket, Jean Reasoner  Search this
Reasoner, David  Search this
Roosevelt, Theodore, 1858-1919  Search this
Sainsbury, Everton  Search this
Taber, E. M.  Search this
Thayer, Emma B., 1850-1924  Search this
Thayer, Gerald Handerson, 1883-1939  Search this
Thayer, Gladys, 1886 or 7-1945  Search this
Thayer, Kate Bloede  Search this
Thayer, Mary  Search this
White, Stanford, 1853-1906  Search this
Extent:
5.12 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Date:
1851-1999
bulk 1881-1950
Summary:
The papers of painter and naturalist, Abbott Handerson Thayer, and the Thayer family date from 1851 to 1999, with the bulk of the material dating from 1881 to 1950, and measure 5.12 linear feet. Thayer's painting career, interest in concealing coloration (camouflage) in nature, and relationships with artists, patrons, family, and friends are documented through correspondence, writings, scattered legal and financial records, printed materials, and a scrapbook. Photographs are of Thayer, his family, studio, and friends, including artists. The collection also contains family papers created by his second wife, Emma Beach Thayer, his son Gerald, his daughters Mary and Gladys, and Gladys' husband David Reasoner, who managed Thayer's estate after his death.
Scope and Content Note:
The papers of painter and naturalist, Abbott Handerson Thayer, and the Thayer family date from 1851 to 1999, with the bulk of the material dating from 1881 to 1950, and measure 5.12 linear feet. Thayer's painting career, interest in concealing coloration in nature, and relationships with artists, patrons, family, and friends are documented through correspondence, writings, scattered legal and financial records, printed materials, and a scrapbook. Photographs are of Thayer, his family, studio, and friends, including artists. The collection also contains family papers created by his second wife, Emma Beach Thayer, his son Gerald, his daughters Mary and Gladys, and Gladys' husband David Reasoner, who managed Thayer's estate after his death.

Scattered Biographical Material includes a brief autobiographical statement and chronology by Abbott Thayer, lists of artworks by Abbott Thayer and Gladys Thayer Reasoner, and biographical information about Thayer's granddaughter, Jean Reasoner Plunket. Two linear feet of family correspondence includes Abott Thayer's correspondence with patrons Charles L. Freer and John Gellatly; with many artists, several of whom were close friends, including Samuel Colman, Thomas Millie Dow, Daniel Chester French, Richard Meryman, Everton Sainsbury, Louis Agassiz Fuertes, and E. M. Taber; and former students, such as Ben Foster and Barry Faulkner; and with other friends, many of them prominent members of society, such as Samuel Clemens, Royal Cortissoz, Edward Waldo Emerson, and Stanford White. Also found is Thayer's correspondence with scientists and naturalists discussing his theories on protective coloration in nature. Correspondence of his second wife Emma Beach Thayer, his first wife, Kate Bloede Thayer, his daughter, Gladys Thayer Reasoner, her husband and executor of Thayer's estate, David Reasoner, and other family members are also included in the papers.

Writings and notes by Thayer record his thoughts on concealing coloration, nature, restoration of artwork, and other topics. Writings by others include those by Emma Beach Thayer, daughters Mary and Gladys, and Thayer scholars. The collection also contains correspondence of David Reasoner and other family members, as well as financial and legal documents regarding the estate of Abbott Handerson Thayer and Emma Beach Thayer. Additional financial and legal material includes ledgers, accounts statements, bills, a patent granted to Thayer and Gerome Brush, legal agreements, property deeds, and a map of Thayer's property.

Printed material include books, including one written by Theodore Roosevelt in response to Thayer's book on concealing coloration. Also found are newspaper and magazine clippings, and exhibition announcements and catalogs. Photographs are of Abbott Thayer, his wife Emma; his studio and home in Dublin, New Hampshire; friends, including Rockwell Kent and Ralph Waldo Emerson; and of unidentified people. Artwork includes a few drawings by Thayer, drawings and paintings by his children, and sketchbooks belonging to David Reasoner and Jean Reasoner Plunket. The collection also includes one large scrapbook kept by David Reasoner documenting Abbott Thayer's artwork.
Arrangement:
The collection is arranged into 10 series. Glass plate negative is housed separately and closed to researchers.

