Centennial Exhibition (1876 : Philadelphia, Pa.) Search this
Extent:
8 Items (1 box)
Type:
Collection descriptions
Archival materials
Photographs
Date:
circa 1870-1880
Scope and Contents note:
This artificial collection is the repository for miscellaneous photoprints transferred from other Smithsonian units: see series records.
Arrangement:
Divided into 2 series (new series to be added as needed: (1) Philadelphia Centennial; (2) sightseeing bus.
Biographical / Historical:
This collection has been designated as a repository for miscellaneous photographic prints transferred from Smithsonian curatorial divisions, other offices, and outside donors. The first items (Series 1) were transferred to the Archives Center by Deborah J. Warner, Curator, Division of Physical Sciences, NMAH, November 9, 1992: she reported that these items were found in her collections, source unknown. The second acquisition (Series 2) is a gift from Alberta Young. Series 3 was found in the collections, Archives Center.
Provenance:
Found in collections in the Division of Physical Sciences, National Museum of American History.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Tourist trade -- 1900-1910 -- Washington (D.C.) Search this
Centennial Exhibition (1876 : Philadelphia, Pa.) Search this
Extent:
70 Pages (ill., 21 cm.)
Type:
Collection descriptions
Archival materials
Pages
Date:
1876
Scope and Contents:
Catalog describing the art installations of the United States Centennial Commision's International exhibition in Philadelphia, Penn.,1876. The exhibition included works in a range of media from painting and sculpture to industrial design with twelve countries represented. Contents are as follows: Plan of exhibition grounds -- Subject index, national exhibits -- The memorial hall and annex -- Synopsis of the classification -- Classification of the Department of Art -- Catalogue of the Department of Art -- Photographic exhibition building -- Alphabetical index of exhibitors in Department IV.
Biographical / Historical:
The United States Centennial Commission (1872-1879) was a congress appointed group established to plan the United States' centennial anniversary with an exhibition in Phildelphia, Penn.
Publication, Distribution, Etc. (Imprint):
Philadelphia : Published by John R. Nagle and company, 1876.
Provenance:
Donated 2012 by William DeCosta, who purchased the catalog at a bookstore.
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.
The records of Vose Galleries of Boston measure 25.6 linear feet and date from circa 1876, 1890s-1996 with the bulk of materials dating from 1920s-1930s. Nearly 90 percent of the collection documents the gallery's handling of American paintings and portraits through incoming and outgoing business correspondence with artists, clients, galleries, and museums, including considerable correspondence with portrait artist Alfred Jonniaux and clients regarding commissioned portraits. Other materials include client files; artists' biographies; records of sales, consignments, framing, restoration, and banking, mostly from the 1940s-1960s; and scattered exhibition catalogs, newspaper clippings, and postcards. Also found is a handwritten manuscript regarding the 1876 Centennial Exhibition in Philadelphia, PA and a 1991 videotape about the Vose Galleries and its founding family.
Scope and Contents note:
The records of Vose Galleries of Boston measure 25.6 linear feet and date from circa 1876, 1890s-1996 with the bulk of materials dating from 1920s-1930s. Nearly 90 percent of the collection documents the gallery's handling of American paintings and portraits through incoming and outgoing business correspondence with artists, clients, galleries, and museums, including considerable correspondence with portrait artist Alfred Jonniaux and clients regarding commissioned portraits. Other materials include client files; artists' biographies; records of sales, consignments, framing, restoration, and banking, mostly from the 1940s-1960s; and scattered exhibition catalogs, newspaper clippings, and postcards. Also found is a handwritten manuscript regarding the 1876 Centennial Exhibition in Philadelphia, PA and a 1991 videotape about the Vose Galleries and its founding family.
Correspondence of note is with artists Childe Hassam, Malvina Hoffman, Alfred Jonniaux, and John Singer Sargent; galleries Ehrich Galleries, Clapp & Graham Co., M. Knoedler & Co., Macbeth Galleries, Milch Galleries, Newhouse Galleries, Arthur U. Newton Galleries, Norton Galleries, and Howard Young Galleries; the estates of Anna Coleman Ladd and William E. Norton; and the family of Abbott H. Thayer.
