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Speech of Robert Emmet, Esq.

Depicted:
Emmet, Robert  Search this
Norbury, Lord  Search this
Publisher; distributor:
Smith, William  Search this
Maker:
Schnabel & Finkeldey  Search this
Physical Description:
paper (overall material)
ink (overall material)
Measurements:
image: 23 1/2 in x 16 1/2 in; 59.69 cm x 41.91 cm
overall: 26 in x 20 in; 66.04 cm x 50.8 cm
Object Name:
chromolithograph
Object Type:
Chromolithograph
Place made:
United States: Pennsylvania, Philadelphia
Referenced:
British Isles: Ireland
Date made:
n.d.
Subject:
European History  Search this
Diplomacy  Search this
U.S. National Government, judiciary  Search this
Costume  Search this
Patriotism and Patriotic Symbols  Search this
Liberty  Search this
Political Caricatures  Search this
Music  Search this
Related Publication:
Peters, Harry T.. America on Stone
Credit Line:
Harry T. Peters "America on Stone" Lithography Collection
ID Number:
DL.60.2412
Catalog number:
60.2412
Accession number:
228146
See more items in:
Cultural and Community Life: Domestic Life
Domestic Furnishings
Art
Advertising
Peters Prints
Data Source:
National Museum of American History
EDAN-URL:
edanmdm:nmah_324742

Yasuo Kuniyoshi speech, "Civilization besieged: The artists' role in war"

Creator:
Kuniyoshi, Yasuo, 1889-1953  Search this
Subject:
World War, 1939-1945  Search this
Type:
Writings
Date:
circa 1942
Topic:
Art and war  Search this
Record number:
(DSI-AAA)17230
See more items in:
Yasuo Kuniyoshi papers, 1906-2013
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_17230
Additional Online Media:

Max Weber speech on his class with Henri Matisse

Creator:
Weber, Max, 1881-1961  Search this
Subject:
Matisse, Henri  Search this
Weber, Max  Search this
Type:
Writings
Place:
Paris, France
Date:
1951
Topic:
Art students  Search this
Artists' models  Search this
Artists' studios  Search this
Record number:
(DSI-AAA)15702
See more items in:
Max Weber papers, 1902-2008
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_15702

Art in the National Capitol; speech in the Senate of the United States

Creator:
Sumner, Charles, 1811-1874  Search this
Subject:
Lincoln, Abraham  Search this
Ream, Vinnie  Search this
Type:
Printed Materials
Date:
1866
Topic:
Art commissions  Search this
Portrait sculpture  Search this
Women sculptors  Search this
Record number:
(DSI-AAA)13751
See more items in:
Miscellaneous printed materials collection
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_13751
Additional Online Media:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Waegen, Rolf Hans  Search this
Glaenzer, Eugene  Search this
Seligmann, Jacques  Search this
Seligmann, René  Search this
de Hauke, César  Search this
Parker, Theresa D.  Search this
Mackay, Clarence Hungerford  Search this
Liechtenstein, House of  Search this
Schiff, Mortimer L.  Search this
Seligman, Germain  Search this
Haardt, Georges  Search this
Arenberg  Search this
La Fresnaye, Roger de  Search this
Seligmann, Arnold  Search this
Trevor, Clyfford  Search this
MM. Jacques Seligmann & fils  Search this
Eugene Glaenzer & Co  Search this
Gersel  Search this
Germain Seligmann & Co  Search this
De Hauke & Co., Inc  Search this
Topic:
World War, 1939-1945  Search this
Art dealers  Search this
Decorative arts  Search this
Gallery records  Search this
Art, European  Search this
Art galleries, Commercial  Search this
Art  Search this
Art, Renaissance  Search this
Art treasures in war  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
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Additional Online Media:

Ernst Kühnel Makes His Acceptance Speech of the Freer Bronze Medal

Author:
Unknown  Search this
Subject:
Krapf, Franz  Search this
Zahedir, Ardeshir  Search this
Kühnel, Ernst 1882-1964  Search this
Freer Gallery of Art  Search this
International Association for Iranian Art and Archeology  Search this
Charles Lang Freer Medal  Search this
Physical description:
Number of Images: 1 ; Color: Black and White ; Size: 10w x 8h ; Type of Image: Event ; Medium: Photographic print
Type:
Event
Photographic print
Place:
Iran
Germany
Date:
May 3, 1960
Topic:
Ambassadors  Search this
Ceremonies  Search this
Medals  Search this
Art, Iranian  Search this
Art historians  Search this
Societies  Search this
Learned institutions and societies  Search this
Associations, institutions, etc  Search this
Art history  Search this
Standard number:
SIA2011-2820 or 60-6199
Restrictions & Rights:
No restrictions
Data Source:
Smithsonian Archives - History Div
EDAN-URL:
edanmdm:siris_sic_13276

