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Chicago, Naissance d’une métropole [Birth of a metropolis] 1872–1922

Designer:
Philippe Apeloig, French, b. 1962  Search this
Printer:
Jacques London/Bedos  Search this
Publisher:
Musée D'Orsay, Paris, France  Search this
Medium:
Screenprint on paper
Type:
figures
Poster
Object Name:
Poster
Designed in:
Paris, France
Date:
1987
Credit Line:
Museum purchase from General Acquisitions Endowment Fund
Accession Number:
2015-6-1
Restrictions & Rights:
© Philippe Apeloig
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_2015-6-1

Exhibition Poster: Réunion des Musées Nationaux, Printemps/été 1992

Designer:
Henri de Toulouse-Lautrec, French, 1864 - 1901  Search this
Medium:
Offset lithograph
Type:
graphic design
Poster
Object Name:
Poster
Date:
1992
Credit Line:
Gift of Unknown Donor
Accession Number:
1994-114-13
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1994-114-13

Exhibition: Réunion des Musées Nationaux, Printemps/été 1992

Designer:
Henri de Toulouse-Lautrec, French, 1864 - 1901  Search this
Medium:
Offset lithograph
Type:
graphic design
Poster
Object Name:
Poster
Date:
1992
Credit Line:
Gift of Unknown Donor
Accession Number:
1994-114-14
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1994-114-14

Exhibition: Réunion des Musées Nationaux, Printemps/été 1992

Designer:
Henri de Toulouse-Lautrec, French, 1864 - 1901  Search this
Medium:
Offset lithography
Type:
graphic design
Poster
Object Name:
Poster
Date:
1992
Credit Line:
Gift of Unknown Donor
Accession Number:
1994-114-15
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1994-114-15

Exhibition: Hector Guimard, Musée d'Orsay, Paris

Subject:
Hector Guimard, French, 1867–1942  Search this
Medium:
Offset lithography on paper
Type:
graphic design
Poster
Object Name:
Poster
Made in:
Paris, France
Date:
1992
Credit Line:
Gift of Unknown Donor
Accession Number:
1994-114-16
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1994-114-16

Exhibition Poster: Hector Guimard, Musée d'Orsay, Paris

Industrial Designer:
Hector Guimard, French, 1867–1942  Search this
Medium:
Offset lithography
Type:
graphic design
Poster
Object Name:
Poster
Date:
1992
Credit Line:
Gift of Unknown Donor
Accession Number:
1994-114-17
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1994-114-17

James McNeill Whistler collection

Creator:
James McNeill Whistler, 1834-1903  Search this
Names:
Company of the Butterfly  Search this
Royal Academy of Arts (Great Britain)  Search this
Salon (Exhibition : Paris, France)  Search this
Salon des refusés  Search this
World's Columbian Exposition, Chicago, 1893  Search this
Anderson, Christine  Search this
Beck, J. W.  Search this
Boehm, Joseph Edgar, Sir, 1834-1890  Search this
Bronson, Katharine de Kay, 1834-1901  Search this
Burnett, Frances Hodgson, 1849-1924  Search this
Burnett, Swan M. (Swan Moses), 1847-1906  Search this
Ford, Sheridan, d. 1922  Search this
Lee, George Washington Custis, 1832-1913  Search this
Lee, Robert E. (Robert Edward), 1807-1870  Search this
Leighton of Stretton, Frederic Leighton, Baron, 1830-1896  Search this
Lucas, George A., 1824-1909  Search this
Pollitt, Herbert Charles Jerome, 1871-1942  Search this
Wilde, Oscar, 1854-1900  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Postcards
Pamphlets
Date:
1863-1906, circa 1940
Summary:
The collection measures 0.2 linear feet and provides scattered documentation of the career of American-born British-based painter and etcher James McNeill Whistler (1834-1903) through 39 items from Whistler to various recipients, including 25 letters, 9 telegraphs, 3 invitations, one thank you card and a postcard. The collection also contains 4 letters from others, 7 catalogs of Whistler exhibitions, a note from the back of Whistler's painting The Beach at Selsey Bill, and a 1906 copy of Wilde v. Whistler: being an acromonious correspondence on art between Oscar Wilde and James A. McNeill Whistler, a pamphlet containing letters originally published in London newspapers between 1885 and 1890.
Scope and Content Note:
The collection measures 0.2 linear feet and provides scattered documentation of the career of American-born British-based painter and etcher James McNeill Whistler (1834-1903) through 39 items from Whistler to various recipients, including 25 letters, 9 telegraphs, 3 invitations, one thank you card and a postcard. The collection also contains 4 letters from others, 7 catalogs of Whistler exhibitions, a note from the back of Whistler's painting The Beach at Selsey Bill, and a 1906 copy of Wilde v. Whistler: being an acromonious correspondence on art between Oscar Wilde and James A. McNeill Whistler, a pamphlet containing letters originally published in London newspapers between 1885 and 1890.