Researchers should note that the records do not comprehensively span the gallery's history or operations. The bulk of the collection is correspondence from Robert C. Vose's era running the Robert C. Vose Galleries in the 1920s-1930s and, lesser so, under Robert C. Vose, Jr.'s direction in the 1970s. There is little material in the collection which dates before the 1910s or the 1950s-1960s, other than correspondence regarding Alfred Jonniaux and some financial records. There is a handful of correspondence which covers the period of R.C. & N.M. Vose Gallery. Records loaned for microfilming should be consulted for materials outside of the bulk dates of this collection, especially for materials from the late 1800s-early 1900s.
Arrangement note:
The collection is arranged as 5 series:
Series 1: Correspondence, 1895-1996 (Boxes 1-23; 22.6 linear feet)
Series 2: Customer Files, 1912-1946 (Boxes 23-24; 0.8 linear feet)
Series 3: Art-Related Files, circa 1876, 1890s-1947 (Box 24; 7 folders)
Series 4: Financial Records, 1911-1962, 1991 (Boxes 24-25; 1.8 linear feet)
Series 5: Printed Materials, circa 1904-1990 (Boxes 25-26; 0.4 linear feet)
Biographical/Historical note:
Vose Galleries is a long time family run art gallery based in the Boston, Mass. area.
In 1841, Joseph Vose purchased Westminster Art Gallery, a small Providence, Rhode Island art gallery founded by Ransom Hicks. At the age of 19 in 1850, Joseph's son Seth Morton Vose joined the gallery and five years later became director. The gallery's primary business until the late 1860s was frame making, gilding and art supplies. Seth Morton Vose had a passion for art, especially the French painters of the Barbizon School and he slowly began buying and exhibiting artwork. By 1882, the gallery regularly exhibited in Boston.
Seth's son Robert C. Vose joined the business in 1896, and managed the gallery's Boston office from 1897. Robert broadened the gallery's horizons by showing his fine stock of Barbizon, Dutch, English and American artists throughout America, while his younger brother, Nathaniel, and his cousin, Charles Thompson, handled the Boston gallery. During the next sixty-seven years, Robert C. Vose moved the gallery into a position of national prominence.
In 1924, Nathaniel left the gallery and established his own gallery in Providence. The Boston gallery's name changed to Robert C. Vose Galleries, and around the same time, took over the Carrig-Rohane framing company. In 1931-1932, Robert's three sons, Robert C. Vose, Jr., Seth Morton Vose II, and Herbert Vose, joined the firm. The gallery continued to show exhibitions in Boston, and the sons took turns joining their father on the road. The gallery's name was changed to Vose Galleries of Boston, Inc. in 1952. In 1963, Vose Galleries moved to their current location at 238 Newbury Street in Boston. Robert C. Vose passed away in 1964.
Robert C. Vose, Jr.'s sons, Abbot W. Vose and Robert C. Vose III, joined the gallery in 1968 and 1970, respectively. Robert C. Vose, Jr. passed away in 1998. The Vose Galleries of Boston continues to operate at Newbury Street under the direction of the sixth generation of the Vose family.
Related Archival Materials note:
The Archives of American Art holds several separately cataloged collections related to Vose Galleries of Boston, including the Carrig-Rohane Shop records (1903-1962); oral history interviews with Seth Morton Vose (July 24, 1986 - April 28, 1987) and Robert C. Vose, Jr. (June 27 - July 23, 1986); a sound recording and videotape of a Robert C. Vose, Jr. lecture at the Somerset Club (May 14, 1987); a sound recording of an interview with Robert C. Vose (March 1961); the Miscellaneous Art Exhibition Catalog collection containing Vose Galleries exhibition catalogs, circa 1900-1941; and, Robert C. Vose, Jr. typescripts and clippings, 1961, on microfilm reels 3480 and 4314.
Separated Materials note:
The Archives of American Art also holds material lent for microfilming.
