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Gilbert Stuart / Richard McLanathan

Author:
McLanathan, Richard B. K  Search this
National Museum of American Art (U.S.)  Search this
Subject:
Stuart, Gilbert 1755-1828  Search this
Physical description:
159 p. : ill. (some col.), ports. ; 31 cm
Type:
Biography
Place:
United States
Date:
1986
Topic:
Portrait painters  Search this
Call number:
N40.1.S93 M16
N40.1.S93M16
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_295445

The genius of Gilbert Stuart / Dorinda Evans

Author:
Evans, Dorinda  Search this
Subject:
Stuart, Gilbert 1755-1828  Search this
Physical description:
xix, 177 p., 16 p. of plates : ill. (some col.) ; 29 cm
Type:
Biography
Place:
United States
Date:
1999
C1999
Topic:
Portrait painters  Search this
Call number:
N40.1.S93 E93 1999
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_556180

John Singleton Copley, 1738-1815 : Gilbert Stuart 1755-1828, Benjamin West 1738-1820, in America & England

Author:
Museum of Fine Arts, Boston  Search this
Subject:
Copley, John Singleton 1738-1815  Search this
Stuart, Gilbert 1755-1828  Search this
West, Benjamin 1738-1820  Search this
Physical description:
47 p. : ill. (some col.), ports. ; 29 cm
Type:
Exhibitions
Place:
United States
Date:
1976
Topic:
Painting, Colonial  Search this
Portraits, American  Search this
Painting, American  Search this
Call number:
N40.1.C78 B7
N40.1.C78B7
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_90518

Macbeth Gallery records

Creator:
Macbeth Gallery  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Homer, Winslow, 1836-1910  Search this
Macbeth, Robert W. (Robert Walker), 1884-1940  Search this
Macbeth, William, 1851-1917  Search this
McIntyre, Robert G. (Robert George), b. 1885  Search this
Stuart, Gilbert, 1755-1828  Search this
Weir, Robert Walter, 1803-1889  Search this
Extent:
131.6 Linear feet
Type:
Collection descriptions
Archival materials
Daguerreotypes
Photographs
Scrapbooks
Date:
1947-1948
1838-1968
bulk 1892-1953
Summary:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.
Scope and Content Note:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. The records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

The gallery's correspondence files form the core of the collection and illuminate most aspects of American art history: the creation and sale of works of art, the development of reputations, the rise of museums and art societies, change and resistance to change in the art market, and the evolution of taste. Ninety-five feet of correspondence house substantial and informative letters from dozens of important American painters and sculptors, including older artists and younger contemporaries of the gallery in its later years. There are also letters from collectors, curators, other galleries, and critics.

The financial files found in the collection offer insight into the changing economic climate in which the gallery operated. They include information ranging from the details of individual sales and the market for individual artists, to consignment activities and artist commissions, to overviews of annual sales. This information is augmented by the firm's inventory records and the photographs of artwork with their accompanying records of paintings sold. The inventory records provide details of all works of art handled by the gallery, both sold and unsold, and the buyers who purchased them; the photographs of artwork include images of artwork sold with accompanying sales information.

The highlight of the gallery's printed material is the publication Art Notes. Although published only until 1930, Art Notes provides an excellent and detailed view of the gallery's exhibition schedule and the relationship of the gallery owners with many of the artists whose work they handled. It was a house organ that also provided a running commentary on events in the art world. The gallery's 19 fragile scrapbooks, maintained throughout the firm's history, provide further coverage of activities through exhibition catalogs and related news clippings. Printed material from other sources provides a frame of reference for activities in the art world from the mid-19th to the mid-20th-centuries and includes an almost complete run of the rare and important pre-Civil War art publication The Crayon.

Reference files record the interest which the gallery owners took in the work of early portrait painters and in later artists such as George Inness and Winslow Homer. Together with the immense volume of correspondence with buyers and sellers of paintings by the great portraitists and the Hudson River School found in the gallery's correspondence files, these records are still useful sources of information today and underscore the deep interest that the Macbeths and Robert McIntyre took in 18th and 19th-century American art.

The photographs of artists found here are a treasure trove of images of some of the major figures of the 19th and 20th-centuries. There are photographs of artists such as Chester Beach, Emil Carlsen, Charles Melville Dewey, Frederick Carl Frieseke, Childe Hassam, Winslow Homer, George Inness, Maurice Prendergast, and Julian Alden Weir, many of them original prints and the majority of them autographed.

