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Campbell, Arthur Bradley

view Campbell, Arthur Bradley digital asset: Campbell, Arthur Bradley
Collection Creator:
Jacques Seligmann & Co.
Container:
Box 20, Folder 13
Type:
Archival materials
Date:
1945-1946
Collection Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The records of Jacques Seligmann & Co. are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-jacqself-ref9225

Campbell, Arthur Bradley

view Campbell, Arthur Bradley digital asset: Campbell, Arthur Bradley
Collection Creator:
Jacques Seligmann & Co.
Container:
Box 179, Folder 10
Type:
Archival materials
Date:
undated
Collection Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The records of Jacques Seligmann & Co. are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-jacqself-ref13081

William Warren Bradley

view William Warren Bradley digital asset number 1
Artist:
Michael Arthur Worden Evans, 1944 - 1 Dec 2005
Sitter:
William Warren Bradley, born 1943
Medium:
Gelatin silver print
Dimensions:
Image: 55.5cm x 45.2cm (21 7/8" x 17 13/16")
Sheet: 60.6cm x 50.6cm (23 7/8" x 19 15/16")
Type:
Photograph
Date:
c. 1984
Topic:
William Warren Bradley: Male
William Warren Bradley: Politics and Government\US Senator\New Jersey
William Warren Bradley: Sports and Recreation\Athlete\Basketball
Portrait
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of the Portrait Project, Inc.
Object number:
S/NPG.92.186
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
EDAN-URL:
edanmdm:npg_S_NPG.92.186

Bradley Arthur [Folder]

Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_105700

Photographs of Arthur Bock

view Photographs of Arthur Bock digital asset: Photographs of Arthur Bock
Collection Creator:
Storrs, John Henry Bradley, 1885-1956
Container:
Box 15, Folder 17
Type:
Archival materials
Date:
circa 1906
Collection Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The John Henry Bradley Storrs 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.
Collection Citation:
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
See more items in:
John Henry Bradley Storrs papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-storjohn-ref307

Chair Muse, (sculpture)

view Chair Muse, (sculpture) digital asset number 1
Sculptor:
Arthur, Bradley 1953-
Medium:
Sculpture: Cor-Ten steel and stainless steel; Base: brick
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
Administered by City of Tampa Art in Public Places 1420 North Tampa Street Tampa Florida 33602
Located City Hall Plaza Corner of Franklin Street & Kennedy Boulevard Tampa Florida
Date:
1982. Copyrighted 1982
Notes:
Save Outdoor Sculpture, Florida, Tampa survey, 1993.
Topic:
Abstract
Object--Furniture--Chair
Control number:
IAS FL000200
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_319869
Additional Online Media:

Generations, (sculpture)

view Generations, (sculpture) digital asset number 1
Sculptor:
Arthur, Bradley 1953-
Medium:
Sculpture: bronze; Base: limestone
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
Miami Jewish Home and Hospital for the Aged Social Services Department 5200 Northeast Second Avenue Front entrance of the Irving Cypen Tower Miami Florida
Date:
1990. Dedicated March 14, 1990
Notes:
Save Outdoor Sculpture, Florida, Miami survey, 1994.
Summary:
Abstract figures intertwined within one another.
Topic:
Figure group
Abstract
Allegory--Life
Control number:
IAS FL000312
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_322234
Additional Online Media:

John Henry Bradley Storrs papers

view John Henry Bradley Storrs papers digital asset: Biographical Summaries and Lists
Creator:
Storrs, John Henry Bradley, 1885-1956
Names:
Downtown Gallery (New York, N.Y.)
Andersen, Hendrik Christian, 1872-1940
Anderson, Sherwood, 1876-1941
Bennett, Edward H.
Biddle, George, 1885-1973
Blum, Jerome, 1884-1956
Braque, Georges, 1882-1963
Bryant, Louise, 1885-1936
Calder, Alexander, 1898-1976
Cole, Walter, b. 1891
Cret, Paul Philippe, 1876-1945
Dismorr, Jessica Stewart, 1885-1939
Dreier, Katherine Sophie, 1877-1952
Duchamp, Marcel, 1887-1968
Eastman, Max, 1883-1969
Fuller, R. Buckminster (Richard Buckminster), 1895-
Halpert, Edith Gregor, 1900-1970
Hartley, Marsden, 1877-1943
Heap, Jane
Hecht, Zoltan, 1890-1968
Hélion, Jean, 1904-1987
Lipchitz, Jacques, 1891-1973
Léger, Fernand, 1881-1955
Ray, Man, 1890-1976
Raynal, Maurice
Rodin, Auguste, 1840-1917
Sheeler, Charles, 1883-1965
Stella, Joseph, 1877-1946
Sterne, Maurice
Stieglitz, Alfred, 1864-1946
Storrs, Marguerite Deville Chabrol
Survage, Leopold
Zorach, Marguerite, 1887-1968
Zorach, William, 1887-1966
Extent:
19.8 linear feet
Type:
Archival materials
Collection descriptions
Date:
1790-2007
bulk 1900-1956
Summary:
The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 19.8 linear feet and date from 1790-2007, with the bulk of the papers dating from 1900 to 1956. The collection contains biographical material, correspondence, personal business records, forty-eight diaries of John Storrs, a few diaries of other family members, additional writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. Correspondence includes that of John Storrs, Marguerite Storrs, and the Storrs family.
Scope and Contents note:
The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 19.8 linear feet and date from 1790 to 2007, with the bulk of the papers dating from 1900 to 1956. The collection documents Storrs' career as an artist and his personal life through biographical material, correspondence with family, friends, and colleagues, personal business records, forty-eight diaries and other writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. There is also a substantial amount of Marguerite Storr's correspondence as well as scattered correspondence of other members of the Storr's family.

Biographical material consists of chronologies detailing the life of John Storrs, identification records, certificates, Storrs family documents, and records of John and Monique Storrs' French resistance activities during World War II.

Correspondence within this collection is divided into John Storrs Correspondence, Marguerite Storrs Correspondence, and Storrs Family Correspondence. The bulk of correspondence is John Storrs with friends, colleagues, art critics, patrons, art organizations and galleries. Correspondents of note include artists, architects, and writers such as Hendrick Andersen, Sherwood Anderson, Edward Bennett, George Biddle, Jerome Blum, Georges Braque, Louise Bryant, William Bullitt, Alexander Calder, Walter Cole, Paul Phillippe Cret, Katherine Dreier, Marcel Duchamp, Max Eastman, R. Buckminster Fuller, Marsden Hartley, Jane Heap, Jean Helion, Fernand Leger, Jacques Lipchitz, Man Ray, Charles Sheeler, Gertrude Stein, Joseph Stella, Maurice Sterne, Alfred Stieglitz, Leopold Survage, and William and Marguerite Zorach. There are also many letters to his wife Marguerite.

Marguerite Storrs' correspondence is with friends, family, colleagues, and others, including many letters to her husband. The letters are about general and family news, social activities and invitations, her work as a writer, and her husband's career. Storrs' family correspondence includes John and Marguerite's extensive correspondence with their daughter Monique as well as Monique's correspondence with others. Additional family correspondence is between John, his sister Mary ("Mae") and their parents David William and Hannah Storrs, much of it dating from 1900 to 1913.

Personal business records include address books, records regarding the sale and loan of Storrs' artwork, commission files regarding major public sculptures by Storrs, contracts, appraisals, financial records, and other documents regarding his professional activities. Of note are several files documenting Downtown Gallery's representation of Storrs' work during the 1960s, including correspondence between Edith Halpert and Monique Storrs. Various other documents include records of the Ecole de la Loire artists group (all in French.) Additionally there are records relating to Chateau de Chantecaille, an estate purchased by Storrs in the early 1920s as his primary residence and studio.

Forty-eight diaries contain scattered documentation of John Storrs' daily activities. Other writings by Storrs include four volumes of his memoirs that detail family history and his life from birth to 1906, notebooks, poetry, and personal accounts including the death of Auguste Rodin. Writings by others include poetry by Jessie Dismorr, essays by Zoltan Hecht and Maurice Raynal, and notebooks belonging to Storrs family members.

