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.
10.7 Cubic feet (consisting of 18 boxes and 9 oversized flat file folders.)
Type:
Collection descriptions
Archival materials
Maps
Photographs
Notes
Place:
Detroit (Mich.)
Turkey
Istanbul (Turkey)
Berlin (Germany)
Michigan
Date:
1877-1947
bulk circa 1945
Summary:
The Mehmet Aga-Oglu Papers include writings and notes, photographs, and maps related to Dr. Aga-Oglu's work Corpus of Islamic Metalwork, which was never published due to Dr. Aga-Oglu's death in 1949.
Scope and Contents:
The papers of Mehmet Aga-Oglu largely relate to Aga-Oglu's research and writings for his unpublished work Corpus of Islamic Metalwork. The papers include manuscript drafts, research files, printed material, maps, and photographs.
The manuscript drafts include handwritten drafts, citations attached or written onto drafts, and revision notes for his unpublished manuscript. Content includes material related to metalliferous mines, precious and base metals, and traffic of metals in Islamic and non-Islamic countries, as well as unlabeled writings related to astrolabes and synthetic protective coatings for metals.
Research material represents a majority of the records, and consists of accumulated research notes, citation lists, and object sketches. Subjects of the research material are related to metallurgy, iconography, metals commonly used in metalwork, geology and mining, and histories of metalwork in ranging locations or eras.
Printed material contains published articles from periodicals, a bulletin from the Detroit Institute of Arts, catalogues of scholarly publications available for purchase, and reviews of Aga-Oglu's published works.
Graphic materials present in the collection include maps depicting areas such as the Middle East, the northern Arabian Peninsula, and Northern India during different eras, and hand traced maps with marked metalliferous mine locations; and a substantial number of photographs of objects and artworks.
Arrangement:
The Mehmet Aga-Oglu papers are arranged in five series.
Series 1: Manuscript Drafts
Series 2: Research Files
Series 3: Printed Material
Series 4: Maps
Series 5: Photographs
Biographical Note:
Dr. Mehmet Aga-Oglu was an Islamic art historian and professor born on August 4, 1896 at Erivan in Russia Caucasia.
In 1916, Aga-Oglu was awarded a Doctor of Letters in the history, philosophy, and languages of Islamic countries from the University of Moscow. Following his graduation, Aga-Oglu traveled through Turkistan, Iran, Iraq, Syria, and Asia Minor studying Islamic art. Aga-Oglu returned to academia in 1921 at the University of Istanbul where he studied the history of Islam and the Ottoman Empire.
During his time as a student at the University of Istanbul, he traveled extensively to European universities as a part of his program of study. This included studying Near Eastern art and architecture under Dr. Ernst Herzfeld in Berlin; classical and early Christian archaeology and Western art at the University of Jena; and completing his art history studies in Vienna. Aga-Oglu was awarded a Ph.D in philosophy in 1926.
Aga-Oglu was appointed curator by the Department of the National Museum in Istanbul in 1927. In 1929, the city of Detroit recruited Aga-Oglu to build the Department of Near Eastern Art at the Detroit Institute of Arts. In 1933, he was appointed as Chair of the History of Islamic Art at the University of Michigan. He joined the university first as a Freer Fellow and Lecturer and then later became a professor.
Aga-Oglu's accomplishments during his tenure included representing the University of Michigan and the Detroit Institute of Arts at the Millennium Celebration of Firdausi and the Congress of Orientalists in Tehran in 1934; organizing an exhibition of Islamic art at the M.H. de Young Memorial Museum in San Francisco in 1937; founding and serving as editor of the periodical Ars Islamica; and serving as a Visiting Professor at the Summer Seminar of Arabic and Islamic Studies at Princeton University in 1935 and 1938.
