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Portraits of Others

Creator:
Freer, Charles Lang, 1856-1919  Search this
Names:
Freer Gallery of Art  Search this
Dewing, Thomas Wilmer, 1851-1938  Search this
Fenollosa, Ernest Francisco, 1853-1908  Search this
Philip, Rosalind Birnie, 1873-1958  Search this
Saint-Gaudens, Augustus, 1848-1907  Search this
Steichen, Edward, 1879-1973  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Tryon, Dwight William, 1849-1925  Search this
Whistler, James McNeill, 1834-1903  Search this
White, Clarence H., 1871-1925  Search this
White, Stanford, 1853-1906  Search this
Collection Creator:
Freer, Charles Lang, 1856-1919  Search this
Extent:
1 Item (linear foot)
Type:
Archival materials
Photographs
Date:
undated
Scope and Contents:
Photographs of artists and others, including Thomas Dewing, Ernest Fenollosa, Rosalind Birnie Philip, Augustus Saint-Gaudens, Abbott Handerson Thayer, Dwight Tryon,Shugio Hiromichi, Stanford White, and Michael Tomkinson.
Series 12.3: Portraits of artists and colleagues
Arrangement:
Organized by country.
Local Numbers:
FSA A.01 12.03
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, Asian -- Collectors and collecting  Search this
Art, American -- Collectors and collecting  Search this
Art -- Collectors and collecting  Search this
Genre/Form:
Photographs
Collection Citation:
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Identifier:
FSA.A.01, Subseries 12.3
See more items in:
Charles Lang Freer Papers
Charles Lang Freer Papers / Series 12: Photographs
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-01-ref2309

Portrait of Abbott Handerson Thayer

Creator:
White, Clarence H., 1871-1925  Search this
Names:
Freer, Charles Lang, 1856-1919  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Collection Creator:
Freer, Charles Lang, 1856-1919  Search this
Extent:
1 Item (photographic print, Platinum print, 24 x 17.5 cm.)
Type:
Archival materials
Portraits
Photographs
Date:
ca. 1909
Scope and Contents:
One platinum print, showing the American painter Abbott Handerson Thayer in profile. The portrait was likely presented by Thayer to his patron Charles Lang Freer.
Arrangement:
Stored in one box.
Biographical / Historical:
Clarence Hudson White was born in Ohio, and was largely self-taught as a photographer. Coming into contact with leading photographers of his time such as Alfred Stieglitz and Edward Steichen, White was one of the founding members of the Photo-Secession group in 1902.
Abbott Handerson Thayer was born in Boston and studied painting in Paris at the École des Beaux-Arts. Thayer had a successful career as a painter of landscapes and figures, being most notable for his depictions of winged women.
Local Numbers:
FSA A.01 12.03.10
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Portraits -- Men
Photographs
Collection Citation:
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Identifier:
FSA.A.01, Item FSA A.01 12.03.10
See more items in:
Charles Lang Freer Papers
Charles Lang Freer Papers / Series 12: Photographs / 12.3: Portraits of Others
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-01-ref3301

Record of Charles Lang Freer's purchase of a painting by Abbott Handerson Thayer from M. Knoedler & Co., New York

Creator:
Freer, Charles Lang, 1856-1919  Search this
Names:
M. Knoedler & Co.  Search this
Smithsonian Institution  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Collection Creator:
Freer, Charles Lang, 1856-1919  Search this
Extent:
5 Sheets
Type:
Archival materials
Sheets
Vouchers
Date:
June, 1919
Scope and Contents:
Freer's purchase of the oil painting "Winged Figure (The Angel)" by Abbott Handerson Thayer
Freer collection numbers: F1919.7a-b
Arrangement:
Freer's purchase vouchers are generally organized by date of purchase.
Local Numbers:
FSA A.01 06.5.2.1919.06.1
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, American  Search this
Genre/Form:
Vouchers
Collection Citation:
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Identifier:
FSA.A.01, Item FSA A.01 06.5.2.1919.06.1
See more items in:
Charles Lang Freer Papers
Charles Lang Freer Papers / Series 6: Financial Materials / 6.5: Vouchers / 6.5.2: Financial materials - Vouchers - Art vouchers / Invoices after 1883
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-01-ref3324
Online Media:

Abbott Handerson Thayer with the painting "Stevenson Memorial,"

Collector:
Freer, Charles Lang, 1856-1919  Search this
Names:
Freer, Charles Lang, 1856-1919  Search this
Stevenson, Robert Louis, 1850-1894  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Collection Creator:
Freer, Charles Lang, 1856-1919  Search this
Extent:
1 Item (photographic print)
Type:
Archival materials
Portraits
Photographs
Date:
ca. 1903
Scope and Contents:
Small black and white print of American painter Abbott Handerson Thayer with the painting "Stevenson Memorial. The photograph was likely presented by Thayer to his patron Charles Lang Freer.
Arrangement:
Stored in one box.
Biographical / Historical:
Abbott Handerson Thayer was born in Boston and studied painting in Paris at the École des Beaux-Arts. Thayer had a successful career as a painter of landscapes and figures, being most notable for his depictions of winged women. Stevenson Memorial was painted as a remembrance of the writer Robert Louis Stevenson. The painting is currently in the Smithsonian American Art Museum (1929.6.127).
Local Numbers:
FSA A.01 12.03.11
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Portraits -- Men
Photographs
Collection Citation:
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Identifier:
FSA.A.01, Item FSA A.01 12.03.11
See more items in:
Charles Lang Freer Papers
Charles Lang Freer Papers / Series 12: Photographs / 12.3: Portraits of Others
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-01-ref3462