The Whistler letters found here touch on some important events in Whistler's career. One letter to George Lucas, an American art dealer in Paris, discusses his plans to send Symphony in White, No. 1: The White Girl to the Paris Salon of 1863. Rejected by the Royal Academy of Arts in London in 1862, the painting was also refused by the Paris Salon but shown ultimately in the landmark exhibition at the Salon des Refusés.

Also found are a circa 1879 letter to the eldest son of Robert E. Lee, General George Washington Custis Lee, with whom Whistler had been a cadet at West Point, recommending sculptor Joseph Boehm for an equestrian statue for memorializing Lee and expressing Whistler's veneration for the Confederate general; a circa 1880 letter from Whistler, written during his 14 months in Venice, to Katharine de Kay Bronson, who presided over the expatriate community there; 2 circa 1892-1893 letters documenting Whistler's determination to pursue Sheridan Ford through the courts in response to Ford's publication of a contraband version of Whistler's book The Gentle Art of Making Enemies; and a circa 1897 letter to J. W. Beck, sent in response to Beck's request on behalf of the Royal Academy that he exhibit with the British contingent at the 1893 World's Columbian Exposition in Chicago. In the letter Whistler insults Sir Frederic Leighton, the Royal Academy's president, retaliating against previous slights including having his paintings hung well above eye-level, or "skied".

Although few, if any, records survive about the creation of The Company of the Butterfly, a syndicate established in 1897 for selling Whistler's work, the collection contains one letter from Christine Anderson, the secretary of the Company, to one of it's first clients, Herbert Charles Pollitt.

The collection also contains an 1883 invitation from Whistler to Dr. Swan Burnett and his wife, children's author Frances Hodgson Burnett, to view etchings and drypoints and a note written by Whistler and signed with the butterfly, taken from the back of the painting Beach at Selsey Bill (1865).

Seven catalogs dating from 1892-1910 and circa 1940 document Whistler exhibitions in London and the United States.

Seven of the Whistler items are signed with his butterfly signature and all letters sent after his wife's death in May 1896 are on mourning stationary.
Arrangement:
The collection is arranged as 1 series:

Series 1: James McNeill Whistler Collection, 1863-1906, circa 1940 (Box 1; 0.2 linear ft.)
Biographical Note:
London-based painter and etcher, James McNeill Whistler (1834-1903) was born in Lowell, Massachusetts and lived in St. Petersburg and London as a child before returning to the United States on the death of his father in 1849. After a failed attempt at a military career at West Point from 1851-1853, he worked as a draftsman for the Coast Survey from 1854-1855 where he received technical instruction in etching. Whistler then left for Paris and remained an expatriot for the rest of his life, living alternately in Paris and London. He studied briefly in Paris at the Ecole Impériale, but was influenced more heavily by his own studies of the great masters and his contemporaries, including Henri Fantin-Latour, Charles Baudelaire, Gustave Courbet, and Edouard Manet.

Whistler's reputation as an etcher was firmly established with the 1858 publication of his group of "French Set" etchings. Shortly thereafter he settled in London and began work on his first major painting At the Piano (1859). His paintings, such as Symphony in White No. 1 The White Girl, (1862; National Gallery of Art, Washington, D.C.) and later portraits such as Arrangement in Black and Grey No. 1: The Artist's Mother (1871; Musée d'Orsay, Paris), won him international acclaim. His style was not easily defined although he was influenced by Realism and Impressionism and by Japanese art styles, which can be seen in his "Nocturne" landscapes, exhibited in 1877 at the Grovesnor Gallery in London, and influenced the development of his "butterfly signature" in the 1860s.

