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John White Alexander papers

Creator:
Alexander, John White, 1856-1915  Search this
Names:
MacDowell Club of New York  Search this
Abbey, Edwin Austin, 1852-1911  Search this
Alexander, Elizabeth A., d. 1947  Search this
Carnegie, Andrew, 1835-1919  Search this
Chase, William Merritt, 1849-1916  Search this
Gibson, Charles Dana, 1867-1944  Search this
James, Henry, 1843-1916  Search this
La Farge, John, 1835-1910  Search this
Levy, Florence N. (Florence Nightingale), 1870-1947  Search this
Millet, Francis Davis, 1846-1912  Search this
Remington, Frederic, 1861-1909  Search this
Stevenson, Robert Louis, 1850-1894  Search this
Whistler, James McNeill, 1834-1903  Search this
Extent:
11.9 Linear feet
Type:
Collection descriptions
Archival materials
Awards
Interviews
Photographs
Sketchbooks
Scrapbooks
Medals
Date:
1775-1968
bulk 1870-1915
Summary:
The papers of the painter, muralist, and illustrator John White Alexander measure 11.9 linear feet and date from 1775 to 1968, with the bulk of materials dating from 1870 to 1915. Papers document Alexander's artistic career and many connections to figures in the art world through biographical documentation, correspondence (some illustrated), writings, 14 sketchbooks, additonal artwork and loose sketches, scrapbooks, photographs, awards and medals, artifacts, and other records. Also found is a souvenir engraving of a Mark Twain self-portrait.
Scope and Contents:
The papers of the painter, muralist, and illustrator John White Alexander measure 11.9 linear feet and date from 1775 to 1968, with the bulk of materials dating from 1870 to 1915. Papers document Alexander's artistic career and many connections to figures in the art world through biographical documentation, correspondence (some illustrated), writings, 14 sketchbooks, additonal artwork and loose sketches, scrapbooks, photographs, awards and medals, artifacts, and other records. Also found is a souvenir engraving of a Mark Twain self-portrait.

Biographical Information includes multiple essays related to Alexander, his family, and others in his circle. Also found is an extensive oral history of Alexander's wife Elizabeth conducted in 1928. Correspondence includes letters written by Alexander to his family from New York and Europe at the start of his career, and later letters from fellow artists, art world leaders, and portrait sitters of Alexander's. Significant correspondents include Charles Dana Gibson, Florence Levy, Frederick Remington, Robert Louis Stevenson, Henry James, John La Farge, Francis Davis Millet, and Andrew Carnegie. Correspondence includes some small sketches as enclosures and illustrated letters.

Certificates and records related to Alexander's career are found in Associations and Memberships, Legal and Financial Records, and Notes and Writings, which contain documentation of Alexander's paintings and exhibitions. Scattered documentation of Alexander's memberships in various arts association exists for the American Academy of Arts and Letters, the American Academy in Rome, the National Academy of Design, the Onteora Club in New York, the Royal Academy of Fine Arts in Munich, Germany, the Ministère de L'Instruction Publique et des Beaux-Arts, the Union Internationale des Beaux Arts et des Lettres, and the Metropolitan Museum of Art. Notes and Writings include speeches written by Alexander, short stories and essays written by his wife, and articles by various authors about Alexander. Extensive documentation of the planning and construction of the Alexander Memorial Studio by the MacDowell Club is found, along with other awards, medals, and memorial resolutions adopted by arts organizations after Alexander's death.

Artwork includes fourteen sketchbooks with sketches related to Alexander's commercial illustration and cartooning, murals, paintings, and travels. Dozens of loose drawings and sketches are also found, along with two volumes and several dozen loose reproductions of artwork, among which are found fine prints by named printmakers. Many sketches are also interspersed throughout the correspondence. Eight Scrapbooks contain mostly clippings, but also scattered letters, exhbition catalogs, announcements, invitations, and photographs related to Alexander's career between 1877 and 1915. Additional Exhibition Catalogs and later clippings, as well as clippings related to the career of his wife and other subjects, are found in Printed Materials.

