Trowbridge, Alexander Buell, 1868-1950 Search this
Extent:
7.02 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Watercolors
Scrapbooks
Renderings
Lithographs
Photographs
Motion pictures (visual works)
Notebooks
Drawings
Sound recordings
Awards
Sketchbooks
Etchings
Notes
Typescripts
Lectures
Date:
1875-1970
Summary:
The papers of architect Albert Kahn date from 1875-1970, bulk 1875-1945, and measure 7.02 linear feet. Found within the papers is biographical material, correspondence, personal business records, nine sketchbooks, art work, notes and writings, two scrapbooks, printed material, photographs and photograph albums, artifacts, and motion picture film.
Scope and Content Note:
The papers of architect Albert Kahn date from 1875-1970, bulk 1875-1945, and measure 7.02 linear feet. Found within the papers are biographical material, correspondence, personal business records, nine sketchbooks, art work, notes and writings, two scrapbooks, printed material, photographs and photograph albums, artifacts, a sound recording and motion picture film.
Biographical material includes a biographical account, marriage certificate, architect's licenses, calling cards for the Kahns, passports, identification cards, letters of introduction, award certificates and medals, membership cards and certificates, a sound recording concerning Albert Kahn's life, and an address book.
Correspondence consists of letters between Albert Kahn, family members, and colleagues including Myron Barlow, George D. Mason, Carl Milles and Arthur A. Stoughton. There is one letter each from Henry Bacon and Alexander Trowbridge, and condolence letters to Kahn's widow.
Personal business records include records of stocks and income, lists of expenses and receipts for construction, property records, price lists for paintings by others, and miscellaneous receipts.
Art work includes nine sketchbooks and drawings by Albert Kahn, a paper silhouette portrait of Kahn, and drawings, watercolors, etchings, lithographs, and a sketchbook of Cornwall by others.
Notes and writings include Ernestine Kahn's diary, notebooks, guest registers and records concerning Albert Kahn's funeral, and typescripts of speeches and lectures.
Two scrapbooks contain clippings, small drawings, photographs of architecture, and letters of tribute.
Printed material includes clippings, exhibition catalogs for others, programs, booklets, books, reproductions of art work, travel brochures, picture postcards, and miscellaneous printed material.
Photographs are of Albert Kahn, members of his family, and colleagues including Myron Barlow, Frida Kahlo, Diego Rivera, Arturo Toscanini, residences, and travel scenes. Moving images include five reels of 16mm motion picture film of the Kahn family at the farm and at various family gatherings.
Artifacts primarily consist of the tools used by Albert Kahn during his career including t-squares and portable tripod supports for drawing boards used on construction sites.
Arrangement:
The collection is arranged as 9 series. Glass plate negative housed separately and closed to researchers.
Missing Title
Series 1: Biographical Material, 1896-1945 (Box 1, 6, OV 10; 19 folders)
Series 2: Correspondence, 1891-1970 (Box 1-3, 6; 3.3 linear feet)
Series 3: Personal Business Records, 1891-1943 (Box 3; 7 folders)
Series 4: Art Work, 1890-1936 (Box 3, 6, OV 11-12; 20 folders)
Series 5: Notes and Writings, 1899-1943 (Box 3-4; 29 folders)
Series 6: Scrapbooks, 1890-1942 (Box 7; 0.3 linear feet)
Series 7: Printed Material, 1897-1968 (Box 4-6, OV 10; 0.8 linear feet)
Series 8: Photographs and Moving Images, 1875-1944 (Box 5-6, 8, FC 13-17, MGP 2; 1.5 linear feet)
Series 9: Artifacts, circa 1942 (Box 5, 9; 0.4 linear feet)
Biographical Note:
Albert Kahn (1869-1942) of Detroit, Michigan, was an architect, primarily known for designing industrial buildings with the pioneering use of reinforced concrete that allowed large unobstructed interiors.
Albert Kahn was born on March 21, 1869 in Rhaunen, Rhineland-Palatinate, Germany, the oldest son of rabbi Joseph Kahn and Rosalie Cohn Kahn. The family immigrated to the United States in 1881 and settled in Detroit, Michigan.
Albert Kahn worked as an office boy in an architect's office and studied drawing in Sunday classes conducted by sculptor Julius Melchers. Melchers found Kahn a position in the architectural offices of Mason and Rice where he worked for several years. In 1890, Kahn won a scholarship to travel in Europe to study architecture and in 1895 he opened his own architectural office, Albert Kahn Associates, hiring his younger brothers, Louis, Moritz, and Felix. In the following year, Kahn married Ernestine Krolik.
In 1903, Kahn was awarded his first two important commissions: to design the University of Michigan's engineering building and the Palm Apartments in Detroit, built with the early use of reinforced concrete. In the following year, he built the first reinforced concrete factory for the Packard Motor Company. Because of the industrial growth in Detroit at that time, Kahn was in demand to design various automobile factories including the General Motors Building, textile, business machine, and chemical plants. He became an authority on concrete construction and by the beginning of the First World War, his firm provided construction for the military aviation section of the Army.
Kahn later moved from using concrete to steel and glass. In 1927, his company finished a large building for the Fisher Brothers of Detroit for which he was awarded a medal by the Architectural League of New York for the year's outstanding contribution to architecture. In the following year his firm was given full charge of the entire heavy industrial building program of Russia's first five-year plan, and they constructed an estimated two billion dollars worth of factories in Russia.
