One albumen print by Felix Beato, mounted on card, with "Alumbagh near Lucknow 1857-8" lightly inscribed in pencil below the print. View of the Alumbagh (or Alambagh) palace and surrounding entrenchments, circa 1858.
Biographical / Historical:
Alambagh was a large residence and garden located about 4 miles from Lucknow, Uttar Pradesh, India. It was used as a fort by the rebels and later as the military command for the British during the Indian Rebellion of 1857.
For more information about the city of Lucknow, see A1999.01_27
For information on Felice Beato, see A1999.01_27
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Albumen prints -- 19th century
Collection Citation:
Still Prints of Asia, FSA.A1999.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Contains photographic prints, in formats including albumen prints (many hand-colored), collotypes, gelatin silver prints. All images but one are of Japanese origin and depict Japanese people and scenes. The other image depicts a group of yogis in India.
Biographical / Historical:
Noted screenwriters Gloria Katz (October 25, 1942-November 25, 2018) and Willard M. Huyck Jr. (September 8, 1945-) met as film students in the 1960s and married in 1969. They worked closely with George Lucas, writing for films such as American Graffiti, Star Wars (uncredited), and Indiana Jones and the Temple of Doom. They also wrote, with Huyck directing and Katz producing, Howard the Duck.
In addition to their careers in the film industry, Katz and Huyck collected art, with particular interest in Japanese photography from the 19th century to the present era. Images from their collection were published in Views of Japan (Steidl, 2017). The Freer Gallery of Art and Arthur M. Sackler Gallery acquired their collection of Japanese photographs in 2018; the 19th century photographs came to the Freer and Sackler Archives. Katz and Huyck's interests extended beyond Japan, as evidenced by Colin Murray's "Group of Yogis," donated to the Archives in 2015.
Local Numbers:
FSA A2015.05
Related Materials:
For 20th and 21st century Japanese photographs acquired from Gloria Katz and Willard M. Huyck Jr., see the Gloria Katz and Willard M. Huyck Jr. Collection of the Arthur M. Sackler Gallery, S2018.2.1--S2018.2.349 and S2018.13--S2018.16.
Restrictions:
The collection is open for research use.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The H. Wunderlich & Company and Kennedy & Company stock books measure 2.0 linear feet and date from 1879-1915. The collection consists of twenty-two stock inventory books providing information on the types and sales of art handled by H. Wunderlich & Company, including one volume, 1915, of its successor, Kennedy & Company. Also included is a consignment book recording transactions with Gustav Lauser, C.W. Kraushaar, Francis Seymour Hayden, Albert Rosenthal, and others.
Scope and Contents:
The H. Wunderlich & Company and Kennedy & Company stock books measure 2.0 linear feet and date from 1879-1915. The collection consists of twenty-two stock inventory books providing information on the types and sales of art handled by H. Wunderlich & Company, and one volume, 1915, of its successor, Kennedy & Company. Also included is a consignment book recording transactions with Gustav Lauser, C.W. Kraushaar, Francis Seymour Hayden, Albert Rosenthal, and others.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Series 1: Stock Books, 1879-1915
Biographical / Historical:
H. Wunderlich & Company was a print gallery based in New York, N.Y., founded in 1874 by Hermann Wunderlich. After his death in 1892, his partner, Edward Kennedy took over, and in 1912 the name changed to Kennedy & Company (and in 1952 to Kennedy Galleries). H. Wunderlich & Company handled primarily fashionable prints, Old Master prints and a few of prints of contemporary artists, such as James McNeil Whistler, David Cameron, and Francis Seymour Hayden.
Provenance:
The H. Wunderlich & Company and Kennedy & Company stock books were donated in 1989 by Gerold M. Wunderlich, great-grandson of the gallery's founder Hermann Wunderlich, founder of H. Wunderlich and Kennedy & Company, and Kennedy Galleries, Inc.
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 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.
H. Wunderlich & Company and Kennedy & Company stock books, 1879-1915. Archives of American Art, Smithsonian Institution.
Sponsor:
The conservation and digitization of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
1 Item (Silver albumen on paper., 6-1/2" x 4-1/4".)
Type:
Archival materials
Albumen prints
Photographs
Cabinet photographs
Date:
[19th century.]