Campaign speeches are useful, at that

Original artist:
Goldberg, Rube  Search this
Physical Description:
paper (overall material)
ink (overall material)
Measurements:
overall: 17.2 cm x 53.8 cm; 6 3/4 in x 21 3/16 in
Object Name:
drawing
Place made:
United States: New York, New York
Date made:
1924-10-31
Credit Line:
Newspaper Comics Council, Inc., New York, NY
ID Number:
GA.23492
Catalog number:
23492
Accession number:
299186
See more items in:
Work and Industry: Graphic Arts
Cultures & Communities
Communications
Art
Government, Politics, and Reform
Natural Resources
Comic Art
Family & Social Life
Transportation
Energy & Power
Data Source:
National Museum of American History
EDAN-URL:
edanmdm:nmah_797359

The Memoirs of Ma 1925-1926

Creator:
March, Benjamin 1899-1934  Search this
Subject:
March, Benjamin 1899-1934  Search this
St. Denis, Ruth 1880-1968  Search this
Rowe, Dorothy 1898-1969  Search this
Ferguson, John Calvin 1866-1945  Search this
Priest, Alan Reed  Search this
Yanjing da xue  Search this
Physical description:
182 typed unbound pages with solid wood covers
Type:
Diaries
Place:
China
Beijing (China)
Date:
1925
1925-1926
Topic:
Art, Asian  Search this
Art, Asian--Research  Search this
Art, Chinese  Search this
Chinese language--Terms and phrases  Search this
Painting, Chinese  Search this
Description and travel  Search this
Local number:
FSA A1995.10 2.3
Restrictions & Rights:
Access is by appointment only, Monday through Thursday 10:00 a.m. to 5:00 p.m. Please contact the Archives to make an appointment: AVRreference@si.edu
Permission to publish, quote, or reproduce must be secured from the repository
See more items in:
Benjamin March Papers 1923-1934
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
edanmdm:siris_arc_380465
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Gertrude Vanderbilt Whitney papers

Creator:
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Names:
American Ambulance Field Hospital (Juilly, France)  Search this
Greenwich House (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Whitney Studio Club  Search this
Cushing, Howard Gardiner, 1869-1916  Search this
De Meyer, Adolf, Baron, 1868-1949  Search this
Miller, Flora Whitney  Search this
Strelecki, Jean de, count  Search this
Watson, Forbes, 1880-1960  Search this
Whitney, Harry Payne, 1872-1930  Search this
Extent:
35.8 Linear Feet
Type:
Archival materials
Collection descriptions
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Date:
1851-1975
bulk 1888-1942
Summary:
The Gertrude Vanderbilt Whitney papers measure approximately 35.8 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.
Scope and Content Note:
The Gertrude Vanderbilt Whitney papers measure approximately 35.8 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Material relating to more personal aspects of Whitney's life include school papers, a paper doll book dating from her childhood, financial material, interviews, awards and honorary degrees, address and telephone books, committee files, and other items. Correspondence consists of incoming and outgoing letters concerning both personal and professional matters, including her patronage of the arts and sponsorship of artists, her sculpture commissions and exhibitions, and her war relief work and other philantrophic activities. Also found are family correspondence and correspondence received by the Flora Whitney Miller and the Whitney Museum of American Art after Whitney's death. Journals include personal ones that she kept periodically from the time she was a child to near the end of her life, in which she recorded her travels, her impressions of people, her experiences with friends, and her thoughts on art, among other topics; and social ones, in which she recorded dinners and dances attended, and people invited to different social gatherings, and in which she collected invitations received and accepted.

Scattered files can be found that relate to the Whitney Studio Club and the Whitney Museum of American Art, consisting of notebooks, catalogs, a financial report, and other material. Files relating to Whitney's own sculpture projects are more extensive and consist of correspondence, contracts, printed material, notes, financial material for proposed and completed commissions for fountains, memorials, and monuments. The Whitney Museum of American Art, rather than Whitney herself, seems to have kept these files. Files relating to Whitney's philanthropic activities span from the time just before to just after the First World War and consist of correspondence, minutes, reports, and printed material stemming from her contributions to charities and war relief organizations, her sponsorship of the war hospital in Juilly, France, and her support of the Greenwich House Social Settlement.

Whitney's writings include extensive drafts, and handwritten and typed manuscripts and copies of novels, plays, and stories, as well as some autobiographical and early writings, notes and writings on art, and clippings of published writings, documenting her principle means of creative expression towards the end of her life. Also found are some writings by others. Scrapbooks consist of clippings, photographs, letters and other material, compiled by Whitney, Flora Whitney Miller, and possibly others, documenting Whitney's public life, her sculpture commissions and exhibitions, exhibitions at the Whitney Studio, the war hospital in Juilly, France, the death of Harry Payne Whitney in 1930, and the sickness and death of Whitney in 1942.