Reel B1 contains a scrapbook compiled by Seth Vose and annotated by Robert Vose that contains clippings, 1886-1900, and an 1889 letter from author and critic Alfred Trumble; and a scrapbook compiled and annotated by Robert C. Vose spanning the years 1920-1940, 1897, and 1905, containing clippings and handwritten lists.
Reel 2380 includes numerous photographs, circa 1890-1964, of Seth Morton Vose, Robert C. Vose, Sr., artists, collectors, and dealers associated with Vose Galleries; a Macbeth Gallery "smoker" in honor of Emil Carlsen; a drawing of Charles Emil Heil by George F. Wing, and a charcoal drawing after Monticelli by Albion Harris Bicknell. Many of the photographs are annotated by Robert C. Vose.
Reels 3936-3940 are comprised of account books, 1871-1887; a journal, 1889-1903, a ledger, 1889-1901; invoice books, 1896-circa 1954, inventories of paintings and drawings in stock, 1884, 1892 and 1906; exhibition records, 1911-1982?; traveling exhibition records, 1915-1949; and a record of paintings sold, 1876-1894. Written permission is required to access these reels.
Reels 4593-4594 contain clippings, undated and 1891-1989, chiefly about purchases, sales and exhibitions, but also pertaining to art dealers, museums, artists, and art events.
Reel 4909 contains a scrapbook of clippings, announcements, programs, and other printed materials, 1882-1993.
Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
From 1965-1994, Vose Galleries of Boston loaned materials to the Archives of American Art for microfilming. Robert C. Vose, Jr. also donated records in several installments from 1974 to 1997.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Vose Galleries of Boston 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.
Topic:
Artists -- United States -- Photographs Search this
Picture frame industry -- Massachusetts -- Boston Search this
Records relating primarily to the Fine Arts Section of the Centennial Exhibition, including 1 volume signed receipts for items exhibited at Photographic Hall; John Sartian's Art Department report; 1 volume of supply requisitions for the Fine Arts Section; and applications for space listing number, date, name, and address of applicant, description of article to be exhibited, and some bureau regulations and correspondence.
Biographical / Historical:
Organized the 1876 United States Centennial Exhibition held in Philadelphia.
Provenance:
Lent for microfilming 1985 by the Philadelphia City Archives.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art -- Exhibitions -- Pennsylvania -- Philadelphia Search this
Selected Sartain family papers from the Historical Society of Pennsylvania, Pennsylvania Academy of the Fine Arts, and the Moore College of Art, including correspondence, printed material, photographs, sketchbooks, writings, minutes of meetings and other organizational records, and memorabilia.
REEL 2727: Correspondence, mostly among the Sartain family: Emily writes to her father of her European travels with Mary Cassatt; letters from Elliott Dangerfield; correspondence of John Sartain, including letters from the poet Thomas Chivers; correspondence of William, Henry, Samuel, Harriet Judd, and Paul Sartain; receipts of John and Samuel, and undated genealogical notes.
REEL 4235: Photographs; scrapbooks; unpublished manuscripts; and correspondence of John, Emily, William, Samuel, and 12 letters from family friend and fellow artist, Thomas Eakins.
REEL P28 (fr. 337-581): Rembrandt Peale's manuscript "Notes of the Painting Room," subtitled "Art is Long and Life is Short." 215 p. + 24 p. index.
REELS 4562-4565 [filmed previously on reels P19-P20, P24, and P27-P28]: Included are: Emily Sartain correspondence and miscellaneous items, 1895-1923; Harriet Judd Sartain correspondence and biographical sketch, 1854-1887; Henry Sartain letters, 1862-1863; Samuel Sartain correspondence, 1850-1872, including letters to John Sartain while in London on business for his father, printed matter, copyrights and certificates and records of the Art-Union of Philadelphia (AUP), 1852-1885, including catalogs of prizes, an inventory of the AUP property, 1855, and printed reports; obituary for Susanna Swaine (John Sartain's mother); John Swaine's letterbook, 1834-1837; William Sartain letters, 1862-1919, n.d., many written while living in Paris, printed matter, photographs, and sketchbook; John Sartain genealogical information, letterpress books, 1869-1871 and 1887, concerning his Philadelphia and London exhibitions, work and business, correspondence, 1845-189?, financial information, lists of works of art, memberships and certificates, lectures and writings, a sketchbook, and printed material.
