5.7 Linear feet ((partially microfilmed on 3 reels))
Scope and Contents:
Biographical material, correspondence, writings, art works, legal and financial records, scrapbook, photographic and printing material, and printed matter.
Biographical materials include a copy of Henry Hudson Kitson's birth certificate; his confirmation certificate; a copy of the death certificate of his father, John Kitson; a photograph of the honorable mention certificate received by Theo Ruggles (Kitson) for "Young Orpheus" from the Societe des Artistes Francais, 1890; a letter of reference for her from sculptor George F. Bissell, 1901; her will; calling cards from those who attended her funeral, 1932; biographical data on Henry Kitson; genealogical data on the Kitson family; an incomplete list of works by the Kitsons compiled by Dorothy Patricia Cavanagh; and a diary by Henry Kitson, 1902-1904, containing brief entries pertaining to his daily life and work.
Personal and professional correspondence includes letters from Theo to Henry from Paris, 1890, including an illustrated letter to "my own darling child" (? Henry Kitson) describing her award ceremonies at the Salon, an illustrated letter to her father, written from Rome, describing the city, a letter from Henry Kitson to Miss Tower, ca. 1899, about putting the Minutemen Memorial in Tower Park, Lexington, Mass., letters from him to his wife, 1903, and to "Babsy" (his daughter, Theo), undated, with sketches for constructing a fence and a stone wall, a letter from Alexander J. Schottes, 1905?, containing descriptions and sketches of the studios of Daniel Chester French, Charles Grafly, Augustus Saint-Gaudens and Louis Saint-Gaudens, copies of letters from Kitson to the secretary of Queen Wilhelmina of Holland requesting photos preparatory to making a bust of the Queen, letters from the War Dept. to the Kitsons about their work at Vicksburg, Miss., and letters to Theo from the Gorham Manufacturing Company. Posthumous correspondence includes letters to the Kitsons' son John, his wife Helen, and her sister, Dorothy P. Cavanagh, from sculptor Lee Lawrie, sculptor Milton Horn and his wife, Estelle.
Writings include a poem by Henry Kitson; a description of a "Visit to a Bronze Foundry" (Gruet, Fils, Paris), author unknown, undated; reminiscences by sculptor Lee Lawrie; and a remembrance of Lawrie by Dorothy P. Cavanagh, 1963.
Art works include a childhood sketch by Theo Kitson of her home in Brookline, Massachusetts; sketches of animals; several sketches by her, possibly for monuments; unidentified sketches, chiefly of possible monument designs, probably by one of the Kitsons; a rendering by an architectural firm of a bas-relief designed by Henry Kitson, 1935; 2 caricatures of Kitson by Hiram Jay; an etching by Robert Kitson, 1891; various sketches of Japanese figures and costumes by Hiroshi Yoshida, 1910; and 2 pastels by T. (?) Walser of "Stonegate" (?), home of the Kitsons in Framingham Centre, Mass. Also iIncluded are 4 steel dies for bas-reliefs.
Legal records 1895-1940, include specifications for the Soldiers' Memorial, Vicksburg, Miss., numerous contracts for works by the Kitsons, copyright receipts and certificates, and deeds for sale of real estate. Financial records, 1882-1946, include invoices for casting for Henry Kitson, his bank statements, 1931-32, and his promissory notes.
A large scrapbook, 1888-1954, annotated by Dorothy P. Cavanagh, contains clippings, genealogical information on the Kitson family, photos of works by the Kitsons, personal photographs, correspondence, including letters from Henry Kitson to his future wife, 1892, and postcards to her and their children, a humorous resolution about the "Regiment of Macaroonies," written by Henry Kitson's friends in Paris, 1888, invitations, agreements for sculpture, copies of speeches given at the University of Minnesota for the Student Soldier Memorial Monument dedication.
Photographs are of the Kitsons, their family, homes, studios, Paris, ca. 1900, and their work, including photos of oxen hauling the granite boulder for the base of the "Volunteer" by Theo Kitson from Quincy, Mass. to Vicksburg, Miss., 1904, and scenes of the dedication of the monument. In addition, there are 7 photos of "Work in Progress" by Ellin and Kitson and Company for the Equitable Building, New York, 1887, a photo of the Astor Memorial, Trinity Church, New York, which the firm also worked on, and 6 undated photographs of works by Samuel Kitson.Also included are glass negatives of the Kitson's work.