Photographs include ones of the Whitney and Vanderbilt families, ones of Gertrude Vanderbilt Whitney (including portraits taken by Baron Adolf de Meyer and Count Jean de Strelecki), ones of various Vanderbilt and Whitney residences and of Whitney's studios, ones of Whitney's sculpture exhibitions as well as exhibitions at her studio, and ones of her sculptures, as well as some miscellaneous and unidentified ones. Artwork consists of sketchbooks and sketches by Whitney (including sketches for sculptures) and artwork by others (including a sketchbook of Howard Cushing's containing a sketch of her and albums of World War I lithographs) collected by Whitney. Also found amongst the collection are printed material (clippings, exhibition catalogs, programs, and publications) and blueprints (including drawings for Whitney's studio on MacDougal Alley and various of her sculptures).
Arrangement:
The Gertrude Vanderbilt Whitney papers are arranged into twelve series:

Series 1: Miscellaneous Personal Papers, 1888-1947, 1975 (Boxes 1-3, 33-34, OV 42; 2.5 linear feet)

Series 2: Correspondence, 1889-1949, 1959 (Boxes 3-9; 6 linear feet)

Series 3: Journals, circa 1886-1939 (Boxes 9-12, 33; 2.5 linear feet)

Series 4: Whitney Studio Club and Whitney Museum of American Art Files, 1921-1943 (Box 12; 0.2 linear feet)

Series 5: Sculpture Files, 1900-1960 (bulk 1909-1942) (Boxes 12-15; 3 linear feet)

Series 6: Philanthropy Files, 1902-1923 (bulk 1915-1920) (Boxes 15-17; 2 linear feet)

Series 7: Writings, 1889-1942, 1974 (Boxes 17-26; 10 linear feet)

Series 8: Scrapbooks, 1893-1942 (Boxes 26-27, 33, 35; 1.5 linear feet)

Series 9: Printed Material, 1859-1942 (Boxes 27-28, 36; 0.8 linear feet)

Series 10: Photographs, 1862-1942 (Boxes 28-32, 36-41, OV 43-51; 6.4 linear feet)

Series 11: Artwork, 1871-1930s (Boxes 32, 41, OV 52-54; 0.8 linear feet)

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)
Biographical/Historical note:
New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

Whitney was born January 9, 1875 in New York City, the. She was educated by private tutors and attended Brearley School in New York. From the time she was a young girl, she kept journals of her travels and impressions of the people she met, and engaged in creative pursuits such as sketching and writing stories. In 1896, she was married to Harry Payne Whitney. They had three children, Flora, Cornelius, and Barbara.

In 1900, Whitney began to study sculpture under Hendrik Christian Anderson, and then under James Fraser. Later, she studied with Andrew O'Connor in Paris. From the time she started studying sculpture, her interest in art grew, as did her particular concern for American art and artists. In 1907, she organized an art exhibition at the Colony Club, which included several contemporary American paintings. She also opened a studio on MacDougal Alley, which became known as the Whitney Studio and was a place where shows and prize competitions were held. (She also had other studios in Westbury, Long Island and Paris, France.) Over the years, her patronage of art included buying work, commissioning it, sponsoring it, exhibiting it, and financially supporting artists in America and abroad. From 1911 on, she was aided in her work by Juliana Force, who started out as Whitney's secretary, was responsible for art exhibitions at the Whitney Studio, and became the first director of the Whitney Museum of American Art.

The first recognition Whitney received for her sculpture came in 1908 when a project on which she had collaborated (with Grosvenor Atterbury and Hugo Ballin) won a prize for best design from the Architectural League of New York. The following year she received a commission to do a fountain sculpture for the Pan-American Building in Washington, D. C. She went on to do numerous other commissioned works over the next several decades, including: a fountain for the New Arlington Hotel in Washington D.C. (the design of which was reproduced in various sizes and materials, one cast being submitted to the 1915 Panama-Pacific International Exposition where it won a bronze medal and a later cast being installed on the campus of McGill University, Montreal, Canada in 1930); the Titanic Memorial (designed in 1913 and erected in 1930); the Buffalo Bill Memorial (1924) in Cody, Wyoming; the Columbus Memorial (1929) in Port of Palos, Spain; the Peter Stuyvesant statue in Stuyvesant Square (1939); and The Spirit of Flight (1939) for the New York World's Fair. In 1916, she had her first one-man show at the Whitney Studio, another at the Newport Art Association, and a retrospective at the San Francisco Art Association Palace of Fine Arts. A traveling exhibition in the Midwest followed in 1918.

During the First World War, Whitney was involved with numerous war relief activities, most notably establishing and supporting a hospital in Juilly, France. She made several trips to France during the war, keeping a journal and eventually publishing a piece on the hospital in several newspapers. Her sculpture during this period was largely focused on war themes. In 1919, she exhibited some of these works at the Whitney Studio in a show called "Impressions of War." In the years after the war, she was also commissioned to do several war memorials, including the Washington Heights War Memorial (1922) and the St. Nazaire Memorial (1926) commemmorating the landing of the American Expeditionary Force in France in 1917.

