Search Results

Creator:

National Museum of African Art  Search this

Type:

YouTube Videos

Uploaded:

2019-11-04T20:40:53.000Z

YouTube Category:

Education  Search this

Topic:

Art, African  Search this

See more by:

SmithsonianAfricanAr

Data Source:

National Museum of African Art

YouTube Channel:

SmithsonianAfricanAr

EDAN-URL:

edanmdm:yt_b1OP5YXYgnU

Artist:

Unidentified Artist  Search this

Sitter:

Stephen Grover Cleveland, 18 Mar 1837 - 24 Jun 1908  Search this

James Gillespie Blaine, 31 Jan 1830 - 27 Jan 1893  Search this

Medium:

Chromolithograph on paper

Dimensions:

Image: 30.5 × 47.6 cm (12 × 18 3/4")

Sheet: 35 × 51.6 cm (13 3/4 × 20 5/16")

Type:

Print

Date:

1884

Topic:

Vehicle\Ship\Sailing ship  Search this

Symbols & Motifs\Flag\National\United States  Search this

Imaginary  Search this

Exterior\Cityscape  Search this

Food  Search this

Symbols & Motifs\Flag\National\British  Search this

Home Furnishings\Furniture\Seating\Chair\Rocking chair  Search this

Symbols & Motifs\Banner  Search this

Cartoon  Search this

Cartoon\Political  Search this

Human Figures\Symbolic Figure\Uncle Sam  Search this

Architecture\Building\Factory  Search this

Equipment\Walking stick  Search this

Stephen Grover Cleveland: Male  Search this

Stephen Grover Cleveland: Law and Law Enforcement\Lawyer  Search this

Stephen Grover Cleveland: Politics and Government\Governor\New York  Search this

Stephen Grover Cleveland: Law and Law Enforcement\Police\Sheriff  Search this

Stephen Grover Cleveland: Politics and Government\President of US  Search this

Stephen Grover Cleveland: Education and Scholarship\Administrator\University administrator\University trustee  Search this

Stephen Grover Cleveland: Politics and Government\Public official\Mayor\Buffalo, NY  Search this

James Gillespie Blaine: Male  Search this

James Gillespie Blaine: Politics and Government\Presidential candidate  Search this

James Gillespie Blaine: Politics and Government\US Congressman\Speaker of the House  Search this

James Gillespie Blaine: Journalism and Media\Newspaper editor  Search this

James Gillespie Blaine: Education and Scholarship\Educator\Teacher  Search this

James Gillespie Blaine: Politics and Government\Cabinet member\Secretary of State  Search this

James Gillespie Blaine: Politics and Government\US Senator\Maine  Search this

James Gillespie Blaine: Politics and Government\US Congressman\Maine  Search this

James Gillespie Blaine: Politics and Government\State Legislator\Maine  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Milton and Ingrid Rose

Object number:

NPG.96.137

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm46ec2a52b-1b75-44f2-9f37-4383c1ffb9b4

EDAN-URL:

edanmdm:npg_NPG.96.137

Creator:

Bull, Thomas, 1866-1962  Search this

Extent:

1 Linear foot ((partially microfilmed on 1 reel))

Type:

Collection descriptions

Archival materials

Drawings

Date:

1933-1962

Scope and Contents:

REEL N70-10 (Ca. 150 items): Correspondence, notes on room decor, sketches, bills, and obituary notices, 1933-1962. Includes photos of his studio, of the interior of Schrafft's at 181 Broadway, N.Y.C., of the Carl Hoening house in Hoboken, of wall paintings, and of Bull and his family. Correspondents include family members, contractors, and clients William E. Schrafft and Pakistani Ambassador M. A. H. Ispaphani.

UNMICROFILMED (ca. 0.6 ft.): Photographs, including some of Bull; drawings and paintings by an unidentified artist; an article about Bull; and a shell plaque.

Biographical / Historical:

Interior designer. Born in Norway, Bull came to New York City and executed designs for McKim, Mead, and White and other architects for the city's great mansions.

Provenance:

Donated 1969 by Arlene Taylor, a protegé of Bull in her youth and his caretaker in his old age.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Interior decorators -- New York (State) -- New York  Search this

Topic:

Interior decoration  Search this

Genre/Form:

Drawings

Identifier:

AAA.bullthom

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ca402c76-fd05-4406-9e04-1f4ac5bfde02

EDAN-URL:

ead_collection:sova-aaa-bullthom

Creator:

Hess, Thomas B.  Search this

Names:

Mark Rothko Foundation  Search this

Bess, Forrest, 1911-1977  Search this

Campbell, Lawrence  Search this

De Kooning, Elaine  Search this

De Kooning, Willem, 1904-1997  Search this

Frankenthaler, Helen, 1928-2011  Search this

Gottlieb, Adolph, 1903-1974  Search this

Guston, Philip, 1913-1980  Search this

Kline, Franz, 1910-1962  Search this

Milles, Carl, 1875-1955  Search this

Newman, Barnett, 1905-1970  Search this

Noguchi, Isamu, 1904-1988  Search this

Reinhardt, Ad, 1913-1967  Search this

Rivers, Larry, 1925-2002  Search this

Rosenberg, Harold, 1906-1978  Search this

Rothko, Mark, 1903-1970  Search this

Schapiro, Meyer, 1904-  Search this

Schuyler, James  Search this

Smith, David, 1906-1965  Search this

Still, Clyfford, 1904-1980  Search this

Extent:

10.01 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Drawings

Greeting cards

Illustrated letters

Paintings

Cartoons (humorous images)

Photographs

Collages

Date:

1939-1978

Summary:

The papers of New York editor and art critic Thomas Hess measure 10.01 linear feet and date from 1939 to 1978. The collection includes biographical materials, correspondence, extensive writings and notes, artists and subject files that also include recorded conversations with artists and others, printed materials, photographic materials, and artwork.

There is a .01 linear foot unprocessed addition to this collection donated in 2022 that includes a six page typed manuscript, "Think, American Painting," undated, by Thomas Hess and the book American Realists and Magic Realists, The Museum of Modern Art, 1943, signed by Hess.

Scope and Contents:

The papers of New York editor and art critic Thomas Hess measure 10.01 linear feet and date from 1939 to 1978. The collection includes biographical materials, correspondence, extensive writings and notes, artists and subject files that also include recorded conversations with artists and others, printed materials, photographic materials, and artwork.

Biographical material includes a certificate, architectural plans, investment information, invoices, publisher and loan agreements, will for Paul Stamm, and resumes. Correspondence is with members of Hess' family including his wife and children, Philip Guston, Meyer Schapiro, David Smith, James Schuyler, Forrest Bess, Elaine de Kooning, Barnett Newman, Larry Rivers, Clyfford Still, Ad Reinhardt, and others.

Writings and notes consist of manuscripts and drafts by Hess for Art News, Le Monde, Vogue, New York magazine, and other publications; Hess' senior essay and class notes; notes on Ingres, Italian artists, and travels abroad; notebooks on art and literature; and scattered writings by others.

Artists and subject files contain primarily photographs of artwork, artists, and colleaguesare mostly photographs of artwork, artists, and colleagues. Some of the files also contain printed materials, writings, notes, and other documentation. The file on Willem de Kooning includes a sound recording of a conversation between Hess, de Kooning, and Harold Rosenberg. There are also significant files on Elaine de Kooning, Helen Frankenthaler, Adolph Gottlieb, Franz Kline, Carl Milles, Barnett Newman, Isamu Noguchi, Ad Reinhardt, Mark Rothko and the Mark Rothko Foundation Inc.

Printed materials include brochures and flyers, clippings, magazines and newspapers, press releases, travel memorabilia, and a printed scarf. Photographs are of of Hess, his wife Audrey, other family members, works of art, travel, Larry Rivers and Ad Reinhardt, and other artists and colleagues. Artwork includes drawings, paintings, collages, cartoons, and holiday cards made by Hess and his children, along with artwork by others including Audrey and Lawrence Campbell, Ad Reinhardt, and unidentified artists.

