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.
Missing Title
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 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.
Files on ca. 150 American artists and art subjects, selected from Duveen's art reference files. Included are photographs of paintings in other collections, auction and exhibition catalogs, miscellaneous publications.
Files include: Francis Alexander, Washington Allston, William H. Bartlett, Ben-Zion, Thomas Birch, Joseph Blackburn, Ralph A. Blakelock, Charles F. Blauvelt, Peter Blume, Emile Branchard, Albertis D. O. Browere, John G. Brown, Jonathan Buddington, James E. Buttersworth, Carra, Dennis M. Carter, Mary Cassatt, George Catlin, Centurion, Paul Cezanne, Moura Chabor, Marc Chagall, T. Chambers, Jean Charlot, Thomas Cole, John Constable, George Cope, John S. Copley, Ralston Crawford, Jasper F. Cropsey, Arthur B. Davies, Charles Despiau, Roland Detre, Thomas R. Dibble, Enrico Donati, William Doriani, Thomas Doughty, Jessie Drew-Bear, Robert S. Duncanson, Dunlap, Asher B. Durand, George H. Durrie, Frank Duveneck, Evert Duyckinck, Thomas Eakins, Jacob Eichholtz, Louis M. Eilshemius, Charles L. Elliott, Robert Field, Emil Ganso, Pablo Gargallo, Jan Gelb, Paul Gillman, Christian Gullager, George H. Hall, Chester Harding, William M. Harnett, George Harvey, William J. Hays, George P. A. Healy, Edward L. Henry, John Hesselius, Edward Hicks, Thomas Hicks, Holland House, Charles Fevret de Saint-Memin, Winslow Homer, S. A. Hudson, Daniel Huntington, Henry Inman, George Inness, John W, Jarvis, Eastman Johnson, Henrietta Johnston, John Johnston, Hilde B. Kayn, Dikran K. Kelekian, Fitz Hugh Lane, Ernest Lawson, M. F. Lefferts, William R. Leigh, Abraham Lincoln, George B. Luks, Edward G. Malbone, Alfred H. Maurer, Louis Maurer, McKay, Alfred J. Miller, Louis C. Moeller, Samuel F. B. Morse, John Neagle, Donald Organ, Bass Otis, Walter Pach, Charles W. Peale, James Peale, Rembrandt Peale, William Penn, Enoch W. Perry, F. E. H. Philippoteaux, Charles P. Polk, T. B. Pope, Rufus Porter, William M. Prior, Walter Quirt, William T. Ranney, Reinhardt, Frederic Remington, Louisa Robins, Severin Roesen, Thomas P. Rossiter, Peter F. Rothermel, Charles M. Russell, Edward Savage, William Sawitzky, Nikol Schattenstein, Christian Schussele, D. Serres, James Sharples, Morris Shulman, John Smibert, Sergei Soudeikin, Haim Soutine, Frederick R. Spencer, Albert Stewart, Robert Street, William J. Strong, Gilbert Stuart, C. (Charles ?) Sullivan, Thomas Sully, Arthur F. Tait, G. Tirrell, John Trumbull, John Vanderlyn, Pieter Vanderlyn, William Von Schlegell, Samuel L. Waldo, Abraham Walkowitz, George Washington, Elbert Weinberg, Julian A. Weir, Thomas B. Welch, Adolph U. Wertmuller, Benjamin West, Anne Whitney, Arnold Wiltz, William E. Winner, S. Wood, and Thomas W. Wood.
The Saint-Memin, Stuart, B. West and Wertmuller files contain material from Albert Rosenthal relating to the above artists.
Arrangement:
Files are arranged alphabetically by artist and subject, rolls NDU1-NDU3; publications and other miscellany were filmed on rolls NDU4-NDU5.
Biographical / Historical:
Albert Duveen was an art dealer and collector with offices in New York, N.Y., specializing in early American art. He was a cousin to Joseph Duveen (1869-1939), 1st Baron Duveen, president of Duveen Brothers art dealers.
Provenance:
Lent for microfilming 1958 by Duveen.
Restrictions:
The Archives does not own the original papers. Microfilmed materials must be consulted on microfilm.
The microfilmed selected Peale family papers contain papers of Charles Willson Peale, Rembrandt Peale, and Titian Ramsay Peale, mainly related to Peale's Museum. Also included are one item pertaining to Franklin Peale, and one to Rubens Peale.