Scope and Contents:
On verso: "WM. SHEW'S / NEW / PHOTOGRAPHIC ESTABLISHMENT. / 145 Kearny Street, / SAN FRANCISCO." On recto under photograph: "Photographic copy of the Original Life-size Pencil painted Portrait, executed by those celebrated Spirit Artists, WELLA and / PET ANDERSON, when in the unconscious 'trance' condition. Entered according to Act of Congress, in the year 1874, ... by the PACIFIC ART UNION of San Francisco, Cal. inc. [sic] March 1874."
Restrictions:
Unrestricted research use on site by appointment. Unprotected photographs must be handled with cotton gloves.
Series 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.
Warshaw Collection of Business Americana Subject Categories: Fraternal Orders, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
One albumen print, with the mounting cut to reveal the printed title beneath the image. Portrait depicting one of the last members of the traditional Rajput royalty, taken by Kale, who was the state photographer of Bundi, Rajasthan.
Biographical / Historical:
Bundi is a district in the state of Rajasthan in northwest India; during the era of British rule, Bundi was a princely state. The Maharao Raja Sir Raghubir Singh (1869-1927) took the throne in 1889 after the death of his adopted father, Maharao Raja Ram Singh. He died in 1927 and was succeeded by his nephew, Ishwari Singh; the next ruler, Bahadur Singh, ascended to power in 1945. Bundi was acceded to the Union of India in 1949, and Bahadur Singh held only titular power through 1971, when India's Constitution removed the acknowledgement of former royals.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Black-and-white prints (prints on paper) -- 19th century
Popular prints -- 19th century
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Dry Goods, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
One albumen print by Felix Beato, mounted on card, with "Lucknow. Inside the Secunderabagh Shewing [sic] where 2600 Sepoys were Killed" inscribed in black ink below the print. View taken circa 1858 of the interior of the Sikandar Garden, with skeletal remains strewn across the grounds.
Biographical / Historical:
Lucknow was the capital of the former state of Oudh (Awadh), Uttar Pradesh, India. The city was an instrumental part of the Indian Rebellion of 1857. The British first annexed the region in 1856 and were repeatedly attacked by Indian rebels in 1857. The city was abandoned by the British in the winter of 1857-58 and was reattained in March 1858. Over the course of the Rebellion, the cities of Delhi and Lucknow were attacked, with heavy casualties on both sides.
The Sikandar Garden is part of complex located on the outskirts of Lucknow. During the siege of the city, the Sikandar (or Secundra) Garden was used as a refuge by hundreds of Indian soldiers (sepoys) who were under attack by British troops. On November 16, 1857, the villa was overrun and approximately 2000 sepoys were killed. After the fighting, the British dead were buried in a deep trench, but the Indian dead were left to rot. In early 1858, Beato took this well-known photograph, possibly the first photographic depiction of human corpses, although there is some controversy over whether he had some of the corpses disinterred for dramatic effect.
Although he was born in Greece, Felice Beato worked as a press photographer in England and achieved recognition for his coverage of British political conflicts, photographing the Crimean War of 1855 and, together with his brother-in-law, James Robertson, the 1858 Indian Mutiny in Delhi and Lucknow. The images Beato took during this time are thought to be the first to depict actual human corpses on the battlefield. After moving to Yokohama in 1863, Beato opened the area's first photography studio and documented the people and culture of Japan for the next twenty years, taking photographs and selling them to tourists. During his travels, Beato was able to gain access to Japanese ports that were open only to diplomats by acting as an official photographer for the British navy.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Albumen prints -- 19th century
Collection Citation:
Still Prints of Asia, FSA.A1999.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Letters, writings, a scrapbook, printed material, and files on printmakers documenting Holman's career as a Boston print dealer at Goodspeed's Book Shop and the Holman Print Shop.
Included are correspondence with customers, publishers, family, museums, galleries, and others concerning Holman's business and expertise in the field of prints, ca. 1890-1941; a typescript "What Does a Print Seller Look for in a Print?"; a scrapbook of clippings about the Holman Print Shop, 1931-1937; clippings; advertisements; and exhibition announcements and catalogs.
Also included are artist/subject files containing letters and printed materials on Joseph Andrews, Timothy Cole, John Sanderson Datziel, Arthur Heintzelman and the book Old Maps and Their Makers. Included in the Andrews file is a ledger book, ca. 1851-1869, with clippings on his "Plymouth Rock." The Cole file has letters from and about Cole, cancelled checks, biographical sketches, notes, lists of works, clippings, reproductions of work, a bookplate designed by Cole, and photographs of Cole.