There is a .01 linear foot unprocessed addition to this collection donated in 2022 that includes a six page typed manuscript, "Think, American Painting," undated, by Thomas Hess and the book American Realists and Magic Realists, The Museum of Modern Art, 1943, signed by Hess.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Materials, 1945-1977 (0.3 linear feet; Box 1, OV 15)

Series 2: Correspondence, circa 1945-1978 (1.0 linear feet; Box 1-2, OV 11)

Series 3: Writings and Notes, circa 1940-1978 (2.5 linear feet; Box 2-5, OV 12)

Series 4: Artists and Subject Files, circa 1946-1978 (4.5 linear feet; Box 5-9, OVs 13, 15-16)

Series 5: Printed Materials, 1943-1978 (0.5 linear feet; Box 9, OV 11)

Series 6: Photographic Materials, 1949-circa 1960s (0.8 linear feet; Box 9-10, OV14)

Series 7: Artwork, 1939-1978 (0.4 linear feet; Box 10, OV 11)

Series 8: Unprocessed Addition, 1943 and undated (0.01 linear feet; Folder 17)

Biographical / Historical:

Thomas B. Hess (1920-1978) was an editor, art critic, and curator who worked in New York City. He was on the staff at Art News for 26 years (1946-72). Starting as an editorial associate, he was named managing editor in 1948, then executive editor in 1954; he assumed the top editorial post in 1965 upon the death of long-time editor Alfred Frankfurter. In his critical writing from the late 1940s on, he was an influential supporter of the Abstract Expressionists. He wrote widely on other topics as well. In 1972 he left Art News after an ownership change. He then became the art critic for New York magazine (1972-78), a large-circulation weekly reaching a much larger public. (He was also, in the late '60s, a correspondent for the French daily newspaper Le Monde.)

Over the years he undertook several major curatorial projects including traveling retrospectives for Willem de Kooning (1968-69) and Barnett Newman (1971), which he organized for the Museum of Modern Art. His "New York School Painting and Sculpture" appeared at the New York State Museum in Albany in 1977. Both MoMA exhibitions were accompanied by comprehensive monograph/catalogues: Willem de Kooning (1968) and Barnett Newman (1971). Hess's other books include Abstract Painting: Background and American Phase (1951, Viking); Willem de Kooning (1959, Braziller); De Kooning, Recent Paintings (1967, Walker & Co.); Barnett Newman (1969, Walker & Co.); De Kooning: Drawings (1972, New York Graphic); and The Art Comics and Satires of Ad Reinhardt (1975, De Luca Editore, Rome).

Hess became consultative chairman of the Metropolitan Museum of Art's Department of 20th-Century Art a few months before his death from a heart attack in July 1978, age 57. Already under way were a Clyfford Still retrospective and a smaller show of recent paintings and sculptures by Ellsworth Kelly. Both exhibitions, completed by Philippe de Montebello (the Met's then new director) and Lowery S. Sims (the Met's then acting 20th-century curator) respectively, took place the year after Hess's death.

Thomas Hess was born in Rye, New York, to Gabriel Lorie Hess, a lawyer, and Helen Baer. He attended school in the United States and Switzerland. He continued his education at Yale University majoring in French 17th-century art history and literature. After graduating in 1942, Hess worked for a short period at the Museum of Modern Art under Alfred H. Barr and Dorothy Miller, before entering World War II as a pilot. In 1944 he married Audrey Stern with whom he had three children, William, Philip, and Anne Helen.

Separated Materials:

Materials on legacy microfilm reel 5028 related to Barnett Newman are photocopies. The originals are located at the Barnett New Foundation in New York City.

Provenance:

The Thomas Hess papers were donated in multiple increments from 1985 to 1987 by Hess' children, Anne Helen, William, and Philip Hess, except for a file on Barnett Newman donated by Newman's widow, who presumably had borrowed it from Hess. In 2014, additional correspondence, writings, photographs, printed material, and cartoons, including some by Ad Reinhardt, were donated by Elizabeth Wolff, Hess' sister. A small addition was donated in 2022 by Anne Hess, Thomas Hess' daughter.

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:

Art critics -- New York (State) -- New York  Search this

Artists -- Italy  Search this

Editors -- New York (State) -- New York  Search this

Genre/Form:

Sound recordings

Drawings

Greeting cards

Illustrated letters

Paintings

Cartoons (humorous images)

Photographs

Collages

Citation:

Thomas Hess papers, 1939-1978. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.

Identifier:

AAA.hessthom

See more items in:

Thomas Hess papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cfd2536a-b35e-4030-9768-bfa094d6db9e

EDAN-URL:

ead_collection:sova-aaa-hessthom

Creator:

Yoshida, Ray  Search this

Names:

Art Institute of Chicago. School -- Faculty  Search this

Phyllis Kind Gallery  Search this

Berdich, Vera, 1915-2003  Search this

Blackshear, Kathleen, 1897-1988  Search this

Brown, Roger, 1941-1997  Search this

Ito, Miyoko, 1918-1983  Search this

Kapsalis, Thomas Harry, 1925-  Search this

Kim, Jin Soo, 1950-  Search this

Nilsson, Gladys, 1940-  Search this

Nutt, Jim, 1938-  Search this

Ramberg, Christina  Search this

Rossi, Barbara, 1940-  Search this

Spears, Ethel, 1903-1974  Search this

Wirsum, Karl, 1939-  Search this

Extent:

10 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Sketchbooks

Scrapbooks

Collages

Drawings

Interviews

Prints

Sketches

Transcripts

Video recordings

Date:

circa 1895-2010

bulk 1950-2005

Summary:

The papers of Chicago artist and educator Ray Yoshida measure 10 linear feet and date from circa 1895 to 2010, with the bulk of the material dating from 1950 to 2005. Yoshida's career as a painter and collagist as well as his long tenure as a professor at the School of the Art Institute of Chicago are documented through biographical material, personal correspondence, notebooks and writings, teaching records, personal business records, printed material, source material, photographs, sketchbooks, artwork by Yoshida and others, and scrapbooks. Items within the collection also document Yoshida's personal interest in collecting folk art and artifacts.

Scope and Contents:

The papers of Chicago artist and educator Ray Yoshida measure 10 linear feet and date from circa 1895 to 2010, with the bulk of the material dating from 1950 to 2005. Yoshida's career as a painter and collagist as well as his long tenure as a professor at the School of the Art Institute of Chicago are documented through biographical material, personal correspondence, notebooks and writings, teaching records, personal business records, printed material, source material, photographs, sketchbooks, artwork by Yoshida and others, and scrapbooks. Items within the collection also document Yoshida's personal interest in collecting folk art and artifacts.

Biographical material about Ray Yoshida includes award certificates, identification records, student records, and interview transcripts. Also found is one video recording of a documentary short about Yoshida's art and object collection at his Chicago home.

Correspondence includes letters, postcards, and greeting cards from friends, colleagues, and artists, including Roger Brown, Jim Nutt, Gladys Nilsson, Christina Ramberg, Karl Wirsum, Miyoko Ito, Jin Soo Kim, Barbara Rossi, Vera Berdich, and Tom Kapsalis.

Notebooks contain notes on art history, art technique, Japanese language, travel, and other subjects. Many of the notebooks include sketches and contain loose items.

Writings by Yoshida consist of college papers, fragments of writings on art and other subjects, and notes. Writings by others include essays by Yoshida's students, exhibition essay drafts, and poetry.

Teaching records primarily document Yoshida's tenure as a professor at the School of the Art Institute of Chicago, though a few records of guest professorships at other schools are included. These records include course evaluations, employment records, teaching notes, and letters of recommendation for students. Miscellaneous teaching records include department memos, course summaries, correspondence, and notes.

Personal business records consists of documentation regarding the sale, exhibition, and loan of artwork by Ray Yoshida, including his business dealings with the Phyllis Kind Gallery. Additionally there are several files regarding the estate of artist Roger Brown.

Printed material includes exhibition catalogs, announcements, news clippings, newsletters and press releases documenting Yoshida's career and other subjects.

Source material consists of material that Yoshida gathered and intended to use for his art. Collected printed material includes postcards, comics and comic books, mail order catalogs, magazines, product labels, and advertisements. Also found are many small clippings from comics collected for collages.

Photographs depict Ray Yoshida, friends, students, travel, and artwork. Also found are a few photographs of Karl Wirsum's studio, as well as photographs of various subjects collected by Yoshida. Additionally, there is one photograph album from the early 1910s of an unidentified family.

Sketchbooks include pencil and ink sketches of various subjects.