With the exception of the "The Eight" and a few of their contemporaries, an important aspect of art history, the modernist movement, is generally represented in the Macbeth Gallery records only in a negative form as the three successive proprietors of the gallery showed very little interest in this area. Nevertheless, the collection is a highly significant source of information on many of the major and minor figures in American art in the period after 1890.
Arrangement:
The collection is arranged into eight series:

Series 1: Correspondence, 1838-1968 (Box 1-95, 163-164, OV 165; 96.2 linear feet)

Series 2: Financial and Shipping Records, 1892-1956 (Box 96-110; 11.8 linear feet)

Series 3: Inventory Records, 1892-circa 1957 (Box 111-113; 3.0 linear feet)

Series 4: Printed Material, 1838-1963 (Box 114-119, 162; 5.0 linear feet)

Series 5: Scrapbooks, 1892-1952 (Box 120-130; 3.3 linear feet)

Series 6: Reference Files, 1839-1959 (Box 131-132; 0.6 linear feet)

Series 7: Miscellaneous Files, 1912-1956 (Box 133-134; 0.8 linear feet)

Series 8: Photographs, circa 1880-circa 1968 (Box 135-161; 12.1 linear feet)
Historical Note:
The Macbeth Gallery was established in 1892 by William Macbeth, a Scotch-Irish immigrant who had spent ten years with the print dealer Frederick Keppel before he opened his doors to the art-buying public at 237 Fifth Avenue in New York. Despite the prevailing interest in foreign art at that time, particularly in that of the Barbizon and Dutch schools, Macbeth was determined to dedicate his gallery to "the permanent exhibition and sale of American pictures, both in oil and water colors."

Although some of the gallery's earliest exhibitions were of work by European artists, the business soon became the only gallery in continuous operation to keep American art permanently on display. In the January 1917 issue of Art Notes, Macbeth recounts those early days remembering that "The opening of my gallery......was a rash venture under the existing conditions, and disaster was freely predicted." Nevertheless, he struggled through the financial crisis of 1893 and persisted with his devotion to American art; slowly the market for his pictures grew more amenable.

Macbeth moved to more spacious quarters at 450 Fifth Avenue in 1906 and two years later undertook what was to become the major event in the gallery's early history: the 1908 exhibition of "The Eight," featuring work by Arthur B. Davies, Willam J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. "The Eight" were an unlikely combination of social realists, visionaries and impressionists eager to challenge the dominating influence of the National Academy. The exhibition received an immense amount of publicity and instantly entered into art history as a successful assault on tradition.

Despite the splash that the exhibition made and its implications for the future of American art, nothing that the gallery did subsequently indicated that Macbeth intended to capitalize on its significance. It is true that Macbeth supported many artists later considered leaders in American art when the public would pay no attention to them because of their modernist tendencies; Arthur B. Davies, Paul Dougherty, Maurice Prendergast, Theodore Robinson, and F. Ballard Williams all held their first exhibitions at his gallery. Nevertheless, neither Macbeth nor the gallery's two successive proprietors, Robert G. McIntyre (William's nephew) and Robert Macbeth (William's son), who joined the gallery in 1903 and 1906 respectively, ever developed a true interest in modern art. The November 1930 issue of Art Notes summarizes their collective disdain for modernism, stating: "We believe that, by and large, modern art is amusing. We are heretical enough to believe that much of it was started for the amusement of its creators and that no one was more surprised than they when it was taken seriously by a certain audience to whom the bizarre and the unintelligible always makes an appeal." So while the Macbeths and McIntyre cetainly championed American artists and insisted they deserved as much recognition as the Europeans, their deepest and most abiding interest was undoubtedly the established artists of the 18th and 19th-centuries and those of the early 20th-century who continued in a more conservative style. Artists such as Emil Carlsen, Charles Harold Davis, Frederick C. Frieseke, Robert Henri, Winslow Homer, Chauncey F. Ryder, Abbot Handerson Thayer, J. Francis Murphy, A. H. Wyant were the gallery's bread and butter.

When William Macbeth died in 1917 Robert Macbeth took up the reins with the assistance of Robert G. McIntyre . Although they incorporated the business as William Macbeth, Inc., in 1918 the gallery continued to be known, as it always would be, simply as Macbeth Gallery. Macbeth and McIntyre continued to show work in the same vein as the elder Macbeth. They concentrated primarily on oil paintings at this time, having found by the 1920s that "oils are all that our gallery owners will buy," though they also exhibited an occasional group of watercolors and pastels in addition to bronzes and other sculpture by contemporary American artists such as Chester Beach and Janet Scudder.