In 1918, Whitney opened the Whitney Studio Club, which served as pioneering organization for American art, putting on exhibition programs and offering social space and recreational amenities to its members (one point numbering over four hundred artists living in New York). She planned an "Overseas Exhibition" of American art, which traveled to Paris and other European cities in 1920-1921, and had her own shows in Paris and London in 1921. In 1928, the Whitney Studio Club was transformed into an art gallery, known as the Whitney Studio Galleries and directed by Juliana Force, which eventually became the Whitney Museum of American Art in 1931.

Whitney pursued creative writing throughout her life, but beginning in the 1930s writing became her principle means of creative expression. Over the years, she produced numerous manuscripts for stories, novels, and play. One novel, Walking the Dusk, was published in 1932 under the pseudonym L. J. Webb. Beginning in 1940, Whitney took a "Professional Writing" course at Columbia University with Helen Hull, which resulted in the production of numerous short stories. In 1941, she collaborated with Ronald Bodley to adapt one of her stories as a play and attempted to get it produced, although unsuccessfully.

In 1934, Whitney was involved in a custody battle for her niece, Gloria Vanderbilt (daughter of her late brother, Reginald Vanderbilt and his wife, Gloria Morgan Vanderbilt). In an agreement reached by the court, custody was awarded to Whitney and visitation rights to Gloria's mother. Litigation continued in the ensuing years.

In 1935, Whitney established the World's Fair Five Organization, with Juliana Force and four architects, to work on preparing a plan for the site of the 1939 New York World's Fair at Flushing Meadow, although the fair's own Board of Design ended up coming up with its own plan.

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.
Related Archival Materials note:
Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.
Provenance:
The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Gertrude Vanderbilt Whitney 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:
Philanthropists -- New York (State) -- New York  Search this
Topic:
Art patrons -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
World War, 1914-1918 -- Hospitals -- France  Search this
Women artists  Search this
Genre/Form:
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Citation:
Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitgert
See more items in:
Gertrude Vanderbilt Whitney papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-whitgert
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Additional Online Media:

The Warner Report, 1915

Creator:
Warner, Langdon 1881-1955  Search this
Subject:
Warner, Langdon 1881-1955  Search this
Physical description:
Two copies of a bound volume of 226 typed pages, with 48 mounted silver gelatin prints with captions, 194p. ; 29 x 22 cm
Type:
Reports
Collection descriptions
Photographs
Place:
China
Japan
Angkor Wat (Cambodia)
Date:
1915
Topic:
Archaeology  Search this
Art, Asian--Collectors and collecting  Search this
Local number:
FSA A1994.07
Restrictions & Rights:
Access is by appointment only, Monday through Thursday 10:00 a.m. to 5:00 p.m. Please contact the Archives to make an appointment: AVRreference@si.edu
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
edanmdm:siris_arc_283452
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Esther Baldwin Williams and Esther Williams papers

Creator:
Williams, Esther Baldwin, 1867-1964  Search this
Names:
Grace Horne Galleries  Search this
Kraushaar Galleries  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Finck, Furman J., 1900-  Search this
Kroll, Leon, 1884-1974  Search this
Prendergast, Charles, 1863-1948  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Williams, Esther, 1907-1969  Search this
Williams, Nadia, 1910-  Search this
Extent:
2.1 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Diaries
Sketchbooks
Sketches
Place:
Massachusetts -- Boston -- description and travel
France -- Paris -- description and travel
Date:
1887-1984
Summary:
The papers of Boston area painters Esther Baldwin Williams and daughter Esther Williams measure 2.1 linear feet and date from 1887 to 1984. The scattered papers of both women include biographical information, personal business records, correspondence, writings and notes, two diaries, four sketchbooks, printed materials, photographs, and one photograph album.
Scope and Content Note:
The papers of Boston and New York area painters Esther Baldwin Williams and daughter Esther Williams measure 2.1 linear feet and date from 1887 to 1984. The scattered papers of both women include biographical information, personal business records, correspondence, writings and notes, two diaries, four sketchbooks, printed materials, photographs, and one photograph album.

For clarity, Esther Baldwin Williams and Esther Williams are referred to by their proper names throughout this finding aid.

Biographical information includes a membership card to the Rockport Art Association for Esther Williams and a biographical sketch of Esther Baldwin Williams

Personal business records include receipts for purchases of artwork by Esther Baldwin Williams, banking documents, exhibition entry forms and sales receipts for Esther William's works.

Correspondence includes incoming letters and drafts of outgoing letters. The majority of the correspondence is that of Esther Williams, including a considerable amount of letters to her parents. There are letters to Esther Williams from her friends Louis Eilshemius, Furman J. Finck, and Leon Kroll, and both Grace Horne Galleries and Kraushaar Galleries. Esther Baldwin Williams' correspondence includes personal letters from Maurice Prendergast.

