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Bierstadt, Albert, 1830-1902

Collection Creator:
Library of Congress  Search this
Extent:
1 Item
Container:
Box 7
Type:
Archival materials
Collection Restrictions:
Researchers may use prints on file in the Photograph Archives, Smithsonian American Art Museum. Advance appointments are required.
Collection Rights:
Copyright restrictions may apply.
Collection Citation:
Library of Congress Copyright Deposit Collection, Photograph Archives, Smithsonian American Art Museum.
See more items in:
Library of Congress Copyright Deposit Collection of photomechanical prints of American art works
Library of Congress Copyright Deposit Collection of photomechanical prints of American art works / Series 1: Photomechanical prints
Archival Repository:
Smithsonian American Art Museum, Research and Scholars Center
EDAN-URL:
ead_component:sova-saam-photo-loc-ref805

Albert Bierstadt letter collection, 1880-1893

Creator:
Bierstadt, Albert, 1830-1902  Search this
Topic:
Landscape painters  Search this
Artists' studios  Search this
Yosemite National Park (Calif.)  Search this
Hudson River school of landscape painting  Search this
Art  Search this
Record number:
(DSI-AAA_CollID)5939
(DSI-AAA_SIRISBib)208780
AAA_collcode_bieralbe
Theme:
Art Movements and Schools
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208780
Additional Online Media:

Albert Duveen collection of artists' letters and ephemera

Creator:
Duveen, Albert  Search this
Names:
Bierstadt, Albert, 1830-1902  Search this
Church, Frederic Edwin, 1826-1900  Search this
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Inman, Henry, 1801-1846  Search this
Mayer, Constant, 1829-1911  Search this
McEntee, Jervis, 1828-1891  Search this
Mosler, Henry, 1841-1920  Search this
Olmsted, Frederick Law, 1822-1903  Search this
Peale, Rembrandt, 1778-1860  Search this
Rosenthal, Albert, 1863-1939  Search this
Extent:
1.1 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1807-1946
Summary:
The Albert Duveen collection of artists' letters and ephemera measures 1.1 linear feet and dates from 1807 to 1946. Unrelated letters written by over 170 mostly 19th and early 20th century American artists are found in this compiled collection of art critic, dealer, and collector Albert Duveen. Additional ephemera includes printed material and photographs of artwork.
Scope and Contents:
The Albert Duveen collection of artists' letters and ephemera measures 1.1 linear feet and dates from 1807 to 1946. Unrelated letters written by over 170 mostly 19th and early 20th century American artists are found in this compiled collection of art critic, dealer, and collector Albert Duveen. Additional ephemera includes printed material and photographs of artwork.

Found are letters from artists Albert Bierstadt, Frederic E. Church, Frederick S. Church, Henry Inman, Constant Mayer, Jervis McEntee, Henry Mosler, Frederick Law Olmstead, Rembrandt Peale, Albert Rosenthal, and many others. Printed materials include catalog inventories of public and private art collections. There are also brochure booklets on New England historical houses and towns. Photographs are duplicate copies of early American artwork from Duveen's personal reference files.
Arrangement:
The collection is arranged as 3 series.

Series 1: Letters, 1808-1910 (0.8 linear feet; Box 1)

Series 2: Printed material, circa 1909-1946 (4 folders; Box 1, OV 2)

Series 3: Photographs, circa 1808-1910 (3 folders; Box 1)
Biographical / Historical:
Art critic, collector, and dealer Albert Duveen (1892-1965) lived and worked in New York City, New York. He is known for his expertise in early American art and was a cousin to Joseph Duveen, president of Duveen Brothers art dealers.
Related Materials:
The Archives holds a microfilm copy of the Albert Duveen art reference files and a lecture, "An Art Dealer is Intrigued by American Folk Art," delivered by Albert Duveen, March 4, 1961.
Provenance:
The Albert Duveen collection of artists' letters and ephemera was purchased from Duveen by the Archives of American Art in February 1956.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Albert Duveen collection of artists' letters and ephemera 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:
Collectors and collecting  Search this
Artists -- United States  Search this
Citation:
Albert Duveen collection of artists' letters and ephemera, 1807-1946. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.duvealbe
See more items in:
Albert Duveen collection of artists' letters and ephemera
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-duvealbe