Artwork by Ray Yoshida includes collages on paper, pencil sketches, and ink drawings. Artworks by others include numerous prints by Kathleen Blackshear, Ethel Spears, and Vivian Mayers, and collages, drawings, and prints given to Yoshida by students and friends. Some work by unidentified artists is included as well. Other artwork, such as handmade picture and alphabet books, appears to have been created by children and collected by Yoshida.

Scrapbooks include volumes that were created by Yoshida as well as books created by others. Three of the scrapbooks containing source images, clippings, and comics appear to have been created by Yoshida. Additional scrapbooks were created by others and collected by Yoshida.

Arrangement:

The collection is arranged as 12 series.

Missing Title

Series 1: Biographical Material, 1950-2005 (0.5 Linear feet; Box 1)

Series 2: Correspondence, 1952-2009 (2 Linear feet; Boxes 1-3, 11, 15)

Series 3: Notebooks, circa 1956-circa 2000 (0.3 Linear feet; Box 3)

Series 4: Writings, circa 1950-2003 (0.3 Linear feet; Box 3)

Series 5: Teaching Records, circa 1960-2003 (0.6 Linear feet; Boxes 3-4)

Series 6: Personal Business Records, circa 1960-2010 (0.4 Linear feet; Box 4)

Series 7: Printed Material, 1906-2010 (1.8 Linear feet; Boxes 4-6, 11, OV 14)

Series 8: Source Material, circa 1940-circa 2005 (0.7 Linear Feet; Boxes 6-7, 11)

Series 9: Photographs, circa 1910-circa 2005 (0.5 Linear feet; Box 7)

Series 10: Sketchbooks, circa 1960-circa 2000 (1.1 Linear feet; Boxes 7-8, 11-13)

Series 11: Artwork, 1903-2009 (0.7 Linear feet; Boxes 8, 13)

Series 12: Scrapbooks, circa 1895-circa 2005 (1 Linear feet; Boxes 8-10, 13)

Biographical / Historical:

Ray Yoshida (1930-2009) was a Japanese American painter, collagist, and educator based in Chicago, Illinois.

Raymond Kakuo Yoshida was born in Kapaa, Hawaii, in 1930. He attended the University of Hawaii for two years and completed a B.A. in Arts Education at the Art Institute of Chicago in 1953. He also served in the U.S. Army for two years during the Korean War. In 1957 he recieved his M.F.A from Syracuse University and became a faculty member at the School of the Art Institute of Chicago in 1959. He was named Frank Harold Sellers Professor in the Department of Painting and Drawing in 1971, retired as professor emeritus in 1998, and continued to teach until 2003.

Yoshida was a member of the Chicago Imagists, a loose and informal group of representational artists from the late 1960s to early 1970s who were influenced by Surrealism and connected to the School of the Art Institute of Chicago. Yoshida's friends and contemporaries among this group include but are not limited to Roger Brown, Ed Paschke, Christina Ramberg, and Barbara Rossi. Yoshida was an inspiring teacher and he mentored many of the later Chicago Imagists such as Gladys Nilsson, Jim Nutt, and Karl Wirsum.

Yoshida's paintings and collages were strongly influenced by comics as well as his own collection of folk and outsider art. He regularly exhibited at Phyllis Kind Gallery in Chicago from 1975 to 1996, and a major retrospective of his work was organized by the Contemporary Museum of Honolulu in 1998. He retired to Hawaii in 2005 where he lived until his death in 2009 due to cancer. The School of the Art Institute of Chicago's Sullivan Galleries held a posthumous retrospective exhibition of Yoshida's work from 2010-2011 and the John Michael Kohler Art Center had an exhibition of Yoshida's personal collection of art and artifacts in 2013.

Provenance:

The collection was donated in 2012 by Ray Yoshida via Terri Yoho of the Kohler Foundation, representing Yoshida's estate, and in 2013 and 2015-2016 by Jennifer Sabas and Shayle Miller, estate executors.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate copy requires advance notice. One box of letters from Jim Nutt are ACCESS RESTRICTED; use requires written permission.

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:

Educators -- Illinois -- Chicago  Search this

Painters -- Illinois -- Chicago  Search this

Collagists -- Illinois -- Chicago  Search this

Topic:

Folk art -- Collectors and collecting  Search this

Art -- Study and teaching  Search this

Art -- History  Search this

Art -- Technique  Search this

Artists' studios -- Photographs  Search this

Asian American art  Search this

Asian American artists  Search this

Japanese American art  Search this

Japanese American artists  Search this

Asian American painters  Search this

Asian American educators  Search this

Genre/Form:

Photographs

Sketchbooks

Scrapbooks

Collages

Drawings

Interviews

Prints

Sketches

Transcripts

Video recordings

Citation:

Ray Yoshida papers, circa 1895-2010, bulk 1950-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of the Ray Yoshida papers received Federal support from the Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center.

Identifier:

AAA.yoshray

See more items in:

Ray Yoshida papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw993d0cce5-3340-4d85-adeb-cb1711fd67e8

EDAN-URL:

ead_collection:sova-aaa-yoshray

Collector:

Curtin, Jeremiah, 1835-1906  Search this

Extent:

2 Drawings (watercolor and ink)

Container:

Folder 3992A

Culture:

Seneca [Cattaraugus]  Search this

Type:

Collection descriptions

Archival materials

Graphic Materials

Drawings

Works of art

Place:

North America

Date:

circa 1840

Scope and Contents:

The collection consists of two (2) watercolor drawings collected by Curtin on the Cattaraugus Seneca Reservation in 1883. The drawings are copies of drawings made around 1840 by an unidentified artist, possibly George Wilson, a resident of the Cattaraugus Reservation.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Biographical / Historical:

Jeremiah Curtin (1835–1906) was an American ethnographer, folklorist, and translator. From 1883 to 1891 he was employed by the Bureau of American Ethnology as a field researcher documenting the customs and mythologies of various North American indigenous peoples.

Local Numbers:

NAA MS 3992-A

Variant Title:

A man bewitched within the house by a woman without... and The patient welcomes his physicians

Conservation Note:

The drawings were laminated, possibly in the 1950s. In the late 1970s, the drawings were delaminated.

Related Materials:

The National Museum of the American Indian holds a version of one of the drawings. See "Man On Sickbed With Spirits" Catalog Number 11/2912.

The National Anthropological Archives holds photographs of the drawings in Photo Lot 155 J.N.B. Hewitt photographs of Iroquois people on the Six Nations Reservation (Item II.85-86).

Provenance:

Jeremiah Curtin submitted three drawings to the Bureau of American Ethnology via John Wesley Powell on Febrary 20, 1884. The third drawing has been lost.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Genre/Form:

Works of art

Drawings

Citation:

MS 3992-A Seneca drawings collected by Jeremiah Curtin, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS3992A

See more items in:

MS 3992-a Seneca drawings collected by Jeremiah Curtin

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw32b3ae04d-f0d8-47f3-ae57-0b0ae86b3354

EDAN-URL:

ead_collection:sova-naa-ms3992a

Artist:

Unidentified Artist  Search this

Sitter:

Henry Warner Slocum, 24 Sep 1827 - 14 Apr 1894  Search this

Medium:

Sixth-plate daguerreotype with applied color

Dimensions:

Image: 7 × 5.8 cm (2 3/4 × 2 5/16")

Sheet: 7 × 5.8 cm (2 3/4 × 2 5/16")

Case: 9.5 × 8.3 cm (3 3/4 × 3 1/4")

Type:

Photograph

Date:

c. 1850

Topic:

Interior  Search this

Cased object  Search this

Henry Warner Slocum: Male  Search this

Henry Warner Slocum: Law and Law Enforcement\Lawyer  Search this

Henry Warner Slocum: Military and Intelligence\Army\Officer\Colonel  Search this

Henry Warner Slocum: Military and Intelligence\Army\Officer\General  Search this

Henry Warner Slocum: Military and Intelligence\Army\Officer\Civil War army officer\Union army officer  Search this

Henry Warner Slocum: Military and Intelligence\Army\Officer\Brigadier General  Search this

Henry Warner Slocum: Politics and Government\US Congressman\New York  Search this

Henry Warner Slocum: Military and Intelligence\Army\Officer\Major General  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2003.35

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm496b187af-94e0-4d42-ac90-1fd1b8799efb