Photographs include many portraits of Alexander taken by accomplished photographers such as Zaida Ben-Yusuf, Aimé Dupont, Curtis Bell, Elizabeth Buehrmann, and several signed Miss Huggins, who may have been Estelle Huntington Huggins, a New York painter and photographer. Portraits of others include Alexander's friends William Merritt Chase and Edward Austin Abbey. Also found are photographs of groups, juries, family, friends, and studios in New York, Paris, and New Jersey, and a handful of scenic photographs of Polling, Bavaria, where Alexander had an early studio. A large number of photographs of works of art are found, many with annotations. Among the photographs of murals are a small collection of snapshots of the Carnegie Institute murals in progress. Miscellaneous artifacts include a palette, several printing plates, and an inscribed souvenir engraving of a self-portrait caricature of Mark Twain.
Arrangement:
The collection is arranged into 11 series. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Information, circa 1887-1968 (Box 1, OV 23; 0.1 linear feet)

Series 2: Correspondence, circa 1870-1942 (Box 1; 0.7 linear feet)

Series 3: Associations and Memberships, circa 1897-1918 (Box 1; 2 folders)

Series 4: Legal and Financial Records, 1775, 1896-1923 (Box 1; 5 folders)

Series 5: Notes and Writings, circa 1875-1943 (Boxes 1-2; 0.3 linear feet)

Series 6: Awards and Memorials, circa 1870-1944 (Box 2, OV 24; 0.8 linear feet)

Series 7: Artwork, circa 1875-1915 (Boxes 2-3, 6, 14-16, OV 23; 1.5 linear feet)

Series 8: Scrapbooks, circa 1877-1915 (Boxes 17-22; 1.8 linear feet)

Series 9: Printed Materials, circa 1891-1945 (Boxes 3-4, OV 23; 1.5 linear feet)

Series 10: Photographs, circa 1870-1915 (Boxes 4-8, MGP 1-2, OV 25-43, RD 44-45; 4.2 linear feet)

Series 11: Artifacts, circa 1899-1915 (Box 6, artifact cabinet; 0.4 linear feet)
Biographical / Historical:
John White Alexander was born in 1856 in Allegheny City, Pennsylvania. He was orphaned at age five and taken in by relatives of limited means. When Alexander left school and began working at a telegraph company, the company's vice-president, former civil war Colonel Edward Jay Allen, took an interest in his welfare. Allen became his legal guardian, brought him into the Allen household, and saw that he finished Pittsburgh High School. At eighteen, he moved to New York City and was hired by Harper and Brothers as an office boy in the art department. He was soon promoted to apprentice illustrator under staff artists such as Edwin A. Abbey and Charles Reinhart. During his time at Harpers, Alexander was sent out on assignment to illustrate events such as the Philadelphia Centennial celebration in 1876 and the Pittsburgh Railroad Strike in 1877, which erupted in violence.

Alexander carefully saved money from his illustration work and traveled to Europe in 1877 for further art training. He first enrolled in the Royal Art Academy of Munich, Germany, but soon moved to the village of Polling, where a colony of American artists was at its peak in the late 1870s. Alexander established a painting studio there and stayed for about a year. Despite his absence from the Munich Academy, he won the medal of the drawing class for 1878, the first of many honors. While in Polling, he became acquainted with J. Frank Currier, Frank Duveneck, William Merritt Chase, and other regular visitors to the colony. He later shared a studio and taught a painting class in Florence with Duveneck and traveled to Venice, where he met James Abbott McNeill Whistler.

Alexander returned to New York in 1881 and resumed his commercial artwork for Harpers and Century. Harpers sent him down the Mississippi river to complete a series of sketches. He also began to receive commissions for portraits, and in the 1880s painted Charles Dewitt Bridgman, a daughter of one of the Harper brothers, Parke Godwin, Thurlow Weed, Walt Whitman, and Oliver Wendell Holmes. Alexander met his wife Elizabeth, whose maiden name was also Alexander, through her father, James W. Alexander, who was sometimes mistaken for the artist. Elizabeth and John White Alexander married in 1887 and had a son, James, in 1888.

Alexander and his family sailed for France in 1890, where they became a part of the lively literary and artistic scene in Paris at the time. Among their many contacts there were Puvis de Chavannes, Auguste Rodin, and Whistler, who arrived in Paris shortly thereafter. Alexander absorbed the new aesthetic ideas around him such as those of the symbolists and the decorative style of art nouveau. Critics often note how such ideas are reflected in his boldly composed paintings of women from this period, who titles drew attention to the sensual and natural elements of the paintings. His first exhibition in Paris was three paintings at the Société Nationale des Beaux Arts in 1893, and by 1895 he has become a full member of the Société.

