Includes an alphabetical index by artist's name. Entries include subject or title, size, owner, date, purchaser, and price. There is also an extensive listing under 'Miscellaneous' on pages 70-97. Artists represented by a large number of sales include: R. A. Blakelock, J. Wells Champney, William M. Chase, F. S. Church, Samuel Colman, J. B. C. Corot, Charles C. Homer, George Inness, C. E. Jacque, H. Bolton Jones, Sir McIlhenny, Robert C. Minor, Louis Moeller, Henry Mosler, J. Francis Murphy, John H. Twachtman, A. H. Wyant and others.
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 American Art Association 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.
American Art Association Records, circa 1853-1929, bulk circa 1885-1922. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
The Carnegie Institute Museum of Art 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.
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Brown Foundation. Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
Murphy, John Francis, 1853-1921 -- Catalogues raisonnés Search this
16.7 Linear feet ((on 21 microfilm reels))
Arkville (N.Y.) -- Pictorial works
Scope and Contents:
Biography and catalogue raisonné of J. Francis Murphy by Emerson Crosby Kelly, M.D., and correspondence relating to Dr. Kelly's interest in Murphy. Personal papers of J. Francis Murphy and Adah Clifford Smith Murphy include diaries and notebooks, correspondence, Smith and Murphy family documents, financial records, printed matter, artifacts, photographs, and works of art.
Research notes, drafts, and manuscript of an unpublished biography, "J. Francis Murphy, N.A., (1853-1921): Tints of a Vanished Past," and illustrated catalogue raisonne of the works of J. Francis Murphy by Emerson Crosby Kelly (1953). Kelly corresponded with friends and relatives of the Murphys, with owners of Murphy paintings, publishers, printers, and possible financial backers for his book. Also documented is Dr. and Mrs. Kelly's involvement in the sale of "Weedwild," the Murphy's Arkville, N.Y. home, to the Pestalozzi Foundation of America.
Diaries of J. Francis Murphy (25 vols.) contain very brief entries that faithfully record weather conditions, garden progress, and other nature notes, with occasional mention of social engagements or service on art juries; entries recorded during trips to Europe mainly list places visited with little elaboration. Notebooks (16 vols.) include painting registers, daily listings of mail sent and received, address books, and jottings relating to Indian relics, his farmland, and paintings sent to dealers. Mrs. Murphy's diaries (46 vols.) also contain very brief entries mentioning friends, social engagements, travels, and an "Account of the pictures I painted and gave away. Portraits of them. + landscapes + old houses." Her notebooks (4 vols.) contain "Notes for a book. J.F.'s".
Correspondence concerns family matters, exhibitions, sales, professional memberships, involvement with the Salmagundi Club and National Academy of Design, and the couple's finances. Whenever separated, the Murphys exchanged lengthy letters with one another; the majority of these are from husband to wife.
Receipts and invoices are mainly for art supplies, framing, and shipping costs; expense records for personal purchases and farm upkeep and improvements; taxes; and legal papers concerning a property boundary dispute and lawsuit against the Murphys.
Photographs are of Mr. and Mrs. Murphy, their families and ancestors, friends, studios, "Weedwild" (country home) and surrounding Arkville, N.Y. area, landscape subjects, works of art by the Murphys, medals and certificates of award. Six tintypes are included. Photographers include: Hollinger, Moffett, Napoleon Sarony, and C. Vandyk. Commercially produced stereographs mainly depict U.S. scenes.
Art works consist of sketchbooks, oil sketches, and works of art on paper by both Murphys, Emil Carlsen, and other artists (ca. 500 items).
Other materials include exhibition catalogs and announcements, clippings, scrapbooks (probably compiled by Mrs. Murphy ca. 1885), medals awarded to J. Francis Murphy, copper plate etched by Adah C. Murphy, and artifacts.
I. Writings and Research Notes. II. Kelly Correspondence and Miscellaneous Files. III. J. Francis and Adah Clifford Smith Murphy Papers.