Writings and notes include two diaries kept by Esther Baldwin Williams that date from 1892 until 1902 and cover her life in Paris and later in Boston. Some of the diary pages are illustrated with sketches. The series also includes scattered notes, including Charles Prendergast's Notes on Formula of Ebonizing Technique.

There are four sketchbooks, likely by Esther Baldwin Williams, of pencil and watercolor sketches of cats, babies and children, orchestral scenes, portraits, and architecture.

Scattered printed materials include a copy of Cezanne's Studio given to Esther Baldwin Williams by Maurice Prendergast, a copy of a family history by Nadia Williams, exhibition announcements and catalogs, clippings, and miscellany.

There is one photograph of an unidentified work of art and a circa 1900 family photo album with mostly unidentified photos of babies, children, and family members.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Materials, 1942-1979 (2 folders; Box 1)

Series 2: Personal Business Records, 1893-1966 (9 folders; Box 1)

Series 3: Correspondence, 1887-1961 (0.7 linear feet; Boxes 1-2)

Series 4: Writings and Notes, 1892-1947 (0.2 linear feet; Box 2)

Series 5: Sketchbooks and Sketches, circa 1900 (0.2 linear feet; Boxes 2-3)

Series 6: Printed Material, 1883-1984 (0.2 linear feet; Box 3)

Series 7: Photographs, circa 1900-circa 1920 (0.3 linear feet; Boxes 3-4)
Biographical Note:
Esther Baldwin Williams (1867-1964) and her daughter Esther Williams (1907-1969) were painters active in Boston, Paris, and New York City.

Esther Baldwin Williams was born Esther Mabel Baldwin on December 11, 1867 to a prominent Boston family of artists. She began her art education under her uncle Joseph Foxcroft Cole and worked with her cousin Adelaide Chase Cole. Adelaide and Esther shared a studio in Greenwich Village in 1888. The two cousins also traveled to Paris in 1877 and 1891 to paint. Esther Baldwin concentrated on portraiture and often painted the women in her social circle.

Esther Baldwin became engaged to Oliver Williams in 1898. They married and moved to 96 Beacon Street in Boston where they raised their children, Oliver, Thomas, and Esther. Around 1900, the Williams met Maurice and Charles Prendergast. Esther became a friend and patron of Maurice and the two shared a studio for some time and exchanged letters. Esther Baldwin continued to work in portraiture, focusing her work on her children and relatives and did not pursue a professional career. In addition to painting, Esther Baldwin and Oliver Williams inspired a passion for music in their children.

Born in 1907, Esther Williams inherited her mother's interest in the arts. Unlike her mother, she desired a professional career as a painter. She first studied at the Museum of Fine Arts School, Boston in 1925 and later went to Paris to study under Andre Lhote. Upon returning to the United States, she moved to New York City and enrolled with the Art Students League. She married Roland Joseph McKinney, director of the Baltimore Museum of Art and the Los Angeles County Museum.

Esther Williams is known for her portraits, paintings of flowers, circus and orchestra scenes, and for her impressionistic style. She was represented by Grace Horne Gallery in the 1930s and switched to Kraushaar Galleries in 1940.

Esther Baldwin Williams died in 1964. Her daughter, Esther Williams died shortly thereafter in 1969.
Related Material:
Among the holdings of the Archives of American Art are the papers of Esther William's husband Roland Joseph McKinney.
Provenance:
The Esther Baldwin Williams and Esther Williams papers were donated in two installments by Peter McKinney, step-son of Esther Williams in 1974 and by Nadia Williams, Esther Baldwin William's daughter-in-law in 1985.
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 Esther Baldwin Williams and Esther Williams 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.
Topic:
Painting, American  Search this
Expatriate painters -- France -- Paris  Search this
Women painters -- Massachusetts  Search this
Women painters -- New York (State) -- New York  Search this
Painting -- Technique  Search this
Art -- Study and teaching -- France -- Paris  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Sketches
Citation:
Esther Baldwin Williams and Esther Williams papers, 1887-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.willesth
See more items in:
Esther Baldwin Williams and Esther Williams papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-willesth
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Cecilia Beaux papers

Creator:
Beaux, Cecilia, 1855-1942  Search this
Names:
Andrew, A. Piatt (Abram Piatt), 1873-1936  Search this
Extent:
3.3 Linear Feet
Type:
Archival materials
Collection descriptions
Diaries
Photographs
Poems
Date:
1863-1968
Summary:
The papers of the painter Cecilia Beaux measure 3.3 linear feet and date from 1863 to 1968. Papers document her education, career and personal life through family and professional correspondence, twelve diaries, lectures, essays, poems, notes, clippings, catalogs, pamphlets, exhibition records, business records, photographs, certificates, diplomas, and artifacts.
Scope and Content Note:
The papers of the painter Cecilia Beaux measure 3.3 linear feet and date from 1863 to 1968.