Independent and secession artist societies emerged throughout Europe during this period, and Alexander exhibited with several of them, including the Société Nouvelle in Paris, the Munich Secession, and the Vienna Secession. He was also elected an honorary member of the Royal Society of Belgian Artists and the Royal Society of British Painters in London. His exhibited works sold well, and his influence began to be felt back in the United States. Andrew Carnegie and John Beatty of the Carnegie Institute consulted closely with Alexander in the planning and execution of the first Carnegie International Exhibitions. Alexander also became active in supporting younger American artists who wanted to exhibit in Europe, a stance which resulted in his resignation from the Society of American Artists in Paris, which he felt had become a barrier to younger artists. His promotion of American art became an central aspect of his career for the remainder of his life, most visibly through his presidency of the National Academy of Design from 1909 until shortly before his death in 1915. He also served frequently on juries for high-profile exhibitions, and was a trustee at the Metropolitan Museum of Art, the New York Public Library, and the national Institute of Arts and Letters. Around 1912, he helped to form the School Art League in New York, which provided art instruction to high school students.

Alexander returned to the United States nearly every summer while based in Paris, and among his commissioned paintings were murals for the newly-constructed Library of Congress, completed around 1896. In 1901, the Alexanders returned to New York permanently. The demand for portraits continued, and he had his first solo exhibition at the Durand-Ruel Galleries in 1902. Around 1905 he received a commission for murals at the new Carnegie Institute building in Pittsburgh for the astounding sum of $175,000. He created 48 panels there through 1908. During this period, the Alexanders spent summers in Onteora, New York, where Alexander painted his well-known "Sunlight" paintings. There they became friends and collaborators with the actress Maude Adams, with Alexander designing lighting and stage sets, and Elizabeth Alexander designing costumes for Adams' productions such as Peter Pan, the Maid of Orleans, and Chanticleer. The couple became known for their "theatricals" or tableaux, staged at the MacDowell Club and elsewhere, and Elizabeth Alexander continued her design career when her husband died in 1915.

Alexander left several commissions unfinished upon his death at age 59, including murals in Wisconsin, Ohio, and Harrisburg, Pennsylvania. Elizabeth Alexander held a memorial exhibition at Arden Galleries a few months after his death, and a larger memorial exhibition was held by the Carnegie Institute in 1916. Alexander won dozens of awards for artwork in his lifetime, including the Lippincott Prize at the Pennsylvania Academy of the Fine Arts in 1899, the Gold Medal of Honor at the Paris Exposition Universelle in 1900, the Gold Medal at the Panama Pacific Exposition of 1901, and the Medal of the First Class at the Carnegie Institute International Exhibition in 1911. In 1923, the Alexander Memorial Studio was built at the MacDowell colony in New Hampshire to honor his memory.
Provenance:
Papers were donated in 1978 and 1981 by Irina Reed, Alexander's granddaughter and in 2017 by Elizabeth Reed, Alexander's great grandaughter.
Restrictions:
Use of the original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
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:
Muralists -- New York (State) -- New York  Search this
Portrait painters -- New York (State) -- New York  Search this
Works of art  Search this
Portrait painting -- 20th century  Search this
Portrait painting -- 19th century  Search this
Illustrators -- New York (State) -- New York  Search this
Portrait painting, American  Search this
Genre/Form:
Awards
Interviews
Photographs
Sketchbooks
Scrapbooks
Medals
Citation:
John White Alexander papers, 1775-1968, bulk 1870-1915. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.alexjohn
See more items in:
John White Alexander papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-alexjohn
Online Media:

Paintings & illustrations by Edwin Austin Abbey, N. A., R. A., 1852-1911

Author:
Abbey, Edwin Austin 1852-1911  Search this
Author:
National Academy of Design (U.S.)  Search this
Physical description:
[24] leaves 23 illustrations 29 cm
Type:
Electronic resources
Date:
1900
1980
Call number:
N40.1.A124 N27
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_273849

Edwin Austin Abbey letters, 1874-[ca. 1887]

Creator:
Abbey, Edwin Austin, 1852-1911  Search this
Subject:
Prang, Louis  Search this
Topic:
Muralists  Search this
Record number:
(DSI-AAA_CollID)5949
(DSI-AAA_SIRISBib)208792
AAA_collcode_abbeedwi
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208792