EDAN-URL:

edanmdm:npg_NPG.2003.35

Artist:

Unidentified Artist  Search this

Sitter:

Charles Jacobs Peterson, 20 Jul 1818 - 04 Mar 1887  Search this

Medium:

Sixth-plate daguerreotype

Dimensions:

Image/Sight: 7.1 × 5.7 cm (2 13/16 × 2 1/4")

Mat: 7.7 × 6.6 cm (3 1/16 × 2 5/8")

Case open: 9.5 × 17 × 1 cm (3 3/4 × 6 11/16 × 3/8")

Case closed: 9.5 × 8.5 × 2 cm (3 3/4 × 3 3/8 × 13/16")

Type:

Photograph

Date:

c. 1852

Topic:

Interior  Search this

Costume\Headgear\Hat  Search this

Costume\Dress Accessory\Neckwear\Tie\Bowtie  Search this

Cased object  Search this

Charles Jacobs Peterson: Male  Search this

Charles Jacobs Peterson: Literature\Writer  Search this

Charles Jacobs Peterson: Literature\Publisher  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2013.106

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm45b19e7e1-ca58-4ddf-a9b4-f9cb0aa4c92d

EDAN-URL:

edanmdm:npg_NPG.2013.106

Artist:

Unidentified Artist  Search this

Sitter:

Gouverneur Kemble Warren, 8 Jan 1830 - 8 Aug 1882  Search this

Medium:

Half-plate daguerreotype with applied color

Dimensions:

Image/Sight: 12.1 × 8.9 cm (4 3/4 × 3 1/2")

Mat (brass): 14 × 10.8 cm (5 1/2 × 4 1/4")

Case open: 15.1 × 24.2 × 1.2 cm (5 15/16 × 9 1/2 × 1/2")

Case closed: 15.1 × 12 × 1.8 cm (5 15/16 × 4 3/4 × 11/16")

Type:

Photograph

Date:

c. 1850

Topic:

Interior  Search this

Home Furnishings\Furniture\Seating\Chair  Search this

Printed Material\Book  Search this

Costume\Jewelry\Ring  Search this

Home Furnishings\Furniture\Table  Search this

Weapon\Sword  Search this

Personal Attribute\Facial Hair\Mustache  Search this

Costume\Dress Accessory\Feather  Search this

Costume\Headgear\Military\Shako  Search this

Costume\Dress Accessory\Sash  Search this

Cased object  Search this

Gouverneur Kemble Warren: Male  Search this

Gouverneur Kemble Warren: Education and Scholarship\Educator\Teacher  Search this

Gouverneur Kemble Warren: Military and Intelligence\Army\Officer\Civil War army officer\Union army officer  Search this

Gouverneur Kemble Warren: Science and Technology\Engineer\Civil engineer  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; purchase funded by the photography acquisitions endowment established by the Joseph L. and Emily K. Gidwitz Memorial Foundation

Object number:

NPG.2019.156

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm423e3e0e4-9e7d-49d8-be08-c25a5396a4a7

EDAN-URL:

edanmdm:npg_NPG.2019.156

Artist:

Unidentified Artist  Search this

Copy after:

Myron H. Kimball, active 1850s - 1860s  Search this

Sitter:

Wilson Chinn, c. 1803 - after 1864  Search this

Charles Taylor, c. 1855 - ?  Search this

Augusta Broujey, c. 1854 - ?  Search this

Mary Johnson, active 1863  Search this

Isaac White, c. 1836 - ?  Search this

Rebecca Huger, c. 1852 - ?  Search this

Robert Whitehead, active 1863  Search this

Rosina Downs, 1865 - ?  Search this

Medium:

Wood engraving on paper

Dimensions:

Image: 24.2 × 36.3 cm (9 1/2 × 14 5/16")

Sheet: 28.2 × 39.9 cm (11 1/8 × 15 11/16")

Type:

Print

Place:

United States\New York\Kings\New York

Date:

1863

Topic:

Interior  Search this

Architecture\Window  Search this

Costume\Dress Accessory\Handkerchief  Search this

Print  Search this

Personal Attribute\Tattoo  Search this

Wilson Chinn: Male  Search this

Wilson Chinn: Society and Social Change\Enslaved person  Search this

Mary Johnson: Female  Search this

Mary Johnson: Society and Social Change\Enslaved person  Search this

Robert Whitehead: Society and Social Change\Enslaved person  Search this

Charles Taylor: Male  Search this

Charles Taylor: Society and Social Change\Enslaved person  Search this

Augusta Broujey: Female  Search this

Augusta Broujey: Society and Social Change\Enslaved person  Search this

Rebecca Huger: Female  Search this

Rosina Downs: Female  Search this

Rosina Downs: Society and Social Change\Enslaved person  Search this

Isaac White: Male  Search this

Isaac White: Society and Social Change\Enslaved person  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2022.122

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm406fb31e5-be77-4cb7-a477-0216812f899b

EDAN-URL:

edanmdm:npg_NPG.2022.122

Artist:

Unidentified Artist  Search this

Sitter:

Ruth Stanley Farnam, 1873 - 1956  Search this

Medium:

Color halftone poster

Dimensions:

Sheet: 104.5 x 71.3 cm (41 1/8 x 28 1/16")

Type:

Print

Date:

1918

Topic:

Symbols & Motifs\Medal  Search this

Costume\Headgear\Military  Search this

Poster  Search this

Ruth Stanley Farnam: Female  Search this

Ruth Stanley Farnam: Literature\Writer  Search this

Ruth Stanley Farnam: Medicine and Health\Nurse  Search this

Ruth Stanley Farnam: Military and Intelligence\Army\Soldier  Search this

Ruth Stanley Farnam: Rulers and Aristocracy\Aristocrat\Baroness  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

S/NPG.90.31

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm43a09ab65-b03d-4281-9b14-bcb001af2c1e

EDAN-URL:

edanmdm:npg_S_NPG.90.31

Creator:

Stable Gallery  Search this

Names:

New York School of poets and painters  Search this

Groh, Alan, 1923-1996  Search this

Scull, Robert, 1917-1986 -- Art collections  Search this

Ward, Eleanor, 1912-1984  Search this

Extent:

2.9 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Video recordings

Sketchbooks

Sound recordings

Photographs

Date:

1916-1999

bulk 1953-1970

Summary:

The Stable Gallery records measure 2.9 linear feet and are dated 1916-1999 (bulk 1953-1970). The gallery was known for its representation of the New York School. Records consist mainly of artist files containing biographical notes, correspondence, price lists, sales and payment information, printed matter, and photographs. A small number of gallery administrative and financial records are included, along with printed matter, photographs, and personal papers and estate records of gallery founder and owner Eleanor Ward. There are also reminiscences by gallery owner Eleanor Ward and her assistant Alan Groh, a sound cassette recording of Eleanor Ward, and a videoreel (1/2 inch) documentary of a 1973 Sotheby auction of works from the Robert C. Scull collection.

Scope and Content Note:

The Stable Gallery records measure 2.9 linear feet and are dated 1916-1999 (bulk 1953-1970). The gallery was known for its representation of the New York School. Records consist mainly of artist files containing biographical notes, correspondence, price lists, sales and payment information, printed matter, and photographs. A small number of gallery administrative and financial records are included, along with printed matter, photographs, personal papers, and estate records of gallery founder and owner Eleanor Ward. There are also reminiscences by gallery owner Eleanor Ward and her assistant Alan Groh, a sound cassette recording of Eleanor Ward, and a videoreel (1/2 inch) documentary of a 1973 Sotheby auction of works from the Robert C. Scull collection.

The Stable Gallery's administrative records includes both general correspondence and copious letters from Eleanor Ward to Alan Groh, her assitant regarding gallery business, lists, floor plans, financial records, printed matter, and photographs of unidentified artwork and exhibition installations. There are also reminiscences by gallery owner Eleanor Ward and Alan Groh, a cassette recording of Eleanor Ward, and a film recording of a 1973 Sotheby auction of works from the Robert C. Scull collection. Additional Stable Gallery administrative and financial information, as well as related printed matter is included with the artist files.

Artist files contain biographical notes, correspondence, price lists, printed matter, and photographs of artists and artwork. The correspondence includes memoranda regarding payments to artists and sales information. Among the printed matter is documentation of the Stable Gallery and other exhibitions, reviews, and miscellaneous articles. Unfortunately, no records about the famous Stable Annuals held between 1953 and 1957 survive.

