Biographical material, extensive diaries, correspondence, notes, writings, business records, sketchbooks and drawings, project files, scrapbooks, printed materials, photographs and slides, motion picture film, and videotape relating to Weem's education and career as a sculptor. Also included are ca. 1 foot of papers of Weems' aunt, watercolorist Katharine Ward Lane (1862-1893), including letters, diaries, sketchbooks and photographs.
REEL 724: Biographical sketch, 1974; letters from Frederic Bartlett, George Demetrios, Walker Hancock, Leon Kroll, Lee Lawrie, Moissaye Marans, Adolph Alexander Weinman, and others; four sketchbooks, 1954-1965, containing pencil drawings of animals; a scrapbook of clippings, 1924-1941; and printed material.
UNMICROFILMED: Biographical material includes sketches and documents, and biographical information on Weems grandfather, Basil Lanneau Gildersleeve, and father, Gardiner Lane. Diaries (74 v.), 1906-1983, contain entries relating to art studies and her development as a sculptor; some include clippings and photographs. Correspondence, 1898-1989, includes letters from Gifford Beal, Margaret French Cresson, Charles Grafly, John Gregory, Walker Hancock, Malvina Hoffman, Anna Hyatt-Huntington, Paul Manship, Brenda Putnam, Gurdon Tarbox, and Adolph Weinman, discussing Weems' work and participation in various sculpture organizations. There are four notebooks on art history; recipes for clay and plaster; notes on patinas for bronze; lecture notes; lists of Weems' works and exhibitions; an exhibition guest book, 1931-1957; poems, 1933-1981; invoices and receipts, 1919-1981; copyright records, 1928-1978; and art work, including 15 v. of sketchbooks, 1913-1964, drawings and tracings of animal figures. and a copper printing plate mounted on a wood block.
Fourteen project files contain letters, drawings, photographs, and printed material on: an enlarging machine, the Saltus Medal for Merit, the frieze and Rhinoceros sculpture for the Biological Laboratories at Harvard, 1930-1942, including 7 reels of 16mm motion picture film (with script transferred to VHS), the Lotta Fountain, 1939-1974, Legion of Merit Medal, 1949-1952, War Department project, 1946, Goodwin Medal, 1949-1952, Wallace Goodrich Plaque, 1954, Hospital Teaching Clinic, 1955, Boston Museum of Science, 1964-1965, "Dolphins by the Sea" for the New England Aquarium, 1969-1979, Heredities Limited, 1971-1974, and the Museum School, 1977.
Included are two scrapbooks, one of clippings about the work of other artists and one containing poems, clippings of landscapes, animals, works by others, and autographed photographs of actresses Katharine Cornell and Anna May Wong and sculptor Brenda Putnam. Printed material includes clippings, 1911-1989; exhibition announcements and catalogs, 1922-1981; bulletins, programs, brochures on artists, organizations, Brookgreen Gardens, and supplies; reproductions of art works, and the books, Odds Were Against Me (1985, Weems autobiography, and Enrique Monjo (1955), inscribed by Mongo.
Photographs and slides, 1902-1988, are of Weems, family members, artists Charles Grafly, Walker Hancock, and Anna Hyatt-Huntington, Weems' house "The Chimneys," her studio, gardens, animals, works of art by Weems and others, exhibit installations, and views of New York City, Washington, D.C., Monticello, the University of Virginia, and Brookgreen Gardens. Nine albums, 1920-1980, contain photographs of an art class, Weems in her studio, her home, her friends, scenic views, and works of art. Videos and film include a videotape (5 min., U-matic) of an interview of Weems; a film, "From Clay to Bronze," showing the creation of Weems' sculpture "Dark Warrier" (transferred to VHS); motion picture film of the making of the sculpture "Rhinoceros" (transferred to digital betacam, VHS and DVD), and a home movie of a day at the beach, circa 1935.