Printed materials date from 1884-1979.
Biographical / Historical:
Sculptors; Boston, Mass. Henry Hudson Kitson's actual name was Harry Kitson. Theo(dora) Alice Ruggles became his student in 1886 at the age of 15; in 1893 they were married and were notable monumental and portrait sculptors by the turn of the century. They had three children: Theo (also known as Babsy or Babbins), Dorothy and John. Three years after Theo's death, in 1935, Henry married Marie Hobron.
Additional Kitson letters also located at: New York Historical Society.
The donor, Dorothy P. Cavanagh, was the sister of the Kitsons' daughter-in-law Helen (wife of John), and was writing a biography on the Kitsons up until her death in 1986. The microfilmed material was originally loaned by Cavanagh June 28, 1982 and September 12, 1986, and then donated upon her death by her nephew and executor, Paul Bennet. The unmicrofilmed material was donated by Cavanagh in 1973 and 1976.
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.
Biographical materials, letters and correspondence, photographs, diary, subject files, and printed ephemera.
REEL 2527: Biographical sketches; sculpture contracts; lists of Pratt's work compiled by his son, Dudley Pratt; a pencil sketch; photographs of Pratt at work in his studio; portraits of him; 172 photographs of his sculpture and a memorial exhibition installation; photographs of Frank Weston Benson and Alexander Phimister Proctor; clippings; and printed material.
REELS 3995-3998: An award from Yale School of Fine Arts; admission tickets; marriage certificate; identification card for his wife, Helen, from the Societe des Artistes Francais for the 1897 Salon; a 25-page diary of Helen, 1896-1898, describing the Pratts' wedding and their experiences in Italy and France; notices of Pratt's appointment to the Visiting Committee of Classical Art at the Museum of Fine Arts, Boston; biographical sketches; an anecdote by a nephew; and a letter of reminiscence by his son Dudley, 1941. Also included are letters from Pratt to his mother, Sarah Victoria Whittlesey Pratt, describing his activities, his contemporaries and his work; correspondence with friends, family, students, and associates and letters of condolence to Mrs. Pratt; subject files, arranged alphabetically by correspondent, containing letters, photographs and clippings from and about Pratt's friends and colleagues, including Frank Weston Benson, Bryson and Edith Woodman Burroughs, Daniel Chester French, and Augustus Saint-Gaudens, who gives Pratt advice and critiques two of his busts.
Biographical / Historical:
Sculptor, teacher; Boston, Mass.; b. 1867; d. 1917 Studied at Yale, Art Students League, and with Augustus Saint-Gaudens, Kenyon Cox, and William Merritt Chase, and others.
Material on reel 2527 lent for microfilming 1982 by Thomas Leavitt, a descendant of Pratt. Material on reels 3995-3998 lent 1987 by Cynthia Kennedy Sam, Pratt's granddaughter.
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of New York painter and art critic William Anderson Coffin date from 1886-1924 and measure 1.6 linear feet. Found within the papers are scattered biographical materials and correspondence, project files for the Pan-American Exposition in Buffalo, the American Artist's Committee of One Hundred, and the exhibition of works by American Artists at the Luxembourg Museum in Paris, three additional scrapbooks, printed material, and photographs.
Scope and Content Note:
The papers of New York painter and art critic William Anderson Coffin date from 1886 to 1924 and measure 1.6 linear feet. Found within the papers are scattered biographical materials and correspondence; project files for the Pan-American Exposition in Buffalo, the American Artist's Committee of One Hundred, and the exhibition of works by American Artists at the Luxembourg Museum in Paris; three additional scrapbooks; printed material; and photographs.
Scattered biographical material includes membership cards and an autobiographical essay. Correspondence is with colleagues and related generally to receptions and events, including an invitation to the launch of the U. S. Battleship Arizona. There are one or two letters each from Frank W. Benson, Edwin Howland Blashfield, Royal Cortissoz, Walter Gay, and Whitney Warren.