Biographical Materials include autobiographical notes written by Beaux, published biographical essays, and articles about Beaux. A lengthy correspondence from Beaux to her friend A. Piatt Andrew of Massachusetts is found, as well as correspondence with family and professional associates. Lengthy letters from Beaux to her family during trips to Europe contain scattered illustrations. Professional correspondents include other artists, teachers, patrons, critics, curators, dealers, and writers.

Writings include one early diary from the 1870s, and a series of eleven additional diaries dating from 1905 to 1913, which record daily activities related to her artwork and personal life. Numerous lectures and essays from her later career are found, often in multiple drafts, as are manuscripts of published and unpublished poems by Beaux. A single sketch, a study for a portrait, is also found.

A floor plan, lists of paintings, receipts, written bids, and other notes document the exhibition and sale of Beaux's artwork. Printed materials related to her career include exhibition catalogs and other ephemera, a scrapbook of primarily clippings related to her early career, and loose clippings related to her later career. Photographs include formal portraits of Cecilia Beaux and informal photographs of Beaux alone and with colleagues, friends, and family members in various settings including Concarneau, Pittsburgh, Philadelphia, Gloucester, and Malines, Belgium. Also found is a photograph of John Singer Sargent painting.
Arrangement:
The collection is arranged into 6 series, with multiple subseries in Series 2:

Series 1: Biographical Materials, circa 1893-1943 (Box 1, OV 4-5; 0.3 linear feet)

Series 2: Correspondence, circa 1863-1968 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings, circa 1868-1954 (Boxes 2-3, OV 6; 0.8 linear feet)

Series 4: Personal Business Records, circa 1883-1936 (Box 3, OV 6; 0.2 linear feet)

Series 5: Printed Materials, circa 1874-1953 (Box 3, OV 6; 0.5 linear feet)

Series 6: Photographs, circa 1888-1919(Box 3; 0.3 linear feet)
Biographical Note:
Cecilia Beaux was born in Philadelphia in 1855. Her mother died just days after her birth, and Beaux and her sister went to live with their grandmother and aunts. Her adoptive family exposed her to fine art throughout her childhood and, once in school, Beaux excelled in her drawing classes and began training in the studio of Catherine A. Drinker, an artist and a cousin of her uncle Will Biddle. From 1881-1883 she attended life classes directed by William Sartain, who traveled to Philadelphia from New York to give criticisms. She also counted the Pennsylvania Academy of the Fine Arts master Thomas Eakins among her early influences, though she did not receive direct instruction from him.

Her first major success in painting was a double-portrait of her sister and nephew entitled Les Derniers Jours d'Enfance, exhibited first at the American Art Association, and in 1885 at the Pennsylvania Academy, where it won the Mary Smith Prize, the first of many prizes Beaux received during her lifetime. In 1887, the painting was exhibited at the Paris salon to critical acclaim. Beaux's reputation as a Philadelphia portraitist grew steadily with the execution of several portraits her in Chestnut Street studio, and in 1888 she traveled to Europe to continue her studio education.

In Paris, she joined the Academie Julien, where she received criticisms from Tony Robert Fleury and William Adolph Bougereau. She spent the summer in Concarneau, Brittany, where Alexander Harrison and Charles Lazar critiqued her work, and returned to Paris, where she attended the Academie Colarossi under and sought out private criticisms in the atelier of Benjamin Constant. She copied paintings and classical sculpture at the Louvre, and traveled throughout Europe to view the works of old masters. In England, she painted several portraits of her friends, the Darwins, before returning to Philadelphia in August of 1889. She traveled to Europe several more times in her life, including a trip in 1896 to see six of her paintings exhibited at the Salon de Champs de Mars. At the time this was an unprecedented number of paintings shown there by an American, and their strength earned her a membership in the Societé Nationale des Beaux-Arts.

In the 1890s, Beaux earned a living painting commissioned portraits at her Philadelphia studio, while experimenting with and refining her style and technique with portraits of friends and family such as Sita and Sarita, of her cousin Sarah Leavitt with her cat, The Dreamer, of her friend Caroline Smith, and Ernesta with Nurse, of her niece, who was a favorite sitter of Beaux's throughout her life. Beaux became the first full-time female faculty member at the Pennsylvania Academy of the Fine Arts in 1895, and continued teaching there until 1915.

In the late 1890s, Beaux painted several works for which she would be repeatedly honored, including Mother and Daughter, a double-portrait of Mrs. Clement A. Griscom and her daughter Frances, which won four gold medals at international exhibitions, and The Dancing Lesson, a double-portrait of Dorothea and Francesca Gilder, the daughters of Richard Watson Gilder, editor of Century Magazine and himself a devoted friend and supporter of Beaux. The Gilders, and especially Dorothea, were steady companions as well as sitters for Beaux throughout her adult life. In 1901 and 1902, Beaux painted Mrs. Theodore Roosevelt and her daughter Ethel in the White House, and in 1903, she was elected to the National Academy of Design.