Missing Title

Series 1: Biographical Material, 1878 - circa 1966 (Box 1; 7 folders)

Series 2: Correspondence, 1867-1987 (Box 1-3; 2.0 linear feet)

Series 3: Writings, 1888-1945 (Box 3; 0.8 linear feet)

Series 4: Estate Papers, 1921-1954 (Box 3-4; 0.5 linear feet)

Series 5: Other Financial Records, 1889-1957 (Box 4; 7 folders)

Series 6: Legal Records, 1891-1927 (Box 4; 4 folders)

Series 7: Printed Material, 1851, 1896-1999 (Box 4-5; 0.4 linear feet)

Series 8: Photographs, circa 1861-1933 (Box 5, MGP 2; 0.2 linear feet)

Series 9: Artwork, 1887 - circa 1940s (Box 5-6, 8; 8 folders)

Series 10: Scrapbook, circa 1910-1920 (Box 7; 0.3 linear feet)
Biographical Note:
Abbott Handerson Thayer (1849-1921) was born in Boston to Dr. William Henry Thayer and Ellen Handerson Thayer. After his birth his family moved to Woodstock, Vermont, and in 1855 settled in Keene, New Hampshire. As a child Thayer developed a love of nature that was encouraged by his close family, which included three sisters, Ellen, Margaret, and Susan. At the age of fifteen he was sent to the Chauncy Hall School in Boston, and while there he met Henry D. Morse, an amateur animal painter. Under Morse's instruction Abbott developed his skill in painting birds and other wildlife and began painting animal portraits on commission. In 1867 he moved to Brooklyn, New York and attended the Brooklyn Academy of Design where he studied under J. B. Whittaker for two years. In 1868 he began showing his work at the National Academy of Design and enrolled there in 1870, studying under Lemuel Wilmarth. He met many emerging artists during this period, including his future first wife, Kate Bloede and his close friend, Daniel Chester French. Thayer became part of progressive art circles, showing his work at the newly formed Society of American Artists, while continuing to develop his skill as an animal and landscape painter.

Thayer and Kate Bloede were married in 1875. They moved to Paris and he studied at the École des Beaux-Arts, first under Henri Lehmann, and then with Jean-Léon Gérome. While in Europe he befriended fellow artists Everton Sainsbury, Thomas Millie Dow, George de Forest Brush, and Dwight Tryon. His daughter Mary was born in 1876 and his son William Henry in 1878. The family returned to America in 1879 and settled in his parent's home in Brooklyn, where he changed his focus to portraits. After the tragic deaths of William Henry in 1880 and of their second son, Ralph Waldo, in 1881, the family led a migratory existence living in various parts of New England. In 1881 while living in Nantucket they met Emmeline (Emma) Beach (1850-1924) who would become close friends with Abbott and Kate and would be known as "Addie" to the family. In 1883 their son Gerald was born and in 1886 their daughter Gladys was born. In 1887 Thayer settled his family in Keene, New Hampshire, and began teaching a small group of students. Around this time his wife began suffering from severe depression and went to a sanatorium in 1888. She died in 1891 and that fall Thayer married Emma Beach who had helped to care for him and his children during his wife's illness.

Despite family tragedies, Thayer became a leader in the New York art world during the 1880s and 1890s. He was a successful portraitist and painted allegorical figures of angels, women, and children, which were popular among collectors of this period, including his patrons Charles Lang Freer and John Gellatly. He often used his children as models, especially his eldest daughter, Mary.

In the late 1880s one of Thayer's students, Mary Amory Greene, built a house and studio for the Thayer family on her land in Dublin, New Hampshire, and in 1901 the family settled there permanently. Many of Thayer's artist friends lived nearby, such as Richard Meryman and George de Forest Brush, and the Thayer family frequently entertained prominent visitors such as Edward Waldo Emerson and Samuel Clemens. Abbott Thayer taught painting to his children, and Gerald and Gladys both became artists and art educators. Gladys married David Reasoner, a student of Abbott Thayer who later became his assistant. Other students of Thayer included Rockwell Kent, Ben Foster, Barry Faulkner, and Louis Agassiz Fuertes.