Also included are manuscript material and printed matter; scrapbooks containing clippings and a few letters; untitled commonplace books which were probably compiled by Harriet or Emily Sartain; John Sartain's records pertaining to the Artists' Fund Society, 1838-1846; Great Sanitary Fair, 1864; Centennial Exposition, 1876, including the Report of the Art Department, and memorabilia; the American Exhibition, London England, 1887; Sartain's Magazine expense book, 1849-1855; minutes of the Graphic Association of Philadelphia, 1849-1855; minutes of the Philadelphia Union of Associationists, 1847-1855; proceedings of the National Art Association second annual convention, held at the Smithsonian Institution, Jan. 11-14, 1859; and minutes of the meeting of the subscribers of the [Christian] Schussele picture fund.
Biographical / Historical:
Family of engravers and painters; Philadelphia, Pa. John Sartain came to U.S. from England in 1830 and established himself firmly in the Philadelphia artistic community. He was director of the Pennsylvania Academy of the Fine Arts for 23 years and served as chief of the art dept. for the 1876 Centennial Exhibition in Philadelphia and the 1887 American Exhibition in London. Four of his eight children became artists, William, Emily, Samuel and Harriet.
Provenance:
Material on reel 2727 lent for microfilming 1982 by the Moore College of Art. Material on reel 4235 lent for filming in 1989 by the Pennsylvania Academy of the Fine Arts, which had received the papers from the Harriet Sartain estate and through descendants of the Sartain family, 1959 and 1988. The Historical Society of Pennsylvania lent the material on reels 4562-4565 in 1991. These papers had been previously microfilmed in 1955 on reels P19-P20, P24 and P27-P28 but were reprocessed for microfilming. A few items filmed in 1955 were missing in 1991. Items not microfilmed in 1991 include manuscript notes for John Sartains's "Reminiscences," and some lecture notes which were unfilmable; 0.3 linear ft. of mss. for articles by various authors appearing in Sartain's magazine; and Samuel Sartain's minute book of the Republican Convention. Rembrandt Peale's "Notes of the Painting Room" was not refilmed in 1991, and is only available on reel P28.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Reel 2727: Authorization to publish, quote or reproduce must be obtained from Librarian, Moore College of Art.
Reels 4562-4565: Authorization to publish, quote or reproduce must be obtained from Historical Society of Pennsylvania.
Occupation:
Engravers -- Pennsylvania -- Philadelphia Search this
Painters -- Pennsylvania -- Philadelphia Search this
Topic:
Engraving -- Printing -- Pennsylvania -- Philadelphia Search this
Painting, American -- Pennsylvania -- Philadelphia Search this
Philadelphia Pa. -- Centennial Celebrations -- Photographs
Date:
1875-1930
Scope and Contents:
Subjects include Persian miniatures and receipts for paintings exhibited at the Philadelphia Sesqui-Centennial, the facade of the now demolished Art Club of Philadelphia, the construction of the Memorial Hall art gallery for the Centennial Exhibition and the finished galleries containing sculptures, the Smith Memorial, and sculptures in Fairmount Park, including works by Henry Baerer, Donato Barcaglia, G. B. Bashanellifusi, Francesco Barzaghi, Cyrus Edwin Dallin, Daniel Chester French, Mabel Saxe Gould, Idusch & Son, Herman Kirn, Heinrich Manger, Edward Stauch, Carl Johann Steinhauser, and Ugo Zannoni.
Provenance:
Microfilmed in 1990 as part of AAA's Philadelphia Arts Documentation Project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
authorization to publish, quote or reproduce must be obtained from Philadelphia City Archives.