The papers' of Weems' aunt, Katharine "Kitty" Ward Lane (d. 1893), include Lane's letters, 1898-1893, to her brother (Weems' father) and to other family members; a travel diary from Germany, 1886; notes; financial records, 1891-1892; 10 sketchbooks; printed material; and photographs, 1865-1893, of Lane, early views of Saranac Lake, and 9 views of the Columbia Exposition, 1893.
Biographical / Historical:
Sculptor; Boston, Mass. Died 1989. Specialized in animal sculpture. Studied at the School of the Museum of Fine Arts, Boston under Charles Grafly, Anna Hyatt-Huntington, George Demetrios, and Brenda Putnam. She married F. Carrington Weems in 1947. Named after her aunt, watercolor painter Katharine Ward Lane, who died in 1893.
Provenance:
Material on reel 724 lent for microfilming by Weems, 1974. The four sketchbooks on reel 724 were subsequently donated in 1989. Unmicrofilmed papers were donated 1975 and 1982 by Weems, and in 1989 by her estate. Eighteen diaries (1961-1965, 1967-1976 [1969 not included], 1978, and 1981-1983) and an apppointment book for 1966 donated by the Schlesinger Library, Radcliffe College, 1991.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Animal sculptors -- Massachusetts -- Boston Search this
Hibbard, A. T. (Aldro Thompson) (1886-1972) Search this
Woodbury, Charles H. (Charles Herbert) Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Agnes Abbot, 1981 August 25-1982 January 15. Archives of American Art, Smithsonian Institution.
The papers of Massachusetts portait painter and watercolorist Charles Hopkinson date from 1892 to 1993 and measure 1.4 linear feet. The papers are comprised primarily of 17 sketchbooks and loose sketches. Also found are printed materials and three photographs of Hopkinson, as well as writings about Hopkinson written by his daughter Joan Hopkinson Shurcliff and her husband William Shurcliff.
Also found at the Archives is a small miscellaneous manuscript collection of five letters to Chauncey Stillman from Charles Hopkinson.
Scope and Contents:
The papers of Massachusetts portrait painter and watercolorist Charles Hopkinson date from 1892 to 1993 and measure 1.4 linear feet. The papers are comprised primarily of 17 sketchbooks and loose sketches. Also found are printed materials and three photographs of Hopkinson, as well as writings about Hopkinson written by his daughter Joan Hopkinson Shurcliff and her husband William Shurcliff.
Arrangement:
The collection is arranged as 4 series.
Missing Title
Series 1: Writings and Notes, 1987-1993 (0.2 linear feet; Box 1)
Series 2: Printed Material, 1988-1991 (2 folders; Box 1)
Series 3: Photographs, 1938-1961 (1 folder; Box 1)
Series 4: Sketchbooks and Artwork, 1892-1957 (1.2 linear feet; Box 1-3)
Biographical / Historical:
Portrait and watercolor painter Charles Hopkinson (1869-1962) was active in Cambridge, Massachusetts.
Hopkinson married fellow art student Angelica Rathbone in 1893. The pair divorced by 1899 while living in France. Afterwards, Hopkinson travelled to Roscoff, Brittany where he produced many watercolor and oil paintings. He returned to Massachusetts and married Elinor Curtis in 1903. Together, they had five daughters, Harriot (Mrs. Alfred Rive), Mary (Mrs. John Heysham Gibbon, Jr. later Mrs. Lovell Thompson), Isabella (Mrs. James Addison Halsted), Elinor (Mrs. James Henderson Barr), and Joan (Mrs. William Asahel Shurcliff).
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels N-68-106, 482, 486, 515, 634-639) including biographical material, family correspondence, writings, business records, printed materials, and 96 sketchbooks. While six of the sketchbooks were later donated, all other loaned materials was returned to the lender and are not described in the collection container inventory.