Greatly influenced by transcendentalism and the spirituality of nature, Thayer again began to paint landscapes, especially of nearby Mount Monadnock. He was very interested in the study of protective coloration in the wild, and was an advocate for nature conservation and bird sanctuaries. He published the book Concealing Coloration in the Animal Kingdom in 1909 with his son Gerald, but encountered much resistance to his theories. Thayer also wrote about how his camouflage theories could be applied to military warships and uniforms. These theories failed to gain widespread government interest and after suffering from nervous exhaustion, he spent the rest of his life painting landscapes at his home in Dublin, until his death in 1921.
Related Material:
The Archives of American Art holds several collections related to Abbott Handerson Thayer. These include research material on Abbott Handerson Thayer and other artists, 1895-1990, donated by Thomas B. Brumbaugh; the Abbott Handerson Thayer letter and drawings to Caroline Peddle Ball, circa 1890-1893; "The Drawings of Abbott Thayer", by Elizabeth Robins Pennell, circa 1921; and the Nelson and Henry C. White research material, 1898-1978, which includes many letters, photographs, and other material originally belonging to the Thayer family.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reels 48 and 3417) including a diary kept by Thayer, a "Family Record" written by William Henry Thayer, correspondence, printed material, photographs, and original artwork by Abbott Handerson Thayer. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Anne Whiting, a niece of Abbott Handerson Thayer, loaned the Archives of American Art material for microfilming in 1971 and Jean Reasoner Plunket, Thayer's granddaughter, loaned original artwork for microfilming in 1985. The rest of the Abbott Handerson Thayer and Thayer Family papers were donated in 1999 by Abbott Thayer's great-grandson, John Plunket, who received the papers from his mother Jean Reasoner Plunket. In 2005 Bruce Gimelson donated additional material purchased from the relatives of Emma Beach Thayer.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
Reel 3417 (art works): Authorization to publish, quote or reproduce requires written permission from Jean Reasoner Plunket. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New Hampshire -- Dublin  Search this
Topic:
Naturalism  Search this
Camouflage (Biology)  Search this
Art and camouflage  Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Abbott Handerson Thayer and Thayer Family papers, 1851-1999 (bulk 1881-1950). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thayabbo
See more items in:
Abbott Handerson Thayer and Thayer Family papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw909f5d5a9-1c3f-410d-b973-eaa839d8c887
EDAN-URL:
ead_collection:sova-aaa-thayabbo
Online Media:

A publication by The New-York etching club with catalogue of etching proofs exhibited at the National Academy of Design, New-York, February 1891

Creator:
New York Etching Club  Search this
Names:
Chapman, Carlton T. (Carlton Theodore), 1860-1925  Search this
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Colman, Samuel, 1832-1920  Search this
Lathrop, William Langson, 1859-1938  Search this
Platt, Charles A. (Charles Adams), 1861-1933  Search this
Extent:
1 Item ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1891
Scope and Contents:
Contains original etchings by Frederick Stuart Church, Charles A. Platt, William Langson Lathrop, Carlton T. Chapman, and Samuel Colman.
Provenance:
Mrs. Frank Hirst donated the catalog to the Archives. Previous owners included Constance Alexander Otwell and her aunt, Mrs. William Alexander.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Etchers  Search this
Identifier:
AAA.nyetcclb
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9debf43de-ecdd-4cde-b595-8591de634c9f
EDAN-URL:
ead_collection:sova-aaa-nyetcclb

Samuel Putnam Avery papers

Creator:
Avery, Samuel Putnam, 1822-1904  Search this
Names:
Bellows, A. F. (Albert Fitch), 1829-1883  Search this
Benson, Eugene, 1837-1908  Search this
Blashfield, Edwin Howland, 1848-1936  Search this
Bonheur, Rosa, 1822-1899  Search this
Bouguereau, William Adolphe, 1825-1905  Search this
Colman, Samuel, 1832-1920  Search this
Cook, Clarence, 1828-1900  Search this
Cropsey, Jasper Francis, 1823-1900  Search this
Darley, Felix Octavius Carr, 1822-1888  Search this
Daubigny, Charles François, 1817-1878  Search this
Durand, John, 1822-1908  Search this
Gifford, Sanford Robinson, 1823-1880  Search this
Greene, Edward D. E., 1823-1879  Search this
Hoppin, Augustus, 1828-1896  Search this
Hugo, Victor, 1802-1885  Search this
La Farge, John, 1835-1910  Search this
Lefebvre, Jules, 1836-1911  Search this
McEntee, Jervis, 1828-1891  Search this
Moore, Charles Herbert, 1840-1930  Search this
Mount, William Sidney, 1807-1868  Search this
Richards, T. Addison (Thomas Addison), 1820-1900  Search this
Thompson, Launt, 1833-1894  Search this
Tuckerman, Henry T. (Henry Theodore), 1813-1871  Search this
Whistler, James McNeill, 1834-1903  Search this
Extent:
3 Microfilm reels (800 items on 3 microfilm reels)
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1857-1902
Scope and Contents:
The microfilmed Samuel Putnam Avery papers contain correspondence, including letters, calling cards, and sketches from American and European artists, among them Albert F. Bellows, Eugene Benson, Edwin H. Blashfield, Rosa Bonheur, Adolph W. Bouguereau, Samuel Colman, Clarence Cook, Jasper F. Cropsey, F. O. C. Darley, Charles F. Daubigny, John Durand, Sanford R. Gifford, E. D. E. Greene, Augustus Hoppin, Victor Hugo, John La Farge, Jules Lefebvre, Jervis McEntee, Charles H. Moore, William S. Mount, Thomas A. Richards, Launt Thompson, Henry T. Tuckerman, and James McNeill Whistler; five diaries (1871-1882) detailing annual buying trips to Europe; catalogs; clippings; and miscellaneous publications pertaining to the Avery Art Gallery.