When art critic John Ruskin wrote a scathing review of the "Nocturnes" exhibition, Whistler sued for libel and won, although the resulting legal fees drove him into bankruptcy. He spent 14 months in Venice on a commission for the Fine Art Society and produced a succession of etchings and pastels that were subsequently exhibited in 1883 and helped to stabilize his financial situation.

In 1885 Whistler, famous for his witty and flamboyant personality, published his Ten O'Clock Lecture which espoused his belief in "art for arts sake," and asserted his refusal to ascribe narratives or morality to his art. Whistler's "Ten O'Clock" drew a response from Oscar Wilde and a public discourse between the two men followed in the London newspapers. It was later published in the pamphlet Wilde v. Whistler: being an acrimonious correspondence on art between Oscar Wilde and James A. McNeill Whistler.

In 1890 Whistler published The Gentle Art of Making Enemies, a collection of his best letters and witticisms. The book had originally been the idea of American journalist Sheridan Ford, to whom Whistler had advanced money which he then withdrew with the intent of completing the project alone. When Ford retaliated with a contraband edition of the book, Whistler pursued him through the courts and Ford was tried in Belgium in 1891.

Toward the end of his life Whistler focused increasingly on etching, drypoint and lithography, in addition to interior decoration such as the Peacock Room for Frederick Leyland's London residence begun in 1876. A happy marriage to Beatrix Godwin in 1888 ended in her death in May 1896. By the time of his death in London in 1903, Whistler was regarded as major artist of international renown.
Related Material:
The Archives holds several collections relating to James McNeill Whistler including the Katherine Prince collection relating to James McNeill Whistler, 1835- 1892; Edward Guthrie Kennedy papers concerning James McNeill Whistler in the New York Public Library, 1850-1902 and Selected papers concerning James McNeill Whistler in the New York Public Library, 1830-1950 (available on microfilm only, reel N25; originals reside at the New York Public Library); and James McNeill Whistler collection in the University of Glasgow, Special Collections, circa 1830-1963 (available on microfilm only, reels 4600-4611 and 4683-4699; originals reside in the Glasgow University Library, Dept. of Special Collections).
Provenance:
The collection was compiled from a series of accessions donated between 1959 and 2003. Most of the items in the collection were given to the Archives of American Art by Charles Feinberg in 1959. The pamphlet Wilde v. Whistler was donated by Mrs. Lois Field in 1964 and an invitation to Dr. and Mrs. Burnett was donated by Martha Fleischman in 2003.
Restrictions:
Use of original papers requires an appointment.
Rights:
The James McNeill Whistler collection is owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painting, American  Search this
Art dealers -- France -- Paris  Search this
Painters  Search this
Etchers  Search this
Genre/Form:
Postcards
Pamphlets
Citation:
James McNeill Whistler collection, 1863-1906, circa 1940. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whisjame2
See more items in:
James McNeill Whistler collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-whisjame2
Additional Online Media:

Playbill for It Ain't Nothin' But the Blues

Published by:
Playbill, American, founded 1884  Search this
Subject of:
"Mississippi" Charles Bevel, American  Search this
Gretha Boston, American, born 1959  Search this
Carter Calvert, American  Search this
Eloise Laws, American, born 1943  Search this
Gregory Porter, American  Search this
Ron Taylor, American, 1952 - 2002  Search this
Dan Wheetman  Search this
Medium:
ink on paper
Dimensions:
H x W: 8 1/2 x 5 3/8 in. (21.6 x 13.7 cm)
Type:
theater programs
Place used:
New York City, New York, United States, North and Central America
Date:
1999
Topic:
African American  Search this
Actors  Search this
Blues (Music)  Search this
Broadway Theatre  Search this
Musical Theatre  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Kayla Deigh Owens
Object number:
2011.45.47
Restrictions & Rights:
Playbill used by permission. All rights reserved, Playbill Inc.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2011.45.47
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Playbill for It Ain't Nothin' But the Blues digital asset number 1
Additional Online Media:

Robert Rosenblum papers, circa 1927-2009, bulk 1950-2006

Creator:
Rosenblum, Robert, 1927-2006  Search this
Subject:
Rosenquist, James  Search this
Rockwell, Norman  Search this
Ingres, Jean-Auguste-Dominique  Search this
Becraft, Melvin E.  Search this
Kramer, Hilton  Search this
Los Angeles County Museum of Art  Search this
New York University  Search this
National Museum of American Art (U.S.)  Search this
Columbia University  Search this
Princeton University  Search this
Solomon R. Guggenheim Museum  Search this
University of Michigan  Search this
Yale University  Search this
Harry N. Abrams, Inc  Search this
Musée d'Orsay  Search this
Type:
Photographs
Interviews
Sketches
Video recordings
Sound recordings
Transcripts
Collages
Topic:
Art historians  Search this
Dogs in art  Search this
Portraits  Search this
Art  Search this
Painting, Modern  Search this
Art museum curators  Search this
Painting, French  Search this
Educators  Search this
Record number:
(DSI-AAA_CollID)8191
(DSI-AAA_SIRISBib)210362
AAA_collcode_roserobe
Theme:
Art Theory and Historiography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210362
Additional Online Media:

Muse d'Orsay

Collection Creator:
Perls Galleries  Search this
Container:
Box 27, Folder 65
Type:
Archival materials
Date:
1955
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Perls Galleries records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Perls Galleries records, 1937-1997. Archives of American Art, Smithsonian Institution.
See more items in:
Perls Galleries records
Perls Galleries records / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-perlgall-ref1408

Robert Rosenblum Papers

Creator:
Rosenblum, Robert  Search this
Names:
Columbia University -- Faculty  Search this
Harry N. Abrams, Inc.  Search this
Los Angeles County Museum of Art  Search this
Musée d'Orsay  Search this
National Museum of American Art (U.S.)  Search this
New York University -- Faculty  Search this
Princeton University -- Faculty  Search this
Solomon R. Guggenheim Museum  Search this
University of Michigan -- Faculty  Search this
Yale University -- Faculty  Search this
Becraft, Melvin E.  Search this
Ingres, Jean-Auguste-Dominique, 1780-1867  Search this
Kramer, Hilton  Search this
Rockwell, Norman, 1894-1978  Search this
Rosenquist, James, 1933-  Search this
Extent:
38.3 Linear feet
1.17 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Collages
Sound recordings
Sketches
Interviews
Transcripts
Date:
circa 1927-2009
bulk 1950-2006
Summary:
The papers of art historian, curator, and professor Robert Rosenblum measure 38.3 linear feet and 1.17 GB and date from circa 1927 to 2009, with the bulk dating from 1950 to 2006. They include biographical material, extensive personal and professional correspondence; lectures, writings, and writing project files by Rosenblum and others; exhibition files; research reference files; teaching files; personal business records; printed and digital material; photographs; and artwork.
Scope and Contents:
The papers of art historian, curator, and professor Robert Rosenblum measure 38.3 linear feet and 1.17 GB and date from circa 1927 to 2009, with the bulk dating from 1950 to 2006. They include biographical material, extensive personal and professional correspondence; lectures, writings, and writing project files by Rosenblum and others; exhibition files; research reference files; teaching files; personal business records; printed and digital material; photographs; and artwork.

Biographical materials include Rosenblum's bibliography and resume materials, various school related ephemera and diplomas, a transcript of an interview with Amy Newman for Artforum, and a digital video recording of a Josef Levi interview. Extensive personal and professional correspondence is with friends, family, colleagues, publishers, museums, and others. Some of the correspondents include Melvin Becraft, the Guggenheim, Harry Abrams, Inc., Hilton Kramer, the Los Angeles County Museum of Art, and the National Museum of American Art. Also found are numerous postcards.

Lectures, writings, and writing project files document Rosenblum's prolific writing and speaking career, and include notes, copies, and manuscript drafts of lectures, articles, catalog essays, and books, as well as additional materials related to the writings and the publication of books, such as as correspondence, editing feedback, photographs, and lists of photographs. There are manuscript, notes, and other materials related to many of Rosenblum's notable books, including Transformations in Late Eighteenth-Century Art, Paintings in the Musee D'Orsay, 19th-Century Art, The Dog in Art, Ingres, Modern Painting and the Northern Tradition, and others. Also found are Rosenblum's dissertation and other student writings. There is also a series containing writings by or about others, such as students and colleagues.