Microfilmed on Reel P21 are manuscript of memoranda of the Philadelphia Museum, giving records and accessions for 1803-1842; financial statements (1808-1819) listing current expenditures; a manuscript of A Walk Through the Philadelphia Museum by Charles Willson Peale (after 1802); minutes of the Museum (1841-1845); manager's reports to the Board of Trustees (1833-1835), signed by Titian R. Peale (10 reports); Titian Peale's correspondence with George Ord (1827-1854), and his drawing book (circa 1820); extracts of letters written by Charles Willson Peale from Belfield and Philadelphia (1821-1823); extracts of letters written by Rembrandt Peale to Reuben Haines and Coleman Sellers (1828 September 24 and 1829 November 30), and to his wife (1830). Also included (frames 164-182) is a "Catalog of the National Portrait and Historical Gallery, illustrative of American history, comprising 269 original portraits and historical paintings, formerly belonging to Peale's Museum, to be sold without reserve, on Friday 6th October 1854... M. Thomas & Sons, Auctioneers."
Microfilmed on Reels P23 and P29 are miscellaneous Peale related documents from the Historical Society of Pennsylvania's Society Collection. Included are a report of the Committee of Councils on the use of Charles Willson Peale's windmill (1815 January 5); C. W. Peale's appeal to aid for a soldier; Rubens Peale memorial of the Trustees of the Philadelphia Museum (1831 October 25); and a register made by Franklin Peale of the medal dies of the U. S. Mint, with notes (1841) (reel P29, frames 5-31).
Biographical / Historical:
The Peale family was a family of painters, primarily in Philadelphia, Pennsylvania. Charles Willson Peale (1741-1827) was a portrait painter and engraver and studied in London with Benjamin West. He is known for his portraits of the founding fathers including George Washington, Thomas Jefferson, Benjamin Franklin, and John Adams. In 1786 he founded the Peale Museum, and was one of the founding members of the Pennsylvania Academy of the Fine Arts in 1805.
Rembrandt Peale (1778-1860) was born in Bucks County, Pennsylvania, and was the second son of Charles Willson Peale. He was known primarily for his historical paintings and portraits, particularly those of George Washington. Peale painted his first Washington portrait in 1795 at the age of 17, in a sitting arranged by his father. With his father, he was also a founding member of the Pennsylvania Academy of the Fine Arts. He also established Peale's Baltimore Museum and Gallery of Fine Arts in 1814.
Titian Ramsay Peale (1799-1885) was a naturalist, photographer, and scientific illustrator. Named for an older brother who died in 1798, he was the only naturalist in the family and documented animals and scenery in watercolors on scientific expeditions including the 1819 Long expedition to the Rocky Mountains.
Benjamin Franklin Peale (1795-1870), called Franklin, was his father's assistant at the museum and managed it after Charles Peale's death. Franklin Peale was also an employee of the Philadelphia Mint from 1833 to 1854.
Rubens Peale (1784-1865) opened the New York Museum of Natural History and Science in 1825. Following the economic Panic of 1837, Rubens became a gentleman farmer in the Pennsylvania countryside. He returned to Philadelphia in 1864 and began painting still lifes.
Related Materials:
The Archives of American Art holds the Rembrandt and Harriet Peale collection, circa 1820-1932 and the Rubens Peale diaries, 1855-1865. Also found at the Archives of American Art are the microfilmed Charles Willson Peale diaries and exhibition announcement, 1765-1826; microfilmed printed material relating to Rembrandt Peale, 1830-1862; microfilmed Titian Ramsay Peale Collection, 1771-1876; microfilmed selected papers from the Peale-Sellers collection, [circa 1767-1904]; and microfilmed Augusta Barker papers, 1875-1887.
The American Philosophical Society holds the Rembrandt Peale papers, 1808-1833 and the Peale family papers, 1705-1898. New York Public Library Archives and Manuscripts Division holds the Rembrandt Peale letters, 1835-1857.
Provenance:
Microfilmed by the Historical Society of Pennsylvania for the Archives of American Art, 1955.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- Pennsylvania -- Philadelphia Search this
Topic:
Art, American -- Pennsylvania -- Philadelphia Search this
Receipt for twenty dollars paid to Peale by Thomas Badaraque for his portrait, September 29, 1806, and receipt for twenty dollars paid in full by Badaraque to Peale for his portrait, October 14, 1806.
Biographical / Historical:
Portrait painter; Philadelphia, Pa.
Provenance:
Microfilmed by the Historical Society of Pennsylvania for the Archives of American Art, 1955.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Letters of American artists, including Washington Allston, Albert Bierstadt, Thomas Cole, Walt Disney, Asher Durand, Horatio Greenough, Winslow Homer, Peter Hurd, Henry Inman, Thomas Sully, John Trumbull, Benjamin West and many others, with an illustrated letter from Edward Gay and correspondence of the Peale family; a handwritten manuscript by Rembrandt Peale, "Washington and His Portraits"; clippings, announcements, an auction catalog of the John Trumbull collection, and other printed material.