James D. Smillie and Smillie family papers

Creator:
Smillie Family  Search this
Names:
Bierstadt, Albert, 1830-1902  Search this
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Colman, Samuel, 1832-1920  Search this
Hart, Charles Henry, 1847-1918  Search this
Johnson, Eastman, 1824-1906  Search this
Smillie, Catherine Van Valkenburg  Search this
Smillie, George H. (George Henry), 1840-1921  Search this
Smillie, James David, 1833-1909  Search this
Smillie, James, 1807-1885  Search this
Smillie, Nellie Sheldon Jacobs, 1854-1926  Search this
Tait, A.T.  Search this
Extent:
5.6 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Etchings
Photographs
Scrapbooks
Date:
1853-1957
Summary:
The James D. Smillie and Smillie family papers measure 5.6 linear feet and date from 1853 to 1957. The collection consists of the papers of four members of the Smillie family including James Smillie, his sons James David and George Henry Smillie, and George's wife, Helen 'Nellie' Jacobs Smillie. The majority of the papers are those of James D. Smillie, comprised of correspondence, forty-five daily diaries, a scrapbook, printed materials, and one etching. The papers of James Smillie consist of biographical materials and writings. The George Smillie papers include biographical materials, scattered correspondence, a scrapbook, printed materials, and photographs. The Helen Jacobs Smillie papers include corrrespondence and photographs. Also found are scattered materials relating to other family members, mostly the children of Helen Jacobs and George Smillie.
Scope and Content Note:
The James D. Smillie and Smillie family papers measure 5.6 linear feet and date from 1853 to 1957. The collection consists of the papers of four members of the Smillie family including James Smillie, his sons James David and George Henry Smillie, and George's wife, Helen 'Nellie' Jacobs Smillie. The majority of the papers are those of James D. Smillie, comprised of correspondence, forty-five daily diaries, a scrapbook, printed materials, and one etching. The papers of James Smillie consist of biographical materials and writings. The George Smillie papers include biographical materials, scattered correspondence, a scrapbook, printed materials, and photographs. The Helen Jacobs Smillie papers include correspondence and photographs. Also found are scattered materials relating to other family members, mostly the children of Helen Jacobs and George Smillie.

James David Smillie's papers consist of correspondence, personal business records, forty-five diaries, a scrapbook, and printed material. Correspondence is mostly professional in nature and includes letters from Albert Bierstadt, Frederick Stuart Church, Samuel Colman, Charles Henry Hart, Eastman Johnson, James Smillie, and A. T. Tait. Forty-five volumes of detailed daily diaries dating from 1865 until 1909 include entries about his work, but are exceedingly rich in references to over 200 artists with which Smillie was associated. Additionally, there are numerous loose documents, notes, and some photographs that were found tucked within the diaries. This finding aid includes a list of named artists referenced in the diaries along with the exact date of the notation. James D. Smillie's papers also include an original etching entitled Up the Hill.

James Smillie papers are scattered and include manuscript and draft copies of his published autobiography, A Pilgrimage, and memorabilia from his 50th wedding anniversary to Catherine Van Valkenburg Smillie.

George Henry Smillie papers contain biographical materials, scattered correspondence, a scrapbook of clippings, printed materials, and photographs. There is a certificate from the National Academy of Design dating from 1883 and photographs of Smillie, Smillie in his studio, and his family.

Helen Jacobs Smillie papers consist of family correspondence from her husband and parents, and studio portrait photographs.

Scattered papers from other family members include correspondence, a list of works of art by the family, a photograph album from Sheldon Smillie, and a portrait of William Smillie.
Arrangement:
The collection is arranged as 5 series:

Series 1: James D. Smillie papers, 1853-1917 (4.5 linear feet; Boxes 1-7)

Series 2: James Smillie papers, 1882 (0.2 linear feet; Box 5)

Series 3: George Henry Smillie papers, 1867-1920 (0.6 linear feet; Boxes 5-6)

Series 4: Helen Jacobs Smillie papers, 1860-1910 (0.1 linear feet; Box 5)

Series 5: Other Smillie Family Members papers, circa 1880s-1957 (0.2 linear feet; Box 5)
Biographical Note:
James D. Smillie and the Smillie family members were active in New York City and the New England area as engravers and landscape painters during the nineteenth century. Members of the Smillie Family of artists include James Smillie (1807-1885), his sons James D. (1833-1909) and George Smillie (1854-1924), and George's wife Helen 'Nellie' Jacobs Smillie (1855-1926).

Born in Edinburgh, Scotland to David and Elizabeth Smillie, James Smillie immigrated to Quebec, Canada. James must have learned engraving from his father who worked with jewelry and silver. Upon his father's death in 1827, Smillie travelled to London and eventually to New York City, where he embarked on a career of creating engravings of paintings by other artists. By 1831, he had established his reputation primarily as an engraver of American landscape paintings. The portability of James Smillie's engravings helped to bring to the American public the grand landscapes by Albert Bierstadt, Thomas Cole, and Asher Durand. Smillie also worked for the American Banknote Company.