Of the early American painters the Macbeths and McIntyre were particularly interested in colonial portraits and miniatures, especially those painted by prominent artists in the latter part of the eighteenth century such as John Singleton Copley, Gilbert Stuart, Thomas Sully and John Trumbull. In its early years the gallery also handled the work of a few prominent American etchers including Frank W. Benson, Emil Fuchs, Daniel Garber, Childe Hassam and Chauncey F. Ryder. The print department was generally discontinued, however, in the late 1930s although the gallery continued to show prints by contemporaries such as Stow Wengenroth.

In 1924 relative prosperity allowed the gallery to move uptown to 15 East Fifty-seventh Street. When the 1930s brought new financial hardship for the gallery Macbeth and McIntyre took a variety of approaches to boosting sales. In 1930 they decided to hold only group exhibitions throughout the season to the exclusion of one-man shows, and also held some special exhibitions of paintings priced at a hundred dollars each in the hope that they could tempt those "willing to take advantage of a rare chance to secure representative examples of good art at a most attractive price." A move to smaller quarters at 15 East Fifty-seventh Street in 1935 was made with the intention of concentrating their efforts on the work of fewer contemporary artists, while continuing to handle the work of the older Americans they had long supported.

When Macbeth died suddenly and unexpectedly in August 1940 following an operation for appendicitis, McIntyre continued to run the gallery with the assistance of Hazel Lewis. During the 1940s McIntyre and Lewis showed primarily contemporary art in a wide range of media including oil, watercolor, pastel, drawing and sculpture, while continuing, as always, to show the occasional group of 19th-century Americans. The great success of the gallery's later years was undeniably Andrew Wyeth whose first exhibition, held at Macbeth Gallery in 1937, resulted in the sale of all twenty-two paintings cataloged.

Although subsequent Wyeth exhibitions were also successful, McIntyre struggled financially throughout the 1940s and periodically considered liquidating the company. Although "vitally interested" in contemporary art by people such as Robert Brackman, Jay Connaway, Carl Gaertner, James Lechay, Herbert Meyer and Ogden M. Pleissner he found that, for the most part, it did not pay. McIntyre continued operations until 1953 when he decided that doing so for profit was not only a financial burden but also ran contrary to his desire to spend more time devoted to his first love, early American art. When the lease expired on 11 East Fifty-seventh Street in April 1953 McIntyre did not renew it. After closing the gallery's doors he sold art from his New York apartment and from his home in Dorset, Vermont. He officially dissolved William Macbeth, Inc., in 1957.

The history of the Macbeth Gallery is a long and distinguished one with each successive proprietor making a significant contribution to art in America. William Macbeth helped establish an audience and a market for American art when few were willing to give it serious consideration. Robert Macbeth continued to cement the gallery's reputation as one of the leading firms in New York and was instrumental in organizing the American Art Dealers Association. Robert G. McIntyre claimed in a letter to Lloyd Goodrich, dated 22 June 1945, that the thing of which he was most proud was "the share I have had in the formation of the collection of the Addison Gallery of American Art, at Andover, Massacusetts." McIntyre was widely respected in the art community as a dealer, as an adviser to curators, and as a scholar whose research and book on Martin Johnson Heade helped "rediscover" an important American artist. One of his most significant and lasting contributions to the history of art in America, however, was undoubtedly his gift of the gallery's historical records to the Archives of American Art.
Related Material:
Among the holdings of the Archives of American are a small collection of scattered Robert McIntyre's papers and 9 items of William Macbeth's papers. Macbeth Gallery exhibition catalogs are also available in the American Art Exhibition Catalog collection and the Brooklyn Museum Records, both loaned and microfilmed collections.

An extensive collection of Macbeth Gallery exhibition catalogs are also held by the Frick Art Reference Library and the Watson Library of the Metropolitan Museum of Art.
Provenance:
The bulk of the Macbeth Gallery records were donated and microfilmed in several installments between 1955 and 1966 by Robert G. McIntyre and Estate. Additional Macbeth Gallery printed material was donated by Phoebe C. and William Macbeth II, grandchildren of William Macbeth, in 1974.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
Rights:
The Macbeth Gallery 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:
Curators -- New York (State) -- New York  Search this
Eight (Group of American artists)  Search this
Art directors -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Artists -- United States  Search this
Art -- Collectors and collecting  Search this
Art, American  Search this
Art dealers -- New York (State) -- New York  Search this
Genre/Form:
Daguerreotypes
Photographs
Scrapbooks
Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macbgall
See more items in:
Macbeth Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-macbgall
Online Media:

Charles Henry Hart autograph collection

Creator:
Hart, Charles Henry, 1847-1918  Search this
Names:
Anshutz, Thomas Pollock, 1851-1912  Search this
Audubon, John James, 1785-1851  Search this
Chase, William Merritt, 1846-1916  Search this
Church, Frederic Edwin, 1826-1900  Search this
Copley, John Singleton, 1738-1815  Search this
Cox, Kenyon, 1856-1919  Search this
Eakins, Thomas, 1844-1916  Search this
James McNeill Whistler, 1834-1903  Search this
McEntee, Jervis, 1828-1891  Search this
Morse, Samuel Finley Breese, 1791-1872  Search this
Peale, Charles Willson, 1741-1827  Search this
Peale, Raphaelle, 1774-1825  Search this
Peale, Rembrandt, 1778-1860  Search this
Peale, Rubens, 1784-1865  Search this
Peale, Titian Ramsay, 1799-1885  Search this
Smillie, James David, 1833-1909  Search this
Stuart, Gilbert, 1755-1828  Search this
Sully, Thomas, 1783-1872  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Vanderlyn, John, 1775-1852  Search this
Vedder, Elihu, 1836-1923  Search this
Ward, John Quincy Adams, 1830-1910  Search this
West, Benjamin, 1738-1820  Search this
Extent:
1.7 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1731-1918
Summary:
The Charles Henry Hart autograph collection dates from 1731-1917 and measures 1.7 linear feet comprised of 226 letters, portrait prints, and other documents signed by American artists.
Scope and Contents:
The Charles Henry Hart autograph collection dates from 1731-1917 and measures 1.7 linear feet comprised of 226 letters, portrait prints, and other documents signed by American artists.

Originally titled by Hart as "The History of Art in America as Told in a Remarkable Collection of Autograph Letters and Documents of Celebrated American Artists of the Eighteenth, Nineteenth, and Twentieth Century," the collection includes letters and other items signed by Thomas Anshutz, John J. Audubon, William Merritt Chase, Frederic Edwin Church, John Singleton Copley, Kenyon Cox, Thomas Eakins, Jervis McEntee, Samuel F.B. Morse, Charles Willson Peale, Raphaelle Peale, Rembrandt Peale, Rubens Peale, Titian Peale, James Daivd Smillie, Gilbert Stuart, Thomas Sully, Abbott Handerson Thayer, John Vanderlyn, Elihu Vedder, John Quincy Adams Ward, Benjamin West, James Abbott McNeill Whistler, and many others.
Arrangement:
The collection is arranged as 1 series.

Series 1: Charles Henry Hart autograph collection, 1731-1917 (226 items; Box 1-5)
Biographical / Historical:
Charles Henry Hart (1847-1918) was a historian, lawyer, writer, and director, Pennsylvania Academy of the Fine Arts, 1882-1904. Widely, he published on the subject of 18th and 19th century portraiture in the United States.
Related Materials:
The Archives of American Art also holds the personal papers of Charles Henry Hart, dating from 1774-1930, bulk 1888-1918.
Provenance:
The Charles Henry Hart autograph collection was donated to the Archives of American Art in 1954 as an anonymous gift. It is assumed that Hart assembled the letters. Original collation was two letterbooks entitled "The History of Art in America as Tolk in a Remarkable Collection of Autograph Letters and Documents of Celebrated American Artists of the Eighteenth, Nineteenth, and Twentieth Century."
Restrictions:
Use of original papers requires an appointment.
Rights:
The Charles Henry Hart autograph collection is 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:
Autographs -- Collections  Search this
Artists -- United States -- Portraits  Search this
Autographs -- Collectors and collecting  Search this
Artists -- United States -- Autographs  Search this
Citation:
Charles Henry Hart autograph collection, 1731-1918. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hartchar
See more items in:
Charles Henry Hart autograph collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hartchar

George Washington

Creator:
Stuart, Gilbert, 1755-1828  Search this
Subject:
Washington, George  Search this
Type:
Artworks
Date:
18--?
Topic:
Portraits  Search this
Record number:
(DSI-AAA)7011
See more items in:
Charles Henry Hart autograph collection, 1731-1918
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_7011

Receipt for purchase by Wm. S. Shaw of the portrait of the Hon. John Adams from G. Stuart.