Following his departure from the University of Michigan in 1938, Aga-Oglu primarily focused on research and writing. His publications include Persian Bookbindings of the Fifteenth Century, History of Islamic Art, and Safawid Rugs and Textiles. From 1948 to 1949, Aga-Oglu consulted for the Textile Museum in Washington D.C.
Beginning in 1940, Aga-Oglu planned, researched, and wrote drafts of his unpublished work Corpus of Islamic Metalwork. His project was intended to be a multi-volume work, but was not completed. Aga-Oglu died on July 4, 1949.
Related Materials:
Aga-Oglu, Mehmet. Mehmet Aga-Oglu collection. The Arthur D. Jenkins Library at The George Washington University Museum and The Textile Museum, Washington, DC.
Provenance:
Donated by Dr. Kamer Aga-Oglu in 1959.
Restrictions:
Collection is open for research.
Rights:
Permission to reproduce and publish an item from the Archives is coordinated through the National Museum of Asian Art's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
Mehmet Aga-Oglu Papers. FSA.A.10. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Dr. Kamer Aga-Oglu, 1959.
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Woman's Building (Los Angeles, Calif.) Search this
Container:
Box 10, Folder 11
Type:
Archival materials
Date:
1975
Collection Citation:
Woman's Building records, 1970-1992. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation. Funding for the digitization of this collection was provided by The Walton Family Foundation and Joyce F. Menschel, Vital Projects Fund, Inc.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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 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.
Collection Citation:
Marion Sanford and Cornelia Chapin papers, 1929-1988. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Funding for the preservation of the Cornelia Chapin Home Movies was provided by the National Film Preservation Foundation.
Sarre, Friedrich Paul Theodor, 1865-1945 Search this
Extent:
150 Linear feet (circa 30,000 items)
Type:
Collection descriptions
Archival materials
Blueprints
Journals (accounts)
Photographs
Clippings
Notebooks
Drawings
Sketchbooks
Articles
Paper squeezes
Correspondence
Diaries
Sketches
Rubbings
Place:
Turkey
Mesopotamia
Bakun, Tall-e (Iran)
Iran
Iraq
Lebanon
Persepolis (Iran)
Pasargadae (Extinct city)
Taq-e Bostan Site (Iran)
Sāmarrāʼ (Iraq)
Syria
Date:
1903-1947
Summary:
An outstanding scholar in the field of Iranian studies, Ernst Herzfeld (1879--1948) explored all phases of Near Eastern culture from the prehistoric period to Islamic times. This collection documents Herzfeld's excavations at Samarra, Persepolis, Pasargadae, and Aleppo and includes correspondence; field notebooks; drawings; sketchbooks; inventories of objects; "squeeze" copies of architectural details; and photographs.
Scope and Contents:
Papers (1899--1962) of German born archaeologist Ernst Emil Herzfeld (1879--1948), a preeminent scholar of Near Eastern and Iranian studies. The collection measures 150 linear feet (circa 30,000 items) and documents Herzfeld's work as a pioneer in the field and sheds light on his excavations at Samarra, Persepolis, Pasargadae, and Aleppo. Formats include correspondence; field notebooks; drawings; sketchbooks; inventories of objects; "squeeze" copies of architectural details; and photographs.
Arrangement:
This collection is organized into seven series.
Series 1: Travel journals
Series 2: Sketchbooks
Series 3: Notebooks
Series 4: Photographic files 1-42
Series 5: Drawings and maps
Series 6: Squeezes
Series 7: Samarra Expedition
Biographical / Historical:
The Ernst Herzfeld Papers document the career of Ernst Herzfeld (1879--1948), a German architect, archaeologist, and historian of Islamic and Pre-Islamic studies. After training as an architect he studied archaeology under Delitzch from 1903 to 1906 at the excavations at Assur in Mesopotamia. A student of Latin, Greek, Arabic, Persian, Turkish, and Hebrew, Herzfeld received a doctorate in Humanistic Studies at universities in Munich and Berlin in 1907. His work with Friedrich Sarre to survey the monuments of the Tigris-Euphrates valleys resulted in landmark studies in architectural history, published in 1911 and 1920.