James Smillie married Catherine Van Valkenburg in 1832, and two of their sons, James David and George Henry also became artists. Elder son James D. assisted his father with engraving and later explored his own artistic talents in prints of the American landscape. Among his many subjects were the Sierra Nevada, Adirondack, Rocky, White, and Catskill Mountains. James D. Smillie was a founding member of the American Watercolor Society and served as its president from 1873 to 1879. Additionally, he was an early member of the New York Etching Club and the first meeting was held in his studio in 1877. James D. also wrote about art for various periodicals.

Like his older brother, George Henry Smillie learned engraving from his father, but turned to painting early in his career. By 1862, he had his own studio in New York City and exhibited with the National Academy of Design in 1864. George travelled throughout the United States sketching and painting landscapes inspired by Long Island, the Adirondack Mountains, the Rocky Mountains, and New England. Many of George's paintings of the American West were influenced by the Hudson River School. George married one of his brother's pupils, Helen Sheldon Jacobs.

Helen Jacobs Smillie, known as Nellie, was born in New York City to Samuel and Helen Jacobs. She received art instruction at Cooper Union and the National Academy of Design and was a pupil of James D. Smillie and J. O. Eaton. She married George Smillie in 1881, with whom she had three sons, Sheldon, Charles, and Gordon. Nellie was a member of the American Watercolor Society along with her husband and brother-in-law, and painted in the Hudson River School style.
Related Material:
Also found in the Archives of American Art is the Brucia Witthoft research material on James Smillie and the Smillie family, 1830- 1999. The National Gallery of Canada holds the James D. Smillie Papers.
Separated Materials:
The Archives of American Art also holds materials lent for microfilming (reels 3766 and 3829) including personal photographs, photos of Smille's house in Montrose, Pennsylvania, and a photocopy of a journal. Lent material was returned to the lenders and is not described in the collection container inventory.
Provenance:
James Smillie, David Smillie, and Barbara Smillie Curtis donated the Smillie Family papers to the Archives of American Art in several installments between 1978 and 1990. James Smille lent photographs for microfilming in 1986.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The James D. Smillie and Smillie family 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 -- Photographs  Search this
Art, Modern -- 19th century -- New York (State) -- New York  Search this
Artists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Engraving -- 19th century -- United States  Search this
Engravers -- New York (State) -- New York  Search this
Genre/Form:
Diaries
Etchings
Photographs
Scrapbooks
Citation:
James D. Smillie and Smillie family papers, 1853-1957. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.smilsmil
See more items in:
James D. Smillie and Smillie family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-smilsmil
Additional Online Media:

Falls of St. Anthony Near Minneapolis, Minnesota, (painting)

Painter:
Bierstadt, Albert 1830-1902  Search this
Medium:
Oil
Type:
Paintings
Owner/Location:
M. Knoedler & Co., Inc New York New York
Date:
Ca. 1887
Topic:
Landscape--Waterfall  Search this
Landscape--Minnesota--Minneapolis  Search this
Control number:
IAP 80041192
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_174775

Poetry verse by Albert Bierstadt

Creator:
Bierstadt, Albert, 1830-1902  Search this
Type:
Writings
Date:
1892 June 4
Topic:
Poetry  Search this
Record number:
(DSI-AAA)16192
See more items in:
Albert Duveen collection of artists' letters and ephemera, 1807-1946
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_16192

Albert Bierstadt, New Bedford, Mass. letter to John Durand, New York, N.Y.

Creator:
Bierstadt, Albert, 1830-1902  Search this
Durand, John, 1822-1908  Search this
Type:
Correspondence
Date:
1838 Dec. 7
Record number:
(DSI-AAA)6819
See more items in:
Charles Henry Hart autograph collection, 1731-1918
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_6819
Additional Online Media:

Albert Bierstadt to Mrs. Parsons

Creator:
Bierstadt, Albert, 1830-1902  Search this
Type:
Correspondence
Date:
1860 Jan. 20
Record number:
(DSI-AAA)840
See more items in:
Albert Bierstadt letter collection, 1880-1893
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_840
Additional Online Media:

Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection

Creator:
McGuigan, Mary K.  Search this
Names:
Pennsylvania Academy of the Fine Arts  Search this
Beard, W. H. (William Holbrook), 1824-1900  Search this
Bierstadt, Albert, 1830-1902  Search this
Boughton, George Henry, 1834-1905  Search this
Carey, Mathew, 1760-1839  Search this
Church, Frederic Edwin, 1826-1900  Search this
Colman, Samuel, 1832-1920  Search this
Copley, John Singleton, 1738-1815  Search this
Cropsey, Jasper Francis, 1823-1900  Search this
Darley, Felix Octavius Carr, 1822-1888  Search this
French, Daniel Chester, 1850-1931  Search this
Greenough, Horatio, 1805-1852  Search this
Harding, Chester, 1792-1866  Search this
Hassam, Childe, 1859-1935  Search this
Inman, Henry, 1801-1846  Search this
Inness, George, 1825-1894  Search this
McGuigan, John F., Jr. (John Fuller)  Search this
Morse, Samuel Finley Breese, 1791-1872  Search this
Neagle, John, 1796-1865  Search this
Palmer, Erastus Dow, 1817-1904  Search this
Peale, Rembrandt, 1778-1860  Search this
Peale, Rubens, 1784-1865  Search this
Tanner, Henry Ossawa, 1859-1937  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
White, Stanford, 1853-1906  Search this
Whittredge, Worthington, 1820-1910  Search this
Extent:
0.6 Linear feet
Type:
Archival materials
Collection descriptions
Date:
1794-1938
Summary:
The collection of artists' letters compiled by Mary and John McGuigan Jr. measure 0.6 linear feet and date from 1794-1938. The collection is comprised of a group of letters, writings, and signed documents to and from a variety of artists, art administrators, art critics, historians, and art-related organizations assembled from multiple sources. It also includes associated printed material with some documents and a few photographs, including carte de visites and cabinet cards.
Scope and Contents:
The collection of artists' letters compiled by Mary and John McGuigan Jr. measure 0.6 linear feet and date from 1794-1938. The collection is comprised of a group of letters, writings, and signed documents to and from a variety of artists, art administrators, art critics, historians, and art-related organizations assembled from multiple sources. It also includes associated printed material with some documents and a few photographs, including carte de visites and cabinet cards.

Item descriptions included in the container listing were provided by Mary and John McGuigan and illuminate the wide range of artists and types of material represented in the collection. While some of the letters document routine transactions such as responses to requests for information, and transmittals of autographs, others document specific artist commissions and projects, exhibition and financial arrangements, business relationships, family events, and travels. The collection includes documentation of portrait painters, including Chester Harding and Rembrandt Peale; nineteenth century landscape artists and artists of the Hudson River School including Albert Bierstadt, George Henry Boughton, Samuel Colman, Jasper Francis Cropsey, and George Inness; sculptors including Daniel Chester French whose letters include sixty-three letters to Charles Dupuy, the caretaker of French's summer home in Massachusetts; publishers such as Mathew Carey, in letters from John Neagle; and the activities of arts institutions such as the Pennsylvania Academy of Fine Arts.

In addition to those mentioned above, letters and signed documents are from Washington Allston, William Holbrook Beard, Eugene Benson, William Tilden Blodgett, Jr., James Renwick Brevoort, Frederic Edwin Church, James Claghorn, John Singleton Copley, Kenyon Cox, F.O.C. Darley, Joseph DeCamp, Frank Duveneck, John Mackie Falconer, Horatio Greenough, Childe Hassam, Ignaz Michael Marcel Gaugengigl, George Healy, George Hollingsworth, William Morris Hunt, Daniel Huntington, Anna Vaughn Hyatt Huntington, Henry Inman, Hugh Bolton Jones, Thomas Dow Jones, Louis Ashton Knight, Charles Robert Leslie, Will Low, Frederick William MacMonnies, Frank Blackwell Mayer, Samuel F. B. Morse, Erastus Dow Palmer, Rubens Peale, Elizabeth Robins Pennell, Tobias (Toby) Edward Rosenthal, John Singer Sargent, George Henry Smillie, Marie Spartali Stillman, William James Stillman, Henry Ossawa Tanner, Abbott Handerson Thayer, Charles Yardley Turner, Stephen Arnold Douglas Volk, William Walcutt, Henry Antonio Wenzler, Benjamin West, Stanford White, Worthington Whittredge, and others.