Biographical / Historical:
Emerson Crosby Kelly, M.D., art collector, surgeon, and medical bibliographer; d. 1977. J. Francis Murphy, landscape painter and one of the leading tonalists of the American Barbizon school, lived and worked in New York City and Arkville, N.Y. Studied very briefly at the Chicago Academy of Design, 1875. Member of the National Academy of Design and active in the Salmagundi Club. His wife, Adah Clifford Smith Murphy, a painter and illustrator, studied at the Female Art School of the Cooper Union for the Advancement of Science and Art.
The donor, Sydney Kelly, is the widow of Dr. Emerson Crosby Kelly. Dr. Kelly acquired the Murphy papers in 1949 from Hulda Gregerson, Mrs. Murphy's long-time companion, for the purpose of writing a biography and catalogue raisonne of J. Francis Murphy.
Correspondence with dealers, artists, museums, publishers, photography studios, and others regarding art purchases, loans, and Shaw's collection; and 16 v. of scrapbooks containing photographs, letters, and biographical information on artists. Much of the correspondence with artists relates to Shaw's requests for the information which was then used in the scrapbooks. Also included is one volume compiled in 1947 outlining the contents of the scrapbooks.
REELS 1124-1125: 16 vol. of scrapbooks, 1864-1930, relating to artists represented in Shaw's collection, containing letters, many from artists, photographs of artists and their work, biographical data, clippings and articles, and comments on their work; and 1 v., "Notes: Edwin C. Shaw Collection of Paintings," compiled in 1947, and annotated "Used at Women's Art League Meeting at Miss Shaw's in 1947 by Mrs. [Jane S.] Barnhardt, who compiled it, and then given to the Art Institute Library," containing an outline of the contents of the 16 v. of scrapbooks.
Artists represented in the scrapbooks include J. Carroll Beckwith, Frank W. Benson, Ralph Blakelock, Emil Carlsen, William Merritt Chase, Timothy Cole, Elliott Daingerfield, Cyrus B. Dallin, Charles Davis, Warren Davis, Gleb Derujinsky, Charles M. Dewey, Thomas W. Dewing, Paul Dougherty, Frank Duveneck, Charles Eaton, Frederick Frieseke, George Fuller, Lillian Genth, Childe Hassam, Charles Hawthorne, William Morris Hunt, George Inness, John Johansen, Isidore Konti, John La Farge, William Lathrop, Frederick MacMonnies, Hermon A. MacNeil, Willard Metcalf, Herman Dudley Murphy, J. Francis Murphy, A. Phimister Proctor, Henry Ward Ranger, William Ritschel, Felix Russmann, Albert P. Ryder, Eugenie F. Shonnard, Lars Gustaf Sellstedt, Elliot Torrey, Dwight Tryon, Helen M. Turner, John Twachtman, Elihu Vedder, Bessie P. Vonnoh, Robert Vonnoh, Horatio Walker, J. Alden Weir, Frederick Ballard Williams, Henry Wolf and "The Ten."
REEL 4597: Correspondence, ca. 1916-1941, concerning art acquisitions with dealers Erwin S. Barrie of Grand Central Art Galleries; Thomas Whipple Dunbar; Frederic Newlin Price and T.H. Russell of Ferargil Galleries; W. Frank Purdy of the Gorham Co. Dept. of Sculpture and later the School of American Sculpture; D.H. Hatfield of Hatfield & Clark; Thomas Gerrity of M. Knoedler & Co.; Robert Macbeth, Robert McIntyre and Henry Miller of the Macbeth Gallery; Albert Milch of E.& A. Milch, Inc.; Newman Montross of Montross Gallery; J.E. Batts of the Thurber Art Galleries; Robert C. Vose of R.C. & N.M. Vose and Vose Galleries, and their frame shop, Carrig-Rohane; Howard Young of Howard Young Galleries; and J.W. Young; correspondence with artists and/or their families requesting the artist's portrait, biographical information and background, including letters from Elliot Daingerfield, Charles Dewey, Thomas Wilmer Dewing, John C. Johansen, Willard Leroy Metcalf, Hervey W. Minns, Hermann Dudley Murphy, A.P. Proctor, Eugenie Shonnard, Elliot Torrey, Dwight W. Tryon, Helen M. Turner, and Horatio Walker, and the families of J. Carroll Beckwith, George Inness, Lars Gustaf Sellstedt, John Henry Twachtman and J. Alden Weir; correspondence with the Dayton Art Museum and the Metropolitan Museum of Art regarding works lent for exhibition; with publisher Frederic Fairchild Sherman; with photography studios; and other miscellaneous correspondence.