Alexander Robertson James papers

Creator:
James, Alexander, 1890-1946  Search this
Names:
Faulkner, Barry, 1881-1966  Search this
Gugler, Eric, 1889-1974  Search this
James, Frederika Paine  Search this
James, Henry, 1843-1916  Search this
James, William, 1842-1910  Search this
James, William, 1882-1961  Search this
Kent, Rockwell, 1882-1971  Search this
Lankes, Julius J., 1884-1960  Search this
Sargent, John Singer, 1856-1925  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Wilder, Thornton, 1897-1975  Search this
Extent:
3.6 Linear feet ((on 7 microfilm reels))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1893-1983
bulk 1914-1946
Scope and Contents:
Family and professional correspondence; exhibition and sales records; sketches; sketchbooks; photographs and printed materials documenting the career and activities of Alexander James.
A marriage certificate; a genealogy of the James family; autobiographical notes; passports for James and his wife Frederika Paine James; a diary with entries by both James (1907) and his mother (1921); loose pages from diaries kept by James and his wife (intermittent, 1917-1939). Correspondence to and from James family members, including eight letters from his father, William James; letters to and from colleagues, friends, museums, galleries, clients, and posthumous exhibition correspondence. Correspondents include Abbott Handerson Thayer, Rockwell Kent, and Eric Gugler.
There are also biographical notes on Abbott Handerson Thayer; a notebook containing James' description of his gesso techniques; Frederika James' notes on her husband's paintings and her account of a family trip to France; reminiscences of James by Barry Faulkner and Thornton Wilder; exhibition files containing correspondence, lists of works, address lists, guest books, clippings and catalogs (1937-1978); commission files; a card file with information on James' paintings, exhibitions and sales; sketches of landscapes and people including sketches of his father and John Singer Sargent.
Five sketchbooks (one too faint to film); an oil study of his father; three watercolors of Giverny, France; three pigment studies (unfilmed); 12 woodcuts by Julius J. Lankes; and a sketch of James by his brother, William James; expense journals; bank records; tax returns; insurance figures for paintings; a notebook of sales' records; price lists; invoices and receipts for materials; deeds; a will; certificates of name changes; photos of James, his studio and his work; photos and a photo album of William James and other family members; two albums of exhibition photos; photos of two sketches of James, one by John Singer Sargent, and the other by Barry Faulkner.
Arrangement:
Reels 4195-4201: I. Biographical materials. II. Family correspondence. III. General correspondence. IV. Writings. V. Exhibition files. VI. Commission files. VII. Card file. VIII. Art works. IX. Financial materials. X. Legal materials. XI. Photographs. XII. Photograph albums. XIII. Printed materials. Chronologically arranged except for commission files which are arranged alphabetically by name of subject.
Biographical / Historical:
Portrait painter. The younger son of psychologist William James (1842-1910), brother of painter William James (1882-1961), and nephew of novelist Henry James, Alexander James was actually christened Francis Temple Tweedy James in 1890. In 1925 he had his name officially changed to Alexander Robertson James. Later in life he dropped the Robertson and became Alexander James. He studied with Abbott Handerson Thayer and was a close friend of John Singer Sargent and Rockwell Kent.
Related Materials:
Also found in the Archives on microfilm only (reel 3828) is a bound volume containing 37 letters from William James to his youngest son, Alexander James, one letter from his mother, Alice Howe Gibbens James, and 11 postcards.
Provenance:
Donated 1986 by Michael James, the son of Alexander James, except for the bound volume on reel 3828 which was lent for microfilming.
Rights:
Reel 3828: Authorization to publish, quote, or reproduce requires written permission from Alexander R. James, Glandore, County Cork, Ireland. Contact Reference Services for more information.
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:
Portrait painters  Search this
Painters -- New Hampshire  Search this
Topic:
Gesso  Search this
Sculptors -- United States -- Interviews  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.jamealex
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jamealex

Marie Danforth Page papers

Creator:
Page, Marie Danforth, 1869-1940  Search this
Names:
Museum of Fine Arts, Boston. School  Search this
Beaux, Cecilia, 1855-1942  Search this
Bellows, George, 1882-1925  Search this
Page, Calvin Gates  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Extent:
5.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Drawings
Date:
1867-2016
Summary:
The papers of Boston portrait painter Marie Danforth Page measure 5.9 linear feet and date from 1867 to 2016. The papers document her career in Boston, Massachusetts, through biographical material, correspondence, subject files, personal business records, printed material, artwork, and photographic material.
Scope and Contents:
The papers of Boston portrait painter Marie Danforth Page measure 5.9 linear feet and date from 1867 to 2016. The papers document her career in Boston, Massachusetts, through biographical material, correspondence, subject files, personal business records, printed material, artwork, and photographic material.

Biographical information includes award certificates and diplomas, biographical sketches, family records, membership cards, notes, notebooks, and some writings by others. The series also contains material on the artist's husband Calvin G. Page.

There is correspondence with Marie Danforth Page from family, friends, colleagues, museums, and galleries. Notable correspondents include Abbott H. Thayer, Elizabeth Bartol, George Bellows, Frank W. Benson, Aldro T. Hibbard, Jonas Lie, and Cecilia Beaux. There is also posthumous correspondence with Calvin G. Page concerning memorial exhibitions for Marie Danforth Page, and a fair amount correspondence with other family members such as daughters Margaret and Susan.

Subject files consist of card files of artwork, meeting minutes and other material for The School of the Museum of Fine Arts Council (Boston) and the Hazeltine Portrait Committee, and records related to memorial exhibitions of Marie Danforth Page's artwork.

Personal business records include estate papers, lists of artworks, loan receipts, insurance records, and insurance policies.