The collection also includes a friendship album belonging to William Tilden Blodgett, Jr., with poems, sketches, and botanical watercolors, eight photographs including carte de visites and cabinet cards with images of George Hollingsworth, Thomas Dow Jones, Louis Ashton Knight, Henry Antonio Wenzler, and William Walcutt, and two photographs of a model used by Francis Blackwell Mayer when painting The Burning of the Peggy Stewart.
Arrangement:
The collection is arranged as 1 series.
Biographical / Historical:
Mary K. McGuigan and John F. McGuigan Jr. are art historians and collectors in Milford, Pennsylvania.
Provenance:
John F. McGuigan Jr. and Mary K. McGuigan purchased these letters and generously donated them to the Archives of American Art between 2000 and 2019. The McGuigans have purchased and donated additional archival materials to the Archives, including a portion of the Douglas Volk and Leonard Wells Volk papers. In 2017 the McGuigans donated an addition to the Sylvester Rosa Koehler papers, including sixty-nine letters from A. Barry, Truman Howe Bartlett, William Merritt Chase, Timothy Cole, Edward Henry Clement, Cyrus Edwin Dallin, Robert Swain Gifford, George Inness, Anna Lea Merritt, Stephen Parrish, John Sartain, Francis Hopkinson Smith, and Frederic Porter Vinton.
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:
Historians  Search this
Topic:
Arts administrators  Search this
Art critics  Search this
Artists  Search this
Citation:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mcgumary
See more items in:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mcgumary

Albert Bierstadt letter collection

Creator:
Bierstadt, Albert, 1830-1902  Search this
Extent:
0.2 Linear feet
Type:
Archival materials
Collection descriptions
Place:
Yosemite National Park (Calif.)
Date:
1860-1900
Summary:
This small collection measures 0.2 linear feet and comprises 13 letters written by renowned Hudson River School landscape painter Albert Bierstadt between 1860 and 1900. The majority of the letters were penned in the last two decades of his life and discuss his painting, the inspiration he found in nature, his studio, and concerns relating to commissions and finances.
Scope and Content Note:
This small collection measures 0.2 linear feet and comprises 13 letters written by renowned Hudson River School landscape painter Albert Bierstadt between 1860 and 1900. The majority of the letters were penned in the last two decades of his life.

Bierstadt writes specifically of his work in several of the letters and refers to two paintings, Laramie Peak and The Jungfrau. In one letter he writes of the inspiration he finds in nature through his love of the mountains. Bierstadt invites friends to his studio in New York City, mentions a trip to Yosemite in the 1870s and writes letters of introduction on behalf of friends. Two of the letters concern commissions and discuss financial matters.
Arrangement:
Due to the small size of this collection, items are arranged as one chronological series.

Series 1: Albert Bierstadt Letters, 1860-1900 (Box 1; 13 items)
Biographical Note:
Albert Bierstadt was born in Solingen, Germany, in January 1830. His family emigrated to the United States when he was two years of age and settled in Bedford, Massachusetts.

In 1853 Bierstadt traveled to Germany to study painting at the Düsseldorf Art Academy. In 1858, following his return to the United States, he gained national attention for organizing a large exhibition of paintings including fifteen of his own works. Bierstadt drew inspiration from the painters of the Hudson River School, and regularly visited the White Mountains of New Hampshire to make sketches for his landscape paintings.

In 1859 Bierstadt traveled to the Colorado and Wyoming territories sketching landscapes in the company of a United States government survey expedition. On his return he took studio space at the new Tenth Street Studio Building in New York City and began a series of large-scale western landscape paintings, including Yosemite Valley and Thunderstorm in the Rocky Mountains. These paintings, known for their theatrical and romantic depiction of the grandeur and drama of the American West, brought Bierstadt great popularity during the 1860s.

Bierstadt's paintings were widely exhibited in the United States and abroad and commanded some of the highest prices in American art at the time, although his reputation began to decline somewhat in the 1880s in the face of changing public tastes.

Bierstadt was a member of the Century Association from 1862-1902 and a member of the National Academy of Design from 1860 until his death in 1902.
Related Material:
Also found at the Archives of American Art are the Robert Neuhaus papers concerning Clyfford Still and Albert Bierstadt, 1884-1984 (bulk 1941-1984). A circa 1875 photograph of Bierstadt by Bierstadt Brothers given to the Archives by an unknown donor is available in the Archives of American Art's Photographs of Artists Collection I and online.
Provenance:
The collection was acquired by the Archives of American Art in a series of accessions between 1955 and 2001. Six letters were donated by Charles Feinberg in 1955-1957; one letter was donated by Letitia Howe in 1976; one letter was donated by Mrs. Miles Reber, grandaughter-in-law of General Nelson in 1976; two letters were purchased from Charles Hamilton Autographs in 1956; one letter was purchased from Steele in 1956; and one letter was purchased from Scott J. Winslow Associates in 2001.
Restrictions:
The collection has been digitized and is available online via the Archives of American Art website.
Rights:
The Albert Bierstadt letter collecton is 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:
Art -- Economic aspects  Search this
Hudson River school of landscape painting  Search this
Landscape painters -- New York (State) -- New York  Search this
Artists' studios -- New York (State) -- New York  Search this
Citation:
Albert Bierstadt letter collection, 1860-1900. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bieralbe
See more items in:
Albert Bierstadt letter collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bieralbe
Additional Online Media:

Albert Bierstadt Letters

Collection Creator:
Bierstadt, Albert, 1830-1902  Search this
Extent:
1 Folder (Box 1)
Type:
Archival materials
Date:
1860-1900
Scope and Contents note:
In these 13 unrelated letters written by renowned Hudson River School landscape painter Albert Bierstadt between 1860 and 1900, Bierstadt writes specifically of his work in several of the letters and refers to two paintings, Laramie Peak and The Jungfrau. He writes of the inspiration he finds in nature through his love of the mountains. Bierstadt invites friends to his studio in New York City, mentions a trip to Yosemite in the 1870s and writes letters of introduction on behalf of friends. Two of the letters concern commissions and discuss financial matters.
Arrangement note:
Letters are arranged chronologically.
Collection Restrictions:
The collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Albert Bierstadt letter collecton is 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:
Albert Bierstadt letter collection, 1860-1900. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bieralbe, Series 1
See more items in:
Albert Bierstadt letter collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bieralbe-ref14

Sanford Robinson Gifford papers

Creator:
Gifford, Sanford Robinson, 1823-1880  Search this
Names:
Bierstadt, Albert, 1830-1902  Search this
Whittredge, Worthington, 1820-1910  Search this
Extent:
0.9 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Diaries
Sketchbooks
Place:
Europe -- description and travel
Egypt -- description and travel
Date:
1840s-1900, circa 1960s-1970s
Summary:
The papers of landscape painter Sanford Robinson Gifford, date from the 1840s through 1900, and circa 1960s-1970s. The bulk of the papers fall between 1855-1881; material from the circa 1960s-1970s consists of photographic copy prints for which the Archives does not have the originals. The small collection measures 0.9 linear feet of scattered documentation of Gifford's life, primarily extensive biographical accounts of his travels in the mid 1850s and late 1860s in the form of bound letters to his father. These serve as detailed journals of his impressions of Europe and the Middle East, the development of his painting, and his relationships with other artists such as Albert Bierstadt and Worthington Whittredge. The collection also contains sketches by Gifford, printed material including catalogs of Gifford's paintings, and photographs of Gifford and others.
Scope and Content Note:
The collection dates from the 1840s through 1900, and circa 1960s-1970s with the bulk of the material falling between 1855-1881. Material from circa 1960s-1970s consists of photographic copy prints of original photographs from the mid to late 1800s for which the Archives does not own the originals. The papers measure 0.9 linear feet and provide detailed documentation of the life of Hudson River School landscape painter, Sanford Robinson Gifford, during the mid 1850s and late 1860s. The papers contain extensive accounts of Gifford's travels in 3 bound volumes of typewritten letters from Gifford to his father. These letters serve as travel journals and provide extensive and vivid descriptions of Gifford's work and experiences in Europe and the Middle East, and document his relationships with a variety of other artists, including Alfred Bierstadt and Worthington Whittredge, during this period.

Additional records provide scattered documenation of other periods of Gifford's life. Letters refer to his travels in the American west and his Civil War service and its effect on his painting. Printed material includes clippings and exhibition catalogs, and includes a catalogue of his paintings published by the Metropolitan Museum of Art in 1881. Artwork by Gifford includes sketches by the artist and prints, engravings and paintings by various others. Original photographs date from 1856-1900 and include images of Gifford during the Civil War. Copyprints for which the Archives does not own the originals date from the circa 1960s-1970s and include two images of a family home in Hudson, New York, where Gifford had a studio in the mid 1860s, a portrait photograph of Gifford, and an image of Gifford on the Hayden expedition.
Arrangement:
The collection is arranged as 4 series:

Series 1: Letters, 1855-1874 (Box 1; 3 volumes, 1 folder)

Series 2: Printed Material, circa 1850s-1881 (Box 2; 4 folders)

Series 3: Artwork, circa 1840s-circa 1870s (Box 2, OV 3; 4 folders)

Series 4: Photographs and Copy Prints, 1856-circa 1900, circa 1960s-1970s (Box 2, 5, OV 4; 11 folders)
Biographical Note:
Sanford Robinson Gifford was born in Greenfield, New York, in 1823. He attended Brown University from 1842-1844 and moved to New York City in 1845 where he studied drawing, perspective and anatomy under the direction of the British watercolorist and drawing-master, John R. Smith. He also studied the human figure in anatomy classes at the Crosby Street Medical college and took drawing classes at the National Academy of Design. In 1846 he visited the Berkshire Hills and the Catskill Mountains, sketching from nature. "These studies," he wrote to O. B. Frothingham in 1874, "together with the great admiration I felt for the works of Cole developed a strong interest in landscape art, and opened my eyes to a keener perception and more intelligent enjoyment of nature. Having once enjoyed the absolute freedom of the landscape painters life I was unable to return to portrait painting."