Creator:
Stuart, Gilbert, 1755-1828  Search this
Type:
Financial Records
Date:
1815 June 14
Record number:
(DSI-AAA)7012
See more items in:
Charles Henry Hart autograph collection, 1731-1918
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_7012

The new American practical navigator : being an epitome of navigation, containing all the tables necessary ... / by Nathaniel Bowditch ... ; illustrated with copperplates

Author:
Bowditch, Nathaniel 1773-1838  Search this
Stuart, Gilbert 1755-1828 DSI  Search this
Former owner:
Lee, Marvin DSI  Search this
Donor:
Burndy Library DSI  Search this
Physical description:
xvi, 17-246, [286], 533-589, [11] p., [9] leaves of plates (1 folded) : ill., maps ; 23 cm. (8vo)
Type:
Handbooks, manuals, etc
Date:
1802
[1802]
Topic:
Navigation  Search this
Nautical astronomy  Search this
Call number:
VK555 .B78 1802
VK555.B78 1802
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_274043

Three types of Washington portraits; John Trumbull, Charles Wilson Peale, Gilbert Stuart. By Charles Allen Munn

Author:
Munn, Charles Allen 1859-1924  Search this
Subject:
Trumbull, John 1756-1843  Search this
Peale, Charles Willson 1741-1827  Search this
Stuart, Gilbert 1755-1828  Search this
Washington, George 1732-1799  Search this
Physical description:
ix, [1], 66 p., 1 l. 2 pl., 12 port. (incl. front.) 2 facsim. 24 cm
Type:
Electronic resources
Portraits
Date:
1908
Call number:
N7628.W31 M9
N7628.W31M9
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_72655

Stuart, Gilbert, 1755-1828

Collection Creator:
Rosenblum, Walter, 1919-2006  Search this
Extent:
2 Photographs
Container:
Binder 48
Type:
Archival materials
Photographs
Photographs
Collection Restrictions:
Researcher may use study prints on file in the Photograph Archives, Smithsonian American Art Museum. Advance appointments are required. Original negatives are stored off-site in cold storage and are not accessible to the public.
Collection Rights:
Copyright to photographs from the Walter Rosenblum Collection is held by the Smithsonian American Art Museum. Requests for permission to reproduce photographs from the collection must be submitted in writing to the Photograph Archives. Certain works of art, as well as photographs of those works of art, may be protected by copyright, trademark, privacy or publicity rights, or other interests not owned by the Smithsonian American Art Museum. It is the applicant's responsibility to ascertain whether any such rights exist, and to obtain any other permission necessary to reproduce and publish the image.
Collection Citation:
Walter Rosenblum Collection, Photograph Archives, Smithsonian American Art Museum
See more items in:
Walter Rosenblum photographs
Walter Rosenblum photographs / Series 1: Photographs of artists' works
Archival Repository:
Smithsonian American Art Museum, Research and Scholars Center
EDAN-URL:
ead_component:sova-saam-photo-ros-ref611

Stuart, Gilbert, 1755-1828

Collection Creator:
Library of Congress  Search this
Extent:
17 Items
Container:
Box 49
Type:
Archival materials
Collection Restrictions:
Researchers may use prints on file in the Photograph Archives, Smithsonian American Art Museum. Advance appointments are required.
Collection Rights:
Copyright restrictions may apply.
Collection Citation:
Library of Congress Copyright Deposit Collection, Photograph Archives, Smithsonian American Art Museum.
See more items in:
Library of Congress Copyright Deposit Collection of photomechanical prints of American art works
Library of Congress Copyright Deposit Collection of photomechanical prints of American art works / Series 1: Photomechanical prints
Archival Repository:
Smithsonian American Art Museum, Research and Scholars Center
EDAN-URL:
ead_component:sova-saam-photo-loc-ref1374

Gilbert Stuart and his pupils. Together with the complete notes on painting, by Matthew Harris Jouett, from conversations with Gilbert Stuart in 1816

Author:
Morgan, John Hill 1870-1945  Search this
Jouett, Matthew Harris 1787-1827  Search this
Subject:
Stuart, Gilbert 1755-1828  Search this
Physical description:
102 p. illus., ports. 24 cm
Type:
Books
Place:
United States
Date:
1969
1969 [c1939]
Topic:
Portrait painters  Search this
Portraits, American  Search this
Call number:
ND237.S8 M6 1969
ND237.S8 M6 1969X
ND237.S8M6 1969
ND237.S8M6 1969X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_3399