Charles Stanley Reinhart drawings

Creator:
Reinhart, Charles Stanley, 1844-1896  Search this
Names:
Abbey, Edwin Austin, 1852-1911  Search this
Extent:
36 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
[ca. 1867-1879]
Scope and Contents:
34 drawings by Charles Reinhart done in pencil, pen, white chalk and gouache. They are chiefly of figures but also include a few landscape sketches. Inscriptions were added by Margaret Mellor Risk ("Auntie Peg"), great niece of the artist. Also included is a sketchbook by Reinhart drawn while in Paris which contains quick sketches, notes on paintings, and notes of sources of historic costumes. The other sketchbook is by Edwin A. Abbey and is signed, "Edwin A. Abbey, New York, exchanged with C.S. Reinhart." This sketchbook, too, contains sketches from Paris and was apparently traded for Reinhart's own Paris sketchbook.
Biographical / Historical:
Painter, illustrator.
Provenance:
Margaret Mellor Risk, great niece of the artist, gave these drawings to her sister, Laura Gault McKean. Mrs. McKean divided them among her three children: Robert Mellor Gault, Louise Mellor Gault, and another son. Louise gave her share to her brother, Robert, who lent this collection for filming. He is a great-great nephew of the artist.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Illustrators  Search this
Painters  Search this
Identifier:
AAA.reinchar
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-reinchar

Andrew Carnegie letters

Creator:
Carnegie, Andrew, 1835-1919  Search this
Names:
Abbey, Edwin Austin, 1852-1911  Search this
Boughton, George Henry, 1834-1905  Search this
Chase, William Merritt, 1849-1916  Search this
Foster, Ben, 1852-1926  Search this
Gilbert, Cass, 1859-1934  Search this
Longfellow, Samuel, 1819-1892  Search this
Millet, Francis Davis, 1846-1912  Search this
Salisbury, Frank O., 1874-1962  Search this
Extent:
16 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1884-1936
Scope and Contents:
Letters to Mr. and Mrs. Andrew Carnegie. Included are four from Edwin A. Abbey concerning the price of one of his paintings and accepting an invitation to visit, one from William M. Chase accepting an invitation, one from Ben Foster praising a portrait which Mr. Roche has painted of Mrs. Carnegie, two from F. D. Millet and two from Cass Gilbert accepting invitations, six from Frank O. Salisbury about a portrait Salisbury painted of Andrew Carnegie, one from Samuel Longfellow explaining that he mistakenly informed Carnegie that a watercolor was by Lord Elgin when in fact it was by Lord Dufferin, and one from George H. Boughton writing for a mutual friend.
Biographical / Historical:
Industrialist, philanthropist.
Provenance:
Microfilmed 1956 by the Archives of American Art with other art-related papers in the Manuscript Division of the New York Public Library. Included in the microfilming project were selected papers of the Art Division and the Prints Division.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters  Search this
Identifier:
AAA.carnandr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carnandr

Metropolitan Museum of Art scrapbooks on American illustrators

Creator:
Card, Helen L. (Helen Luise)  Search this
Names:
Abbey, Edwin Austin, 1852-1911  Search this
Frost, A. B. (Arthur Burdett), 1851-1928  Search this
Keller, Arthur Ignatius, 1866-1924  Search this
Kemble, E. W. (Edward Windsor), 1861-1933  Search this
Reinhart, Charles Stanley, 1844-1896  Search this
Remington, Frederic, 1861-1909  Search this
Smedley, W. T. (William Thomas), 1858-1920  Search this
Extent:
24 Volumes ((on 8 microfilm reels))
Type:
Collection descriptions
Archival materials
Volumes
Date:
1870-1938
Scope and Contents:
A series of scrapbooks compiled by Card on late 19th and early 20th century illustrators and cartoonists, each containing illustrations and political cartoons from magazines, newspapers, and books, together with lists of illustrations, and in some cases critical and biographical articles. Most of the reproductions are from Harper's Weekly and Monthly, Scribner's, and Century. Illustrators represented are Edwin Austin Abbey (2 v., 1871-1929, reel N68-17), Arthur B. Frost (4 v., 1874-1924, reel N68-18), Arthur I. Keller (3 v., 1886-1924, reel N68-23), Edward W. Kemble (6 v., 1880-1919, reels N68-24 & 25), Charles Stanley Reinhart (3 v., 1870-1897, reel N68-31), Frederic Remington (5 v., 1886-1938, reel N68-26), and William Thomas Smedley (1 v., 1880-1910, reel N68-32).
Provenance:
Lent for microfilming 1968 by the Metropolitan Museum of Art.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Illustrators  Search this
Cartoonists  Search this
Topic:
Caricatures and cartoons  Search this
Illustration of books  Search this
Magazine illustration  Search this
Identifier:
AAA.cardhele
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cardhele