Provenance:
Portions of the collection were loaned for microfilming between 1969-1973. Charles Hopkinson's daughters and granddaughters, Joan Hopkinson Shurcliff, Harriot Rive, Elinor Barr, Mrs. John M. Clarke and Mrs. James Masek, donated additional material in 1973 and 1992.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Please contact reference services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Selected material from the Prendergast Archive, Williams College, Williamstown, Mass. Included are: a descriptive list of contents on the microfilm; letters from Maurice to his brother Charles during trips to Paris, 1907, and Venice, 1911-1912, and a draft of a letter to William Glackens about Marsden Hartley, ca. 1908, with transcriptions by the Prendergast Archive; letters to Charles and his wife, Eugenie, 1900-1956, from John Singer Sargent, Van Wyck Brooks, Walter Pach, Ira Glackens, Edith Glackens, and others. Also included are Maurice's address book, ca. 1914-1923?; Charles' diaries of trips to France, 1927 and 1929, containing 3 pencil sketches;
Maurice's and Charles' diary and addresses, 1918-1925; and a partial record of the Prendergast/Germaine family history recorded in a Bible and birth and death documents of family members. Miscellany pertaining to Maurice includes a sketch on his Macbeth Gallery exhibition catalog, 1900; an informal translation of an article on Paul Cezanne, ca. 1908; a notebook p. inscribed with his name and address; and a bronze medal awarded for third prize in an American oil painting exhibition at the Corcoran Gallery of Art.
Miscellany of Charles includes his driver's license, a sketch; notes; and signatures. Also included are a photograph of their painting "The Spirit of the Hunt," inscribed by them to a friend, 1918; printed material collected by them; a list of their books; photographs of Maurice, Charles, family, friends, and of works of art by other artists.
Biographical / Historical:
Maurice: painter, watercolorist, illustrator and graphic artist; Boston, Mass. and New York, N.Y. Charles: painter, sculptor, craftsman, and framemaker; Boston, Mass., New York, N.Y. and Westport, Conn. Maurice was an Impressionist and early modernist. He painted scenes along the Massachusetts and Maine coasts as well as in Paris, Venice, Rome, and French coastal towns; exhibited with "The Eight" (1908), and was a contributor to the Armory show (1913). Charles achieved prominence as a craftsman and framemaker (1891-1912), and later specialized in painted, gilded, and incised panels of exotic and folk subjects (1912-1948).
Provenance:
Loaned for microfilming in 1992 by the Prendergast Archive and Study Center. Located in the Williams College Museum of Art, Williamstown, Mass., it contains archival materials pertaining to the Prendergasts, donated by Mrs. Charles Prendergast, as well as research materials and files amassed for the publication of MAURICE BRAZIL PRENDERGAST, CHARLES PRENDERGAST: A CATALOG RAISONNE (1990).
Restrictions:
Patrons must use microfilm copy.
Topic:
Art, Modern -- 19th century -- United States Search this
Art, Modern -- 20th century -- United States Search this
The papers of Agnes Anne Abbot measure 0.6 linear feet and date from 1921 to 1976. The collection consists of biographical information, correspondence, writings and notes, personal business records, printed material, photographs of works of art, and artwork.
Scope and Contents:
The papers of Agnes Anne Abbot measure 0.6 linear feet and date from 1921 to 1976. The collection consists of biographical information, correspondence, writings and notes, personal business records, printed material, photographs of works of art, sketchbooks and artwork.
Correspondence is from Abbot's family and friends and includes some letters written by Abbot to her mother, sister, and brother. Other correspondents include Alfred Barr, Alice Van Vechten Brown, Bernard Heyl, and Douglas McKee. Artwork includes ten sketchbooks depicting Abbot's travels throughout Europe, Africa, and the United States.
Arrangement:
The collection is arranged as 7 series.
Series 1: Biographical Material, 1927-1949 (3 folders; Box 1)
Series 2: Correspondence, 1926-1951 (0.1 linear feet; Box 1)
Series 3: Writings and Notes, circa 1930-circa 1940 (3 folders; Box 1)
Series 4: Personal Business Records, 1927-1965 (2 folders; Box 1)
Series 5: Printed Material, 1964-1968 (2 folders; Box 1)
Series 6: Photographs, 1960-1976 (4 folders; Box 1)
Series 7: Sketchbooks and Artwork, 1921-1965 (0.3 linear feet; Box 1-2)
Biographical / Historical:
Agnes Anne Abbot (1897-1992) was a watercolorist and educator active in Wellesley and Boston, Massachusetts.