Centennial Exhibition (1876 : Philadelphia, Pa.) Search this
Extent:
2 Items (partial microfilm reels)
Type:
Collection descriptions
Archival materials
Date:
[ca. 1876]
Scope and Contents:
Selected records from the Historical Society of Pennsylvania's Centennial Collection, assembled by HSP from various collections. Included are files from the Centennial Bureaus of Administration on the Art Department and Foreign Exhibitors, including information on the system of classification, bureau of awards, selection of judges, duties of and information for judges, news releases, and invitations to ceremonies, receptions and meetings; the Centennial Historical Department Receipt book containing stubs for the historical portraits exhibited, including the work of Titian Ramsey Peale, Thomas Lawrence, and John Trumbull; photographs of the architectural plans submitted in the building competition; and steroptican views of exhibits in Memorial Hall and sculpture.
Provenance:
Microfilmed in 1991 as part of AAA's Philadelphia Arts Documentation Project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce must be obtained from Historical Society of Pennsylvania.
The papers of folk art collector and museum curator Herbert Waide Hemphill date from 1776-1998, bulk 1876-1998, and measure 26.7 linear feet. Found within the papers are biographical materials, personal business records, files documenting his collecting, writings, art work, minutes of meetings, a scrapbook, printed material including exhibition and auction announcements and catalogs, and miscellaneous artifacts. The collection also contains numerous photographs of Hemphill, family members, his residences, friends and colleagues, exhibitions, travel, and art work. Sound and video recordings include interviews of Hemphill.
Scope and Content Note:
The papers of folk art collector and museum curator Herbert Waide Hemphill date from 1776-1998, bulk 1876-1998, and measure 26.7 linear feet. Found within the papers are biographical materials, personal business records, files documenting his collecting, writings, art work, minutes of meetings, a scrapbook, printed material including exhibition and auction announcements and catalogs, and miscellaneous artifacts. The collection also contains numerous photographs of Hemphill, family members, his residences, friends and colleagues, exhibitions, travel, and art work. Sound and video recordings include interviews of Hemphill.
Biographical material includes photocopies of Hemphill's birth certificate and passport, social security cards, and international health card, genealogical notes, an evaluation of his school work, membership cards, award certificates, address books, and an engagement calendar containing very brief annotations of his activities.
Correspondence documents Hemphill's affairs with miscellaneous museums and art institutions, discussing his presentation of lectures, exhibitions, and loans from his collection to organizations including the Abby Aldrich Rockefeller Folk Art Collection, the Folk Art Society of America, the Museum of International Folk Art, and the Smithsonian Institution's American Art Museum.
Hemphill's correspondence with friends and colleagues discuss collecting activities and pursuit of newly discovered folk art and artists. Many of the letters are from artists. Correspondents include Varick A. Crittenden, Michael D. Hall, A. Everette James, Daniel C. Prince, Neal A. Prince, and artists Rev. Maceptaw Bogun, Mary Borkowski, Tim Fowler, Joseph Victor Gatto, S. L. Jones, Gustav Klumpp, Roy Little, George Lopez, Kevin Orth, and Malcah Zeldis. There are also scattered letters from artists Miles Burkholder Carpenter, John W. Fancher, Rev. Howard Finster, William Hawkins, Sister Gertrude Morgan, Mr. Imagination, Mattie Lou O'Kelley, Clayton Patterson, St. EOM, and Mose Tolliver. One letter from Stephanie and John Smither is etched on a bone.
Personal business records include both legal and financial documents. There are wills for Hemphill, his mother, and for his friend Neal A. Prince. The records also include leases, insurance records, contracts, grant proposals, loan agreements, deeds of gift, price lists, consignment records, tax records, and miscellaneous receipts. Cancelled checks relate to Hemphill's collecting interests and activities, and include payments to artists for their work. There are court papers documenting a lawsuit by Hemphill's landlord who was attempting to evict him.
Art work consists of a sketchbook by Roy Little, a set of hand-cut Japanese mask designs, a collage of Polaroid photographs taped to glass created by Rev. Howard Finster, a hand-made book by Nancy Josephson, and miscellaneous drawings, watercolors, and prints by various artists including Justin McCarthy, Inez Nathaniel, and Nellie Mae Rowe.