Printed material consists of books, art bulletins, brochures, invitations, announcements, and programs for art and social events. Also found are catalogs for exhibitions of Storrs' work and work by other artists; magazines, including a bound volume of the first ten issues of The Liberator; and clippings which include news about Storrs, his family, and friends.

Photographs depict John Storrs, his family, friends such as Arthur Bock and Gertrude Lambert, travels, and residences. Included are photographs of Storrs in his studio and in art classes. Also found are four photograph albums, primarily documenting his time in Europe from 1905 to 1907, exhibition photographs, and numerous photographs of his artwork.

Original artwork includes a portfolio of artwork created by Storrs as a youth, loose sketches, one sketchbook, 31 lithographs, and drawings for mural projects.

Four scrapbooks and a portfolio kept by John and Marguerite Storrs contain newspaper and magazine clippings of articles and illustrations as well as printed material from exhibitions, social events, and professional activities. Also found is a portfolio containing scattered items regarding the publication of Song of Myself with original wood engravings by John Storrs. One additional scrapbook was created by John Storrs around 1945 for his daughter, Monique Storrs, to document her service as a nurse in World War II.

This collection also includes records of John Storrs' estate immediately following his death in 1956, as well as records of several galleries that represented the estate in managing Storrs' artwork from the 1970s to 2002.

Three videocassettes, transferred from an unknown reel format, contain footage of Storrs' family life at Chantecaille and in Chicago, Illinois, in the 1930s.
Arrangement note:
The collection is arranged as 11 series.

Some box and folder numbers in the container listing intentionally display out of sequence. An accretion was added in 2012 and integrated into the intellectual order, but not into the physical container order. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, 1837, 1860-1984 (Box 1, 20, 25, OV 23; 0.6 linear feet)

Series 2: Correspondence, 1857-2007 (Box 1-7, 25; 5.8 linear feet)

Series 3: Personal Business Records, 1790, 1855-1987 (Box 7-9, 25, OV 24, 28; 2.9 linear feet)

Series 4: Diaries, 1874-1955 (Box 9-10; 0.9 linear feet)

Series 5: Writings, 1888-1989 (Box 10-11, 25; 1.1 linear foot)

Series 6: Printed Material, 1867-1987, 2005 (Box 11-14, 25, OV 24; 3.6 linear feet)

Series 7: Photographs, circa 1885-1980 (Box 14-16, 18, 20-22, 25, MGP 1, MGP 2, MGP 5, MGP 6; 3.2 linear feet)

Series 8: Artwork, 1895-1935 (Box 18, 20, OV 23; 0.5 linear feet)

Series 9: Scrapbooks, 1895-1963 (Box 18-21, 25; 0.7 linear feet)

Series 10: Estate Records, 1956-2002 (Box 26; 0.4 linear feet)

Series 11: Video Recordings, circa 1980s (Box 26-27; 0.2 linear feet)
Biographical/Historical note:
John Henry Bradley Storrs (1885-1956) worked primarily in Chicago, Illinois, and Mer, France, as a sculptor, painter, and printmaker.

John Storrs was born in 1885 in Chicago, Illinois, to David William Storrs, an architect, and Hannah Bradley Storrs. Upon completing his schooling in 1905 he went to Berlin with the intention of studying music, but instead chose to study sculpture with the Arthur Bock in Hamburg, Germany. He also spent time in Paris and traveled throughout Europe, Turkey, and Egypt, returning to the US in late 1907. Storrs took night classes at the Art Institute of Chicago, followed by periods of study at the School of the Museum of Fine Arts, Boston, with Bela Pratt, and at the Pennsylvania Academy of the Fine Arts with Charles Grafly. In 1912 he returned to Paris where he studied at the Académie Julian and with the famous sculptor Auguste Rodin. During this period his work was greatly influenced by cubism and futurism. In 1914 he married French writer Marguerite Deville-Chabrol. After briefly returning to the US to exhibit his work, Storrs worked at a hospital in Paris throughout World War I and in 1918 his daughter Monique was born. He and his family settled in Mer, France, at the Chateau de Chantecaille in 1921.