Printed material includes exhibition catalogs, annual reports, books, bulletins, magazines, and clippings. Works of art consist of printing plates, handmade Christmas cards, sketchbooks, and drawings.

Photographs are albums, prints, and glass plate negatives of Page, artwork, exhibitions, and other people and places.
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Material, 1869-1952 (0.2 linear feet; Boxes 1, 7)

Series 2: Correspondence, 1867-2011 (1.2 linear feet; Boxes 1-2)

Series 3: Subject Files, circa 1901-1949 (0.3 linear feet; Box 2)

Series 4: Personal Business Records, 1867-1951 (0.2 linear feet; Box 2)

Series 5: Printed Material, 1882-2016 (1.4 linear feet; Boxes 2-4)

Series 6: Artwork, 1881-1940 (0.7 linear feet; Boxes 4, 7)

Series 7: Photographic Material, circa 1880-1940 (1.9 linear feet; Boxes 4-8, OVs 9-11, GPN Box 12)
Biographical / Historical:
Marie Danforth Page (1869-1940) was a portrait painter in Boston, Massachusetts. Page was a member of the conservative Boston School of Painting. She studied at the School of the Museum of Fine Arts, Boston, with Frank W. Benson and Edmund Tarbell, from 1890 to 1895. She married Dr. Calvin Gates Page in 1896.

In 1904, Page took a summer course at Harvard with Denman Ross, and she also studied informally with Abbott Handerson Thayer. She was a charter member of the Guild of Boston Artists, active in the Copley Society, and on the Board of Visitors of the Museum of Fine Arts School.
Provenance:
The Marie Danforth Page papers were donated to the Archives of American Art in 1985 by Danforth Page Fales and H. Gordon Fales, Page's grandchildren. Additional material was donated in 2020 by Danforth Page Fales.
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 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:
Portrait painters -- Massachusetts -- Boston  Search this
Topic:
Women artists  Search this
Women painters  Search this
Genre/Form:
Sketchbooks
Drawings
Citation:
Marie Danforth Page papers, 1867-2016. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pagemari
See more items in:
Marie Danforth Page papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pagemari

Notes on concealing coloration in nature

Creator:
Thayer, Abbott Handerson, 1849-1921  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Type:
Writings
Date:
191-?
Topic:
Nature  Search this
Record number:
(DSI-AAA)10064
See more items in:
Abbott Handerson Thayer and Thayer Family papers, 1851-1999, bulk 1881-1950
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_10064
Online Media:

John Singer Sargent, Chelsea (London, England) letter to Abbott Handerson Thayer

Creator:
Sargent, John Singer, 1856-1925  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Sargent, John Singer, 1856-1925  Search this
Type:
Correspondence
Date:
1916 January 31
Record number:
(DSI-AAA)20279
See more items in:
Nelson and Henry C. White research material, circa 1851-1961
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_20279
Online Media:

Abbott Handerson Thayer letter to Emma Beach

Creator:
Thayer, Abbott Handerson, 1849-1921  Search this
Beach, Emma  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Type:
Correspondence
Date:
circa 1890
Record number:
(DSI-AAA)20754
See more items in:
Nelson and Henry C. White research material, circa 1851-1961
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_20754
Online Media:

Abbott Handerson Thayer to Everton Painsbury

Creator:
Thayer, Abbott Handerson, 1849-1921  Search this
Painsbury, Everton  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Type:
Correspondence
Date:
1882 Jan. 16
Record number:
(DSI-AAA)5706
See more items in:
Abbott Handerson Thayer and Thayer Family papers, 1851-1999, bulk 1881-1950
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_5706
Online Media:

Abbott Handerson Thayer, N.H. letter to Franklin D. (Franklin Delano) Roosevelt, Washington, D.C.

Creator:
Thayer, Abbott Handerson, 1849-1921  Search this
Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Subject:
Roosevelt, Franklin D. (Franklin Delano)  Search this
Type:
Correspondence
Date:
1917 Sept. 3
Record number:
(DSI-AAA)599
See more items in:
Nelson and Henry C. White research material, circa 1851-1961
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_599
Online Media:

Abbott Handerson Thayer letter to Emma Beach

Creator:
Thayer, Abbott Handerson, 1849-1921  Search this
Beach, Emma  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Type:
Correspondence
Date:
1891 Aug. 28
Record number:
(DSI-AAA)8767
See more items in:
Abbott Handerson Thayer and Thayer Family papers, 1851-1999, bulk 1881-1950
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_8767
Online Media:

Abbott Handerson Thayer, Dublin, N.H. letter to Charles Henry Hart

Creator:
Thayer, Abbott Handerson, 1849-1921  Search this
Hart, Charles Henry, 1847-1918  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Type:
Correspondence
Date:
circa 1901-circa 1921
Record number:
(DSI-AAA)7025
See more items in:
Charles Henry Hart autograph collection, 1731-1918
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_7025

Abbott Handerson Thayer and Thayer Family papers, 1851-1999, bulk 1881-1950

Creator:
Thayer, Abbott Handerson, 1849-1921  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Subject:
Dow, Thomas Millie  Search this
Emerson, Edward Waldo  Search this
Emerson, Ralph Waldo  Search this
Clemens, Samuel Langhorne  Search this
Colman, Samuel  Search this
Cortissoz, Royal  Search this
White, Stanford  Search this
Thayer, Kate Bloede  Search this
Thayer, Mary  Search this
Faulkner, Barry  Search this
Fuertes, Louis Agassiz  Search this
Roosevelt, Theodore  Search this
French, Daniel Chester  Search this
Foster, Ben  Search this
Plunket, Jean Reasoner  Search this
Meryman, Richard Sumner  Search this
Kent, Rockwell  Search this
Gellatly, John  Search this
Freer, Charles Lang  Search this
Taber, E. M.  Search this
Sainsbury, Everton  Search this
Reasoner, David  Search this
Thayer, Gladys  Search this
Thayer, Gerald Handerson  Search this
Thayer, Emma B.  Search this
Type:
Photographs
Scrapbooks
Topic:
Naturalism  Search this
Camouflage (Biology)  Search this
Art and camouflage  Search this
Theme:
Diaries  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)7440
(DSI-AAA_SIRISBib)209598
AAA_collcode_thayabbo
Theme:
Diaries
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209598
Online Media:

Abbott Handerson Thayer letter and drawings to Caroline Peddle Ball, [ca. 1890-1893]

Creator:
Ball, Caroline Peddle, 1869-1938  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Ball, Caroline Peddle, 1869-1938  Search this
Theme:
Lives of American Artists  Search this
Art Movements and Schools  Search this
Record number:
(DSI-AAA_CollID)6243
(DSI-AAA_SIRISBib)216556
AAA_collcode_ballcaro
Theme:
Lives of American Artists
Art Movements and Schools
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216556

Carnegie Institute, Museum of Art records

Creator:
Carnegie Institute, Museum of Art  Search this
Names:
Art Institute of Chicago  Search this
Buffalo Fine Arts Academy  Search this
Corcoran Gallery of Art  Search this
Gallery of William Macbeth  Search this
M. Knoedler & Co.  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Alexander, John White, 1856-1915  Search this
Beatty, John W. (John Wesley), 1851-1924  Search this
Beaux, Cecilia, 1855-1942  Search this
Brush, George de Forest, 1855-1941  Search this
Chase, William Merritt, 1849-1916  Search this
Church, Samuel Harden  Search this
East, Alfred, Sir, 1849-1913  Search this
Hassam, Childe, 1859-1935  Search this
Homer, Winslow, 1836-1910  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Extent:
265.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Letterpress books
Museum records
Place:
Spain -- History -- Civil War, 1936-1939
Date:
1883-1962
bulk 1885-1962
Summary:
The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.
Scope and Contents:
The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.

This collection is a complete record of the museum's work, starting with the planning of the first loan exhibition in 1885 and ending with the cancellation of the International at the start of World War II in 1940. The museum's day-to-day relationships with all aspects of the contemporary art world are documented within the historical context of artists' reactions to World War I; the economic repercussions of the Great Depression on art sales and museum budgets; the ramifications of fascism on German, Italian, and European art; the impact of civil war on Spanish art; and the tensions introduced by the rise of 'radical' modernist art in Europe.

Correspondence (Series 1) is the largest series in the collection (152.5 linear feet) and is comprised of extensive correspondence between the Museum of Art and over 8700 correspondents, with over 3600 correspondents specifically related to art and artists.

Correspondents related to the art world include museum staff, artists, collectors, museums, galleries, dealers, shippers, insurance agencies, art directors, associations, societies, clubs, critics, press, and governments. These exchanges include general requests for information; requests related to the museum's exhibitions, including the International; letters regarding the museum's involvement in the events of other art organizations; loan, sales, and provenance information for specific works of art; and information regarding the events of other art organizations.

The correspondence of the museum's staff provides the greatest insight into understanding the museum's evolution into an international cultural institution. Both directors' correspondence touch on their personal opinions on art, their rationale behind policy decisions, and their understanding of the extent to which the museum's work was dependent on the good relations they maintained in the art world. Additionally, the extensive, opinionated correspondence between Saint-Gaudens' European agents and museum staff during the 1920s and 1930s provide a unique perspective on emerging art trends and the skill, growth, and personalities of individual artists.

The most prolific of the museum staff correspondents include museum directors John Beatty and Homer Saint-Gaudens, Board of Trustees president Samuel Harden Church, assistant director Edward Balken, and European agents Guillaume Lerolle , Ilario Neri, Arnold Palmer, Margaret Palmer, and Charlotte Weidler. Additional prominent staff members include Helen Beatty, Robert Harshe, Caroline Lapsley, Henry Jack Nash, John O'Connor, Charles Ramsey, George Shaw, George Sheers, August Zeller, and Fine Arts Committee members John Caldwell, William Frew, William Hyett, and John Porter.

The most prolific artist correspondents include John White Alexander, George Grey Barnard, Cecilia Beaux, Frank Benson, George de Forest Brush, William Merritt Chase, William Coffin, Bruce Crane, Andre Dauchez, Charles H. Davis, Alfred East, Ben Foster, Daniel Garber, Charles P. Gruppe, John Johansen, Johanna Hailman, John McLure Hamilton, Birge Harrison, Childe Hassam, Winslow Homer, Laura Knight, John la Farge, Gaston la Touche, John Lavery, Henri le Sidaner, Jonas Lie, Hermon A. MacNeil, Antonio Mancini, Gari Melchers, Emile Menard, Henry R. Poore, Edward Redfield, W. Elmer Schofield, Leopold Seyffert, Lucien Simon, Eugene Speicher, Abbott Handerson Thayer, Robert Vonnoh, J. Alden Weir, Irving R. Wiles, and Ignacio Zuloaga. Other artists of note include: Edwin Austen Abbey, George Bellows, Edwin Blashfield, Frank Brangwyn, Mary Cassatt, Kenyon Cox, Thomas Wilmer Dewing, Thomas Eakins, William Glackens, Robert Henri, Eastman Johnson, Rockwell Kent, Paul Manship, Henry Ranger, John Singer Sargent, Edward Steichen, Alfred Stieglitz, Edmund Tarbell, James McNeil Whistler, N.C. Wyeth, and Charles Morris Young.