The American Art Union bought and showed some of Gifford's first pictures in 1847. In 1851 he was elected an associate, and in 1854 an academician, of the National Academy of Design.

Gifford traveled widely to sketch landscapes for future paintings, recording his experiences in letters to his father which he intended would "serve the double purpose of letter and journal, and be an economy of time." He requested that his father number the letters sequentially and keep them together.

In the summer of 1855 Gifford visited England, Scotland and Paris, where he spent the winter of 1855 transforming his English and Scottish sketches into paintings. In the fall of 1856 he rented a studio in Rome and, over the course of the winter, painted pictures that reportedly pleased him "pretty well," including Lake Nemi. During the spring of 1857, Gifford spent time with fellow artists Worthington Whittredge, William H. Beard and Albert Bierstadt before leaving Rome in May with Bierstadt for a walking tour of southern Italy, where they planned to reconnect with Whittredge and Beard. Gifford ended his European tour with a visits to Innsbruck, Munich, Vienna, Prague, Dresden, Berlin and Paris, before returning to the United States at the end of the summer.

On his return Gifford rented studio Number 19 in the Tenth Street Studio Building in New York City, which he retained until his death. Over the next few years he also made frequent summer trips to various northeastern locales including the Catskills, the Adirondacks, the Green Mountains in Vermont, the White Mountains in New Hampshire, Maine and Nova Scotia.

Gifford served in New York's Seventh Regiment when it marched to the defense of Washington in April 1861, and again in 1862 and 1863. Several paintings resulted from this experience, including Sunday Morning at Camp Cameron (1861), Bivouac of the Seventh Regiment at Arlington Heights, Virginia (1861) and Camp of the Seventh Regiment, near Frederick, Maryland, in July 1863 (1864).

In 1868 Gifford returned to Europe, again visiting London and Paris, where he met with friends Jervis McEntee and his wife. He then spent the summer visiting the Alps and Sicily before wintering in Rome. In 1869 he traveled to Egypt where he and a small party hired a boat to take them on a two-month voyage from Cairo down the Nile River. Subsequently, Gifford traveled to the Middle East with Alfred Craven via the Suez Canal, where his itinerary included Syria, Jerusalem, Samaria, Damascus, Greece and Turkey. Gifford arrived in Venice in June 1869 and sailed for the United States at the beginning of September.

In 1870 Gifford visited Colorado with Worthington Whittredge and John Frederick Kensett, and accompanied a United States Geological party under Dr. Hayden in the exploration of Wyoming, Utah, and the Colorado Territories. In the summer of 1873 he visited California, Oregon, British Columbia and Alaska.

Gifford married in 1877 but in 1880 became ill and died of malarial fever and pneumonia at the age of 58. That same year he was honored with the Metropolitan Museum of Art's first monographic retrospective and a memorial catalogue of his known pictures.
Related Material:
Five sketchbooks were loaned by Vassar College in 1966 and the originals were returned to the donor after microfilming on reel D254.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels D254 and 688) including twenty-one sketchbooks, photographs, passports and certificates, an 1888 European travel diary of Mary Louise Willard, wife of Gifford's nephew, Harold, and a 1966 letter. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Edith Wilkinson first donated the Sanford Robinson Gifford papers in 1955 and 1957. James C. Gifford donated copy prints of photographs in 1964. Five sketchbooks were lent for microfilming by the Vassar College Art Library in 1966 and George and Frances Gifford Cummings donated additional material in 1973. In 1974, sixteen sketchbooks, photographs, and other materials were lent for microfilming by Dr. Sanford Gifford, Gifford's great-nephew.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Sanford Robinson Gifford 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:
Works of art  Search this
United States -- History -- Civil War, 1861-1865  Search this
Landscape painters -- New York (State)  Search this
Hudson River school of landscape painting  Search this
Landscape painting -- 19th century -- New York (State)  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Citation:
Sanford Robinson Gifford papers, 1840s-1900, circa 1960s-1970s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.giffsanf
See more items in:
Sanford Robinson Gifford papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-giffsanf
Additional Online Media:

Pacific Seascape with Seal Islands, (painting)

Painter:
Bierstadt, Albert 1830-1902 (attributed to)  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
St. Olaf College Flaten Art Museum 1520 St. Olaf Avenue Northfield Minnesota 55057 Accession Number: 2006.114
Date:
Ca. 1885
Topic:
Landscape--Coast  Search this
Landscape--Island  Search this
Control number:
IAP 26130076
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_473426