The following two decades were very productive for Storrs and he frequently travelled between the US and France to exhibit and create work. He showed in many notable exhibits such as the Société Anonyme's International Exhibition of Modern Art in New York in 1926, and he completed several commissions such as a statue for the Chicago Board of Trade in 1929. During this time Storrs completely moved away from representational work and refined his non-objective, machine-like sculpture. Besides sculpture, he also produced many paintings, woodcuts, lithographs, and other works on paper. He created works for the Century of Progress International Exposition in 1933 and also worked for the Public Works of Art Project in 1934.

During World War II Storrs was twice arrested and imprisoned by the German occupation forces, once for six months from 1941 to 1942 and again in 1944 along with his daughter Monique who was part of the French Resistance. These events greatly impacted his health and he produced very little work in the late 1940s and 1950s. He continued to exhibit his work and was also president in 1954 of the Ecole de la Loire, a group of 75 artists working in the Loire Valley. John Storrs died in 1956.
Related Archival Materials note:
Also available at the Archives of American Art is the Noel Frackman research material on John Henry Bradley Storrs, 1972-2003. In addition, Archives of American Art microfilm reels 1463 and ND/S-1 contain the John Henry Bradley Storrs scrapbook and studio book, 1909-1972.
Separated Materials note:
The Booz family also loaned approximately 1,000 drawings by John Storrs and select family photographs for microfilming. Loaned material is available for viewing on reel 1555, but is not described in this container listing of this finding aid.
Provenance:
The John Henry Bradley Storrs papers were donated in several installments from 1979 to 1987 by Storrs' daughter, Monique Storrs Booz, and her daughter, Michelle Storrs Booz. A portion of these papers were loaned for microfilming in 1977 and subsequently donated in 1980. Additional papers were donated by Michelle Storrs Booz in 2011.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Rights:
The John Henry Bradley Storrs 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:
Artists' studios--France--Paris--Photographs
Expatriate artists--France
Painters--France--Paris
Painters--Illinois--Chicago
Printmakers--France--Paris
Printmakers--Illinois--Chicago
Sculptors--France--Paris
Sculptors--Illinois--Chicago
Sculpture, Modern--20th century
World War, 1939-1945--France
World War, 1939-1945--Underground movements
Genre/Form:
Diaries
Photographs
Poems
Portfolios (groups of works)
Prints
Scrapbooks
Sketchbooks
Sketches
Video recordings
Citation:
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.storjohn
See more items in:
John Henry Bradley Storrs papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-storjohn
Additional Online Media:

Asplenium bradleyi D.C. Eaton

view Asplenium bradleyi D.C. Eaton digital asset number 1
Biogeographical Region:
75 - Northeastern U.S.A.
Collector:
A. A. Heller
Place:
Lancaster County, Pennsylvania, about the mouth of the Tucquan, in Eozoic., Pennsylvania, United States, North America
Collection Date:
24 Jul 1901
Specimen Count:
1
Record Last Modified:
21 Sep 2016
Common name:
Bradley's spleenwort
Taxonomy:
Plantae Pteridophyte Polypodiales Aspleniaceae
Published Name:
Asplenium bradleyi D.C. Eaton
Barcode:
01503491
USNM Number:
406410
See more items in:
Flowering plants and ferns
Botany
Data Source:
NMNH - Botany Dept.
EDAN-URL:
edanmdm:nmnhbotany_12351803