The travel diaries were written exclusively during the summers of 1871-1882 while in Europe (circa780 pages). Avery visited England, France, Germany, Denmark, the Netherlands, Belgium, Austria, and Italy, visiting galleries and studios, and attending sales in the major cities. In his entries, Avery lists the works that he sees and art he purchases, detailing prices, sizes, and frame requirements. Avery spent most of his time visiting dealers, making shipping arrangements, and commissioning work from a variety of artists. He visited auction houses such as Christie's in London, and "bric a brac shops" where he purchased paintings, as well as furniture, tapestries, and jewelry. He mentions several dealers throughout Europe, especially the P.L. Everard Company and Mr. Boughton in London, and Mr. Van Hinsberg in Belgium. His social engagements included gallery exhibitions, concerts, trips to the opera, and dinners. He describes the French city of Écouen and the Italian countryside vividly. Avery also records his meeting with the Spanish artist Cutazzi, and describes in detail the finery of the Makart studio in Vienna. Throughout the diaries, he corresponds and meets with Mr. Everard, Mr. Boughton, James McNeill Whistler, Vincent Van Gogh, and people he refers to only as Sam and Mary. Avery writes often of his occasional traveling companion, Mr. Lucas. Beginning in 1873, he mentions his wife, letters to her, and gifts that he buys her. At the end of the diary, he lists his accounts during these years.
Biographical / Historical:
Samuel Putnam Avery (1822-1904) was a wood engraver, art dealer, and collector in New York, New York. He was a founder and trustee of the Metropolitan Museum of Art. Avery took annual trips to Europe in the 1870s during which he commissioned art for clients. Avery also founded the Avery Architectural Library at Columbia University and donated his collection of etchings and lithographs to the New York Public Library.
Related Materials:
The New York Public Library Manuscripts and Archives Division holds the Samuel Putnam Avery papers, 1822-1904. The New York Historical Society holds the Samuel Putnam Avery letters to William D. Murphy, 1902-1903. The Metropolitan Museum of Art Thomas J. Watson Library holds the Samuel Putnam Avery Papers, ca. 1850-1905.
Provenance:
Lent for microfilming 1964 by the Metropolitan Museum of Art.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art dealers -- New York (State) -- New York  Search this
Engravers -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting  Search this
Identifier:
AAA.aversamu
See more items in:
Samuel Putnam Avery papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a6e520ec-fae1-4419-9fb3-c0452c07127d
EDAN-URL:
ead_collection:sova-aaa-aversamu