Rosenblum planned and facilitated numerous exhibitions that are well-documented within the exhibition files, including French Painting, 1774-1830: The Age of Revolution (1974), 1900: Art at the Crossroads (2000), Norman Rockwell: Pictures for the American People (2001), Best in Show: Dogs in Art from the Renaissance to the Present (2006), and Citizens and Kings: Portraits in the Age of Revolution, 1760-1830 (2007), among many others. Contents of each exhibition file vary considerably but often include correspondence, lists of artwork, proposals, notes, catalog drafts and outlines (see also series 3), and printed materials. There are a few sound cassettes, including a recorded interview with James Rosenquist with transcripts. Also included are digital photographs of Norman and Irma Braman Collection exhibition.

Research reference files cover a wide variety of art related topics, but are arranged within a separate series because they are not related to specific named projects as are the files in Series 3. These files contain research notes, bibliographies, and syllabi kept by Rosenblum presumably for a variety of publications, research interests, and teaching references.

Teaching files and class notes document Rosenblum's professorial career at Columbia University, New York University, Princeton University, University of Michigan, Yale College, and Yale University, and include a variety of course materials.

Personal business records consist of various financial and legal documents, expense and income records, publishing and speaking contracts, and royalties received.

The papers also include a variety of printed materials, photographs, student sketches by Rosenblum, and an unidentified collage.
Arrangement:
The collection is arranged as 11 series.

Series 1: Biographical Material, 1927-2006 (0.5 linear feet; Box 1, 1.00 GB; ER02)

Series 2: Correspondence, circa 1927-2006 (4.5 linear feet; Boxes 1-5)

Series 3: Lectures, Writings, and Writing Project Files, 1940-2006 (13.5 linear feet; Boxes 5-16, OV 39-41, 0.063 GB; ER01)

Series 4: Writings by Others, circa 1954-2006 (2.9 linear feet; Boxes 16-19)

Series 5: Exhibition Files, circa 1965-circa 2006 (5.2 linear feet; Boxes 19-24, 0.109 GB; ER03)

Series 6: Research Files, circa 1927-2006 (2.9 linear feet; Boxes 24-27)

Series 7: Teaching Files and Class Notes, 1955-2006 (4.3 linear feet; Boxes 27-31)

Series 8: Personal Business Records, 1951-2009 (4.4 linear feet; Boxes 31-36)

Series 9: Printed Material, 1927-2009 (2.4 linear feet; Boxes 36-38)

Series 10: Photographs, circa 1950s-circa 2000 (0.3 linear feet; Box 38, OV 41)

Series 11: Artwork, circa 1940s-circa 1980s (0.1 linear feet; Box 38)
Biographical / Historical:
Robert Rosenblum (1927-2006) was an art historian, curator, and professor who worked primarily in New York City.

Rosenblum received his B.A. from Queens College, his M.A. from Yale, and his Ph.D. from the Institute of Fine Art at New York University in 1956. He spent a year teaching art at the University of Michigan before becoming an associate professor at Princeton, ultimately accepting a Professor of Fine Arts position at NYU in 1966, where he spent the rest of his professorial career interspersed with visiting professorships at Oxford University and Yale University. Rosenblum was named Henry Ittleson, Jr. Professor of Modern European Art at NYU in 1976, and received the Frank Jewett Mather Award for Distinction in Art Criticism in 1981. After being appointed Stephen and Nan Swid Curator of 20th-Century Art at the Solomon R. Guggenheim Museum in 1996, Rosenblum went on to curate such exhibitions as 1900: Art at the Crossroads (2000) and Norman Rockwell: Pictures for the American People (2001). Prior to this appointment, he was one of the organizers of the Metropolitan Museum of Art's French Painting, 1774-1830: The Age of Revolution (1974). He received a Distinguished Teaching Award from NYU in 2005, and continued to curate, lecture, teach, and write.

Rosenblum was a prolific author, and his seminal works include: Cubism and Twentieth-Century Art (1959), Transformations in Late Eighteenth-Century Art (1967), Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko (1975), and 19th-Century Art (co-authored with H.W. Janson, 1984).