By 1905 Beaux was living and working primarily in New York during the winter, and at "Green Alley," a home she built in Gloucester, Massachusetts, in the summer. She was introduced to Gloucester by her friend, the Harvard economist A. Piatt Andrew, and entertained a steady stream of intellectual, literary, and artistic friends such as Isabella Stuart Gardner, William James, and Thornton Oakley. Beaux continued to amass prizes and honors for her artwork, including an honorary doctorate at the University of Pennsylvania in 1908. She had solo exhibitions at Macbeth Gallery in 1910, the Corcoran Gallery in 1912, and M. Knoedler Gallery in 1915 and 1917. She had regular public speaking appearances, published articles, and interviews on such subjects as art education, women in art, and modernist art, the pervasive influence of which she eschewed as a passing fad.

In 1919, she traveled to war-torn Europe as the official portraitist of the United States War Portraits Commission painted the portraits of three European war heroes: Cardinal Mercier, Admiral Beatty, and Georges Clemenceau. In 1924, she broke her hip in Paris, and although she continued to paint, she would never again be the prolific painter of her earlier years due to the injury. She wrote her autobiography Background with Figures in 1930, and in 1935-1936, the American Academy of Arts and Letters held the largest exhibition of her work that was mounted during her lifetime. Beaux died in 1942 in Gloucester, at the age of 87.
Related Material:
The Pennsylvania Academy of the Fine Arts holds additional papers related to Cecilia Beaux, particularly personal photographs. Portions of these papers were loaned to the Archives of American Art for microfilming in 1985 and were microfilmed on reel 3658.

The Archives of American Art also holds the Dorothea Gilder papers regarding Cecilia Beaux.
Separated Material:
A sketchbook of Beaux's was loaned by Jeffrey R. Brown Fine Arts of Boston in 1985 and is available on microfilm reel 3425.
Provenance:
The bulk of the collection was donated by Beaux's neice, Catherine Drinker Bowen in 1970. A portion of the papers were donated by Harrison Cultra in 1971. Helen Wheelwright, wife of the artist Paul Feeley and a friend of Beaux's, donated Beaux's palette to the Archives in 1972. Cecilia D. Saltonstall, great-neice of Cecilia Beaux, donated several of Beaux's certificates and diplomas to the Archives via the National Portrait Gallery in 1995.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Cecilia Beaux 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.
Topic:
Women painters -- Pennsylvania -- Philadelphia  Search this
Art -- Economic aspects  Search this
Art -- Study and teaching  Search this
Painting  Search this
Genre/Form:
Diaries
Photographs
Poems
Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beauceci
See more items in:
Cecilia Beaux papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-beauceci
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Additional Online Media:

Andrew Carnduff Ritchie interview excerpt

Creator:
Archives of American Art  Search this
Type:
Sound recordings
Interviews
Lectures
Podcast
MIME Type:
audio/mpeg
Uploaded:
Fri, 22 Nov 2013 07:00:00 -0500
Topic:
Art  Search this
American  Search this
See more episodes:
Oral History Collection from the Archives of American Art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:podcasts_d0f02470a58783b5dd241669b323592a

Dorothy Dehner papers, 1920-1987, bulk 1951-1987

Creator:
Dehner, Dorothy, 1901-1994  Search this
Subject:
Gottlieb, Adolph  Search this
Gottlieb, Esther Dick  Search this
Corcos, Lucille  Search this
Mann, Ferdinand  Search this
Levy, Edgar  Search this
Smith, David  Search this
Graham, John D. (John Dabrowsky)  Search this
Willard Gallery  Search this
Philadelphia Art Alliance  Search this
Topic:
Speeches  Search this
Etchings  Search this
Poetry  Search this
Sound recordings  Search this
Lectures  Search this
Photographs  Search this
Interviews  Search this
Women sculptors  Search this
Art  Search this
Sculptors  Search this
Sculpture, Modern  Search this
Works of art  Search this
Record number:
(DSI-AAA_CollID)9686
(DSI-AAA_SIRISBib)211900
AAA_collcode_dehndoro
Theme:
Diaries
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211900
Additional Online Media:

If there be a country which cannot stand any one of these tests--a country where knowledge cannot be diffused without perils of mob law and statute law; where speech is not free; where the post office is violated, mail bags opened, and letters tampered with; where public debts and private debts outside of the state are repudiated; where liberty is attacked in the primary institution of social life; where the laborer is not secured in the earnings of his own hand; where suffrage is not free or equal--that country is, in all these respects, not civil, but barbarous; and no advantage of soil, climate, or coast can resist these suicidal mischiefs. From the series Great Ideas.