Gilbert Stuart and his pupils, by John Hill Morgan; together with the complete notes on painting by Matthew Harris Jouett from conversations with Gilbert Stuart in 1816

Author:
Morgan, John Hill 1870-1945  Search this
Jouett, Matthew Harris 1787-1827  Search this
Subject:
Stuart, Gilbert 1755-1828  Search this
Physical description:
7 p. l., 3-102 p. front. (port.) illus., XII port. 25 cm
Type:
Books
Place:
United States
Date:
1969
Topic:
Portrait painters  Search this
Portraits, American  Search this
Painting  Search this
Call number:
N40.1.S93 M8 1969
N40.1.S93M8 1969
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_40405

Stuart, Gilbert 1755-1828

Collection Creator:
Richardson, Edgar Preston, 1902-1985  Search this
Richardson, Constance, 1905-  Search this
Container:
Box 23, Folder 31
Type:
Archival materials
Date:
1957-1981
Collection Restrictions:
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact References Services for more information.
Collection Rights:
The E.P. (Edgar Preston) and Constance Richardson 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.
Collection Citation:
Edgar P. Richardson papers, 1814-1996, bulk 1921-1996. Archives of American Art, Smithsonian Institution.
See more items in:
E.P. (Edgar Preston) and Constance Richardson papers
E.P. (Edgar Preston) and Constance Richardson papers / Series 6: Artist-Subject files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-richedga-ref1037

John Robertson, (painting)

Painter:
Stuart, Gilbert 1755-1828 (copy after)  Search this
Subject:
Robertson, John  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
St. Olaf College Flaten Art Museum 1520 St. Olaf Avenue Northfield Minnesota 55057 Accession Number: 2006.22
Topic:
Portrait male--Bust  Search this
Control number:
IAP 26130066
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_473416

Rebecca (Johnston) Beall (1777-1840), (painting)

Painter:
Unknown  Search this
Stuart, Gilbert 1755-1828 (possibly by)  Search this
Subject:
Beall, Reasin, Mrs. (Rebecca Johnston)  Search this
Medium:
Oil
Type:
Paintings
Owner/Location:
Wayne County Historical Society of Ohio 546 East Bowman St Wooster Ohio 44691 Accession Number: 1997.1504.001
Topic:
Portrait female--Bust  Search this
Dress--Accessory--Hat  Search this
Control number:
IAP 42760053
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_53860

General Reasin Beall (1769-1843), (painting)

Painter:
Unknown  Search this
Stuart, Gilbert 1755-1828 (possibly by)  Search this
Subject:
Beall, Reasin  Search this
Medium:
Oil
Type:
Paintings
Owner/Location:
Wayne County Historical Society of Ohio 546 East Bowman St Wooster Ohio 44691 Accession Number: 1997.1503.001
Topic:
Portrait male--Bust  Search this
Occupation--Military--General  Search this
Control number:
IAP 42760054
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_53861

Joseph Stibbs (1779-1841), (painting)

Painter:
Unknown  Search this
Stuart, Gilbert 1755-1828 (formerly attributed to)  Search this
Subject:
Stibbs, Joseph  Search this
Medium:
Oil
Type:
Paintings
Owner/Location:
Wayne County Historical Society of Ohio 546 East Bowman St Wooster Ohio 44691 Accession Number: 1938.0507.001 (PastPerfect number: 1997.2035.001)
Date:
Early 1800s
Topic:
Portrait male--Bust  Search this
Dress--Accessory--Eye wear  Search this
Object--Written Matter--Book  Search this
Control number:
IAP 42760057
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_53864

Captain Charles Knapp [photomechanical print]

Artist:
Stuart, Gilbert 1755-1828  Search this
Photographic firm:
Detroit Publishing Co.  Search this
Subject:
Knapp, Charles  Search this
Physical description:
1 photomechanical print black and white
Type:
Photomechanical prints
Date:
Copyrighted 1913
Topic:
Portrait male--Bust  Search this
Occupation--Military--Captain  Search this
Image number:
LOC LC001979
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_142122

Chief Justice Edward Shippen of Pennsylvania [photomechanical print]

Artist:
Stuart, Gilbert 1755-1828  Search this
Photographic firm:
Detroit Publishing Co.  Search this
Subject:
Shippen, Edward  Search this
Physical description:
1 photomechanical print black and white
Type:
Photomechanical prints
Date:
Copyrighted 1910
Topic:
Portrait male--Bust  Search this
Occupation--Law--Chief Justice  Search this
Image number:
LOC LC001980
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Archives and Special Collections, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_142123

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