Born in Germany in 1897, Agnes Anne Abbot spent summers in the Boston area. In 1917, her family moved to the United States and settled in Boson where Abbot attended the School of Fine Arts and Crafts. From 1920 to 1963, Abbot taught at Wellesley College. She traveled extensively throughout Africa, Europe, and the United States. Agnes Anne Abbot died in Boston, Massachusetts in 1992.
Related Materials:
The Archives of American Art holds an oral history with Agnes Anne Abbot conducted by Robert Brown on August 25, 1981 to January 15, 1982.
Provenance:
Agnes Anne Abbot donated her papers to the Archives of American Art in several installments from 1979 to 1987.
Restrictions:
Use of original papers 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.
An essay, "The Canyon Country of Utah"; correspondence; a scrapbook of clippings; two exhibition catalogs; three photographs of Macknight; and the first of a limited edition of DODGE MACKNIGHT, WATER COLOR PAINTER, by Desmond Fitzgerald, 1917.
Biographical / Historical:
Watercolorist, painter; Sandwich, Mass. During the 1920's Vose Gallery, Boston, sold out every one of MacKnight's paintings. He also used the name W. Dodge Macknight.
Provenance:
Lent for microfilming 1980 by Mr. and Mrs. George W. Bruce, the niece of Dodge Macknight.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Hibbard, A. T. (Aldro Thompson) (1886-1972) Search this
Woodbury, Charles H. (Charles Herbert), 1864-1940 Search this
Extent:
75 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1981 August 25-1982 January 15
Scope and Contents:
An interview of Agnes Abbot conducted 1981 August 25-1982 January 15, by Robert Brown, for the Archives of American Art.
Abbot speaks of her early education in Berlin; training at the Child-Walker School in Boston under Aldro T. Hibbard and Charles H. Woodbury; and her early years as a studio art instructor at Wellesley College.
Biographical / Historical:
Agnes A. Abbot (1897-1992) was a painter and watercolorist from Wellesley, Massachusetts.
General:
Originally recorded on 2 sound cassettes and 2 sound tape reels. Reformatted in 2010 as 6 digital wav files. Duration is 4 hrs., 2 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
The scattered papers of painter Laura Coombs Hills measure 0.2 linear feet and date from 1863 to 1952. Found are artworks including painted sketches and needlepoint designs, biographical material, correspondence, photographs, and printed material.
Scope and Contents:
The scattered papers of painter Laura Coombs Hills measure 0.2 linear feet and date from 1863 to 1952. Found are artworks including painted sketches and needlepoint designs, biographical material, correspondence, photographs, and printed material.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Laura Coombs Hills (1859-1952) was a painter from Newburyport and Boston, Massachusetts. She is known for miniature portraits, floral still-life works, and illustrations for children's books.
Provenance:
Elizabeth Swan, the great-niece of Laura Hills, donated the Laura Coombs Hills papers to the Archives of American Art in 1979.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Miniature painters -- Massachusetts -- Boston Search this
Watercolorists -- Massachusetts -- Boston Search this
School of Practical Art (Boston, Mass.) Search this
Extent:
4 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1869-1975
Scope and Contents:
Correspondence, printed material, photographs, biographical data, and sketchbooks.
REEL 940: Personal and official correspondence with attached explanatory notes by Mrs. Reddie; biographical data and reminiscences; a certificate of award; exhibition material, 1953-1966; reproductions of Reddie's work; clippings; and photographs of Reddie and his work.
UNMICROFILMED: 50 sketches and 5 sketchbooks; ca. 300 photographs of Reddie's work and his family; exhibition catalogs from the MacIvor Reddie Gallery and from the School of Practical Art (now the Art Institute of Boston); and clippings on artists, horses, and various topics.