James D. Smillie and Smillie family papers

Creator:
Smillie Family  Search this
Names:
Bierstadt, Albert, 1830-1902  Search this
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Colman, Samuel, 1832-1920  Search this
Hart, Charles Henry, 1847-1918  Search this
Johnson, Eastman, 1824-1906  Search this
Smillie, Catherine Van Valkenburg  Search this
Smillie, George H. (George Henry), 1840-1921  Search this
Smillie, James David, 1833-1909  Search this
Smillie, James, 1807-1885  Search this
Smillie, Nellie Sheldon Jacobs, 1854-1926  Search this
Tait, A.T.  Search this
Extent:
5.6 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Etchings
Photographs
Scrapbooks
Date:
1853-1957
Summary:
The James D. Smillie and Smillie family papers measure 5.6 linear feet and date from 1853 to 1957. The collection consists of the papers of four members of the Smillie family including James Smillie, his sons James David and George Henry Smillie, and George's wife, Helen 'Nellie' Jacobs Smillie. The majority of the papers are those of James D. Smillie, comprised of correspondence, forty-five daily diaries, a scrapbook, printed materials, and one etching. The papers of James Smillie consist of biographical materials and writings. The George Smillie papers include biographical materials, scattered correspondence, a scrapbook, printed materials, and photographs. The Helen Jacobs Smillie papers include corrrespondence and photographs. Also found are scattered materials relating to other family members, mostly the children of Helen Jacobs and George Smillie.
Scope and Content Note:
The James D. Smillie and Smillie family papers measure 5.6 linear feet and date from 1853 to 1957. The collection consists of the papers of four members of the Smillie family including James Smillie, his sons James David and George Henry Smillie, and George's wife, Helen 'Nellie' Jacobs Smillie. The majority of the papers are those of James D. Smillie, comprised of correspondence, forty-five daily diaries, a scrapbook, printed materials, and one etching. The papers of James Smillie consist of biographical materials and writings. The George Smillie papers include biographical materials, scattered correspondence, a scrapbook, printed materials, and photographs. The Helen Jacobs Smillie papers include correspondence and photographs. Also found are scattered materials relating to other family members, mostly the children of Helen Jacobs and George Smillie.

James David Smillie's papers consist of correspondence, personal business records, forty-five diaries, a scrapbook, and printed material. Correspondence is mostly professional in nature and includes letters from Albert Bierstadt, Frederick Stuart Church, Samuel Colman, Charles Henry Hart, Eastman Johnson, James Smillie, and A. T. Tait. Forty-five volumes of detailed daily diaries dating from 1865 until 1909 include entries about his work, but are exceedingly rich in references to over 200 artists with which Smillie was associated. Additionally, there are numerous loose documents, notes, and some photographs that were found tucked within the diaries. This finding aid includes a list of named artists referenced in the diaries along with the exact date of the notation. James D. Smillie's papers also include an original etching entitled Up the Hill.

James Smillie papers are scattered and include manuscript and draft copies of his published autobiography, A Pilgrimage, and memorabilia from his 50th wedding anniversary to Catherine Van Valkenburg Smillie.

George Henry Smillie papers contain biographical materials, scattered correspondence, a scrapbook of clippings, printed materials, and photographs. There is a certificate from the National Academy of Design dating from 1883 and photographs of Smillie, Smillie in his studio, and his family.

Helen Jacobs Smillie papers consist of family correspondence from her husband and parents, and studio portrait photographs.

Scattered papers from other family members include correspondence, a list of works of art by the family, a photograph album from Sheldon Smillie, and a portrait of William Smillie.
Arrangement:
The collection is arranged as 5 series:

Missing Title

Series 1: James D. Smillie papers, 1853-1917 (4.5 linear feet; Boxes 1-7)

Series 2: James Smillie papers, 1882 (0.2 linear feet; Box 5)

Series 3: George Henry Smillie papers, 1867-1920 (0.6 linear feet; Boxes 5-6)

Series 4: Helen Jacobs Smillie papers, 1860-1910 (0.1 linear feet; Box 5)

Series 5: Other Smillie Family Members papers, circa 1880s-1957 (0.2 linear feet; Box 5)
Biographical Note:
James D. Smillie and the Smillie family members were active in New York City and the New England area as engravers and landscape painters during the nineteenth century. Members of the Smillie Family of artists include James Smillie (1807-1885), his sons James D. (1833-1909) and George Smillie (1854-1924), and George's wife Helen 'Nellie' Jacobs Smillie (1855-1926).

Born in Edinburgh, Scotland to David and Elizabeth Smillie, James Smillie immigrated to Quebec, Canada. James must have learned engraving from his father who worked with jewelry and silver. Upon his father's death in 1827, Smillie travelled to London and eventually to New York City, where he embarked on a career of creating engravings of paintings by other artists. By 1831, he had established his reputation primarily as an engraver of American landscape paintings. The portability of James Smillie's engravings helped to bring to the American public the grand landscapes by Albert Bierstadt, Thomas Cole, and Asher Durand. Smillie also worked for the American Banknote Company.