Frequent museum collaborators include the Art Institute of Chicago, Boston Museum of Fine Arts, Brooklyn Museum, Buffalo Fine Arts Academy, Cleveland Museum of Art, Corcoran Gallery of Art, Detroit Institute of Art, Metropolitan Museum of Art, Museum of Modern Art, Saint Louis Museum of Fine Arts, Toledo Museum of Art, and Worcester Art Museum.

Other prolific correspondents include collectors Chauncey Blair, Andrew Carnegie, Charles Lang Freer, George Hearn, Alexander Humphreys, Roy Hunt, Mrs. B.F. Jones, Burton Mansfield, Frank Nicola, Duncan Phillips, John Stevenson, and William Stimmel; dealers and galleries M. Knoedler, William Macbeth, Central Art Gallery, Charles A. Walker, C.W. Kraushaar Art Galleries, Downtown Gallery, Durand-Ruel and Sons, Ehrich Galleries, Ferargil Galleries, Frank Rehn, Frederick Keppel, Haseltine Art Gallery, R.C. Vose Galleries, and W. Scott Thurber Fine Arts; insurance agent Macomber Co.; and shippers Dicksee and Co., J.W. Hampton, P. Navel/R. Lerondelle, Stedman and Wilder, and W.S. Budworth and Son.

Correspondents not specifically related to the contemporary art world include businesses, educational institutions, libraries, and the general public. These exchanges detail the daily work of the museum, including the estimates and work orders of office suppliers, contractors, printers, and etc.; programming and research inquiries of k-12 and college/university institutions; acknowledgements of the receipt of Museum of Art publications; and general public inquiries regarding museum policies, exhibitions, and the permanent collection. Companies and institutions who worked particularly closely with the museum include Alden and Harlow (architects), Detroit Publishing Co., and Tiffany and Co.

Department of Fine Arts (Series 2) consists of art and artist lists, correspondence, memoranda, notes, and reports. These files were begun under John Beatty's tenure and streamlined under Homer Saint-Gaudens' directorship to track activities directly related to the museum's interoffice affairs. File headings continued under Saint-Gaudens focus on art considered and purchased for the permanent collection, employee records, exhibition proposals and loans, Fine Arts Committee minutes, museum programming, museum publications, press releases, requests for images, and requests for general information.

Under Saint-Gaudens, the Fine Arts Committee files contain voluminous impressions of contemporary European artists, which he composed during his annual studio tours of the continent in the early 1920s and late 1930s. These informal reports provide insight into the shaping of the International and include a running commentary on historical events of the time. The Fine Arts Committee files also document the artistic and budgetary compromises that were struck, particularly during the Great Depression and early run-up to World War II.

Exhibitions (Series 3) includes correspondence with collectors, museums, galleries, dealers, shippers, and many of the artists themselves. Additional documents include catalogs, lists, planning notes, and telegrams related to 185 traveling and loan exhibitions held at the Museum of Art from 1901 to 1940. Of these, over 100 are one-artist shows and 82 are group, survey, regional, or topical shows. The one-artist exhibitions tend to showcase contemporary artists of the time. Regional shows focused on American and European art, with two shows featuring the art of Canada and Mexico. Survey themes focused on animals, children, cities, gardens, landscapes, Old Masters, and portraitures. Many of the genre shows venture into art not typically collected by the Museum of Art, including architecture, crafts, engravings, figure studies, graphic arts, illustrations, miniatures, mural decorations, oriental rugs, prints, printed books, sculpture, small reliefs, stained glass, theater models, watercolors, and wood engravings.

The most important shows organized and curated by Museum of Art staff include the Panama-Pacific International Exposition (1915), American Sculpture Show (1915, 1920), Applied Arts Show (1917), Original Illustrations Show (1921), Mexican Art Show (1929), Garden Club Show (1922), Industrial Art Show (1924), Pittsburgh Artists Show (1935), French Survey Show (1936), English Painting Survey Show (1937), American Paintings, Royal Academy Show (1938), and Survey of American Painting Show (1940).

Important one-artist shows include Abbot Handerson Thayer (1919), George de Forest Brush (1922), Frank W. Benson (1923), Rockwell Kent (1923, 1939), Anders Zorn (1924), John Lavery (1925), Paul Manship (1925), Mary Cassatt (1925), Laura Knight (1925), Edouard Manet (1932), Edward Hopper (1936), Winslow Homer (1922, 1936), Paul Cezanne (1936), Charles Burchfield (1937), and William Glackens (1938).

International (Series 4) is comprised of catalogs, correspondence, art and artist lists, itineraries, jury selection ballots, minutes, notes, and reports related to the planning, logistics, and promotion of the International Exhibition from 1895 to 1940. These documents were originally grouped and filed separately under John Beatty and were more rigorously streamlined under Homer Saint-Gaudens. The folder headings continued under Saint-Gaudens focus on art purchases, artists' invitations, artists' request for information, general exhibition planning, Foreign Advisory Committees, foreign governments, jury reception planning, loan requests, and touring logistics.

Letterpress books (Series 5) consist of 75 volumes that chronologically collect all of the Museum of Art's outgoing correspondence from 1896 to 1917. Volumes 1-8 contain the only copy of outgoing correspondence from 1896 to 1900. Duplicate copies of all outgoing correspondence dating from 1901 to 1917 were filed in Correspondence (Series 1) by museum staff.