Three series of project files document Coffin's work for the Fine Arts Division of the Pan-American Exposition in Buffalo, the American Artists' Committee of One Hundred that established a relief fund for families of French soldier-artists, and an exhibition of artwork by American Artists at the Luxembourg Museum in Paris. Files contain a variety of materials, such as letters, drafts of reports, meeting minutes, photographs, catalogs and brochures, and other materials. There are two oversized scrapbooks for the Buffalo Pan-American Exposition. The files for the Luxembourg Museum exhibition include a letter signed by Louis Bouché, Bernard Gussow, Alfred H. Maurer, Joseph Stella, and William Zorach protesting the exclusion of their work.
Three additional scrapbooks contain clippings of articles written by Coffin when he was employed as an art critic for The New York Evening Post, Harper's Weekly, and The New York Sun.
Printed material consists of miscellaneous clippings primarily about Coffin, programs from American Rights Committee exercises, a Dixie Club of New York concert, a Lotos Club concert, the Lafayette-Marne Anniversary exercises, and souvenir tickets to various art-related events including several Paris Salon Vernissage events sponsored by the Société des Artistes Francais.
Photographs include an album of photographs of Coffin, various family members, and residences; a photograph of Coffin posing with an unidentified group of his colleagues; and photographs of family friends. Project files also contain photographs.
The collection is arranged as 8 series:
Series 1: Biographical Material, 1916-1922 (2 folders; Box 1)
Series 2: Correspondence, 1915-1924 (8 folders; Box 1)
Series 3: Project File for the Pan-American Exposition in Buffalo, New York, 1900-1901 (0.3 linear feet; Box 1-2)
Series 4: Project File for the American Artists' Committee of One Hundred, 1914-1923 (14 folders; Box 1)
Series 5: Project File for the Exhibition of Works by American Artists at the Luxembourg Museum in Paris, 1919-1920 (11 folders; Box 1)
Series 6: Scrapbooks of Clippings of Articles Written by Coffin, 1886-1913 (0.3 linear feet; Box 2)
Series 7: Printed Material, 1912-1924 (6 folders; Box 1)
Series 8: Photographs, 1905-1923 (10 folders; Box 1)
William Anderson Coffin (1855-1925) of New York City was a landscape and figure painter and art critic. He organized several notable exhibitions and art-related charitable events for relief work in post-World War I France.
William Anderson Coffin was born near Pittsburgh in Allegheny, Pennsylvania on January 31, 1855, the son of Isabella C. Anderson and James Gardiner Coffin. Coffin studied art and graduated from Yale University in 1874. Three years later, he left for Paris and studied with academic artist Léon Bonnat. Coffin exhibited in the Paris Salons of 1879, 1880, and 1882.
In 1882, Coffin moved to New York City, participating in many exhibitions, including at the National Academy of Design. He also wrote as an art critic for Scribner's and Harper's Weekly, among other publications. From 1886 to 1891, he was art critic for The New York Evening Post, and was art editor at the New York Sun from 1896 to 1901.
Coffin directed the Fine Arts Division of the Pan-American Exposition in Buffalo from 1900 to 1901, and participated as a member of the New York Advisory Board of the Panama-Pacific Exposition in 1915. Coffin was also president of the American Artists' Committee of One Hundred that established a relief fund for families of French soldier-artists. For this charitable work, Coffin received the medal of the Legion of Honor from the French government in 1917.
Coffin was a member of various arts organizations including the Lotos Club, the Architectural League of New York, and the National Academy of Design. His artwork is in the collections of the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Municipal Gallery of Venice, Italy, the Albright Art Gallery, and the Brooklyn Museum.
William Anderson Coffin died on October 26, 1925 in New York City.
The William Anderson Coffin papers were donated in 1970 by Stewart Klonis to whom the papers were given by Mrs. DeWitt M. Lockman of Manorville, Long Island, New York.
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 William Anderson Coffin 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.
The series contains biographical sketches, certificates and awards from the Société des Artistes Français and the University of Richmond among others, typed excerpts of letters and diary entries by Hoffbauer, documents from the French Ministry of Foreign Affairs, a passport, and tax form.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Charles Hoffbauer papers, 1891-1975. Archives of American Art, Smithsonian Institution.
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.