Correspondence, Harrington - Moser 1848-1924

view Correspondence, Harrington - Moser 1848-1924 digital asset number 1
Creator:
McEvoy, Ambrose 1878-1927
Healy, G. P. A (George Peter Alexander) 1813-1894
Johnson, Eastman 1824-1906
Maynard, George W (George Willoughby) 1843-1923
McEvoy, Ambrose 1878-1927
Moser, James Henry 1854-1913
Subject:
Washington, George Corbin 1789-1854
Mercer, Edward
Physical description:
9 Letters : written in ink, ball point, graphite
Type:
Correspondence
Date:
1848
1848-1924
19th century
20th century
Notes:
Healy was an American academic painter during the 19th century who painted mostly portraits, including a rather well-known one of Abraham Lincoln seated, which hangs in the National Portrait Gallery in Washington, D.C. He studied in Paris, and worked in Paris, Rome, and Boston. Healy was prolific, painting as many as 50 portraits in a single year, including a series of American presidents, and group pictures depicting congressmen and other famous political figures. The picture depicts Senator Daniel Webster's (MA) reply in Senate to Senator Robert Hayne (SC) in 1830. They debated the issue of states' rights and nullification, and Webster defended a strong national government, famously declaring, "The motto should not be 'Liberty first, and Union afterwards,' but 'Liberty and Union, now and forever, one and inseparable!'"
Hon. George C. Washington was born in Virginia in 1789 and died in Georgetown, D.C. in 1854. He attended Phillips Academy in Andover, Massachusetts, served in the Maryland legislature, and served several terms representing Montgomery County in Congress.
Eastman Johnson was an American painter who co-founded the Metropolitan Museum of Art. Johnson painted many influential Americans of his day, and his style was influenced by the Dutch masters, earning him the title of "The American Rembrandt."He was born in Maine in 1824, but moved to Washington, D.C., where he completed many of his portraits. Johnson lived among Native American tribes and opened a studio in New York.
George Willoughby Maynard was an American painter who started his career by completing murals in Boston's Trinity Church. He later did many murals in the Library of Congress.
Ambrose McEvoy painted figures, landscapes, and portraits in the late 19th and early 20th centuries. He was a founder-member of the National Portrait Society in England, and painted a number of portraits of soldiers and sailors, which are now in the Imperial War Museum.
Edward StanleyMercer was an English artist who studied at the Slade School of Art, along with time in Holland, Spain, and Italy. He exhibited at the Royal Academy, and was a member of both the Royal Society of Portrait Painters and the Royal Institute of Oil Painters.
In the letter, Ambrose McEvoy mentions that he has "written to Harold Speed," who was an English painter of oil and watercolor landscapes and portraits. Speed (1872-1957) studied art at the Royal Academy Schools and was elected a member of the Royal Society of Portrait Painters. Speed exhibited at the Royal Academy.
James Henry Moser was born in Ontario, Canada, who worked as an illustrator and landscape painter in oil and watercolor. In Washington, D.C., he was awarded the first Corcoran Prize by the Washington Watercolor Club. He was an art critic for the Washington Times, Post, and Herald, and did freelance illustrations for Harper's, among other publications. Mrs. Benjamin Harrison, the First Lady, purchased one of Moser's pieces, "A Sunny Morning at Salisbury Beach," to hang in the White House living room. He died in 1913 after having suffered a stroke earlier that year.
Summary:
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 from George P. Healy, Eastman Johnson, George W. Maynard, Ambrose McEvoy, and James Henry Moser.
Cite as:
Thomas B. Brumbaugh collection of 19th and 20th century American artists' correspondence 1831-1979. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of Susan A. Hobbs, 2009
Topic:
Art, American
Local number:
FSA A2009.06 5
See more items in:
The Brumbaugh Collection of Artist Letters
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
edanmdm:siris_arc_289807
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Asplenium bradleyi D.C. Eaton

view Asplenium bradleyi D.C. Eaton digital asset number 1
Biogeographical Region:
75 - Northeastern U.S.A.
Collector:
A. A. Heller
E. G. Halbach
Place:
Southern Pennsylvannia. Eozoic, At McCall's Ferry, Lancaster Co., Pennsylvania, United States, North America
Collection Date:
15 Oct 1892
Specimen Count:
1
Record Last Modified:
21 Sep 2016
Common name:
Bradley's spleenwort
Taxonomy:
Plantae Pteridophyte Polypodiales Aspleniaceae
Published Name:
Asplenium bradleyi D.C. Eaton
Barcode:
01503490
USNM Number:
204748
See more items in:
Flowering plants and ferns
Botany
Data Source:
NMNH - Botany Dept.
EDAN-URL:
edanmdm:nmnhbotany_12351802