Biographical / Historical:
Educator, watercolorist, landscape, portrait, marine painter, and gallery owner; Cohasset, Mass. Taught at the School of the Museum of Fine Arts, Boston.
Provenance:
Unmicrofilmed material was donated by Mrs. Elizabeth Reddie, Reddie's wife, 1973. Material on reel 940 was lent for microfilming by her, 1975.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
The Ellen Hale and Hale family papers measure 3 linear feet and date from circa 1860 to 1952. Found within the papers are biographical material for Ellen Day and Edward Everett Hale; personal correspondence from Ellen Day and Lillian Westcott Hale; diaries by Ellen Day and Susan Hale; an appraisal of the Hale estate and personal business records for Ellen Day and Edward Everett Hale; printed material; sketchbooks and sketches by Ellen Day and Herbert Dudley Hale; and travel photographs of the Hale family.
Scope and Contents:
The Ellen Hale and Hale family papers measure 3 linear feet and date from circa 1860 to 1952. Found within the papers are biographical material for Ellen Day and Edward Everett Hale; personal correspondence from Ellen Day and Lillian Westcott Hale; diaries by Ellen Day and Susan Hale; an appraisal of the Hale estate and personal business records for Ellen Day and Edward Everett Hale; printed material; sketchbooks and sketches by Ellen Day and Herbert Dudley Hale; and travel photographs of the Hale family.
Biographical materials consist of publications related to Edward Everett Hale's 80th birthday celebration; Ellen Day Hale's calling cards, calendar, and engagement books; and Robert Beverly Hale's calendar.
Correspondence is primarily Ellen Day Hale's and Lillian Westcott Hale's personal and business correspondence, and a letter from Margaret C. Hale to Arthur Hale.
Writings include 9 diaries by Ellen Day Hale, 1 diary by Emily P. Hale, and 19 diaries by Susan Hale; an essay by Arthur Hale; Herbert Dudley Hale's word game book; Susan Hale's travel instructions to a niece; and a notebook listing the likes and dislikes of various Hale family members.
Personal business records consist of Edward Everett and Emily P. Hale's account and tax records; Ellen Day Hale's art supply receipts, royalty statements, tax records, and a check register; Lillian Westcott Hale's receipts; and Susan Hale's notes on an appraisal of the Hale estate.
Printed material includes various clippings, invitations, and programs kept by the Hale family, and Ellen Day Hale's travel postcards.
Artwork includes 22 sketchbooks by Ellen Day Hale, 5 sketchbooks by Herbert Dudley Hale; and 7 sketchbooks by other artists.
Photographs are travel snapshots taken during travels in Mexico.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical materials, circa 1875-1925 (6 folders; Box 1)
Series 2: Correspondence, circa 1861-1951 (4 folders; Box 1)
Series 3: Writings, 1878-1933 (0.9 linear feet; Box 1-2)
Series 4: Personal business records, 1909-1952 (8 folders; Box 2)
Series 5: Printed material, 1862-1933 (5 folders; Box 2)
Series 6: Artwork, circa 1860-1925 (1.5 linear feet; Box 2-3)
Series 7: Photographs, circa 1890-1901 (1 folder; Box 3)
Biographical / Historical:
Writer, publisher, and clergyman Edward Everett Hale (1822-1909) and his wife, Emily Perkins Hale, were well regarded members of Boston society. After graduating from Boston Latin School at age 13, Hale enrolled directly into Harvard University and graduated second in his class in 1839. He became a licensed Unitarian minister in 1842 and was a church pastor from 1846 to 1899. In the 1860s, Hale began publishing short stories in the Atlantic Monthly, Harper's New Monthly Magazine, and other periodicals. In 1869, he co-founded the Christian Examiner, which later merged with Scribner's Magazine in 1875, and founded Lend a Hand in 1886. He and his wife had one daughter and eight sons. Three of those sons died in childhood, and a fourth, Robert Beverly Hale, died as a young adult.