Notes and writings include card files of artists, extensive bibliographic card files, and scattered notes on artists including Miles Carpenter, Raymond Coins, Rev. Howard Finster, Mattie Lou O'Kelley, Royal Robertson, Veronica Terrillion, Mose Tolliver, and Bill Traylor. Also found are lists of artists, patrons, and art work, miscellaneous notes, and minutes of meetings. Writings by Hemphill and others including Michael D. Hall, Lynda Roscoe Hartigan, A. Everett James, and Julia Weissman, consist of reports, typescripts, and poems concerning a wide range of art-related topics and travel.
A scrapbook consists of unbound pages of clippings and newsletters about Hemphill, his collection, and exhibitions of folk art.
There is extensive additional printed material illustrating Hemphill's many interests. This series primarily consists of clippings and exhibition announcements and catalogs for mainstream artists as well as folk artists. Also included are auction announcements and catalogs, announcements for festivals, press releases, and calendars of events. Numerous booklets, brochures, programs, menus, business cards, and novelty postcards concern a variety of topics including worldwide travel, the sale of art work, miscellaneous galleries, museums, organizations, conferences, schools, lectures, antiques and craft shops, films, publications, restaurants, household items, historical topics, and miscellaneous artists including Miles Carpenter, S. P. Dinsmoor, Lonnie Holley, Clementine Hunter, and Veronica Terrillion. There are also autographed copies of booklets The Black Swan and Other Poems by James Merrill, and The Blood of Jesus by Thomas Jefferson Flanagan. Novelty postcards range from photographs of Elvis Presley to cards with amusing captions or cartoon jokes. There is also sheet music by Charles Trenet. Miscellaneous printed material includes several eighteenth-century newspapers and a 1776 thirty shilling note from New Jersey.
Photographs are of Hemphill, family members, his residences, friends and colleagues including style editor Carrie Donovan, artist Rev. Howard Finster dancing at an exhibition opening, actress Alice Ghostley, Michael D. Hall, circus performers Vernon Goins and Tiny Hicks, Smithsonian curator Lynda Roscoe Hartigan, Neal A. Prince, and Jim Spies. Photographs of exhibitions include stereographic views of the International Exhibition in Philadelphia and the Exposition Universelle in Paris, and photographs of Hemphill's donation of his collection and its subsequent exhibition at the Smithsonian's American Art Museum. Travel photographs include views of South Dakota, Texas, the American West, Japan, Mexico, and The Netherlands.
Numerous photographs of art work sometimes include images of the artists with their work including Bruce Brice, Raymond Coins, John W. Fancher, Rev. Howard Finster, Theora Hamblett, Bessie Harvey, William Hawkins, James Harold Jennings, John Jordan, Charles Lisk, Alexander Maldonado, St. EOM, Fred Smith, Edgar Tolson, Hubert Walters, and Purvis Young. Some photographs of unattributed art work has been arranged by the state in which it is located and includes a Mardi Gras parade in Louisiana, a Mummer's parade in Pennsylvania, Lucy the Elephant-shaped building in New Jersey, and Holy Ghost Park in Wisconsin. Other photographs of unattributed art work include works on paper, paintings, sculpture, signs, collages, needlework, glass, ceramics, and architecture.
Sound and video recordings include a cassette from Hemphill's phone answering machine that contains only Hemphill's message to callers, cassette recordings of interviews with and concerning Hemphill, artist St. EOM, painter Robert E. Smith discussing his work, and the tour narration for a Smithsonian exhibition Made With Passion. There are videotapes about Hemphill and about artists Gayleen Aiken, Miller and Bryant, and Malcah Zeldis, and miscellaneous African American artists. There is also a videotape of an American Museum of Natural History tour group arriving in a succession of villages in Melanesia and Papua New Guinea where they are greeted by the native people and given the opportunity to purchase their art work.