In 1920 Herzfeld was appointed to the chair of Historical Geography in Berlin and began his excavation at Samarra. Herzfeld's work there led to a six-volume publication. He published widely throughout his life on the sources of Islamic architecture and ornament, including the Royal Palace at Persepolis.
From 1934 until the end of his life Herzfeld spent his time producing many books and articles, lecturing, and working at the Institute for Advanced Study at Princeton (1936--1945.) Many of his works continue to be published post-humously.
1879 July 23 -- Born in Celle, Germany.
1897 -- Received diploma from Joachimsthaler Gymnasium, Berlin.
1897-circa 1898 -- Fulfilled military service.
circa 1899 -- Studied architecture at the Technical University and Assyriology, art history, and philosophy at the Friedrich-Wilhems Universität in Berlin.
1903 -- Passed exam in structural engineering.
1903-1905 -- Assistant to Walter Andrae (1875-1956) in Assur.
1905-1906 -- Traveled throughout Iran and Iraq.
1907 -- Excavation in Cilicia. Passed oral exam in February. Awarded doctorate in Humanistic Studies by Friedrich-Wilhems Universtät zu Berlin. After receiving Ph.D. traveled extensively in Syria and Iraq with Friedrich Sarre, director of the Islamic Museum in Berlin.
1911-1913 -- Field Director under direction of Sarre during expedition to Samarra.
circa 1914 -- Drafted into service in France and Poland during World War I. Sent to Iraq where he functioned as a surveyor.
1916 -- Father died.
1917 -- Appointed associate professor for Historical Geography and Art History of the Ancient Orient at Berlin. Along with Friedrich Sarre and others, founded the German-Persian Society to increase cultural and economic exchange between Germany and Persia.
1920 -- Appointed world's first full professor of Near Eastern Archeology. Begins excavation at Samarra.
1922 -- Mother died.
1923-1934 -- In Persia, where he completed many excavations and studies.
1928 -- Excavation at Pasargadae.
1931-1934 -- Appointed director of the Oriental Institute of the University of Chicago and moved to Persepolis.
1934 -- As grandson of Jews, Nazi legislation expelling state employees of Jewish descent forced Herzfeld to retire as a professor employed by the state. Moved to London.
1936 -- Delivered Lowell Lectures. Moved to Boston. Lectured on Iranian history and appointed a member of the Princeton Institute for Advanced Study.
1944 -- Retired from Princeton University.
1948 January 20 -- Died.
Provenance:
Ernst Herzfeld donated his papers to the Freer Gallery of Art in 1946.
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The collection contains materials related to Louise Cort's book "Shigaraki, Potters' Valley" (1979, 2000), concerning ceramics manufactured in the Shigaraki area of Japan. Primarily research-related, the collection includes her dissertation, research notes, index card files, originals and copies of source materials, drawings/sketches, and photographic materials (primarily black and white, some color; formats include prints, contact sheets, and negatives). Also included are post-publication materials, including royalty statements and related correspondence, clippings of reviews, correspondence, and other materials related to Cort's ongoing interest in Shigaraki.
Biographical / Historical:
Louise Allison Cort was born in 1944 in Philidelphia to parents John Shaw Cort Jr. and Mary Yunck Cort. Her interest in Asian ceramics began after traveling to Japan in 1961 as part of the American Field Service's high school exchange student program. She was particularly interested in the everyday wares used by her host mother. While in college, she took an intensive Japanese language course, and she traveled to Tokyo for further language study in graduate school. She received her Bachelor of Arts in English from Simmons College, with a minor in art history. Cort then received her graduate degree from Oxford University, studying Japanese art history. In March 1968, she traveled to Shigaraki for the first time, inspired by the Shigaraki ceramics she had seen in her visits to Japanese museums. She returned multiple times to research Shigaraki's history, ceramics, and modern life. For over three years (1976-1979), Cort lived in Kyoto while doing research for her book, Shigaraki, Potters' Valley. Later, she traveled to India for a year and a half (1979-1981) to research earthenware, resulting in the book Temple Potters of Puri (2012), coauthored with Purna Chandra Mishra. Those materials are held by the South Asian Institute archives of Heidelberg University, Germany, and film footage is in the Human Studies Film Archive, Smithsonian Institution. The archives of her research on present-day ceramics in mainland Southeast Asia between 1986 and 2018 in collaboration with Leedom Lefferts is held by the Yale University archive.