During World War II, Kahn's firm was constantly busy constructing naval air bases, airplane engine plants, tank arsenals including the Detroit Arsenal Tank Plant, and other government defense projects. In June 1942 Kahn was given the honorary degree of Doctor of Fine Arts by Syracuse University.
Albert Kahn died on December 8, 1942 in Detroit, Michigan.
Provenance:
The Albert Kahn papers were donated by Kahn's children, Mrs. Lydia Winston Malbin, Mrs. Rosalie Butzel, and Dr. Edgar A. Kahn, in 1974.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
The papers of painter and writer Henry Bacon date from 1849-1931 and measure 1.9 linear feet. The collection documents Bacon's career and travels through France and Egypt. Included are biographical materials, correspondence, writings by Bacon and others, scattered business records, printed material, scrapbooks, photographs, eight sketchbooks and additional sketches.
Scope and Contents:
The papers of painter and writer Henry Bacon date from 1849-1931 and measure 1.9 linear feet. The collection documents Bacon's career and travels through France and Egypt. Included are biographical materials, correspondence, writings by Bacon and others, scattered business records, printed material, scrapbooks, photographs, eight sketchbooks and additional sketches.
Scattered biographical materials include an address book, a photo identification card, genealogical material, and autobiographical notes and resumes. The bulk of correspondence is in French written by French artists included in Bacon's book Parisian Art and Artists, including Beaumont, E. Berne-Bellecourt, Vincent Chevillard, Luigi Chialiva, Georges Clairin, Edmond Dupain, Carolus Duran, Antonio Gonzalez, Ferdinand Heilbuth, Madeleine Lemaire, Luc Oliver Merson, and Leon Olivie. Also found is correspondence between Louisa Lee Bacon with museums and institutions concerning her husband's art.
Writings and notes contain short stories, personal accounts, and poems by Henry Bacon, as well as a biographical work on Bacon by Louisa Bacon, and unsigned poems in French. Manuscripts of Bacon's books are not found.
Scattered personal business records include a sales record notebook, an expense journal, and a lease. Printed materials consist primarily of clippings, a few exhibition catalogs, a copy of Bacon's book Étretat: Hamlet of the Setting Sun, and printed images of works of art. Two scrapbooks document Bacon's career as an artist through clippings, photos, exhibition catalogs, and announcements.
Photographs include portraits and snapshots of Bacon and his wife, travel photos used as reference, and photos of works of art. Artwork by Bacon includes eight sketchbooks, watercolor sketches, and pen and ink sketches.
Arrangement:
This collection is arranged as 8 series.
Missing Title
Series 1: Biographical Material, 1864-circa 1930 (Box 1; 0.1 linear feet)
Series 2: Correspondence, 1849-1931 (Box 1; 0.2 linear feet)
Series 3: Writings and Notes, 1875-circa 1912 (Box 1-2, 5; 0.3 linear feet)
Series 4: Personal Business and Financial records, 1864-1871 (Box 2; 2 folders)
Series 5: Printed Material, 1882-1931 (Box 2; 0.3 linear feet)
Series 6: Scrapbooks, 1866-1923 (Box 3; 0.2 linear feet)
Series 7: Photographs, circa 1862-circa 1930 (Box 3-5; 0.4 linear feet)
Series 8: Artwork and Sketchbooks, 1864-1912 (Box 4-5; 0.4 linear feet)
Biographical / Historical:
Painter and writer, Henry Bacon (1839-1912) spent much of his career and life in France and Egypt. He is best known for his watercolor depictions of Egyptian desert scenes.
Henry Bacon was born in Haverhill, Massachusetts in 1839. During the Civil War, ee enlisted in the Union Army and served as corporal in Company D, 4th Battalion of Rifles of the 13th Massachusetts Regiment. Also during the war, he worked as a field artist for Leslie's Weekly. He suffered an injury at the Second Battle of Bull Run and was discharged in 1864. That same year, he married Lizzie Lord and moved to France. The couple settled in Paris where Bacon studied at the École des Beaux-Arts under Alexandre Cabanel. He spent many summers in Étretat, France--a subject he painted and wrote about in his bookÉtretat: Hamlet of the Setting Sun.
After the death of Lizzie Lord, Bacon married Louisa Lee Andrews. In the 1890s, Henry and Louisa spent their time split between London and Egypt. It was during this time that Bacon produced his many watercolor scenes of the desert, the Nile River, and of the Egyptian people. Henry Bacon died in Cairo in 1912.
Separated Materials:
Also found in the Archives are three sketchbooks lent by Nancy C. Brecht for microfilming on reels 4040-4041. The scrapbooks are not described in the container listing of this finding aid but are available for viewing in Archives of American Art offices and via interlibrary loan.
Provenance:
The collection was donated in 1987 by Nancy N. Brecht, the grandniece of Henry Bacon and granddaughter of Bacon's brother, Earle.
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.
This series consists of eight sketchbooks, pen and ink illustrations, and watercolor sketches. The majority of the works depict scenes of Bacon's travels through France and Egypy and include figures in costume, desert landscapes, and seascapes. Also found are two sketches of Bacon, one by J. Carroll Beckwith and one unsigned.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
Possibly Étretat, France; oversized material housed in Box 5, F3
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry Bacon papers, 1849-1931. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing and digitization of this collection was funded by the Terra Foundation for American Art