Bowdoin College Museum of Art; Bradley, Philip H.; Brandeis University

view Bowdoin College Museum of Art; Bradley, Philip H.; Brandeis University digital asset: Bowdoin College Museum of Art; Bradley, Philip H.; Brandeis University
Collection Creator:
Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997
Container:
Box 1, Folder 84
Type:
Archival materials
Date:
1962-1965
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 Lawrence and Barbara Fleischman 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.
Collection Citation:
Lawrence and Barbara Fleischman Papers, 1837-1984. Archives of American Art, Smithsonian Institution.
See more items in:
Lawrence and Barbara Fleischman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-fleilawr-ref69

Hampton Classes 1871-1898

view <I>Hampton Classes 1871-1898</I> digital asset number 1
Created by:
Hampton University, American, founded 1868
Medium:
ink on paper
Dimensions:
H x W: 9 1/4 x 6 in. (23.5 x 15.2 cm)
Type:
paperbacks
Place depicted:
Hampton, Virginia, United States, North and Central America
Date:
1898
Description:
A reference book with the names and professions of graduates of The Hampton Institute. The book consists of black print on yellowed paper. The binding is yellow, and handwritten text along the spine says: [HAMPTON CLASSES 1871 1898.] The interior contains two hundred and forty-six pages. The interior of the back cover has several numbers written by hand, ink on the page.
Transcription Center Status:
Transcribed by digital volunteers
Topic:
African American
Education
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2010.54.3
Rights:
Collection of the Smithsonian National Museum of African American History and Culture
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2010.54.3
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Catalogue of the Hampton Institute. 1886-87.

view <I>Catalogue of the Hampton Institute. 1886-87.</I> digital asset number 1
Created by:
Hampton University, American, founded 1868
Medium:
ink on paper
Dimensions:
H x W: 9 x 5 3/4 in. (22.9 x 14.6 cm)
Type:
yearbooks
Place depicted:
Hampton, Virginia, United States, North and Central America
Date:
1887
Description:
A yearbook for the Hampton Institute. The yearbook consists of black print on paper. The cover is pinkish brown with visible blue fibers. There are no photographs of the listed students. The interior contains forty-six pages.
Transcription Center Status:
Transcribed by digital volunteers
Topic:
African American
Education
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2010.54.2
Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2010.54.2
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Wall painting

view Wall painting digital asset number 1
Medium:
Wall painting on plaster
Type:
Painting
Origin:
China
Date:
6th-7th centuries
Former owner:
Montgomery S. Bradley
Topic:
China
Chinese Art
Credit Line:
Gift of Montgomery S. Bradley
Accession Number:
FSC-PA-144
Rights:
Copyright with museum
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
EDAN-URL:
edanmdm:fsg_FSC-PA-144

Campbell, Arthur Bradley

Collection Creator:
Perls Galleries
Container:
Box 7, Folder 10
Type:
Archival materials
Date:
1943-1948
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Perls Galleries records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Perls Galleries records, 1937-1997. Archives of American Art, Smithsonian Institution.
See more items in:
Perls Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-perlgall-ref316