Selected art related letters from Historical Society of Pennsylvania's Society Collection

Creator:
Historical Society of Pennsylvania  Search this
Names:
Carey & Hart  Search this
Peale's Museum (Philadelphia, Pa.)  Search this
Abbey, Edwin Austin, 1852-1911  Search this
Abbey, Mary Gertrude, d. 1931  Search this
Alexander, Archibald, 1772-1851  Search this
Allston, Washington, 1779-1843  Search this
Bayley, Frank W.  Search this
Beale, Pennel  Search this
Belcher, Wm. (William)  Search this
Bierstadt, Albert, 1830-1902  Search this
Brodhead, Col  Search this
Burrell, B.  Search this
Carey, Edward L., 1806-1845  Search this
Carey, Henry Charles, 1793-1879  Search this
Catlin, George, 1796-1872  Search this
Ceracchi, Giuseppe, 1751-1801  Search this
Chapman, J. G. (John Gadsby), 1808-1889  Search this
Cheney, John, 1801-1885  Search this
Clarke, Miss  Search this
Claypoole, James, Sr., 1720-1796  Search this
Coleridge, Samuel Taylor, 1772-1834  Search this
Cox, James, 1751-1834  Search this
Curren, Mr  Search this
Darley, Felix Octavius Carr, 1822-1888  Search this
Delaplaine, Joseph, 1777-1824  Search this
Dickinson, John, 1732-1808  Search this
Dillwyn, William, 1743-1824  Search this
Donnehue, Humphrey  Search this
Du Simitière, Pierre Eugène, ca. 1736-1784  Search this
Duane, William J. (William John), 1780-1865  Search this
Dunlap, William, 1766-1839  Search this
Eliot, S.  Search this
Elliott, James B.  Search this
Elwyn, Langdon, Mrs  Search this
Fielding, Mantle, 1865-1941  Search this
Francis, John W. (John Wakefield), 1789-1861  Search this
Gibson, Charles Dana, 1867-1944  Search this
Gillingham, Harrold E. (Harrold Edgar), 1864-1954  Search this
Greenough, Horatio, 1805-1852  Search this
Harding, George, 1882-1959  Search this
Hayes, Charles P.  Search this
Hollingsworth, Levi, 1739-1824  Search this
Hosack, David, 1769-1835  Search this
Howell, Mr.  Search this
Hunt, William Morris, 1824-1879  Search this
Huntington, Daniel, 1816-1906  Search this
Inman, Henry, 1801-1846  Search this
Jackson, William  Search this
Jones, Horatio Gates, 1822-1893  Search this
Jordan, John W. (John Woolf), 1840-1921  Search this
Kimball, Henry H. (Henry Hastings), b. 1835  Search this
Lambdin, James Reid, 1807-1889  Search this
Leidy, Joseph, 1823-1891  Search this
Leland, Charles Godfrey, 1824-1903  Search this
Lippincott, J. B. (Joshua Ballinger), 1813-1886  Search this
Livermore, George, 1809-1865  Search this
Low, Will Hicok, 1853-1932  Search this
Madison, James, 1751-1836  Search this
Marchant, Edward Dalton, 1806-1887  Search this
Martin, John Hill, 1823-1906  Search this
McAllister, John A.  Search this
McMurtrie, James, fl. 1843-1864  Search this
Monaghan, James  Search this
Montgomery, John C., Mrs  Search this
Moody, William H. (William Henry), 1853-1917  Search this
Murray, J.  Search this
Myers, Albert Cook, 1874-1960  Search this
Nathans, Isabella  Search this
Nathans, Rebecca  Search this
Neagle, John, 1796-1865  Search this
Newsam, Albert, 1809-1864  Search this
Ogden, C. S.  Search this
Otis, Bass, 1784-1861  Search this
Paca, John  Search this
Paine, Thomas, 1737-1809  Search this
Peale, Charles Willson, 1741-1827  Search this
Peale, Franklin, 1795-1870  Search this
Peale, James, 1789-1876  Search this
Peale, Mary Jane, 1827-1902  Search this
Peale, Rembrandt, 1778-1860  Search this
Peale, Titian Ramsay, 1799-1885  Search this
Pennell, Joseph, 1857-1926  Search this
Penrose, Clement B. (Clement Biddle), 1832-1911  Search this
Piggot, Robert, 1795-1887  Search this