From 1969 to 1976, she served as Assistant Curator of Oriental Art at the Fogg Art Museum at Harvard University. In 1981, she began her work at the Freer Gallery of Art as a Museum Specialist, serving in that role until 1989. From 1989 to 1994, she was Assistant Curator, and then moved to Associate Curator from 1994 to 1995. Cort then held the position of Curator of Ceramics from 1995 until her retirement in 2018. She remains curator emerita. As a scholar, her interests focused on historic and contemporary Asian ceramics, as well as other craft traditions. She published her first book "Shigaraki, Potters' Valley" in 1979. Her book was reprinted in 2000. Cort has published numerous other articles and books relating to Japanese, Southeast Asian, and South Asian art. These include Temple Potters of Puri (with Purna Chandra Mishra) in 2012 and Chigusa and the Art of Tea (with Andrew Watsky) in 2014. She received the Koyama Fujio Memorial Prize and the Smithsonian Distinguished Scholar Award in 2012 for her contributions to research on Japanese ceramics.
Related Materials: Leedom Lefferts and Louise Allison Cort Archives:
Lefferts, Leedom and Louise A. Cort. "Leedom Lefferts and Louise Allison Cort Archives." Yale Peabody Museum of Natural History. New Haven, CT: Archives at Yale. https://archives.yale.edu/repositories/15/resources/12290#
Citation:
Louise Allison Cort Collection. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Eddie Faye Gates, Tulsa OK, author, historian, community activist
Object number:
2014.117.74
Restrictions & Rights:
Restrictions likely apply. Proper usage is the responsibility of the user.
The papers of Erwin Panofsky measure 19.8 linear feet and are dated 1904-1990 (bulk dates 1920-1968). They consist of correspondence, writings, biographical material, and printed material documenting Panofsky's career as an art historian, teacher, and writer. The Panofsky papers are comprised mainly of correspondence with colleagues, scholars, students, art dealers, galleries and museums, libraries, colleges and universities, organizations, and periodicals.
Scope and Content Note:
The papers of Erwin Panofsky measure 19.8 linear feet and are dated 1904-1990 (bulk dates 1920-1968). They consist of correspondence, writings, biographical material, and printed material documenting Panofsky's career as an art historian, teacher, and writer.
The Panofsky papers are comprised mainly of correspondence with colleagues, scholars, students, art dealers, galleries and museums, libraries, colleges and universities, organizations, and periodicals. Among the correspondents are colleagues, scholars, students, art dealers, galleries and museums, libraries, colleges and universities, organizations, and periodicals. Correspondents include: Udo von Alvensleben, Walter William Spencer Cook, Paul Coremans, Walter Friedländer, William S. Heckscher, Ludwig H. Heydenreich, Horst Janson, Adolf Katzenellenbogen, Richard Krauatheimer, Edward E. Lowinsky, Millard Meiss, Gert van Osten, Richard Salomon, Craig Smyth, Wolfgang Stechow, Booth and Betty Tarkington, Egon Verheyen, and Wilhelm Vöge.
Writings by Panofsky include drafts, notes, and manuscripts of articles, book reviews, books, and lectures. Biographical material consists of awards and certificates, diplomas (including many honorary degrees), and membership certificates. Among the printed material are articles and clippings about or mentioning Panofsky, programs for graduation ceremonies at which Panofsky was awarded honorary degrees, reviews of Panofsky's books, obituaries, and memorial programs and tributes.