Rosenblum married Jane Kaplowitz in 1978. He died in New York City in 2006.
Provenance:
The papers were donated in multiple accessions by Robert Rosenblum between 1986 and 2003, and by his widow, Jane Kaplowitz between 2010 and 2013.
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. Use of archival audiovisual recordings and electronic media with no duplicate access copy requires advance notice.
Rights:
The Robert Rosenblum papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Art museum curators  Search this
Topic:
Art historians -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Art -- 19th century  Search this
Art -- 18th century  Search this
Painting, Modern  Search this
Portraits  Search this
Dogs in art  Search this
Painting, French  Search this
Photographs  Search this
Educators -- New York (State) -- New York  Search this
Genre/Form:
Video recordings
Collages
Sound recordings
Sketches
Interviews
Transcripts
Citation:
Robert Rosenblum Papers, circa 1927-2009, bulk 1950-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.roserobe
See more items in:
Robert Rosenblum Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-roserobe
Additional Online Media:

Sarah Bernhardt

Artist:
Jean-Léon Gérôme, 11 May 1824 - 10 Jan 1904  Search this
Sitter:
Sarah Bernhardt, 1844 - 1923  Search this
Medium:
Tinted marble
Dimensions:
69 × 29 cm (27 3/16 × 11 7/16")
Type:
Sculpture
Date:
c. 1895
Topic:
Sarah Bernhardt: Visual Arts\Artist  Search this
Sarah Bernhardt: Female  Search this
Sarah Bernhardt: Literature\Writer  Search this
Sarah Bernhardt: Performing Arts\Performer\Actor\Theater  Search this
Sarah Bernhardt: Legion of Honor  Search this
Portrait  Search this
Credit Line:
Owner: Musée d'Orsay
Object number:
RF 1393
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
EDAN-URL:
edanmdm:npg_RF_1393

Sarah Bernhardt

Artist:
Louise Abbema, 1858 - 1927  Search this
Sitter:
Sarah Bernhardt, 1844 - 1923  Search this
Medium:
Bronze bas-relief medallion, cast
Dimensions:
8.9cm (3 1/2")
Type:
Sculpture
Date:
1875
Topic:
Sarah Bernhardt: Visual Arts\Artist  Search this
Sarah Bernhardt: Female  Search this
Sarah Bernhardt: Literature\Writer  Search this
Sarah Bernhardt: Performing Arts\Performer\Actor\Theater  Search this
Sarah Bernhardt: Legion of Honor  Search this
Portrait  Search this
Credit Line:
Owner: Musée d'Orsay
Object number:
RF 3032
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
EDAN-URL:
edanmdm:npg_RF_3032

Sarah Bernhardt

Artist:
Louise Abbema, 1858 - 1927  Search this
Sitter:
Sarah Bernhardt, 1844 - 1923  Search this
Medium:
Marble, stone
Dimensions:
42 × 22 cm (16 9/16 × 8 11/16")
Type:
Sculpture
Date:
1878
Topic:
Nature & Environment\Plant\Flower\Flowers  Search this
Costume\Dress Accessory\Scarf  Search this
Sarah Bernhardt: Visual Arts\Artist  Search this
Sarah Bernhardt: Female  Search this
Sarah Bernhardt: Literature\Writer  Search this
Sarah Bernhardt: Performing Arts\Performer\Actor\Theater  Search this
Sarah Bernhardt: Legion of Honor  Search this
Portrait  Search this
Credit Line:
Owner: Musée d'Orsay
Object number:
RF 3756
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
EDAN-URL:
edanmdm:npg_RF_3756

La Vicomtesse de Saint-Perier

Artist:
John Singer Sargent, 12 Jan 1856 - 15 Apr 1925  Search this
Sitter:
Jeanne Kergorlay, 1850 - 1897  Search this
Medium:
Oil on canvas
Dimensions:
130.8 × 94cm (51 1/2 × 37")
Type:
Painting
Date:
1883
Topic:
Costume\Dress Accessory\Flower  Search this
Nature & Environment\Plant\Flower  Search this
Jeanne Kergorlay: Female  Search this
Portrait  Search this
Credit Line:
Owner: Musée d'Orsay
Object number:
FR070142
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
EDAN-URL:
edanmdm:npg_FR070142