The end of landscape in nineteenth-century America / Maggie M. Cao

Author:
Cao, Maggie M. 1983-  Search this
Subject:
Bierstadt, Albert 1830-1902 Criticism and interpretation  Search this
Heade, Martin Johnson 1819-1904 Criticism and interpretation  Search this
Church, Frederic Edwin 1826-1900 Criticism and interpretation  Search this
Blakelock, Ralph Albert 1847-1919 Criticism and interpretation  Search this
Thayer, Abbott Handerson 1849-1921 Criticism and interpretation  Search this
Sargent, John Singer 1856-1925 Criticism and interpretation  Search this
Physical description:
xi, 261 pages : illustrations ; 27 cm
Type:
Books
Criticism, interpretation, etc
Date:
2018
19th century
Topic:
Landscape painting, American  Search this
Call number:
ND1351.5 .C27 2018
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1089862

Western Landscape, (painting)

Painter:
Bierstadt, Albert 1830-1902  Search this
Medium:
Oil on paper laid down on board
Type:
Paintings
Date:
1870-1880
Topic:
Landscape--River  Search this
Control number:
IAP 9F680046
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_472239

MS 916 Lakota vocabulary in Smithsonian Institution Comparative Vocabulary schedule

Creator:
Bierstadt, Albert, 1830-1902  Search this
Extent:
7 pages
Culture:
Lakota -- Teton  Search this
Type:
Archival materials
Collection descriptions
Pages
Date:
1863
Scope and Contents:
In printed 180-word "Comparative Vocabulary" form.
Local Numbers:
NAA MS 916
Local Note:
Autograph document
General:
Previously titled "Lakota vocabulary."
Topic:
Language and languages -- Documentation  Search this
Citation:
Manuscript 916, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS916
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-ms916

The Rockies and the Alps : Bierstadt, Calame, and the romance of the mountains / Katherine Manthorne, Tricia Laughlin Bloom ; with contributions by Patricia Mainardi

Title:
Bierstadt, Calame, and the romance of the mountains
Author:
Manthorne, Katherine  Search this
Bloom, Tricia Laughlin  Search this
Contributor:
Mainardi, Patricia  Search this
Host institution:
Newark Museum  Search this
Subject:
Bierstadt, Albert 1830-1902 Themes, motives  Search this
Calame, Alexandre 1810-1864 Themes, motives  Search this
Physical description:
175 pages : illustrations (chiefly color) ; 29 cm
Type:
Exhibitions
Exhibition catalogs
Place:
Rocky Mountains
Alps
Date:
2018
Topic:
Mountains in art  Search this
Landscapes in art  Search this
Landscape painting  Search this
In art  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1097581

The Sierras near Lake Tahoe, Californiam (painting)

Painter:
Bierstadt, Albert 1830-1902  Search this
Medium:
Oil on panel
Type:
Paintings
Owner/Location:
University of Rochester Memorial Art Gallery 500 University Avenue Rochester New York 14607 Accession Number: 92.78
Date:
1865
Topic:
Landscape--Mountain--Sierra Nevada Mountains  Search this
Landscape--California  Search this
Animal--Deer  Search this
Control number:
IAP 8A270016
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_394315

Albert Bierstadt : witness to a changing West / Peter H. Hassrick ; with contributions by Arthur Amiotte [and five others] ; foreword by Bruce B. Eldredge

Author:
Hassrick, Peter H.  Search this
Wirter of foreword:
Eldredge, Bruce B.  Search this
Host institution:
Buffalo Bill Center of the West  Search this
Thomas Gilcrease Institute of American History and Art  Search this
Subject:
Bierstadt, Albert 1830-1902  Search this
Physical description:
xxi, 217 pages : illustrations (chiefly color) ; 28 cm
Type:
Books
Exhibitions
In art
Exhibition catalogs
Place:
West (U.S.)
Date:
2018
Call number:
N40.1.B554 H3 2018
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1096284

Letter To Mrs. Parsons

Collection Creator:
Bierstadt, Albert, 1830-1902  Search this
Container:
Box 1 (pam), Folder 1
Type:
Archival materials
Date:
1860, January 20
Scope and Contents note:
Concerns purchasing color and beginning to paint Laramie Peak.
Collection Restrictions:
The collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Albert Bierstadt letter collecton is 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:
Albert Bierstadt letter collection, 1860-1900. Archives of American Art, Smithsonian Institution.
See more items in:
Albert Bierstadt letter collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bieralbe-ref15

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