Card catalogs (Series 6) also include three sets of catalogs created by the Museum of Art to track the outgoing and incoming correspondence contained in this collection. Set 1 (1895-1906) consists of the original cards. Set 2 (1907-1917) and Set 3 (1918-1940) consists of photocopies of the original cards that were merged together into one contiguous set.
Arrangement:
The collection is arranged into six series:

Missing Title

Series 1: Correspondence, 1883-1962, (Boxes 1-153, OV 267; 152.5 linear feet)

Series 2: Department of Fine Arts, 1896-1940, (Boxes 153-184, OV 268; 31.6 linear feet)

Series 3: Exhibitions, 1901-1940, (Boxes 184-204; 20 linear feet)

Series 4: International, 1895-1940, (Boxes 204-234, 265-266; 30.2 linear feet)

Series 5: Letterpress Books, 1900-1917, (Boxes 235-251; 17 linear feet)

Series 6: Card Catalogs, 1895-1940, (Box 252-264; 11 linear feet)
Biographical / Historical:
The Carnegie Institute Museum of Art was established in 1895 by industrialist and philanthropist Andrew Carnegie. One of the first modern contemporary art museums in the United States, its flagship exhibition, the Carnegie International, is recognized as the longest running contemporary exhibition of international art in North America and is the second oldest in the world.

Andrew Carnegie (1835-1919) was born in Dumfermline, Scotland and migrated to America with his family in 1848. Often regarded as the second-richest man in history behind John D. Rockerfeller, Carnegie built his industrialist fortunes in the steel industry and spent the remainder of his life in support of major philanthropic projects. By the age of 33, he had developed his personal philosophy of philanthropy, which saw it as the responsibility of the wealthy to foster educational opportunities and disseminate the ideals of high culture among all levels of society. In addition to establishing over 2500 free public libraries, in 1895, he provided the funds to build the Carnegie Institute, located in the Oakland neighborhood of Pittsburgh, Pennsylvania. The Carnegie Institute originally maintained three separate departments under the auspices of the Carnegie Library of Pittsburgh, the Carnegie Museum of Natural History, and the Carnegie Museum of Art.

The Carnegie Institute was administered by a Board of Trustees selected by Carnegie, all prominent professional men of Pittsburgh. Within this group, eight men were selected to serve on the Museum of Art's Fine Arts Committee, which was initially granted the final say on gallery affairs. The first Fine Arts Committee was composed of two artists, Alfred Bryan Wall and Joseph Ryan Woodwell, and six businessmen. Among the latter group, John Caldwell, Henry Clay Frick, William Nimick Frew, and David Thompson Watson were also knowledgeable art patrons and collectors. Over time, the Fine Arts Committee's sway over gallery affairs would be measured by the dedication of its various members and tempered by the vision and authority of the Museum's directors, John Beatty and Homer Saint-Gaudens, and the Carnegie Institute Board of Trustees president, Samuel Harden Church.

From 1896 to 1921, John Wesley Beatty (1851-1924) served as the first director of the Museum of Art. A native Pittsburgher and an accomplished silver engraver, illustrator, and painter, Beatty attended the Royal Bavarian Academy in Munich and upon his return to America, made a living as an artist. He also taught at the Pittsburgh School of Design for Women and co-founded a small school of art with fellow local artist George Hetzel. In 1890, while serving as the secretary of the Pittsburgh Art Society, he became the primary organizer of a loan exhibition to be displayed at the opening of the Carnegie Free Library in Allegheny, Pennsylvania. In 1895, when the Carnegie Institute trustees began discussing the possibility of a similar loan exhibition for the opening of their new institution, Beatty was contacted and eventually enlisted to take on the task. Upon the success of that exhibition, he was invited to direct the gallery's affairs and served as the Museum of Art's director until his retirement.

Beatty was an enthusiastic supporter of Impressionism, Realism, Tonalism, Symbolism, and the critically acclaimed contemporary art of the 1890s. He also shared Carnegie's vision for the Museum of Art and believed in the educational and uplifting role aesthetic beauty could provide to the general public. Pursuant to the stated goals of Andrew Carnegie, under Beatty's direction the museum began to purchase important contemporary works to add to its chronological collection of "Old Masters of tomorrow" and almost immediately began planning the first of its Internationals.

The Internationals were viewed as the primary means of showcasing the Museum of Art's selection of the best in contemporary American and European painting, thereby elevating its role as an influential cultural institution on a national and international level. Juried monetary prizes would be awarded to the two best works by American artists, additional awards would be offered to artists of all nationalities, and the Museum of Art's purchases for the year would be selected from the exhibition. Certain artists and collectors were tapped to serve as unofficial representatives of the Museum of Art at home and abroad, among them John White Alexander, William Coffin, I.M. Gaugengigl, Walter Shirlaw, and Edmund Tarbell. Many of the most prominent Pittsburgh art collectors were also asked to lend works to the exhibition. While details of the jury and artist selection process, number of representatives, exhibition show dates, and amount and total number of prizes would change over the years, the planning template was set and would remain the same for future Internationals.

Beatty continued to rely on a stable of close friends and confidantes to help smooth over relations with artists, dealers, shipping agents, and galleries alike, relying heavily on John White Alexander and W. Elmer Schofield, in addition to artists Thomas Shields Clarke, Walter Gay, Robert Henri, Frank D. Millet, and critic Charles M. Kurtz. Over time, many of the artists who served on International juries or Foreign Advisory Committees also became reliable friends and advocates of the International, including Edwin Austen Abbey, Edmond Aman-Jean, Edwin Howland Blashfield, William Merritt Chase, Charles Cottet, Kenyon Cox, Charles Harold Davis, Alfred East, Ben Foster, Charles Hopkinson, John la Farge, Gari Melchers, Leonard Ochtman, Irving R. Wiles, and Robert W. Vonnoh.