Arrangement:
The collection is arranged as 4 series:
Missing Title
Series 1: Correspondence, 1921-1978, undated (Boxes 1-16; 16 linear ft.; Reels 2108- 2128)
Series 2: Writings, 1915-1968, undated (Boxes 17-19; 2.3 linear ft.)
Series 3: Biographical Information, 1905-1967 (Boxes 19-21; 0.5 linear ft.)
Series 4: Printed Material, 1904-1990, undated (Box 19; 0.5 linear ft.)
Biographical Note:
Erwin Panofsky (1892-1968), a native of Hannover, Germany, grew up in Berlin where he received a classical education at the Joachimsthalsches Gymnasium. He then studied at the universities of Berlin, Munich and Freiburg/Breslau. After earning a Ph. D. in 1914 from the University of Freiburg, Panofsky spent three years on post-doctoral study in Berlin, and during this period, married fellow student and art historian Dorothea (Dora) Mosse.
Although primarily a scholar of Gothic and Renaissance art, Panofsky had wide interests. Erwin Panofsky was a highly respected and influential scholar who was a much loved, generous, and encouraging teacher of several generations of productive scholars. Many students became his life long friends, and quite a few of them considered Panofsky the greatest teacher they had ever encountered.
He taught at the University of Hamburg from 1920 to1933, and during this period began to develop iconographic approaches to interpreting art through analysis of its subject matter's symbols, themes, and history. His work in this area eventually had international influence in the development of art history as a discipline.
Beginning in 1931, Panofsky taught at New York University, spending alternate semesters at the University of Hamburg until the Nazis dismissed all Jewish officials. He and his family fled Germany and came to the United States in 1933. During the academic year 1934/35, Panofsky held concurrent appointments at both New York University and Princeton University. He joined the faculty of the newly formed Institute for Advanced Study, Princeton, New Jersey, in 1935, where he remained until his retirement in 1962. In addition, he continued to teach graduate seminars at New York University and Princeton Universtiy.
He was a prolific writer, and his many books and articles represent some of the 20th century's most important writings in the field of art history, particularly in the realm of iconography. Among his books are: "Idea": Ein Beitrag zur Begriffsgeschichte der älteren Kunstheorie (1924) [translated later as Idea, The History of a Concept], Studies in Iconology (1939), Codex Huygens and Leonardo da Vinci's Art Theory (1940), The Life and Art of Albrecht Dürer (1943), Abbot Suger on the Abbey Church of St. Denis and Its Art Treasures (1946), Gothic Architecture and Scholasticism (1951), Early Netherlandish Painting: Its Origins and Character (1953), Meaning and the Visual Arts (1950), Renaissance and Renascences in Western Art (1960), The Iconography of Correggio's Camera di San Paolo (1961), and Problems in Titian, Mostly Iconographic (1964).
Panofsky wrote on subjects other than art history. He was an authority on Mozart, and also wrote about the history of cinema. His 1934 article "On Movies" (originally published in Princeton University's Bulletin of the Department of Art and Archaeology), remains a highly regarded work on the subject.
The recipient of numerous honorary degrees, Panofsky most prized the first from the University of Utrecht, 1936, as it brought great satisfaction at a time when he was still coping with the trauma of expatriation. He was a member of the American Philosophical Society, the American Academy of Arts and Sciences, the British Academy, and several other foreign academies. In 1962, Panofsky received the Haskins Medal awarded by The Medieval Academy of America for a distinguished book in medieval history.
His wife Dora Mosse Panofsky died in 1965; in 1966, he married Gerda Soergel, also an art historian. Erwin Panofsky died in Princeton, New Jersey, March 14, 1968.