Provenance:
Lent for microfilming, 1955, by Haverford College Library.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Peale, Rubens, 1784-1865 -- Rubens Peale with a geranium Search this
Extent:
3 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1854 April 28
Scope and Contents:
Letter concerning Copper's gift to Peale of Rembrandt Peale's painting "Rubens Peale with a Geranium," which had been presented to Copper when it was painted. The letter has been annotated by Mary Jane Peale and is accompanied by the Charles Willson Peale Papers' transcript.
Biographical / Historical:
Mary Jane Peale (1827-1902) was a painter from Philadelphia, Pa. Daughter of Rubens Peale, who was Rembrandt Peale's brother.
Provenance:
The letter was originally owned by Dr. Colton, a Peale descendant. Dorothy A. House, Librarian of the Museum of Northern Arizona, sent the letter to Dr. Lillian Miller, Editor of the Charles Willson Peale Papers at the National Portrait Gallery, who transferred it to the Archives of American Art.
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.
Photographs of 19th century artists, including Thomas Sully, Rembrandt Peale, Frederick de Bourg Richards, Edward Moran, John Moran, William Trost Richards, Edmund Darch Lewis, George Bacon Wood, Isaac Williams, James Reid Lambdin, Samuel Bell Waugh, Peter Frederick Rothermel, the Sartain family, the Sartain home, John Sartain, Samuel Sartain, William Sartain, Emily Sartain, Thomas Buchanan Read, Thomas Eakins's motion studies, the Pennsylvania State Capitol, group portraits of women from the Pennsylvania Academy of the Fine Arts, the Artists Fund Society, James S. Earle and Son, and the Fine Art Gallery at the Great Sanitary Fair.
Biographical / Historical:
Archive repository; Philadelphia, Pa.
Provenance:
Microfilmed in 1986 as part of AAA's Philadelphia Arts Documentation Project. Photographs were compiled from various collections of the Print Dept. of the Library Company of Philadelphia.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Photograph collections -- Pennsylvania -- Philadelphia -- Photographs Search this
Photography -- Early works to 1900 -- Pennsylvania -- Philadelphia -- Photographs Search this
Artists -- Pennsylvania -- Philadelphia -- Photographs Search this
REEL 3657: One 1840 dauguerrotype of Haines's family home, Wyck House by Walter R. Johnson; a letter, 1839, from Jane and Hannah Haines to "dear brother" John S. Haines; and a letter, 1839, from Robert Haines to Reuben describing Johnson's use of dauguerrotype equipment owned by the University of Pennsylvania.
REEL 3666: Pages from an account book detailing a loan Reuben Haines made to Rembrandt Peale for travel in Europe. [microfilm title: Wyck Family papers]
REEL 3898: Letters to Reuben Haines from John J. Audubon (regarding the publication of BIRDS IN AMERICA), Rembrandt Peale, John Trumbull, and Titian R. Peale; and letters from Rembrandt Peale to his wife, Eleanor, describing his 1830 trip to Europe; and two letters to B. Wistar. [microfilm title: Robert Bowne Haines papers]
Biographical / Historical:
Art patron; Germantown, Pa. Benefactor to Rembrandt Peale among others. Robert Bowne, Jane and Hannah Haines were his children.
Other Title:
Wyck Family papers [microfilm title, reel 3666]
Robert Browne Haines [microfilm title, reel 3898]
Provenance:
Microfilmed 1987 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.
The Robert C. Graham collection of artists' letters measure 0.2 linear feet and dates from 1783 to 1935, with the bulk of the letters dating from 1804 to 1877. Graham, an art dealer and collector, compiled the unrelated letters of several late eighteenth-century and nineteenth-century painters such as Thomas Biddle, Thomas Doughty, G. P. A. Healy, Daniel Huntington, Henry Inman, Emanuel Leutze, Samuel F. B. Morse, Rembrandt Peale, John Singer Sargent, Thomas Sully, John Trumbull, Benjamin West, and others.
Scope and Content Note:
The Robert C. Graham collection of artists' letters measure 0.2 linear feet dates from 1783 to 1935, with the bulk of the letters dating from 1804 to 1877. Graham, an art dealer and collector, compiled the unrelated letters of several late eighteenth-century and nineteenth-century painters such as Thomas Doughty, G. P. A. Healy, Daniel Huntington, Henry Inman, Emanuel Leutze, Samuel F. B. Morse, Rembrandt Peale, John Singer Sargent, Thomas Sully, John Trumbull, Benjamin West, and others.
Arrangement:
Folders are arranged alphabetically by the author of the letter. Multiple letters within folders are arranged chronologically.
Biographical Note:
Robert Claverhouse Graham (1913-1994) was the director of the Graham Gallery in New York City. He and his brother James were fourth generation owners of the gallery which specialized in nineteenth- and twentieth-century American art.