Artwork consists of 4 sketchbooks and loose sheets with charcoal drawings by unidentified artist(s).

The Eleanor Ward papers include miscellaneous personal papers and records concerning her estate. Photographs in the series are of Eleanor Ward, friends and family, parties, and the interior and exterior of Ward's Connecticut house.

Arrangement:

The collection is arranged as four series:

Missing Title

Series 1: Administrative Records, 1955-1986 (0.5 linear feet; Boxes 1, 4, 5)

Series 2: Artist Files, 1952-1997 (1.6 linear feet; Boxes 1-2)

Series 3: Artwork, circa 1955-1970 (3 folders; Box 4)

Series 4: Eleanor Ward Papers, 1916-1999 (0.5 linear feet; Boxes 2-4, 5)

Historical Note:

Established in 1953 by Eleanor Ward (1911-1984), the Stable Gallery derived its name from its first home, a former livery stable on Seventh Avenue at West 58th Street, New York City. Long interested in art and recognized for her "good taste" and "flair," Mrs. Ward had vaguely considered the idea of opening her own gallery for some time and received encouragement from Christian Dior, with whom she had worked in Paris. In 1952, opportunity arose to lease a suitable building that would later become a gallery. At first, Ward and a friend sold mannequins and made the large, empty space available for fashion photography; in December, she operated a Christmas boutique for a few weeks.

The Stable Gallery opened in 1953 with an exhibition of work by Ward's friend Mike Mishke, a commercial artist. She then arranged for the Stable Gallery to host a sequel to the 1951 Ninth Street Show (the initial show, organized by the Club with financial assistance from Leo Castelli, was held in an empty store on Ninth Street). The New York Artists Annual, better known as the Stable Annual, was selected by the artists themselves; this well-attended, widely-reviewed, and influential exhibition continued until 1957. Participating artists included Philip Guston, Franz Kline, Willem deKooning, Robert Motherwell, Jackson Pollock, Robert Rauschenberg, Ad Reinhardt, Richard Stankiewicz, and Jack Tworkov.

The Stable Gallery soon became a gathering place for artists, including some not in Stable's "stable." Over the years, the Stable Gallery presented the first one-man shows of Robert Indiana, Cy Twombly, and Andy Warhol. Among the artists closely associated with the gallery were: Joseph Cornell, Edward Dugmore, John Ferren, Alex Katz, Conrad Marca-Relli, Marisol, Joan Mitchell, Isamu Noguchi, Richard Stankiewicz, Cy Twombly, Jack Tworkov, and Wilfred Zogbaum. The gallery was known for dramatic, somewhat theatrical installations, and occasionally presented exhibitions beyond its usual focus (photographs by Hans Namuth and pre-Columbian sculpture, which personally interested Ward).

When the block where the Stable Gallery stood was razed in 1960 to make way for a high rise apartment building, Mrs. Ward moved her gallery to 33 East 74th Street, where she was able to maintain an apartment for herself upstairs. Quite abruptly, Ward closed the Stable Gallery in 1970, noting changes in the art scene, growing commercialization, and a loss of enthusiasm that made the gallery merely a business for her. Alan Groh (1923-1996), who started as Eleanor Ward's assistant in 1956 and was eventually named gallery director, became director of A. M. Sachs Gallery. Mrs. Ward traveled widely and acted as an art consultant to selected clients.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Eleanor Ward conducted by Paul Cummings, February 8, 1972.

Provenance:

The Stable Gallery records were the gift of the Estate of Eleanor Ward. In 1984, artist files were received from Alan Groh, executor of Ward's estate and her assistant at the Stable Gallery. Additional records were donated in 1997 by Buzz Miller on behalf of the Estate of Eleanor Ward; Mr. Miller was Alan Groh's partner and executor of his estate. Another addition was received in 1999 from Paul Gardner, executor of the Estate of Buzz Miller. A final addition of 0.2 liner feet was donated in 2019 by Nancy Berner, Alan Groh's niece.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

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:

New York school of art  Search this

Art, Modern -- 20th century -- Exhibitions  Search this

Art, Modern -- 20th century -- New York (State) -- New York  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Drawings

Video recordings

Sketchbooks

Sound recordings

Photographs

Citation:

Stable Gallery records, 1916-1999, bulk 1953-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Lichtenstein Foundation.

Identifier:

AAA.stabgall

See more items in:

Stable Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw991ac322b-59f8-40f3-8b7a-926e8ffb653b

EDAN-URL:

ead_collection:sova-aaa-stabgall

Creator:

Kemble, E. W. (Edward Windsor), 1861-1933  Search this

Extent:

3 Items

Type:

Collection descriptions

Archival materials

Date:

1888 [and undated]

Scope and Contents:

Two drawings by Kemble, 1888 and undated, with notations in an unidentified hand, and one drawing of a World War I scene by an unidentified artist [Eaby?]. The drawings were done for Century magazine.

Biographical / Historical:

Illustrator, cartoonist and writer.

Provenance:

Unknown provenance.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Occupation:

Cartoonists  Search this

Illustrators  Search this

Identifier:

AAA.kembe

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw908f9f674-5af1-4c56-a175-b7d2d25d2d94

EDAN-URL:

ead_collection:sova-aaa-kembe

Extent:

1 Drawing (graphite on cardboard, 9 x 8.25 inches)

Culture:

Labrador Inuit (Labrador Eskimo)  Search this

Type:

Collection descriptions

Archival materials

Drawings

Works of art

Place:

Arctic regions

Labrador (N.L.)

North America

Date:

undated

Scope and Contents:

Drawing by an unidentified artist depicting Northwest River Post and showing corn fields, a graveyard, a signal tower, tents, houses, a missionary church, fence, and various topographic features including hills and a stream. The drawing is identified in Bryant's A Journey to the Grand Falls of Labrador (1892) as "Native Drawing."

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Biographical Note:

Henry Grier Bryant (November 7, 1859–December 7, 1932) was an American explorer and writer from Philadelphia, Pennsylvania. In 1891, he organized an expedition to Grand Falls in Labrador, Canada. Bryant's detailed account of his trek was published in The Century Magazine in 1892, and The Geographical Society of Philadelphia reprinted it as the book A Journey to the Grand Falls of Labrador later that year.

Local Numbers:

NAA INV 08510400

USNM Accession 25288

Separated Materials:

Related artifacts have been retained by the Department of Anthropology (Accession 25288).

Provenance:

Donated to the United States National Museum by Henry G. Bryant January 14, 1892.

Genre/Form:

Works of art

Drawings

Citation:

Drawing of North West River Post and scenery (MS 153515), National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS153515

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw39232d0dc-4ded-4cce-866a-e3a4bd14ebfe

EDAN-URL:

ead_collection:sova-naa-ms153515

Creator:

Whittredge, Worthington, 1820-1910  Search this

Names:

Metropolitan Fair (1864:New York, N.Y.)  Search this

Brady, Mathew B., approximately 1823-1896  Search this

Extent:

2.2 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Photographs

Paintings

Sketchbooks

Date:

circa 1840s-1965

bulk 1849-1908

Summary:

The papers of landscape painter Worthington Whittredge measure 2.2 linear feet and date from the 1840s to 1965, with the bulk of the papers dating from 1849 to 1908. This small collection documents Whittredge's career as a painter, particularly his years in Europe from 1849 to 1859, through biographical materials, a manuscript of his autobiography, news clippings, catalogs, six sketchbooks and numerous drawings and paintings. Also found are two photographs of Whittredge and a nineteenth-century photo album containing photographs of 32 famous artists.

Scope and Content Note:

The papers of landscape painter Worthington Whittredge measure 2.2 linear feet and date from the 1840s to 1965, with the bulk of the papers dating from 1849 to 1908. This small collection documents Whittredge's career as a painter, particularly his years in Europe from 1849 to 1859, through biographical materials, a manuscript of his autobiography, news clippings, catalogs, six sketchbooks and numerous drawings and paintings. Also found are two photographs of Whittredge and a nineteenth-century photo album containing photographs of 32 famous artists.