ADDITION (1.4 linear ft.): Biographical material; memorabilia; diaries, 1925-1938, detailing the running of a print dealership; notes, writings, and lectures; business and financial records, among them guestbooks kept by Holman's Print Shop from its founding until its closing, recording signatures, remarks, and several caricatures from noted artists and collectors; printed material; Richard Holman's research file on John Foster's "A Map of New-England," including correspondence with several noted mid-20th century authorities on American printing and printmaking history, in particular Ray Nash; and photographs.
Biographical / Historical:
Illustrator, art editor, and print dealer; Boston, Mass. Holman was born on Prince Edward Island, Canada, and began work in the bookselling and publishing business in Canada. He moved to Boston in 1889, where he attended Cowles Art School and studied with the painter Charles Woodbury. Holman travelled extensively and contributed illustrations and articles to various popular magazines and worked as art editor of New England Magazine and the Youth's Companion. In 1915, he established a print department at Goodspeed's Book Shop, leaving in 1930 to open his own firm, Holman's Print Shop, where he was joined by his son, Richard Bourne Holman, who ran the firm after Louis' death in 1939 until 1977.
Provenance:
Donated 1991 and 1997 by William Greenbaum, a print dealer. According to Greenbaum, other business records of Holman's Print Shop may have been discarded.
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.
13 Albumen prints (color, 27.9 x 19.2 cm or smaller)
Type:
Collection descriptions
Archival materials
Albumen prints
Place:
Japan -- 1890-1900
Date:
Circa 1890's
Scope and Contents:
Unmounted and hand-colored albumen prints created by unidentified commercial studios for the export market, portraying the people, sites and daily life of Japan during the Meiji period. Photographers identified: Tamamura Kozaburo and Ogawa Kazumasa. Images include: Women looking at a sign ; Women enjoying tea on a balcony ; Geikos on a leisure boat ; Cherry trees along Koganei Banks ; A row of Japanese cedar trees along the Nikko Road ; Statue of nio ; Nobi great earthquake
Arrangement:
prints: organized in 1 box (less than 0.25 linear ft.)
Local Numbers:
FSA A2003.13
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Mrs. Henry C. Norcross Collection of Early Photography of Japan. FSA.A2003.13. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Jean Leslie Norcross, 2003.
Identifier:
FSA.A2003.13
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
One hundred years of American drawings and watercolors : 19th and 20th century department. The Empire State : American paintings, watercolors, drawings and prints : 19th century department. Selected American prints : fine print department
1 Albumen print (image 21 x 16 cm., mounted 51 x 41 cm)
Container:
Box 1, Folder 1, Item 1
Type:
Archival materials
Photographs
Albumen prints
Portraits
Photographs
Place:
Turkey
Iran
Armenia
Iṣfahān (Iran)
Date:
unknown
Scope and Contents:
Undated albumen print by an unknown photographer, depicting a Persian- Armenian woman in outdoors dress.
Arrangement:
Box 1, Folder 1
Biographical / Historical:
Historically, Iran (or Persia) has had great influence on Armenia's culture, with the two peoples sharing religious, political, and linguistic elements and traditions. However, Armenia's conversion to Christianity and Persia's subsequent conversion to Islam created a cultural separation. In 1604-1605, during his war with the Ottoman Empire, Shah Abbas of Persia relocated tens of thousands of Armenians from Nakhichevan to an area of Isfahan called New Julfa, which was created to become an Armenian quarter. The community became active in the cultural and economic development of Iran; by the beginning of the 20th century, Iran was a major center of Armenian life in the Middle East.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Portraits
Photographs
Albumen prints
Albumen prints -- 19th century
Collection Citation:
Still Prints of Asia, FSA.A1999.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Ephemeral archival materials from American schools, primarily from the northeastern United States, and primarily in the 19th century. Types of materials include instruction books and kits; students' work books and notebooks; flash cards; lesson books, some on religious subjects; religious tracts; printed lectures; students' report cards; school registers; attendance records; printed examinations; homework assignments; teachers' reports; scrapbooks; certificates of award; penmanship samples; diplomas; programs from school events; prints of school scenes; account books; receipts; school reports; and business documents of school boards.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
Lodish, an avid collector of the material culture of education, was principal of Sidwell Friends Lower School in Washington, D.C.