Artifacts consist of a scattered assemblage of three-dimensional objects including three wooden "fringe" pieces from cigar store figures, ceramic fragments from a sword handle, a lock of horse hair, and a hand-painted View Master viewer souvenir from the opening of the American Visionary Art Museum in Baltimore. The View Master contains a disc of photographs of artists with their work including Vollis Simpson and Mary Frances Whitfield. Also included is a teacher's kit Little Adventures in Art containing four phonograph albums and four short film strips of slides showing art work in animal and bird forms.
Arrangement:
The collection is arranged as 10 series; all series are arranged chronologically:
Series 1: Biographical Material, 1916-1997 (Box 1, 28; 12 folders)
Series 2: Correspondence, 1901-1998 (Boxes 1-5, 27- 28, OV 31; 4.0 linear feet)
Series 3: Personal Business Records, 1817-1997 (Box 5-7, 28; 2.0 linear feet)
Series 4: Art Work, 1911-1997 (Box 7, 32; 0.4 linear feet)
Series 5: Notes and Writings, 1938-1996 (Box 7-10, 28; 2.5 linear feet)
Series 6: Scrapbook, 1965-1976 (Box 10; 1 folder)
Series 7: Printed Material, 1776-1998 (Box 10-19, 28-29, OV 31; 9.5 linear feet)
Series 8: Photographs, 1876-1997 (Box 19-24, 29; 5.5 linear feet)
Series 9: Sound and Video Recordings, 1986-1991 (Box 25-26; 13 folders)
Series 10: Artifacts, 1968-1995 (Box 26, 30; 0.7 linear feet)
Biographical Note:
Herbert Waide Hemphill, Jr., (1929-1998) lived in New York city and was a prominent curator, historian, and collector of American folk art. Hemphill was one of the founding members of the Museum of American Folk Art, organized several large exhibitions of folk art, and co-authored Twentieth Century American Folk Art and Artist.
Hemphill was born on January 21, 1929 in Atlantic City, New Jersey, the son of businessman Herbert Waide Hemphill, Sr., and Emma Bryan Bradley Hemphill whose uncle, William Clark Bradley, was one of the owners of the Coca-Cola Company.
Hemphill was reared in his mother's home town of Columbus, Georgia, and attended Wynnton School. At the Lawrenceville School in New Jersey and the Solebury School in New Hope, Pennsylvania, Hemphill's principle interests were in art and theater. In 1948, he spent a year studying fine arts at Bard College under Stefan Hirsch, a painter and folk art collector.
Hemphill developed his interest in collecting while accompanying his mother on her shopping forays searching for Dresden china. His first acquisition was a wooden duck decoy purchased when he was seven years old. His early collections were of glass bottles, marbles, stamps, and puzzle jugs. In 1949, Hemphill moved to Manhattan and began to focus on modern European and American art and African sculpture, but after 1956 he concentrated exclusively on 19th and early 20th century American folk art. He often discovered artists during his extensive travels, especially in the American South.
In 1961, Hemphill became one of the six founding trustees of the Museum of Early American Folk Art, later named the Museum of American Folk Art, in New York City. Between 1964 and 1973, he was the museum's first curator and curated many exhibitions, helping to promote awareness of work created by self-taught or visionary artists. He later served as Trustee Emeritus for many years.
Between 1974 and 1988, Hemphill loaned portions of his extensive personal collection to 24 museums nationwide and in 1976, the American Bicentennial Commission selected works from his collection for a goodwill tour of Japan. He was named guest curator at the Brooklyn Museum in 1976 and at the Abby Aldrich Folk Art Collection in 1980, and often appeared as guest lecturer at various universities, the Smithsonian Institution, and at the Library of Congress. In 1986, Hemphill donated more than 400 folk art works to the Smithsonian Institution's American Art Museum, resulting in a landmark exhibition Made with Passion: The Hemphill Folk Art Collection of the National Museum of American Art.
Hemphill's publications include books Twentieth Century American Folk Art and Artists, co-authored with Julia Weissman in 1974, Folk Sculpture USA for the Brooklyn Museum in 1976, and Found in New York's North Country: The Folk Art of a Region, co-authored with Varick A. Chittenden in 1982 for the Munson-Williams-Proctor Institute.