Biographical materials include a manuscript of his autobiography, passport, award certificates, and a ledger he kept while living in Düsseldorf, Germany, that documents commissions, accounts, and business activities. Printed material includes news clippings, catalogs, and the book Recollections of the Art Exhibition, Metropolitan Fair, New York, published by Mathew Brady, which includes a catalog of the art exhibition at the fair and 20 printed images by Brady.

Artwork consists of six sketchbooks and numerous drawings and paintings. The sketchbooks contain drawings Whittredge executed on a trip down the Rhine River in 1849 as well as during his travels in Italy and Mexico. Other loose drawings and paintings include numerous landscapes, figure studies, trees, animals, and other miscellaneous sketches.

There are two photographs of Whittredge, taken by M. Louise Greene, and a nineteenth-century photo album containing cartes de visite photographs of 32 artists. Most of these photographs include the artists autograph as well. Included are Albert Bierstadt, George H. Baker, William Holbrook Beard, Albert F. Bellows, John G. Brown, Seth Wells Cheney, Frederic Church, Jasper Cropsey, Thomas Seir Cummings, Mauritz De Haas, Francois Regis Gignoux, Henry Peters Gray, Seymour Guy, George Henry Hall, William Hart, William Hennessy, Richard W. Hubbard, Daniel Huntington, Henry Augustus Loop, Jervis McEntee, Samuel F. B. Morse, William Page, Horace Wolcott Robbins, Aaron Shattuck, James Augustus Suydam, Launt Thompson, Robert W. Weir, Henry Wenzler, Edwin White, and George Yewell, and two unidentified artists.

Arrangement:

The collection is arranged into 4 series:

Missing Title

Series 1: Biographical Material, 1849-circa 1940s (Box 1, 5, OV 9; 0.4 linear feet)

Series 2: Printed Material, 1861-1965 (Box 1, 4, 5, OV9; 0.4 linear feet)

Series 3: Artwork, circa 1840s-1902 (Box 2, 5, OV 6-9; 0.6 linear feet)

Series 4: Photographs, circa 1850s-1860s, circa 1900 (Box 2-3; 0.3 linear feet)

Biographical Note:

Thomas Worthington Whittredge (1820-1910) was born in 1820 in Springfield, Ohio. Receiving very little formal education, he moved to Cincinnati, Ohio at the age of 17 to serve as an apprentice house and sign painter. A few years later, in his early twenties, he briefly ran a daguerreotype studio in Indianapolis, Indiana, and worked as a portrait painter in Charleston, West Virginia.

In 1843 Whittredge decided to pursue landscape painting, and was greatly influenced by Hudson River School artist Thomas Cole. In 1849 he traveled to Düsseldorf, Germany, to further his training at the Düsseldorf Academy. There, he met painter Emanuel Leutze and modeled for Leutze's painting Washington Crossing the Delaware (1850). He lived for a year in the home of landscape painter Andreas Achenbach and became friends with Carl Friedrich Lessing. Whittredge spent the summer of 1856 sketching in Switzerland with Albert Bierstadt. That fall Whittredge and Bierstadt moved to Rome where they were joined by fellow artists Sanford Robinson Gifford and William Stanley Haseltine.

Whittredge stayed in Italy until 1859 when he returned to America and settled in New York City, renting a space at Richard Morris Hunt's famous Tenth Street Studio Building, which was frequented by some of the best-known artists, writers, and actors of the time. He kept company with Jervis McEntee, Eastman Johnson, Sanford Robinson Gifford, John Ferguson Weir, and other artists of the "old guard". Whittredge quickly became a very successful artist, adapting what he had learned in Europe to the American landscape. He was elected to the National Academy of Design in 1860 and became a full member in 1862. He also served as President of the National Academy of Design from 1874 to 1877.

In 1866 Whittredge went along on a government inspection tour of the Missouri Territory and was greatly inspired by the landscape. He traveled to Colorado in 1870 with John Frederick Kensett and Sanford Gifford and, in the late 1870s, began painting these new landscapes. He moved with his family to Summit, New Jersey, in 1880. In 1893 he went on a sketching trip to Mexico with fellow artist Frederic Church and continued painting into the early 1900s. Around this time he also began writing his autobiography which he completed in 1905. Worthington Whittredge died in 1910 at the age of 89.

Related Material:

Also found in the Archives of American Art are several collections relating to Whitteredge: the Anthony F. Janson research material on Worthington Whittredge, 1969-2003; the Worthington Whittredge sale records, 1900; the Edith Wilkinson Letter to E.P. Richardson and biographical notes on Worthington Whittredge, 1957; and a Worthington Whittredge letter to John Ferguson Weir, 1871.

Separated Material:

One sketchbook was loaned by William W. Katzenbach for microfilming in 1959 and returned. Loaned material is available on microfilm reel 153, but is not described in container listing of this finding aid.

Provenance:

The Worthington Whittredge papers were donated by William W. and L. Emery Katzenbach, grandsons of Whittredge, in 1959. Additional items were donated by William W. Katzenbach in 1968.

Restrictions:

The collection has been digitized and is available online via AAA's website.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Landscape painters -- New York (State) -- New York  Search this

Painting, American  Search this

Genre/Form:

Drawings

Photographs

Paintings

Sketchbooks

Citation:

Worthington Whittredge papers, circa 1840s-1965, bulk 1849-1908. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.whitwort

See more items in:

Worthington Whittredge papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92e138a3a-4b80-4bf4-bd99-42ad0f7404e3

EDAN-URL:

ead_collection:sova-aaa-whitwort

Creator:

Ramm, John Milton, 1904-1984  Search this

Names:

Ramm, John Henry, 1879-1948  Search this

Extent:

11 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sketchbooks

Photographs

Date:

1900-1992

Summary:

The papers of painter and muralist John Milton Ramm measure 11 linear feet and date from 1900 to 1992. Found within are biographical materials, family correspondence, personal business records, notes and notebooks, travel journals and other writings by Ramm and his father, John Henry Ramm. Art work consists of sketches, sketchbooks, watercolor sketches, mural designs, and other drawings by John Milton Ramm and John Henry Ramm. Also found are numerous photographs of family, friends, travels and voyages, and San Francisco cityscapes, as well as photographs of the 1906 San Francisco earthquake and fires taken by John Henry Ramm.

Scope and Contents note:

The papers of painter and muralist John Milton Ramm measure 11 linear feet and date from 1900 to 1992. Found within are biographical materials, family correspondence, personal business records, notes and notebooks, travel journals and other writings by Ramm and his father, John Henry Ramm. Art work consists of sketches, sketchbooks, watercolor sketches, mural designs, and other drawings by John Milton Ramm and John Henry Ramm. Also found are numerous photographs of family, friends, travels and voyages, and San Francisco cityscapes, as well as photographs of the 1906 San Francisco earthquake and fires taken by John Henry Ramm. The collection reflects the artist's interest in travel and his thorough recording of each voyage through paintings, drawings, photographs, and journals.

The Notes Series (32 folders) consist of notebooks and unbound notes primarily concerning John Milton Ramm's travel and art-related activities.

The Writings Series (1.0 linear feet) consists of travel journals and typescripts based on travel by John Milton Ramm, and scripts and poetry by his father John Henry Ramm. There are also two travel journals written by others.

The Art Works Series (1.3 linear feet) primarily consists of drawings and watercolors by John Milton Ramm depicting scenes from his travels and designs for advertisements and magazine covers. There are also drawings, watercolors, small oil paintings, and prints by his father John Henry Ramm, and bookplates designed by unidentified artists, probably friends of John Milton Ramm.

The Photographs Series (2.4 linear feet) consists of photographs of John Milton Ramm, family members, his house, views of San Francisco, California and other western states, views of his voyages around the world, and of his art work. There are also photographs taken by Ramm's father, John Henry Ramm of San Francisco, most notably views of the 1906 fire and earthquake damage, and photographs of his art work. Miscellaneous photographs by unidentified photographers include views of the Gilbert Islands in 1915.

The Printed Material Series (54 folders) includes clippings, an exhibition announcement for John Milton Ramm, miscellaneous calling cards for individuals and businesses, a school yearbook, published scripts, and miscellaneous booklets and programs.

The Artifacts Series (1 folder) consists of a hand-carved backscratcher and a rubber stamp of a heraldic emblem.

Arrangement note:

The collection has been arranged into nine series.