Writer and artist Susan Hale (1833-1910) was schooled at home by tutors before enrolling in George B. Emerson's school. She was a self-taught artist who learned to paint and draw early in life. In 1872, she traveled to Europe to pursue formal art instruction and, upon her return to Boston, began giving lessons in watercolors. From 1873 to 1885, she maintained a studio at the Boston Art Club, wrote articles for Boston papers, edited literary collections for fundraisers, lectured on popular fiction, and eventually became a literary celebrity. Beginning in the mid-1880s, Hale began traveling the country and abroad giving lectures in the winter and visiting Edward Everett's family in Matunuck, Rhode Island in the summer. In between her travels, she continued to publish books, including a traveling series for young readers, and an instruction book on painting techniques.
Arthur Hale (1859-1939) was a general agent for the American Railway Association and an employee of the Pennsylvania Railroad Company. In 1899, he married Camilla Conner, with whom he had one daughter.
Architect Herbert Dudley Hale (1866-1908) graduated from Harvard in 1888 and studied architecture abroad at the École des Beaux Art in Paris, where he graduated among the first in his class. After his return to Boston around the turn of the century, Hale married Margaret Marquand, with whom he had five children, and established the architecture firm Hale and Rogers with James Gamble Rogers.
Writer Robert Beverly Hale (1869-1895) graduated from Harvard in 1892 and published numerous stories and articles in the Atlantic Monthly, Harper's Weekly, and Youth's Companion. Elsie and Other Poems was published in 1894, and Six Stories and Some Verses was published posthumously after Hale's death in 1895.
Artist Lillian Westcott Hale (1881-1963) was the wife of fellow artist Philip Leslie Hale, the third eldest of the Hale children. Hale received a scholarship to attend the Boston Museum School of Fine Arts, where she met Philip and married him halfway through her studies. Hale held her first solo show in 1908, the same year her daughter was born, and continued to produce work for exhibitions through the 1920s. She was the recipient of the 1915 Panama-Pacific Exposition gold medal, the National Academy's Shaw Memorial Prize (1915), and the National Academy of Design's Altman Prize (1927). She continued producing works until her death in 1963.
Related Materials:
The Archives of American Art also holds two collections related to the Hale family, including the Philip Leslie Hale papers and the Edward Everett Hale letter to an unidentified person. Smith College's Sophia Smith Collection also holds papers of the Hale family, including Nathan, Sr., and Sarah Preston Everett Hale; Edward Everett and Emily Perkins Hale; Ellen Day Hale; and Philip and Lilian Westcott Hale. .
Separated Materials:
Printed books and monographs in the collection were transferred to the National Portrait Gallery Library in 1978.
Provenance:
The Ellen Hale and Hale family papers were donated in 1978 and 1984 by Nancy Hale Bowers, the niece of Ellen Day Hale, and the grand-daughter of Edward Everett and Emily P. Hale.
Restrictions:
Use of original papers 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.
Museum of Fine Arts, Boston. Egyptian Art Dept Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1934-1991
Summary:
The scattered papers of watercolorist Suzanne Chapman measure 0.2 linear feet and date from 1934 to 1991. Found are biographical material, correspondence, three photographs, printed material, and a project file.
Scope and Contents:
The scattered papers of watercolorist Suzanne Chapman measure 0.2 linear feet and date from 1934 to 1991. Found are biographical material, correspondence, three photographs, printed material, and a project file.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Suzanne Chapman (1903-1990) was a watercolorist, draftsman, illustrator, and educator active in Boston, Massachusetts. Chapman helped to develop a method of rendering art objects in watercolor with great accuracy of color, texture, and form that was adopted by the Index of American Design in the 1930s for use by field artists. For most of her career, she was the principal illustrator of the voluminous excavation publications of the Egyptian Department of the Museum of Fine Arts, Boston.
Provenance:
Lucille H. Chapman, Suzanne Chapman's sister, donated the papers to the Archives of American Art in 1992 and 1993.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Watercolorists -- Massachusetts -- Boston Search this