Related Material:
Among the Archives' holdings is a collection of letters from Erwin Panofsky to art historians Wolfgang Stechow (1930-1931) and Lili Fröhlich-Bum (1931), and to Brooklyn Museum art librarian William B. Walker (1960) which is available on 35-mm microfilm reel 5136, frames 812-824. The letters to Stechow were written as he was preparing a review of Panofsky's book, Hercules am Scheidewege und andere antike Bildstoffe inder neueren Kunst, and provide additional information not found in the book itself. The letter to Mr. Walke is in Englishe, and the remainder are in German. The originals are still in the possession of Irving Lavin, who found them in Stechow's copy of Hercules am Scsheidewege given him by Mrs. Stechow.
Provenance:
The Erwin Panofsky papers were donated by his widow, Dr. Gerda Soergel Panofsky, in 1979 and 1990.
Restrictions:
The collection is open for research. Patrons must use microfilm copy. Use of the unmicrofilmed portion requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The donor has retained all intellectual property rights, including copyright, that they may own.
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:
Art historians -- New Jersey -- Princeton Search this
The papers of painter and muralist Gifford Beal measure 7.7 linear feet and date from 1889 to 2001. The bulk of the collection consists of artwork, in addition to correspondence, writings, printed matter, including one scrapbook, pictorial subject files, photographs, and two scrapbooks of photographs of works of art. Artwork is primarily in the form of sketches and seventy-eight sketchbooks in a wide variety of media. Among the loose sketches are twenty-eight oil paintings on wood board or panel, and fourteen large pastel drawings on canvas depicting dancing figures in a romantic style. Artwork by other artists in the collection include prints by Arthur B. Davies, Rockwell Kent, and Denys Wortman.
Scope and Content Note:
The papers of painter and muralist Gifford Beal measure 7.7 linear feet and date from 1889 to 2001. The bulk of the collection consists of artwork, in addition to correspondence, writings, printed matter, including one scrapbook, pictorial subject files, photographs, and two scrapbooks of photographs of works of art. Artwork is primarily in the form of sketches and seventy-eight sketchbooks in a wide variety of media. Among the loose sketches are twenty-eight oil paintings on wood board or panel, and fourteen large pastel drawings on canvas depicting dancing figures in a romantic style. Artwork by other artists in the collection include prints by Arthur B. Davies, Rockwell Kent, and Denys Wortman.
Biographical materials include membership certificates, a marriage certificate, and a travel journal kept by Beal's wife, Maud Ramsdell Beal, on their honeymoon. Personal correspondence consists primarily of love letters between Beal and Maud Ramsdell Beal. Three folders of professional correspondence contain letters from Joseph Pennell (1925); Federal Art Project staff from the Treasury Department including Ed Rowan, Edward Bruce, and Forbes Watson (1938); Walker Hancock (1951); and a series of letters signed "Hyde," from Crow Island, Massachusetts, which may have been written by Edward Hyde Cox (1953-1954).
Also found among the papers are printed materials such as exhibition catalogs, clippings, and reproductions of artwork, both loose and in a scrapbook from the 1920s; subject files containing clippings, photographs, and other pictorial references to common subjects of Beal's artwork; a few personal photographs; and photographs of works of art. Notes and writings are found among Beal's sketchbooks, including one long autobiographical essay which may have been for a lecture, a few diary entries from 1942, and extensive notes on the color, form, and lighting of his sketching subjects. In addition to a scrapbook relating to Beal exhibitions, there are also two scrapbooks containing photographs of works of art.