Louis de Fourcaud

Artist:
John Singer Sargent, 12 Jan 1856 - 15 Apr 1925  Search this
Sitter:
Louis de Bousses de Fourcaud, 1851 - 1914  Search this
Medium:
Oil on canvas
Dimensions:
59.1 × 48.9cm (23 1/4 × 19 1/4")
Type:
Painting
Date:
1884
Topic:
Personal Attribute\Facial Hair\Beard  Search this
Louis de Bousses de Fourcaud: Male  Search this
Portrait  Search this
Credit Line:
Owner: Musée d'Orsay
Object number:
FR070144
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
EDAN-URL:
edanmdm:npg_FR070144

Le Vicomte de Saint-Perier

Title:
Jean-Guy de Poilloüe
Artist:
John Singer Sargent, 12 Jan 1856 - 15 Apr 1925  Search this
Sitter:
Jean-Guy de Poilloue, 1843 - 1885  Search this
Medium:
Oil on canvas
Dimensions:
61 × 50.5cm (24 × 19 7/8")
Type:
Painting
Date:
1879
Topic:
Costume\Jewelry\Ring  Search this
Costume\Dress Accessory\Eyeglasses  Search this
Personal Attribute\Facial Hair\Beard  Search this
Jean-Guy de Poilloue: Male  Search this
Jean-Guy de Poilloue: Military\Army\Officer  Search this
Portrait  Search this
Credit Line:
Owner: Musée d'Orsay
Object number:
RF 1978 51
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
EDAN-URL:
edanmdm:npg_RF_1978_51

La Carmencita

Artist:
John Singer Sargent, 12 Jan 1856 - 15 Apr 1925  Search this
Sitter:
Carmencita, 1868 - c. 1905  Search this
Medium:
Oil on canvas
Dimensions:
H. 2.29 ; L. 1.4 [meters]
Type:
Painting
Date:
about 1890
Topic:
Costume\Footwear\Shoes  Search this
Costume\Hair Accessory  Search this
Carmencita: Female  Search this
Carmencita: Performing Arts\Performer\Dancer  Search this
Portrait  Search this
Credit Line:
Owner: Musée d'Orsay
Object number:
RF 746
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
EDAN-URL:
edanmdm:npg_RF_746

Lafayette on Horsback

Title:
Statue equestre de La Fayette
Artist:
Paul Wayland Bartlett, 24 Jan 1865 - 20 Sep 1925  Search this
Sitter:
Marquis de Lafayette, 6 Sep 1757 - 20 May 1834  Search this
Medium:
Bronze statuette with black patina
Dimensions:
With Base: 146.1 × 60 × 105cm (57 1/2 × 23 5/8 × 41 5/16")
Type:
Sculpture
Date:
c. 1908
Topic:
Weapon\Sword  Search this
Nature & Environment\Animal\Horse  Search this
Marquis de Lafayette: Male  Search this
Marquis de Lafayette: Military\Army\Officer  Search this
Marquis de Lafayette: Military\Army\Officer\Revolution  Search this
Portrait  Search this
Credit Line:
Owner: Musée d'Orsay
Object number:
RF 3152 MO
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
EDAN-URL:
edanmdm:npg_RF_3152_MO

Edouard Pailleron

Artist:
John Singer Sargent, 12 Jan 1856 - 15 Apr 1925  Search this
Sitter:
Edouard Pailleron, 1834 - 1899  Search this
Medium:
Oil on canvas
Dimensions:
128 x 96cm (50 3/8 x 37 13/16")
Type:
Painting
Date:
1879
Topic:
Interior  Search this
Printed Material\Papers  Search this
Personal Attribute\Facial Hair\Beard  Search this
Edouard Pailleron: Male  Search this
Edouard Pailleron: Literature\Writer\Poet  Search this
Edouard Pailleron: Communications\Journalist  Search this
Edouard Pailleron: Literature\Writer\Playwright  Search this
Portrait  Search this
Credit Line:
Owner: Musée d'Orsay
Object number:
DO1986-17 MO
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
EDAN-URL:
edanmdm:npg_DO1986-17_MO

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