Related Material:
Related material found in the Archives includes the recording and transcript of a 1976 interview of Robert Claverhouse Graham conducted by Paul Cummings for the Archives of American Art. The Archives also holds numerous collections of papers related to or created by the artists who wrote these letters.
Provenance:
The collection was donated in 1961 by Robert C. Graham.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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.
REEL P20: Correspondence, March 29, 1837-Jan. 17, 1867, including letters to Buchanan from Henry Dexter, Luigi Persico, George Washington Conarroe, John Sartain, Jacob Eichholtz, George P. A. Healy, and Rembrandt Peale, and one copy of a letter to Healy.
REEL P25: One letter to Hon. James Buchanan from Matthew Brady, Nov. 25, 1856, and two letters to Buchanan from Thomas G. Clemson, April 25 and Dec. 28, 1845. Brady sends photographs of Wheatland; Clemson was an amateur painter and collector.
Biographical / Historical:
U.S. President.
Related Materials:
James Buchanan papers also at Syracuse University.
Provenance:
Lent for microfilming 1955 by the Historical Society of Pennsylvania.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Letters from Rembrandt Peale discuss his Patriae Pater portrait and the equestrian portrait of Washington that he hoped would be commissioned by Congress following the acclaim that Patriae Pater received.
A typescript for Peale's address on "Washington and his Portraits" that was read before the New York Historical Society on June 16, 1857 is accompanied by a typescript of the address copied by George Tatham. Several handwritten pages and apparent additions or changes to the address are not included in the typescript.
Calling cards are for Harriet Peale and Miss L. C. Herring. Miss Herring's card is found with a 1932 receipt from Miss Louise C. Herring to Richard M. Fielding marked "sold" for a portrait of George Washington attributed to Rembrandt Peale, one "pencil scale" of Washington by Rembrandt Peale, and one self portrait by him. There is also a copy of a receipt for an 1863 money loan to Harriet Peale.
A manuscript, handwritten by Peale, with transcription, entitled "Portrait of Washington," repeats some of the sentiments Peale expressed in an 1825 letter to Elijah Hunt Mills, including his belief in the importance of supporting the fine arts, especially painting, which he believes "is capable of exciting the sentiments of Patriotism in a degree only secondary to Eloquence." Another handwritten manuscript appears to be an introduction to drawings "in this Book" by pupils in a Philadelphia high school.
Legal papers include two codicils to Harriet Peale's will which list the disposition of Rembrandt Peale paintings in her possession. Printed material includes a catalog of sale for Harriet Peale's estate listing the Rembrandt Peale paintings held by her at the time of her death. An additional catalog of sale is for the property of a household in Philadelphia whose owner is not identified.
Additional printed material includes a pamphlet about Peale's painting The Court of Death, as well as news clippings relating to Peale, his paintings, the Peale family and portraits of George Washington.
Artwork consists of ink drawings by Peale of Roman coins on a page affixed to two prints glued side by side on the verso of the drawings.
Photographs consist of photo cards containing two prints of the same negative from M. B. Brady's studio of a portrait of Rembrandt Peale and one photograph on a photo card of Harriet Peale.
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rembrandt and Harriet Peale collection, circa 1820-1932. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rembrandt and Harriet Peale collection, circa 1820-1932. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
Peale mentions gathering testimonials on the the merits of Patriae Pater and discusses the resolution in Congress relating to his hoped for commission; appeals to Mercer to be in favor of an act extending copyright to paintings and drawings.
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rembrandt and Harriet Peale collection, circa 1820-1932. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
The first letter to the Massachusetts senator, dated 1825, January 13, describes the equestrian portrait in detail and expresses Peale's hope that Mills will be able to advocate for the purchase of the painting in Congress; Peale speaks to the issue of national patronage of the arts and expresses the belief that it would enable native artists to "demonstrate their ability....in adding splendour to our National glory." The second letter, dated 1825, January 29, repeats his request for Mills's support.
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rembrandt and Harriet Peale collection, circa 1820-1932. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
Mentions the possibility of selling the "Equestrian Washington to the corporation here" (in Baltimore) and refers to his preparation for a trip to Italy.
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rembrandt and Harriet Peale collection, circa 1820-1932. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rembrandt and Harriet Peale collection, circa 1820-1932. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
Peale responds to a request for information on a portrait of Joel Barlow painted by his father, Charles Willson Peale.
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rembrandt and Harriet Peale collection, circa 1820-1932. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rembrandt and Harriet Peale collection, circa 1820-1932. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
(pages 16 and 17 are scanned twice as they appear out of numerical sequence in the original document)
Container:
Box 1, Folder 7
Type:
Archival materials
Date:
circa 1857
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rembrandt and Harriet Peale collection, circa 1820-1932. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rembrandt and Harriet Peale collection, circa 1820-1932. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