From 1896 to 1921, the Museum of Art held twenty-one Internationals, with the only exceptions coming in 1906 (construction of the Hall of Architecture, Hall of Sculpture, and Bruce Galleries), 1915 (deference to the San Francisco Panama-Pacific International), and 1916-1919 (World War I). During these years, the scope and administration of the International slowly expanded, though not without growing pains. At the turn of the century, new modernist styles of art that were appearing in galleries across Europe had not yet entered major American museums and the Carnegie Museum of Art maintained this trend. The museum's generally conservative selection policies, combined with criticism regarding the timing of the exhibition and the jury selection process, led to increasingly tense relations with artists, and were only partially resolved by changes made to the format of the International. In spite of these challenges, the Carnegie International retained its reputation as a preeminent venue for contemporary art and awarded top prizes to John White Alexander, Cecilia Beaux, George W. Bellows, Frank W. Benson, Andre Dauchez, Thomas Wilmer Dewing, Thomas Eakins, Childe Hassam, Winslow Homer, John Lavery, Henri le Sidaner, Edward W. Redfield, W. Elmer Schofield, Edmund C. Tarbell, Abbot Handerson Thayer, Dwight W. Tryon, and J. Alden Weir.

In addition to the International, Carnegie's mission of bringing cultural and educational opportunities to Pittsburgh was a central priority of the museum's daily operations. Beatty cultivated relationships with fellow museum directors, which allowed for the easy co-ordination and planning of traveling exhibitions benefiting the city. The museum developed educational programs for children and adults, including lectures, gallery talks, Saturday morning classes, fine art extension classes, guided tours, and outreach to local schools. As popular Pittsburgh art societies and clubs formed, the museum also provided meeting and exhibition spaces for groups such as the Associated Artists of Pittsburgh, the Art Society of Pittsburgh, the Art Students League, the Garden Club of Allegheny County, and the Junior League.

After more than 25 years of service, Beatty made the decision to retire and put out an informal call for candidates. Being the right man at the right time, in 1921, Homer Schiff Saint-Gaudens (1880-1958) became the Museum of Art's second director.

The only child of American sculptor Augustus Saint-Gaudens and his wife and artist, Augusta Fisher Homer, Saint-Gaudens frequently traveled abroad and grew up in the company of his parents' wide circle of friends, many of them artists, poets, writers, and performers who frequented the Cornish Artists' Colony. More intimate friends of the family included former students, assistants, and colleagues, the architect Stanford White, and successful artist-couples who resided near the family's Cornish, New Hampshire home, among them Louise and Kenyon Cox, Maria and Thomas Dewing, Florence and Everett Shinn, and Emma and Abbott Thayer.

Homer Saint-Gaudens attended the preparatory school Lawrenceville, graduated from Harvard in 1903, married the artist and suffragist Carlota Dolley (1884-1927) in 1905, and remarried to Mary Louise McBride (n.d.-1974) in 1929. He began his professional career as a journalist and worked as assistant editor of The Critic (1903) and managing editor of Metropolitan Magazine (1905). During those years, he was introduced to a number of the Ash Can school artists, wrote articles on contemporary art, and honed his abilities as a writer. In 1907, Saint-Gaudens took a break from professional editing and began a second career as the stage manager for Maude Adams, the most highly paid and successful stage actress of her day, with a yearly income of over one million dollars at the peak of her popularity. Working in theater and as Adams' manager for over ten years, Saint-Gaudens learned the ins and outs of event promotion and logistics, media coverage, and maintaining diplomatic relations through compromise, ideal skills he would later use in organizing the Carnegie Internationals.

With the United States' entry into World War I, Saint-Gaudens served as the chief of the U.S. Army's first camouflage unit and was awarded the Bronze Star. After his discharge, he managed Adams' 1918 final season and simultaneously helped his mother organize a major retrospective of his father's sculptures. While organizing a section of his father's work for the 1921 International, he was invited to step into the position of assistant director of the Carnegie Museum of Art, and was promoted to the directorship upon John Beatty's retirement.

Throughout his tenure, Saint-Gaudens was able to call upon long-standing family friendships with artists and art patrons to the museum's benefit. His connections to the art world can clearly be seen in his first major stand-alone exhibition, the Garden Club Show (1922). In this, he enlisted the aid of Elizabeth Alexander, wife of John White Alexander, and Johanna Hailman, artist and wife of John Hailman, who reached out to their circle of artists and art collecting friends in search of works appropriate for the show. Their efforts, combined with the relationships Beatty had established with museum directors, galleries, and dealers, as well as Saint-Gaudens' own friendships with Kenyon Cox, Thomas Dewing, Barry Faulkner, and Gari Melchers, resulted in an assemblage of 150 paintings of note. Coming immediately upon the heels of the 1922 International, the show was a resounding success. The exhibition's opening attracted over 300 delegates of the Garden Club of America and the entirety of Pittsburgh high society, settling any concerns regarding his leadership abilities.

As director of the Museum of Art, Saint-Gaudens instituted measures intended to streamline the Internationals and improve diplomatic relations with artists. Though the basic format of the juried exhibition remained the same, his solutions to the complaints many artists raised with the artist invitation, art selection, and jury systems reformed the International's reputation at a critical time. Though he was naturally inclined to appreciate the art and artists he had grown up with, Saint-Gaudens understood the immediate necessity of introducing modernist contemporary art into the museum's exhibitions and galleries. He circumvented the conservative Fine Arts Committee's resistance to the accolades of European modernists by choosing the tamest of the new 'radical' works. Eventually, he balanced the Internationals with a mix of conservative, moderate, and advanced works that appealed to a large range of audiences and increased the status and diversity of the Internationals.