Arrangement:
The collection is arranged as 7 series:
Missing Title
Series 1: Biographical Materials, 1900-1909, 1942, 1953 (0.2 linear feet; Boxes 1 and 5, OV 10)
Series 2: Correspondence, 1906-1954 (0.4 linear feet; Box 1)
Series 3: Printed Materials, 1900-2001 (0.4 linear feet; Boxes 1, 5, OVs 11, 16)
Series 4: Subject Files, 1889-1953 (0.4 linear feet; Boxes 1-2, OV 10-12)
Series 5: Photographs, 1908-1950 (0.2 linear feet; Box 2, OV 10)
Series 6: Artwork, 1900-1951 (3.3 linear feet; Boxes 2-9; OV 10, 13-20 and rolled documents 21 and 22)
Series 7: Scrapbook, circa 1919-circa 1951 (1.1 linear ft; Boxes 7, 23)
Biographical Note:
Painter and muralist Gifford Beal was born in New York City in 1879, the youngest of six children. Beal began his art training at 13, when he accompanied his older brother, Reynolds Beal, to the Shinnecock School of Art for classes with William Merritt Chase. Gifford Beal continued to study with Chase for ten years at Shinnecock, the Tenth Street Studio building in New York City, and the New York School of Art. Beal attended college at Princeton University from 1896 to 1900, and from 1901 to 1903 he also took classes at the Art Students League with George Bridgman and Frank Vincent DuMond. In 1908, Beal married Maud Ramsdell of Newburgh, New York, where the Beal family also had an estate. They had two sons, William (b. 1914) and Gifford, Jr. (b. 1917).
Beal received all of his training in the United States at a time when European art training was the norm among his peers. Beal's earliest subject matter was taken from the familiar worlds of New York City and the Hudson River Valley, where he frequently spent his summers. Later work would depict other summer homes, including Provincetown, Rockport, and Gloucester, Massachusetts. Throughout his career he explored a variety of styles in his approach to these and other representational subjects such as garden parties, the circus, Central Park scenes, and coastal scenes in the Northeast and the Caribbean.
Beal exhibited at the National Academy of Design's annual exhibition almost continuously from 1901 to 1956, was a member of the Academy from 1914, and won at least seven awards given by the Academy over the course of his career. He won his first award in 1903 from the Worcester Art Museum. He exhibited regularly in major annual exhibitions and world expositions, including the Panama Pacific Exposition of 1915, where he won a gold medal.
Gifford and Reynolds Beal exhibited in a two-man show in 1907 at Clausen Galleries, and the two brothers were both eventually represented by Kraushaar Galleries, where Gifford Beal had his first one-man show in 1920. Beal served as president of the Art Students League from 1916 until 1930, the longest term of any president, and taught there in 1931 and 1932.
Beal was commissioned by the Section on Painting and Sculpture of the Works Progress Administration to paint ten murals for the Allentown, Pennsylvania post office in the late 1930s. The Allentown murals depicted American revolutionaries hiding the liberty bell at Allentown. In 1941, he completed two murals in the Department of the Interior building in Washington, DC: North Country, and Tropical Country, and he painted seven panels at Princeton University in 1943 depicting the life of the nineteenth-century engineer Joseph Henry. He was awarded an honorary Masters degree by Princeton in 1947.
Retrospective exhibitions were held at the Century Club, San Francisco Museum, Des Moines Art Center, and Butler Institute in the early 1950s. Upon his death in 1956, a memorial exhibition was held at the American Academy of Arts and Letters, where Beal became a member in 1943.
Provenance:
Papers were donated to the Archives by Gifford Beal's descendants in three separate accessions. Beal's sons, William and Gifford R. Beal, Jr., donated sketches and sketchbooks in 1992 and 1993. Richard and Lewis Goff, Margaret Beal Alexander, and Telka Beal donated additional sketches, sketchbooks, and materials from Beal's studio in 2000 through the Cape Ann Savings Bank, facilitated by Kraushaar Galleries.
Margaret Beal Alexander, Beal's granddaughter, also donated personal papers of her grandparents via Kraushaar Galleries in 2000. Additional sketchbooks and a poster illustrated by Beal were donated by Beal's Estate via Kraushaar Galleries in 2007. Two scrapbooks of photographs of works of art were donated by Beal's Estate via Kraushaar Galleries in 2015.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
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.