Biographical / Historical:
Art collector; Akron, Ohio. Shaw, a BF Goodrich executive and avid collector of post-Civil War American art, was one of the founders of the Akron Art Institute, now the Akron Art Museum.
Lent for microfilming 1976 and 1992 by the Akron Art Museum. Shaw bequethed his art collection and papers to the Museum, then named the Akron Art Institute.
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
United States of America -- Massachusetts -- Bristol County -- Westport
Scope and Contents:
The folder includes worksheets and site plans.
Started circa 1990 when the house was built the Armknecht Garden overlooks a 500-acre pond that feeds into the Atlantic Ocean. The 3.3 acre property is enclosed by low stone walls that are bordered by shrubs. Four large patches of wildflowers are sited inside the walls, while closer to the house there are flower beds, three stands of fruit trees with spring bulbs and flowers planted below, a formal parterre boxwood and rose garden, and a long border planted along another stone wall that is parallel to the driveway.
The garden features an assortment of trees including paper bark, Japanese and sugar maples, Japanese snowbell, Serbian spruce, silk tree, corkscrew hazel, hawthorn, hollies and oak in addition to the small apple orchards. Interest in the tree collection has led to several tours of the Armknecht Garden conducted by The Garden Conservancy, the New England Wildflower Society, the Little Compton Garden Club and the Rare Plant Society of the Garden Clubs of America.
Persons associated with the garden include: Patty Wilde (garden designer, 1990); John Murphy (gardener, 1995-2008)
Armknecht Garden related holdings consist of 1 folder (19 35 mm slides (photographs))
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: email@example.com.
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Photographs, club history, and artists' biographical notes.
REEL 3483: A photograph of a Salmagundi Club dinner held on February 24, 1910, sponsored by Samuel T. Shaw in honor of Gifford Beal. The photograph is inscribed in ink "to Miles Evergood from Samuel T. Shaw."
REEL 154: 12 group photographs of the members of the Salmagundi Club, 1908, 1926, and 1932-1940.
REEL NYSC 1-NYSC 2: A history of the club from its inception to 1917; exhibition catalogs, 1883 and 1886; scrapbooks containing newspaper clippings, exhibition catalogs, bulletins and dinner invitations; and biographical notes and sketches of various artist members (listed alphabetically).
Artists include Edwin Austin Abbey, Herbert Adams, Victor C. Anderson, Robert P. Lawrence, James M. Barnsley, Charles Basing, Edwin H. Blashfield, Tabert Sears, George Bogert, Alexander Grinager, Max Bohm, R. Sloan Bredin, Alexander W. Drake, John F. Carlson, John W. Fenton, Maurice Fromkes, Gordon Grant, Charles D. Gibson, Charles P. Gruppe, Edwin Gunn, Bernhard Gutmann, Jonathan Hartley, Charles W. Hawthorne, William H. Howe, George Inness, J. G. Brown, Frank T. Johnson, J. Redding Kelly, George H. McCord, Richard Miller, John F. Murphy, John Noble, William M. Post, Edward H. Potthast, William S. Robinson, Alexander J. Rummler, Andrew T. Schwartz, Walter Shirlaw, Robert Spencer, Charles Vezin, and Frederick J. Waugh.
Biographical / Historical:
Artists club; New York, N.Y. Established 1871, incorporated 1880.
Microfilm reels NYSC 1-NYSC 2 lent for microfilming 166 by Salmagundi Club. Material on reel 154, provenance unknown. Photograph on reel 3483 donated 1985 by Mr. and Mrs. Charles Gray.
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.
Art -- Societies, etc. -- New York (State) -- New York Search this
Collection is open for research. Some items may be restricted due to fragile condition.
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.
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).