Missing Title

Series 1: Biographical Material, 1903-1992 (Box 1; 16 folders)

Series 2: Correspondence, 1909-1981, undated (Boxes 1-6, OV 13; 5.0 linear feet)

Series 3: Personal Business Records, 1908-1984, undated (Box 6; 3 folders)

Series 4: Notes, 1922-1976, undated (Box 6; 32 folders)

Series 5: Writings, 1910-1951, undated (Box 6, 7; 1.0 linear feet)

Series 6: Art work, 1900-1951, undated (Boxes 7-8, 12, OV 13-15; 1.3 linear feet)

Series 7: Photographs, 1903-1981, undated (Boxes 8-10, 12, OV 15; 2.4 linear feet)

Series 8: Printed material, 1913-1963 (Boxes 10-12; 54 folders)

Series 9: Artifacts, undated (Box 12; 1 folder)

Biographical/Historical note:

John Milton Ramm was born in San Francisco, California, on October 27, 1904. His parents were Antoinette Ramm and John Henry Ramm (1879-1948), who was also a painter and photographer, most notably recording the damage of the 1906 earthquake and fire. After graduating from Lowell High School in 1921, John Milton Ramm attended the California School of Fine Arts and later continued his art-related studies under his father. Between 1923 and 1938, he sailed on over a dozen merchant ships, traveling around the world performing various shipboard duties in addition to recording his surroundings in letters, drawings, and photographs. From 1928 to 1929, Ramm worked as a commercial artist and painted sets and backdrops for several motion picture studios including United Artists and Warner Brothers. Between 1932 to 1941, he painted murals and decorated the interiors of various business establishments such as restaurants and stores. In 1937, he was an art instructor at the San Francisco Boys' Club and at a W.P.A. Recreation Project Training course. From 1941 to 1945, Ramm was employed as a shipfitter and engineering draftsman aboard various ships. He was married to Hungarian-born Gabriella Vigh.

John Milton Ramm died February 26, 1984 in Alameda, California.

Provenance:

The John Milton Ramm papers were donated in 1994 by Sandra Howard, a family friend who inherited the estate of the artist.

Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- California -- San Francisco  Search this

Topic:

Works of art  Search this

Earthquakes -- California -- San Francisco -- Photographs  Search this

Muralists -- California -- San Francisco  Search this

Genre/Form:

Drawings

Sketchbooks

Photographs

Citation:

John Milton Ramm papers, 1900-1992. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.rammjohn

See more items in:

John Milton Ramm papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97b5af614-32b6-4901-8b0e-8a7467c31df8

EDAN-URL:

ead_collection:sova-aaa-rammjohn

Creator:

Bearden, Romare, 1911-1988  Search this

Names:

Alston, Charles Henry, 1907-1977  Search this

Holty, Carl, 1900-1973  Search this

Lawrence, Jacob, 1917-2000  Search this

Middleton, Samuel M., 1927-  Search this

Reinhardt, Ad, 1913-1967  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sketches

Exhibition catalogs

Maps

Photographs

Date:

1937-1982

Summary:

The papers of Romare Bearden measure 2.1 linear feet and date from 1937 to 1982. The collection includes biographical information, correspondence, writings by and about Bearden, miscellaneous legal and financial material, photographs, drawings, and printed material. Found are numerous letters referring to African-American arts movements of the 1960s and 1970s, including exhibitions, publications, associations, and scattered letters of a more personal nature.

Scope and Contents:

The papers of Romare Bearden measure 2.1 linear feet and date from 1937 to 1982. The collection includes biographical information, correspondence, writings by and about Bearden, miscellaneous legal and financial material, photographs, drawings, and printed material.

Correspondence is with family, friends, artists, galleries, museums, publishers, universities, arts associations, and colleagues, primarily concerning gallery space, exhibitions, sales of artwork, publishing, and arts events. Also found are numerous letters referring to African-American art movements of the 1960s and 1970s, including exhibitions, publications, associations, and scattered letters of a more personal nature. Many of the letters are illustrated with Bearden's doodlings and drawings. Although most of the letters are from galleries, museums, publishers, and arts associations, scattered letters from Charles Alston, Jacob Lawrence, Ad Reinhardt, Carl Holty, and Sam Middleton are found. In addition, there are letters from the Black Academy of Arts and Letters, and letters concerning its founding.

Writings by Bearden include lectures, speeches, talks, essays, and prose. Many are handwritten, annotated, and edited in Bearden's hand and several are illustrated with Bearden's doodlings and sketches. Included are a memorial delivered upon artist Carl Holty's death, a tribute to Zell Ingram, autobiographical essays, essays on art, and African-American art, artists, and cultural life. Also found are several handwritten examples of Bearden's prose and poetry. There are also writings by others and one folder of fragments and notes assumed to be by Bearden.

The collection houses two folders of photographs and snapshots of Bearden, family members, other unidentified artists or friends, classes and/or lectures, and works of art. Also found are several undated ink drawings, sketches in pencil and ink, and a hand-drawn and colored map with overlay of Paris. Printed material includes examples of Bearden's commissioned artwork for publications, press releases, exhibition catalogs and announcements, invitations, newspaper and magazine clippings, and miscellaneous printed materials. Although much of the printed material concerns Bearden's work, a fair portion concerns African-American art, artists, and cultural movements.

Arrangement:

The collection is arranged into seven series based on type of materials. Documents within each of the seven series have been arranged in chronological order, except for the writings which have been further subdivided by creator and are undated. Printed materials have been arranged primarily according to form of material and are in rough chronological order.

Missing Title

Series 1: Biographical, 1977, undated (Box 1; 1 folder)

Series 2: Correspondence, 1944-1981, undated (Box 1-2; 0.8 linear feet)

Series 3: Writings By and About Bearden, circa 1950s-1980s (Box 3; 6 folders)

Series 4: Legal and Financial Material, 1970-1977 (Box 3; 3 folders)

Series 5: Photographs, undated (Box 3; 2 folders)

Series 6: Drawings, undated (Box 3, OV 6; 4 folders)

Series 7: Printed Material, 1937-1982 (Box 3-5; 1 linear foot)

Biographical / Historical:

Born in Mecklenburg County, North Carolina, in 1914, Bearden's family relocated to New York City when Bearden was a toddler. Living in Harlem during the Harlem Renaissance of the 1920s, Bearden was exposed to such luminaries as writer Langston Hughes, painter Aaron Douglas, and musician Duke Ellington. While attending New York University, Bearden became interested in cartooning and became the art editor of the NYU Medley in his senior year. He received his B.S. in mathematics in 1935, initially planning to pursue medical school. Realizing that he had little interest in the other sciences however, Bearden began attending classes at the Art Students League in the evenings, studying under George Grosz.

In the mid-1930s Bearden published numerous political cartoons in journals and newspapers, including the Afro-American, but by the end of the decade, he shifted his emphasis to painting. Bearden's first paintings, on large sheets of brown paper, recalled his early memories of the South. After serving in the Army, Bearden began exhibiting more frequently, particularly in Washington, D.C. at the G Street Gallery and in New York with Samuel Kootz.

During a career lasting almost half a century, Bearden produced approximately two thousand works. Although best known for the collages of urban and southern scenes that he first experimented with in the mid-1960s, Bearden also completed paintings, drawings, monotypes, edition prints, public murals, record album jackets, magazine and book illustrations, and costume and set designs for theater and ballet. His work focused on religious subjects, African-American culture, jazz clubs and brothels, and history and literature. Not confining his abilities to the visual arts, Bearden also devoted attention to writing and song writing. Several of his collaborations were published as sheet music, among the most famous of which is "Seabreeze," recorded by Billy Eckstine. In addition, Bearden coauthored three full-length books: The Painter's Mind: A Study of the Relations of Structure and Space in Painting (1969) with painter Carl Holty; Six Black Masters of American Art (1972); and A History of African-American Artists: From 1792 to the Present (posthumously, 1993), the latter two with journalist Harry Henderson.

Bearden was also active in the African-American arts movement of the period, serving as art director of the Harlem Cultural Council, a founding member of the Black Academy of Arts and Letters, and organizer of exhibitions, such as the Metropolitan Museum's "Harlem on My Mind" (1968). Romare Bearden died in 1988.