These records (0.66 linear feet, reel 5795) were donated to the American Academy in Rome from various sources or otherwise left on its premises. None are official records generated by the institution and some predate the institution. Included are: Ernest Lewis' photograph album/scrapbook; Allan Marquand's papers; Charles F. McKim's memorabilia, photographs, printed matter, and artifacts; Charles R. Morey's correspondence; and Elihu Vedder's Bible.
Ernest Lewis, fellow in architecture, was at the American Academy in Rome, circa 1908-1911. Little is known of him other than that he practiced architecture in New York. The Ernest Lewis scrapbook, included in this subseries, includes photographs of Lewis and his fellow students (many identified, most likely at a later date), circa 1908-1911; interior views of Mirafiore and Lewis in Egypt; photographs of architectural renderings and drawings of architectural details (some by Lewis, others unsigned); clippings and printed matter about architecture, including illustrations of a prize-winning work, and articles about French architects Constant Désiré Despradelle and Jean Louis Pascal; photographs and reproductions of architectural renderings of Roman buildings and entries in various architectural competitions; a McKim, Mead & White label [possibly a bookplate]; a reprint from The Technology Review, November 1912, of an article about Constant Désiré Despradelle; "Rome Letter," 1913 and undated, by George S, Koyle, Fellow in Architecture, American Academy in Rome; and an article about Jean Louis Pascal from Journal of the American Institute of Architects, circa 1913.
Allan Marquand (1853-1924) was professor of art history and archaeology at Princeton University, from 1883 until his death in 1924. Between 1896 and 1897 he served as a professor in the School of Classical Studies in Rome. From approximately 1909 to 1923, he chaired the annual meeting of the Committee on Medieval and Renaissance Studies of the Archaeological Institute of America, a committee which originated in the School of Classical Studies. Papers relating to Marquand and included in this subseries were given to the American Academy in Rome by Miss Lucy Shoe, who had received the materials from the Marquand family.
Charles Follen McKim (1847-1909), after studying at Harvard, and the Ecole des Beaux Arts, and working in the offices of H. H. Richardson, in 1879 formed the architectural firm of McKim, Mead, and White. After meeting other architects and artists at the 1893 World's Columbian Exposition in Chicago and discussing with them the advantages of studying art in Europe, McKim proposed the idea for a school in Europe for American artists. From this plan emerged the American School of Architecture in Rome which eventually became the American Academy in Rome. In addition to being a founder, McKim served as trustee, treasurer, and president; in the early days, McKim's determined service and financial help were responsible for the institution's continued existence. Acquisition documents relating to McKim's files are contained in this subseries and include an itemized list of the gift, labeled as follows: "Documents, property of Mr. McKim, which were brought from Mr. Smith's office by Mr. Dolan (21/8/47) to be left with record in A.A.R. office (in small black case in closet)." Items 10, 11, 12 (case of drawing instruments, 18" ruler, and sketch by unknown artist) were not among the materials received from the American Academy in Rome by the Archives of American Art.
Charles R. Morey (1877-1965) was a professor of art and archaeology at Princeton University, a fellow at the American School of Classical Studies in Rome in 1903, and professor of classical studies at the American Academy in Rome from 1925 to 1926. From 1945 to 1947, Morey served as Acting Director, and later Director of the American Academy in Rome. Morey's correspondence is included in this subseries.
Mural painter Elihu Vedder (1836-1923), a resident of Rome, was affiliated with the firm of McKim, Mead and White during a stay in America from 1897 to 1898. Nothing is known of the circumstances under which the Elihu Vedder Bible, included in this subseries, became the property of the academy.
Arrangement note:
This subseries is arranged alphabetically by name of individual to whom the material relates, then by subject.
Collection 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.
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 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.
Collection Citation:
American Academy in Rome records, 1855-2012. Archives of American Art, Smithsonian Institution.