Provenance:
Collection donated by Richard Lodish, 2014 and 2015.
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.
Selected items from the Print Division of the New York Public Library
Collector:
New York Public Library. Prints Division Search this
Extent:
50 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1800-1954
Scope and Contents:
Prints, pamphlets, scrapbooks, catalogs, clippings and reproductions, with relevant information on nineteenth and twentieth century artists and art organizations.
Provenance:
Microfilmed 1956 by the Archives of American Art with other art-related papers of the New York Public Library. Included in the microfilming project were selected papers of the Art Division and the Manuscript Division.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The Sylvester Rosa Koehler papers measure 5.4 linear feet and date from 1833 to 1904, with the bulk of the material dating from 1870 to 1890. The collection consists primarily of Koehler's extensive correspondence to and from many notable artists and printmakers such as Jean F. Harfin, John M. Falconer, Frederick Juengling, and James D. Smillie, as well as friends, and family members and professional correspondence concerning Koehler's activities as a writer, curator, and editor of the American Art Review. The collection also contains financial records and other miscellaneous items.
Scope and Content Note:
The Sylvester Rosa Koehler papers measure 5.4 linear feet and date from 1833 to 1904, with the bulk of the material dating from 1870 to 1890. The collection consists primarily of Koehler's extensive correspondence to and from many notable artists and printmakers such as Jean F. Harfin, John M. Falconer, Frederick Juengling, and James D. Smillie, as well as friends, and family members and professional correspondence concerning Koehler's activities as a writer, curator, and editor of the American Art Review. The collection also contains financial records and other miscellaneous items.
Correspondence includes hundreds of letters to and from Koehler. Correspondents include many prominent artists, engravers, architects, art critics, curators, historians, journalists, authors, educators, publishers, and others during the late 1800s. Also found is correspondence with family, most of which is in German. Much of the correspondence concerns Koehler's role as editor of the publication American Art Review, and his work promoting American graphic arts.
Financial Records include Koehler's receipts, primarily from 1885, and a handwritten estimate of costs for publishing the American Art Review.
Miscellany includes biographical information on the wood engraver, Alexander Anderson, various notes by unidentified authors, news clippings, programs and handwritten song texts for music performances.
Arrangement:
The collection is arranged into 3 series:
Missing Title
Series 1: Correspondence, circa 1833- circa 1904 (Box 1-6; 5.1 linear feet)
Series 2: Financial Records, circa 1870-circa 1890 (Box 6; 14 folders)
Series 3: Miscellany, circa 1859-circa 1896 (Box 6; 11 folders)
Biographical Note:
Art historian and curator Sylvester Rosa Koehler was born in Leipsic, Germany in 1837. He came to the United States with his family in 1849 and settled in Roxbury, Massachusetts. In 1868 he became the Technical Manager of Louis Prang and Company, a lithograph publisher. Koehler was the founding editor of the American Art Review, which commissioned artists for original etchings, and ran from 1879-1881. Through this publication, as well as his work as writer and exhibition curator, Koehler encouraged an American etching revival in the 1880s. Koehler also published many books on American art and was the first Curator of Prints at the Museum of Fine Arts, Boston. From 1886 to 1900 he served as the first Curator of Graphic Arts at the United States National Museum, part of the Smithsonian Institution. While there, he created a permanent and traveling exhibition of graphic arts. His knowlege of the art world and his extensive personal contacts brought many important collections to the museum. Koehler died in Littleton, New Hampshire in 1900.
Related Material:
Additional correspondence can be found at the Library of Congress, which houses the Papers of S. R. Koehler, 1868-1904, and includes approximately 3,500 letters. Syracuse University Library houses S. R. Koehler Correspondence, 1879-1896, and includes 107 items.
Provenance:
The collection was purchased from Argosy Book Stores, Inc, in 1959. A letter from John Sartain and eleven letters from William Merritt Chase were donated by Charles E. Feinberg, 1955-1962. Two postcards were donated in 2009 by William A. Turnbaugh, an autograph collector. In 2017, John F. McGuigan Jr. and Mary K. McGuigan donated
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:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
Art historians -- Massachusetts -- Boston Search this