Minutes, 1846-

view Minutes, 1846- digital asset number 1
Creator:
Smithsonian Institution Board of Regents
Subject:
Fillmore, Millard 1800-1874
Taylor, Zachary 1784-1850
Taney, Roger Brooke 1777-1864
Smithsonian Institution Administration
Physical description:
8.70 cu. ft. (9 document boxes) (7 12x17 boxes) (1 16x20 box)
Type:
Manuscripts
Collection descriptions
Date:
1846
1846-
Notes:
The Smithsonian Institution was created by authority of an Act of Congress approved August 10, 1846. The Act entrusted direction of the Smithsonian to a body called the Establishment, composed of the President; the Vice-President; the Chief Justice of the United States; the Cabinet; the Mayor of Washington; and the Commissioner of the Patent Office. In fact, however, the Establishment last met in 1877; and control of the Smithsonian has always been exercised by its Board of Regents. The membership of the Regents consists of the Vice-President and the Chief Justice of the United States; three members each of the Senate and House of Representatives; two citizens of the District of Columbia; and nine citizens of the several states, no two from the same state. (Prior to 1970 the category of citizen-Regents not residents of Washington consisted of four members). By custom the Chief Justice is Chancellor. The office was at first held by the Vice-President. However, when Millard Fillmore succeeded to the presidency on the death of Zachary Taylor in 1851, Chief Justice Roger Brooke Taney was chosen in his stead; and the office has always been filled by the Chief Justice since that time.
Summary:
These records are the official, edited minutes of the Board, compiled at the direction of the Secretary of the Smithsonian, who is also secretary to the Board. Manuscript minutes exist for the period from 1846 to 1856, and after 1891. Only printed versions exist for the years from 1857 to 1891. Printed versions of minutes for the years 1857-1890 are available in the Annual Reports of the Smithsonian Institution for those years.
Topic:
Museum trustees
Museums--Administration
Local number:
SIA RU000001
See more items in:
Minutes 1846-2007 [Smithsonian Institution Board of Regents]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_216637
1 Page(s) matching your search term, top most relevant ones are shown: View entire completed project in transcription center
  • View Minutes, 1846- digital asset number 1

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

view Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 1
Creator:
Jacques Seligmann & Co.
Subject:
Waegen, Rolf Hans
Glaenzer, Eugene
Seligmann, Jacques
Seligmann, René
de Hauke, César
Parker, Theresa D.
Mackay, Clarence Hungerford
Liechtenstein, House of
Schiff, Mortimer L.
Seligman, Germain
Haardt, Georges
Arenberg
La Fresnaye, Roger de
Seligmann, Arnold
Trevor, Clyfford
MM. Jacques Seligmann & fils
Eugene Glaenzer & Co
Gersel
Germain Seligmann & Co
De Hauke & Co., Inc
Place of publication, production, or execution:
Other
Physical Description:
203.1 linear feet
Arrangement:
Following is an outline of the arrangement of the collection by series and corresponding box numbers and extent. More detailed information for each series and subseries, along with a box and folder inventory, is found in the Series Descriptions/Container Listings, which can be found by following the series links below. Series 1: Correspondence, 1913-1978 (1-174, 80 linear feet); Series 2: Collectors Files, 1875, 1892-1977, undated (Boxes 175-252, 35 linear feet); Series 3: Auction Files, 1948-1975, undated (Boxes 253-259, 2.75 linear feet); Series 4: Exhibition Files, 1925-1977, undated (Boxes 260-272, 5.5 linear feet); Series 5: Reference Files, 1877-1977, undated (Boxes 273-278, 2.25 linear feet); Series 6: Inventory and Stock Files, 1923-1971, undated (Boxes 279-289, 4.5 linear feet); Series 7: Financial Files and Shipping Records, 1910-1977 (Boxes 290-357, 30.5 linear feet); Series 8: Contemporary American Department, 1932-1978 (Boxes 358-381, 10 linear feet); Series 9: De Hauke & Co., Inc., Records, 1925-1949, undated (Boxes 382-416; 16 linear feet); Series 10: Modern Paintings, Inc., Records, 1927-1950 (Boxes 417-420, 1.25 linear feet); Series 11: Gersel Corp. Records, 1946-1969 (Box 421, 0.25 linear feet); Series 12: Germain Seligman's Personal Papers, 1882, circa 1905-1984, undated (Boxes 422-459, OV 460, 17.1 linear feet)
Access Note / Rights:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Summary:
The Jacques Seligmann & Co., Inc., records measure approximately 203.1 linear feet and date from between 1904 and 1978, with bulk dates of 1913-1974. The records include extensive correspondence files, reference material on American and European collectors and their collections, inventory and stock records, financial records, exhibition files, auction files, and the records of subsidiary companies, including de Hauke & Co., Inc., and Modern Paintings, Inc.
Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Additional Forms:
Series 1 and Series 2 of the collection were digitized in 2010 and are available via the Archives of American Art's website.
Funding:
Processing of the collection was funded by the Getty Grant Program; digitization of portions of the collection was funded by the Samuel H. Kress Foundation.
Biography Note:
Jacques Seligmann & Co. were international art galleries in New York City and Paris, France. Founded in 1880 in Paris, France and closed in 1978. The company's clients included most of the major American and European art collectors of the era, and the art that passed through its galleries often ended up in the collection of prominent American and European museums. Established as Jacques Seligmann & Cie in 1880 on the Rue des Mathurins, Paris. As American clients increased, the firm opened a New York office in 1904. In 1920, Seligmann's son Germain Seligman (who dropped the last 'n' from his name), a writer and scholar, became a partner and appointed president of the New York office. Jacques Seligmann died in 1923, and in 1924, Germain became president of both the New York and Paris offices. In 1937, the company headquarters moved from Paris to New York. The firm was active in antiquities, decorative arts, Renaissance art, and was among the first to foster contemporary European art, primarily through its subsidiary firm De Hauke & Co. (later Modern Paintings, Inc.), managed by César Mange de Hauke. In 1935, its Contemporary American Department was established, headed by longtime gallery employee Theresa D. Parker. During the years following WWII, the firm was involved in the recovery of looted artwork and property, and the sale of several significant collections. The firm ceased operations upon the death of Germain Seligman in 1978.
Provenance:
Donated 1978-1979 by Mrs. Germain Seligman, daughter-in-law of Jacques Seligmann. Additional material was acquired in 1994 through the Estate of Mrs. Seligman. The Paris archives of Jacques Seligmann & Co., Inc., were destroyed by the Seligmann staff in 1940 to prevent them from falling into the hands of the Nazis.
Digitization Note:
This site provides access to the records of Jacques Seligmann & Co. in the Archives of American Art, which were were digitized in 2010. The bulk of the collection has been scanned, and totals 330,752 images.
Location Note:
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001
Topic:
Art
Gallery records
Art, European
World War, 1939-1945
Decorative arts
Art, Renaissance
Art treasures in war
Art galleries, Commercial
Art dealers
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
3 Page(s) matching your search term, top most relevant ones are shown: View entire completed project in transcription center
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 1
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 2
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 3
Additional Online Media:

Drumstick used by Art Blakey

view Drumstick used by Art Blakey digital asset number 1
Manufactured by:
Unidentified
Used by:
Art Blakey, American, 1919 - 1990
Medium:
wood
Dimensions:
H x W x D: 15 7/8 × 5/8 × 5/8 in. (40.3 × 1.6 × 1.6 cm)
Type:
drumsticks
Date:
1947-1990
Description:
A drumstick with a tapered wood tip. The stick is wood and cylindrical with one rounded end and one tapered end with a small cone-shaped tip. There are small gouges on the tapered area of the stick, and the stick is cracked and missing material from two areas on the shaft.
Topic:
African American
Instrumentalists (Musicians)
Jazz (Music)
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Peter Bradley
Object number:
2012.36.7
Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Musical Instruments
Exhibition:
Musical Crossroads
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 053
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2012.36.7

Drumstick used by Art Blakey

view Drumstick used by Art Blakey digital asset number 1
Manufactured by:
Unidentified
Used by:
Art Blakey, American, 1919 - 1990
Medium:
wood, acetal
Dimensions:
H x W x D: 16 1/4 × 9/16 × 9/16 in. (41.3 × 1.4 × 1.4 cm)
Type:
drumsticks
Date:
1970-1990
Description:
A drumstick with a brown plastic tip used by Art Blakey. The stick is wood and cylindrical with one rounded end and one tapered end with a small, brown plastic tip. There are small gouges on the tapered area of the stick, and the shaft has a small crack.
Topic:
African American
Instrumentalists (Musicians)
Jazz (Music)
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Peter Bradley
Object number:
2012.36.6
Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Musical Instruments
Exhibition:
Musical Crossroads
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 053
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2012.36.6

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