James Smillie married Catherine Van Valkenburg in 1832, and two of their sons, James David and George Henry also became artists. Elder son James D. assisted his father with engraving and later explored his own artistic talents in prints of the American landscape. Among his many subjects were the Sierra Nevada, Adirondack, Rocky, White, and Catskill Mountains. James D. Smillie was a founding member of the American Watercolor Society and served as its president from 1873 to 1879. Additionally, he was an early member of the New York Etching Club and the first meeting was held in his studio in 1877. James D. also wrote about art for various periodicals.

Like his older brother, George Henry Smillie learned engraving from his father, but turned to painting early in his career. By 1862, he had his own studio in New York City and exhibited with the National Academy of Design in 1864. George travelled throughout the United States sketching and painting landscapes inspired by Long Island, the Adirondack Mountains, the Rocky Mountains, and New England. Many of George's paintings of the American West were influenced by the Hudson River School. George married one of his brother's pupils, Helen Sheldon Jacobs.

Helen Jacobs Smillie, known as Nellie, was born in New York City to Samuel and Helen Jacobs. She received art instruction at Cooper Union and the National Academy of Design and was a pupil of James D. Smillie and J. O. Eaton. She married George Smillie in 1881, with whom she had three sons, Sheldon, Charles, and Gordon. Nellie was a member of the American Watercolor Society along with her husband and brother-in-law, and painted in the Hudson River School style.
Related Material:
Also found in the Archives of American Art is the Brucia Witthoft research material on James Smillie and the Smillie family, 1830- 1999. The National Gallery of Canada holds the James D. Smillie Papers.
Separated Materials:
The Archives of American Art also holds materials lent for microfilming (reels 3766 and 3829) including personal photographs, photos of Smille's house in Montrose, Pennsylvania, and a photocopy of a journal. Lent material was returned to the lenders and is not described in the collection container inventory.
Provenance:
James Smillie, David Smillie, and Barbara Smillie Curtis donated the Smillie Family papers to the Archives of American Art in several installments between 1978 and 1990. James Smille lent photographs for microfilming in 1986.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Artists' studios -- Photographs  Search this
Art, Modern -- 19th century -- New York (State) -- New York  Search this
Artists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Engraving -- 19th century -- United States  Search this
Engravers -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Etchings
Photographs
Scrapbooks
Citation:
James D. Smillie and Smillie family papers, 1853-1957. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.smilsmil
See more items in:
James D. Smillie and Smillie family papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9867d9b62-3dd7-4ab5-ba2b-5c1b329fabbf
EDAN-URL:
ead_collection:sova-aaa-smilsmil
Online Media:

Samuel Colman Papers

Collection Creator:
Colman, Samuel, 1832-1920  Search this
Extent:
34 Items (Folder 1)
Type:
Archival materials
Date:
1855-1901
Scope and Contents:
The Samuel Colman papers consist of 15 letters to his sister Mela, his brother-in-law Emerson Howard, and other family, dated 1855-1861; also one undated letter and one written in 1901 to Kate; and an undated letter of a descendant. In Colman's letters from France, he writes of life there, and expresses sentiments for the family. Colman also writes of painter George H. Boughton, with whom he shared a studio and rooms. In addition there are 16 drawings and sketches, probably the work of several persons, and "The Death Song of a Cherokee Indian," written by William Colman in 1809.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Samuel Colman papers, 1855-1901. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.colmsamu, Series 1
See more items in:
Samuel Colman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96e576169-92cb-47a6-a13e-4d41dec6b3bd
EDAN-URL:
ead_component:sova-aaa-colmsamu-ref4

Samuel Colman papers

Collection Creator:
Colman, Samuel, 1832-1920  Search this
Container:
Folder 1
Type:
Archival materials
Date:
1855-1901
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Samuel Colman papers, 1855-1901. Archives of American Art, Smithsonian Institution.
See more items in:
Samuel Colman papers
Samuel Colman papers / Series 1: Samuel Colman Papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9784683f1-5317-41ce-b324-0bbe42868e17
EDAN-URL:
ead_component:sova-aaa-colmsamu-ref5

Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection

Creator:
McGuigan, Mary K.  Search this
Names:
Pennsylvania Academy of the Fine Arts  Search this
Beard, W. H. (William Holbrook), 1824-1900  Search this
Bierstadt, Albert, 1830-1902  Search this
Boughton, George Henry, 1834-1905  Search this
Carey, Mathew, 1760-1839  Search this
Church, Frederic Edwin, 1826-1900  Search this
Colman, Samuel, 1832-1920  Search this
Copley, John Singleton, 1738-1815  Search this
Cropsey, Jasper Francis, 1823-1900  Search this
Darley, Felix Octavius Carr, 1822-1888  Search this
French, Daniel Chester, 1850-1931  Search this
Greenough, Horatio, 1805-1852  Search this
Harding, Chester, 1792-1866  Search this
Hassam, Childe, 1859-1935  Search this
Inman, Henry, 1801-1846  Search this
Inness, George, 1825-1894  Search this
McGuigan, John F., Jr. (John Fuller)  Search this
Morse, Samuel Finley Breese, 1791-1872  Search this
Neagle, John, 1796-1865  Search this
Palmer, Erastus Dow, 1817-1904  Search this
Peale, Rembrandt, 1778-1860  Search this
Peale, Rubens, 1784-1865  Search this
Tanner, Henry Ossawa, 1859-1937  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
White, Stanford, 1853-1906  Search this
Whittredge, Worthington, 1820-1910  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1794-1938
Summary:
The collection of artists' letters compiled by Mary and John McGuigan Jr. measure 0.6 linear feet and date from 1794-1938. The collection is comprised of a group of letters, writings, and signed documents to and from a variety of artists, art administrators, art critics, historians, and art-related organizations assembled from multiple sources. It also includes associated printed material with some documents and a few photographs, including carte de visites and cabinet cards.
Scope and Contents:
The collection of artists' letters compiled by Mary and John McGuigan Jr. measure 0.6 linear feet and date from 1794-1938. The collection is comprised of a group of letters, writings, and signed documents to and from a variety of artists, art administrators, art critics, historians, and art-related organizations assembled from multiple sources. It also includes associated printed material with some documents and a few photographs, including carte de visites and cabinet cards.

Item descriptions included in the container listing were provided by Mary and John McGuigan and illuminate the wide range of artists and types of material represented in the collection. While some of the letters document routine transactions such as responses to requests for information, and transmittals of autographs, others document specific artist commissions and projects, exhibition and financial arrangements, business relationships, family events, and travels. The collection includes documentation of portrait painters, including Chester Harding and Rembrandt Peale; nineteenth century landscape artists and artists of the Hudson River School including Albert Bierstadt, George Henry Boughton, Samuel Colman, Jasper Francis Cropsey, and George Inness; sculptors including Daniel Chester French whose letters include sixty-three letters to Charles Dupuy, the caretaker of French's summer home in Massachusetts; publishers such as Mathew Carey, in letters from John Neagle; and the activities of arts institutions such as the Pennsylvania Academy of Fine Arts.

In addition to those mentioned above, letters and signed documents are from Washington Allston, William Holbrook Beard, Eugene Benson, William Tilden Blodgett, Jr., James Renwick Brevoort, Frederic Edwin Church, James Claghorn, John Singleton Copley, Kenyon Cox, F.O.C. Darley, Joseph DeCamp, Frank Duveneck, John Mackie Falconer, Horatio Greenough, Childe Hassam, Ignaz Michael Marcel Gaugengigl, George Healy, George Hollingsworth, William Morris Hunt, Daniel Huntington, Anna Vaughn Hyatt Huntington, Henry Inman, Hugh Bolton Jones, Thomas Dow Jones, Louis Ashton Knight, Charles Robert Leslie, Will Low, Frederick William MacMonnies, Frank Blackwell Mayer, Samuel F. B. Morse, Erastus Dow Palmer, Rubens Peale, Elizabeth Robins Pennell, Tobias (Toby) Edward Rosenthal, John Singer Sargent, George Henry Smillie, Marie Spartali Stillman, William James Stillman, Henry Ossawa Tanner, Abbott Handerson Thayer, Charles Yardley Turner, Stephen Arnold Douglas Volk, William Walcutt, Henry Antonio Wenzler, Benjamin West, Stanford White, Worthington Whittredge, and others.