Related Materials:

Within the Archives holdings are two oral history interviews with Romare Bearden. One was conducted in 1968 by Henri Ghent and another in 1980 by Avis Berman.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming (reel N68-87) including correspondence, a scrapbook, photographs, catalogs, clippings, and writings. Except for the correspondence, loaned materials were returned to the donor and are not described in the collection container inventory.

Provenance:

Romare Bearden lent material for microfilming to the Archives of American Art in 1968, donating the correspondence. Bearden also gave additional papers between 1977 and 1983.

Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized 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.

Occupation:

Painters -- New York (State) -- New York  Search this

Collagists -- New York (State) -- New York  Search this

Topic:

African American artists  Search this

Works of art  Search this

Painting  Search this

Genre/Form:

Drawings

Sketches

Exhibition catalogs

Maps -- Paris (France)

Photographs

Citation:

Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.bearroma

See more items in:

Romare Bearden papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ed3f5b60-2e93-4f30-af75-dbd95d060a90

EDAN-URL:

ead_collection:sova-aaa-bearroma

Creator:

Mitchell, Fred, 1923-  Search this

Names:

Mississippi Art Colony  Search this

Gonzales, Justo  Search this

Kline, Franz, 1910-1962  Search this

McQuade, James M.  Search this

Ochman, Jim  Search this

Pajerski, Elizabeth  Search this

Reed, Harry Hope  Search this

Rooney, Peter  Search this

Rucker, Patrick  Search this

Stevens, Dick, 1928-  Search this

Sultz, Phil  Search this

Extent:

14.3 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Photographs

Sketches

Scrapbooks

Watercolors

Drawings

Date:

1938-2007

Summary:

The papers of Fred Mitchell, 1938-2007, measure 14.3 linear feet. Correspondence, writings, 29 diaries, and subject files, document his personal life and career as a painter and educator in New York City. The papers also include biographical materials, artwork, sketchbooks, printed material, and photographs.

Scope and Contents:

The papers of Fred Mitchell, 1938-2007, measure 14.3 liner feet. Correspondence, writings, 29 diaries, and subject files document his personal life and career as a painter and educator in New York City. The papers also include biographical materials, artwork, sketchbooks, printed material, and photographs.

Among the biographical materials are biographical notes, military records, passports, and resumes. Correspondence includes both professional and personal letters. Correspondents include friends, former students, colleagues, and individuals of romantic interest.

Writings by Mitchell include notebooks containing names and addresses, appointments, lists and a variety of notes. Diaries record Mitchell's personal and professional activities, plans, aspirations, and memories; also, many volumes contain loose items such as printed material, drawings, notes and letters. Other authors represented are Harry Hope Reed, Peter Rooney, and Patrick Rucker.

Subject files maintained by Mitchell concern friends, teaching activities, exhibitions; also, interests in art, dance, poetry, and music. Files on the Mitchell family concern four generations and include Elizabeth Pajerski, his artist sister with whom he sometimes exhibited. There are files on Coenties Slip artists and related exhibitions. Other subjects of note are a Franz Kline traveling exhibition curated by Mitchell, and Mississippi Art Colony. Individuals for whom threre are substantial subject files include Justo Gonzales, James M. McQuade, Jim Ochman, Peter Rooney, John W. ("Dicky") Stevens, and Phil Sultz.

Most artwork is by Mitchell and consists mainly of drawings and sketches. Artwork by others includes drawings and watercolors by Peter Rooney, students, and unidentified artists. Mitchell's sketchbooks (16 volumes) contain sketches, drawings, and a few finished watercolors.

Printed material is about or mentions Mitchell. Included are a variety of items such as exhibition catalogs and announcements, brochures, clippings, press releases, and concert programs. Photographs are of Mitchell with family and friends; artwork by Mitchell and other artists; exhibition installations and openings; and places including the Wall-South neighborhood just before the destruction of his studio and travel pictures.

Arrangement:

The collection is arranged in 9 series:

Missing Title

Series 1: Biographical Materials,1942-circa 2005 (Box 1; 0.4 linear feet)

Series 2: Correspondence, 1947-2004 (Boxes 1-2; 1.9 linear feet)

Series 3: Writings, circa 1940s-2004 (Boxes 2-3; 1.4 linear feet)

Series 4: Diaries, 1949-2002 (Boxes 4-6; 2.5 linear feet)

Series 5: Subject Files, 1943-2002 (Boxes 6-12; 6 linear feet)

Series 6: Artwork, circa 1940s-2002 (Boxes 12-13; 0.5 linear feet)

Series 7: Sketchbooks, 1955-1993 (Boxes 13, 15; 0.6 linear feet)

Series 8: Printed Material, 1938-2004 (Boxes 13-14; 0.5 linear feet)

Series 9: Photographs, 1940s-2002 (Box 14; 0.5 linear feet)

Biographical / Historical:

Fred Mitchell (1923-2013), a painter and educator who worked in New York City, was among the first artists to open a studio in Coenties Slip on the East River in downtown Manhattan.

A native of Meridian, Mississippi, Madison Fred Mitchell (always called Fred), won a Scholastic Magazine award and his work was shown in its "15th Annual National High School Art Exhibit" held at the museum of the Carnegie Institute in 1942. Mitchell studied at the Carnegie Institute of Technology for a year before entering the U. S. Army. After World War II ended, he resumed his education at Cranbrook Academy of Art (BFA 1946 and MFA 1956). He moved to New York in 1951 and became a member of the "Downtown Group." In 1952 he was among the organizers of Tanager Gallery and in 1954 founded the Coenties Slip School of Art.

Mitchell enjoyed a long career as a highly regarded teacher of drawing, painting, and art history. He taught at Finch College, the Positano Art Workshop in Italy, and Cranbrook Academy in the 1950s. During the 1960s, he was affiliated with Downtown Art Center at Seamens Church Institute in Coenties Slip, New York University, Cornell University, and Ithaca College. In the early 1970s Mitchell taught at Queens College, and from the mid-1980s-early 2000s served on the faculties of Parsons School of Design, Art Students League of New York, and City University of New York's Kingsborough Community College in Brooklyn.

He exhibited widely in group shows and solo exhibitions in the New York area and throughout the United States. Among these venues were: Howard Wise Gallery, Meridian Museum, Munson-Williams-Proctor Art Institute, State University of New York Binghamton, University of Oregon, and Whitney Museum of American Art.

After several years of declining health, Fred Mitchell died in New York City in 2013.

Provenance:

Fred Mitchell donated a small amount of printed material and photographs in 1972. The majority of the papers were donated in 2013 by Fred Pajerski, Fred Mitchell's nephew.

Restrictions:

Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

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 -- Study and teaching  Search this

Painters -- New York (State) -- New York  Search this

Genre/Form:

Diaries

Photographs

Sketches

Scrapbooks

Watercolors

Drawings

Citation:

Fred Mitchell papers, 1938-2007. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.mitcfred

See more items in:

Fred Mitchell papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw965fbbabc-bedc-4ab0-8a36-61823a76ddc3

EDAN-URL:

ead_collection:sova-aaa-mitcfred

Collection Creator:

Frueh, Alfred Joseph, 1880-1968  Search this

Container:

Box 4, Folder 17

Type:

Archival materials

Date:

circa 1920-1962

Scope and Contents note:

Oversized material housed in Box 6, F9

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Alfred J. Frueh papers, 1904-2010. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art.

See more items in:

Alfred J. Frueh papers

Alfred J. Frueh papers / Series 4: Artwork / 4.4: By Others

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d80d50e9-710c-41c0-bc03-f796347bdbc3

EDAN-URL:

ead_component:sova-aaa-fruealfr-ref229

Collection Creator:

Millet, Francis Davis, 1846-1912  Search this

Extent:

(1 pencil drawing, and 1 ink drawing)

Container:

Reel 5907, Frame 116-118

Type:

Archival materials

Date:

undated

Collection Restrictions:

Use of originals requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Francis Davis Millet and Millet family papers, 1858-1984 (bulk 1858-1955). Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of the microfilm of this collection was provided by the Terra Foundation for American Art.

See more items in:

Francis Davis Millet and Millet family papers

Francis Davis Millet and Millet family papers / Series 5: Art Work / 5.2: By Other Artists

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw979cb39be-8776-4621-8b45-22b692a318d1

EDAN-URL:

ead_component:sova-aaa-millfran-ref123