Artist:
Herbert Bayer, born Haag, Austria 1900-died Montecito, CA 1985  Search this
Sitter:
Ralph Waldo Emerson  Search this
Medium:
paper and photomechanical reproduction on paperboard
Dimensions:
sheet: 23 3/4 x 19 1/8 in. (60.3 x 48.5 cm.)
Type:
Collage
Date:
1951
Topic:
Abstract  Search this
Portrait male  Search this
Occupation\writer\novelist  Search this
Credit Line:
Smithsonian American Art Museum, Gift of Container Corporation of America
Object number:
1984.124.20
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
EDAN-URL:
edanmdm:saam_1984.124.20

Harold Weston papers, 1894-1978, bulk, 1912-1972

Creator:
Weston, Harold, 1894-1972  Search this
Subject:
Mumford, Lewis  Search this
Carmichael, Leonard  Search this
Weston, Faith  Search this
Rosenfeld, Paul  Search this
Sizer, Theodore  Search this
Roosevelt, Eleanor  Search this
Dows, Olin  Search this
Phillips, Duncan  Search this
Harvard University. Germanic Museum  Search this
Phillips Collection  Search this
Corcoran Gallery of Art  Search this
New York State Council on the Arts  Search this
Montross Gallery  Search this
Federation of Modern Painters and Sculptors  Search this
International Association of Art.United States Committee  Search this
National Council on the Arts and Government  Search this
National Endowment for the Arts  Search this
Adirondack Trail Improvement Society  Search this
Food for Freedom, Inc  Search this
Harvard Lampoon (Organization)  Search this
Studio House (Phillips Memorial Gallery)  Search this
Committee to Defend America by Aiding the Allies (UNITED STATES OF AMERICA). Americans-in-Britain Outpost  Search this
Topic:
Lantern slides  Search this
Photographs  Search this
Speeches  Search this
Articles  Search this
Etchings  Search this
Poems  Search this
Federal aid to the arts  Search this
Woodcuts  Search this
World War, 1914-1918  Search this
Notes  Search this
Painting, Abstract  Search this
Copper plates  Search this
Christmas cards  Search this
Painters  Search this
Art and state  Search this
Scrapbooks  Search this
Sketches  Search this
Painting, Modern  Search this
Glass negatives  Search this
Postcards  Search this
Record number:
(DSI-AAA_CollID)9346
(DSI-AAA_SIRISBib)211542
AAA_collcode_westharo
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211542
Additional Online Media:

Speeches given by Sylvia H. Williams, 1936-1996

Author:
Williams, Sylvia H  Search this
National Museum of African Art (U.S.)  Search this
Smithsonian Institution  Search this
Subject:
National Museum of African Art (U.S.)  Search this
Physical description:
1 v. (various pagings) ; 28 cm
Type:
Books
Place:
Washington (D.C.)
Date:
1996
1996?]
Topic:
Art, African--Museums  Search this
Art--History--Study and teaching (Higher)  Search this
Museum techniques  Search this
Speeches, addresses, etc  Search this
Call number:
N857.2.A9 W5 1996a
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_512823

Audiotapes

Creator::
Hirshhorn Museum and Sculpture Garden  Search this
Extent:
5 cu. ft. (5 record storage boxes)
Type:
Archival materials
Collection descriptions
Audiotapes
Date:
1969-2005
Descriptive Entry:
This accession consists of audio recordings created or maintained by the Hirshhorn Museum and Sculpture Garden (HMSG). The majority of the recordings document lectures, speeches, talks, and other events at the museum, including the HMSG groundbreaking and dedication. Other recordings are interviews of artists performed by staff or interviews of staff for radio programs. Recordings are on audiocassettes and are considered to be the original recordings. The Smithsonian Institution Libraries (SIL) maintains digital reference copies. Please contact SIL for access to these recordings.
Restrictions:
Original recordings are permanently restricted. Contact the Smithsonian Institution Libraries for access to reference copies, Transferring office; 7/7/2010 memorandum, Wright to Brooke; Contact reference staff for details.
Topic:
Lectures and lecturing  Search this
Speeches, addresses, etc.  Search this
Special events  Search this
Museum buildings  Search this
Artists -- Interviews  Search this
Museums -- Employees  Search this
Radio programs  Search this
Publicity  Search this
Art museums  Search this
Art, modern  Search this
Genre/Form:
Audiotapes
Citation:
Smithsonian Institution Archives, Accession 10-140, Hirshhorn Museum and Sculpture Garden, Audiotapes
Identifier:
Accession 10-140
See more items in:
Audiotapes
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-fa10-140

Ai Weiwei on the inspiration of his Father- Hirshhorn Museum

Creator:
Hirshhorn Museum and Sculpture Garden  Search this
Type:
Youtube videos
Uploaded:
2017-08-08T17:58:09.000Z
Topic:
Art, modern  Search this
Youtube Category:
Education  Search this
See more by:
hirshhornmuseum
YouTube Channel:
hirshhornmuseum
Data Source:
Hirshhorn Museum and Sculpture Garden
EDAN-URL:
edanmdm:yt_gnW5tKIIbH8

The relations between speech and the plastic arts

Author:
Calame-Griaule, Geneviève  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Type:
Articles
Date:
1986
Topic:
Art, Dogon  Search this
Call number:
DT551.45.D64 C14 1986
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_559216

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