The collection also includes a friendship album belonging to William Tilden Blodgett, Jr., with poems, sketches, and botanical watercolors, eight photographs including carte de visites and cabinet cards with images of George Hollingsworth, Thomas Dow Jones, Louis Ashton Knight, Henry Antonio Wenzler, and William Walcutt, and two photographs of a model used by Francis Blackwell Mayer when painting The Burning of the Peggy Stewart.
Arrangement:
The collection is arranged as 1 series.
Biographical / Historical:
Mary K. McGuigan and John F. McGuigan Jr. are art historians and collectors in Milford, Pennsylvania.
Provenance:
John F. McGuigan Jr. and Mary K. McGuigan purchased these letters and generously donated them to the Archives of American Art between 2000 and 2019. The McGuigans have purchased and donated additional archival materials to the Archives, including a portion of the Douglas Volk and Leonard Wells Volk papers. In 2017 the McGuigans donated an addition to the Sylvester Rosa Koehler papers, including sixty-nine letters from A. Barry, Truman Howe Bartlett, William Merritt Chase, Timothy Cole, Edward Henry Clement, Cyrus Edwin Dallin, Robert Swain Gifford, George Inness, Anna Lea Merritt, Stephen Parrish, John Sartain, Francis Hopkinson Smith, and Frederic Porter Vinton.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Arts administrators  Search this
Art critics  Search this
Artists  Search this
Historians  Search this
Citation:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mcgumary
See more items in:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw912b5c5be-6a69-4cb5-b8c2-6456e7226128
EDAN-URL:
ead_collection:sova-aaa-mcgumary

Haying, (painting)

Painter:
Colman, Samuel 1832-1920  Search this
Medium:
Oil
Type:
Paintings
Owner/Location:
Barridoff Galleries 242 Middle Street Portland Maine 04101
Topic:
Occupation--Farm  Search this
Occupation--Labor  Search this
Control number:
IAP 80045634
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_178847

The Lawn of the Deering Estate, (painting)

Painter:
Colman, Samuel 1832-1920  Search this
Medium:
Oil
Type:
Paintings
Owner/Location:
Barridoff Galleries 242 Middle Street Portland Maine 04101
Topic:
Landscape--United States--New England States  Search this
Control number:
IAP 80045780
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_178993

Rock of Gibraltar, (painting)

Painter:
Colman, Samuel 1832-1920  Search this
Medium:
Oil
Type:
Paintings
Owner/Location:
Stolen
Topic:
Waterscape--Coast  Search this
Control number:
IAP 80045465
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_178683

Lawn of the Deering Estate, Location of the University of Southern Maine, in Portland, (painting)

Painter:
Colman, Samuel 1832-1920  Search this
Medium:
Oil
Type:
Paintings
Owner/Location:
Barridoff Galleries 242 Middle Street Portland Maine 04101
Topic:
Landscape--Maine--Portland  Search this
Control number:
IAP 80046538
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_179738

Mosque on River, (painting)

Painter:
Colman, Samuel 1832-1920  Search this
Medium:
Watercolor
Type:
Paintings
Owner/Location:
Stolen
Topic:
Landscape--River  Search this
Architecture--Religious--Mosque  Search this
Control number:
IAP 80045468
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_178686

Catalogue of the valuable art collection, recently contained in the Newport residence of Samuel Colman, N.A. consisting of rare old Chinese and Japanese pottery and porcelains, exceedingly scarce ukiyoye prints, fine old lacquers, bronzes and other rare objects

Title:
Collection of Samuel Colman, N.A
Author:
American Art Association  Search this
Subject:
Colman, Samuel 1832-1920 Art collections  Search this
Type:
Electronic resources
Catalogs
Auction catalogs
Date:
1902
Call number:
Auction 014
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_838645

Autumn Landscape, Irvington, New Jersey, (painting)

Painter:
Colman, Samuel 1832-1920  Search this
Medium:
Oil
Type:
Paintings
Date:
1876
Topic:
Landscape--New Jersey--Irvington  Search this
Control number:
IAP 80045230
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_178453

Catalogue of Mr. Samuel Colman's collection of brocade and silk hangings, swords, inros, carvings, metal work and porcelains

Title:
Mr. Samuel Colman's collection
Author:
Fifth Avenue Art Galleries  Search this
Former owner:
Freer, Charles Lang 1854-1919 DSI-F  Search this
Subject:
Colman, Samuel 1832-1920 Art collections  Search this
Type:
Electronic resources
Catalogs
Auction catalogs
Date:
1893
Call number:
Auction 134
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_838690

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