To aid in his reformation of the International, Saint-Gaudens formalized a team of European agents who worked year round to scout artists' studios, recommend suitable art and artists, navigate local politics, arrange local transportation and logistics, and maintain cordial relations with artists abroad. In the spring, Saint-Gaudens would travel to Europe to meet with his agents in person, tour the most promising studios, and meet with artists personally. His team was headed by Guillaume Lerolle, who shared Saint-Gaudens' distinction of being the son of a well regarded national artist, Henry Lerolle. Like Saint-Gaudens, Lerolle was able and willing to call upon longstanding family friendships and networks on behalf of the Museum of Art. The other core members of the team were Ilario Neri (Italy), Arnold Palmer (England), Margaret Palmer (Spain), and Charlotte Weidler (Germany).

From 1922 to 1940, the Museum of Art held seventeen Internationals, with the exceptions coming in 1932 (Great Depression) and 1940 (World War II). After a brief period of change, growth, and experimentation in the early 1920s, the museum eventually settled on a routine of planning the Internationals, arranging for traveling exhibitions, and expanding upon the most popular of their educational programs. In addition to those programs put into place under Beatty's tenure, Saint-Gaudens paved the way for a revamped lecture series featuring visiting critics and traveled as a visiting lecturer himself.

During the 1930s, financial difficulties and increasing political tensions in Europe presented ample challenges to the diplomatic skills of Saint-Gaudens and his agents, and they found themselves increasingly forced to navigate through political minefields presented by the fascist ideologies of Germany and Italy, the chaos of the Spanish civil war, and the eventual outbreak of World War II in Europe. In spite of these challenges, under Saint-Gaudens' direction, the museum remained true to Andrew Carnegie's vision. The International was expanded to accept on average over sixty additional works of art, and at its peak, included art from twenty-one countries. Beginning in 1927, top prizes and recognition were awarded to Georges Braque, Marc Chagall, Salvador Dali, Andre Derain, Raoul Dufy, Karl Hofer, Rockwell Kent, Yasuo Kuniyoshi, Henri Matisse, Pablo Picasso, and Edouard Vuillard.

Works by Arthur B. Davies, Charles Hawthorne, Edward Hopper, Augustus John, Oskar Kokoschka, Leon Kroll, Ernest Lawson, and William Orpen were added to the museum's permanent collection. And, as under Beatty's tenure, many of the artists selected to serve on the Jury of Award became advocates and friends of the museum, including Emil Carlsen, Anto Carte, Bruce Crane, Charles C. Curran, Daniel Garber, Charles Hopkinson, Laura Knight, Jonas Lie, Julius Olsson, Leopold Seyffert, Lucien Simon, Eugene Speicher, Maurice Sterne, Gardner Symons, Horatio Walker, and Charles H. Woodbury.

The monumental task of establishing the Carnegie Institute Museum of Art and the Carnegie International has left an archival record that is unique and unparalleled in documenting its relations with every aspect of the contemporary art world from the turn of the century through the first forty years of the twentieth century.
Provenance:
The Carnegie Institute, Museum of Art records were loaned for microfilming in 1966 and later donated to the Archives of American Art in 1972. A small addition of corrrespondence was donated in 2017 by Elizabeth Tufts Brown.
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.
Topic:
Art -- Economic aspects  Search this
World War, 1914-1918  Search this
Depressions -- 1929  Search this
Art, Modern -- Exhibitions  Search this
Fascism  Search this
World War, 1939-1945  Search this
Museum directors  Search this
Function:
Art museums -- Pennsylvania
Genre/Form:
Photographs
Letterpress books
Museum records
Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.carninst
See more items in:
Carnegie Institute, Museum of Art records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carninst
Online Media:

Renwick Gallery Grand Salon Reopens, June, 2000

Subject:
Twachtman, John Henry  Search this
Inness, George  Search this
Ryder, Albert Pinkham 1847-1917  Search this
Thayer, Abbott Handerson 1849-1921  Search this
Powers, Hiram 1805-1873  Search this
Dewing, Thomas Wilmer  Search this
Catlin, George 1796-1872  Search this
Homer, Winslow 1836-1910  Search this
Moran, Thomas 1837-1926  Search this
Peale, Rembrandt 1778-1860  Search this
Renwick Gallery  Search this
Grand Salon of the Renwick Gallery  Search this
National Museum of American Art (U.S.)  Search this
Place:
Washington (D.C.)
Date:
June, 2000
Topic:
Buildings--Repair and reconstruction  Search this
SI Buildings, Renovation  Search this
Building--Conservation and renovation  Search this
Museum openings  Search this
Art museums  Search this
Data Source:
Smithsonian Archives - History Div
EDAN-URL:
edanmdm:siris_sic_14430

Angel, (painting)

Painter:
Thayer, Abbott Handerson 1849-1921  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Smithsonian American Art Museum 8th & G Streets, N.W Washington District of Columbia 20560 Accession Number: 1929.6.112
Date:
Ca. 1889
Topic:
Figure female--Waist length  Search this
Religion--Angel  Search this
Control number:
IAP 08581588
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_250281

Cornish Headlands, (painting)

Painter:
Thayer, Abbott Handerson 1849-1921  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Smithsonian American Art Museum 8th & G Streets, N.W Washington District of Columbia 20560 Accession Number: 1929.6.115
Date:
1898
Topic:
Landscape--England--Cornwall  Search this
Landscape--England--St. Ives  Search this
Landscape--Coast  Search this
Control number:
IAP 08581591
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_250284

Stevenson Memorial, (painting)

Title:
Stevenson Memorial Angel, (painting)
Painter:
Thayer, Abbott Handerson 1849-1921  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Smithsonian American Art Museum 8th & G Streets, N.W Washington District of Columbia 20560 Accession Number: 1929.6.127
Date:
1903
Topic:
Figure female  Search this
Religion--Angel  Search this
Control number:
IAP 08581603
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_250296

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