Herbert Waide Hemphill, Jr. died on May 8, 1998 in New York City.
Provenance:
Herbert Waide Hemphill donated his papers in 5 installments between 1988 and 1996.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.
Rights:
The Herbert Waide Hemphill 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.
0.2 Linear feet (ca. 1000 items (on 4 microfilm reels))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1802-1904
Scope and Contents:
Correspondence; diaries; lists of paintings, bills, and receipts; sketchbook and sketches; clippings; tintype photograph; and printed material.
REEL 266: Pages from a scrapbook containing 14 sketches by Champney, clippings from a Lady's Home Companion, a tintype photograph of Champney and fellow painter Francis Davis Millet, and printed regulations for the 1876 Centennial Exhibition in Philadelphia.
Biographical / Historical:
Painter and illustrator; New York, N.Y. Born in Boston, Mass. Genre painter of rural scences and country home life. Studied with Edouard Frere and at the Antwerp Academy, 1868. Exhibited at the Paris Salon, 1869.
Other Title:
Art Research of Cambridge papers (microfilm title)
Related Materials:
Also in the Archives is microfilm of Champney papers held in other repositories, including correspondence; diaries, 1861, 1865, 1866; lists of paintings, bills, and receipts (reels 121-122); and a sketchbook containing primarily figure studies and portraits in black and blue pencil and pen and ink (reel 3766). Some sketches are notated, several are dated, and one is signed "Champ" - therefore attributing the work to Champney who signed his early work in this manner. [Microfilm title: Art Research of Cambridge papers]
Provenance:
Scrapbook on reel 266 purchased by AAA from the Corcoran Gallery of Art 1959. Reels 121-122 were lent for microfilming 1971 by the Forbes Library, Northhampton, Mass. Sketchbook on reel 3766 lent for microfilming 1986 by Art Research of Cambridge, a firm specializing in consulting and research on 18th and 19th century American painting. The firm's owners, George Haich and Nicholas Kimer, purchased the sketchbook at auction.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Pan-American Exposition (1901: Buffalo, N.Y.) Search this
Panama-California Exposition (1915 : San Diego, Calif.) Search this
Panama-Pacific International Exposition (1915: San Francisco, Calif.) Search this
Scottish National Exposition (Edinburgh, Scotland: 1908) Search this
Sesqui-Centennial International Exposition (1926 : Philadelphia, Pa.) Search this
Sydney International Exhibition (Sydney, Australia: 1879) Search this
Texas Centennial Central Exposition (Dallas, Texas: 1936) Search this
Universal Exhibition (1873 : Vienna, Austria) Search this
Western Pennsylvania Exposition (1915 : Pittsburgh, Pennsylvania) Search this
World's Columbian Exposition, Chicago, 1893 Search this
World's Industrial and Cotton Centennial Exposition (1884-1885 : New Orleans, La.) Search this
Extent:
46 Cubic feet (123 boxes and 10 oversize folders)
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Postcards
Greeting cards
Stationery
Panoramas
Sheet music
Posters
Shopping bags
Photographs
Stereographs
Menus
Place:
Disneyland (California)
Date:
1841-1988.
Scope and Contents:
Memorabilia of fairs and World's Fairs throughout history, both in the United States and abroad, including photographs, stereographs, panoramas and slides; printed materials; postcards; sheet music; philatelic material; stationery and greeting cards; menus and food service items; posters; shopping bags; motion picture films; and other items.
Arrangement:
The collection is divided into three series.
Series 1: World's Fair Materials
Series 2: Reference and Miscellaneous Materials
Series 3: Larry Zim Materials
Biographical / Historical:
Larry Zim, whose actual name was Larry Zimmerman, was an industrial designer, a historian of World's Fairs who wrote extensively on the subject, and a collector of World's Fair memorabilia.
Provenance:
Collection by bequest of Larry Zim.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Crystal Palace -- (New York, New York) Search this