Randolph, Benjamin, 1737 or 8-1791  Search this
Read, Thomas Buchanan, 1822-1872  Search this
Richards, William Trost, 1833-1905  Search this
Rittenhouse, David, 1732-1796  Search this
Rosenthal, Albert, 1863-1939  Search this
Rossiter, Thomas Prichard, 1818-1871  Search this
Rothermel, Peter Frederick, 1812-1895  Search this
Rush, William, 1756-1833  Search this
Saint-Mémin, Charles Balthazar Julien Fevret de, 1770-1852  Search this
Sartain, John, 1808-1897  Search this
Schoff, Stephen Alonzo, 1818-1904  Search this
Schreiner, Jacob  Search this
Shrigley, James, 1814-1891  Search this
Smith, Russell, 1812-1896  Search this
Snowden, James Ross  Search this
Snyder, W. D.  Search this
Somerville, Dr.  Search this
Stanbridge, J. C.  Search this
Stephens, Charles H., 1855?-1931  Search this
Stone, Frederick D. (Frederick Dawson), 1841-1897  Search this
Stuart, Gilbert, 1755-1828  Search this
Sully, Thomas, 1783-1872  Search this
Syng, Philip, 1703-1789  Search this
Taylor, Frank H. (Frank Hamilton), 1846-1927  Search this
Troth, Henry, 1794-1842  Search this
Trumbull, John, 1756-1843  Search this
Vanderlyn, John, 1775-1852  Search this
Vaux, Mr  Search this
Ward, Townsend, 1817?-1885  Search this
Wells, William Hill, 1769-1829  Search this
Wharton, Geo. M. (George Mifflin), 1808-1870  Search this
Wharton, Mr  Search this
Wharton, Thomas Kelah, 1814-1862  Search this
Williams, Henry, 1828-1893  Search this
Willis, Nathaniel Parker, 1806-1867  Search this
Wilson, Alexander, 1766-1813  Search this
Woodside, John Archibald, 1781-1852  Search this
Wright, Patience Lovell, 1725-1786  Search this
Wylie, Samuel B. (Samuel Brown), 1773-1852  Search this
Extent:
2 Reels (ca. 150 items (on 2 partial microfilm reels))
Type:
Collection descriptions
Archival materials
Reels
Date:
1760-1935
Scope and Contents:
Letters, mainly from artists, and documents selected from the Historical Society of Pennsylvania's miscellaneous manuscript collection (Society Collection). Letters are to various people; 46 of them are to Townsend Ward and a few are to John A. McAllister, photographer. Many of the letters refer to paintings, portraits, commissions, and awards.
Writers of letters include: Edwin Austin Abbey, Mary Gertrude Abbey, F.W. Bayley, Albert Bierstadt, George Catlin, Joseph Ceracchi, John Gadsby Chapman, John Cheney, James Claypool, James Cox, F.O.C. Darley, Joseph Delaplaine, Humphrey Donnehue, William Dunlap, Pierre Eugene Du Simitiere, S. Eliot, Charles Fevret De Saint-Memin, Charles Dana Gibson, Harold Edgar Gillingham, Horatio Greenough, George Harding, Levi Hollingsworth, William Morris Hunt, Daniel Huntington, Henry Inman, Horatio Gates Jones, James Reid Lambdin, Will Hicok Low, Edward Dalton Marchant, William Henry Moody, John Neagle, Albert Newsam, Bass Otis, Thomas Paine, Charles Willson Peale, Franklin Peale, James Peale, Jr., Mary Jane Peale, Rembrandt Peale, Titian Ramsay Peale, Joseph Pennell, Clement Penrose, Robert Piggot, Thomas Buchanan Read, William Trost Richards, Thomas Prichard Rossiter, Peter Frederick Rothermel, William Rush, John Sartain, Stephen Alonzo Schooff (to Townsend Ward), Russell Smith, Charles H. Stephens, Thomas Sully, Philip Syng, John Vanderlyn, N.P. Willis, Alexander Wilson and Patience Wright.
Among the recipients of letters are Archibald Alexander, David S. Brown, William Belcher, Col. Brodhead, B. Burrell, Carey & Hart, Edward L. Carey, Henry C. Carey, Miss Clarke, Mr. Curren, Joseph Delaplaine, John Dickinson, Dr. Dickson, William Dillwyn, William Duane, James B. Elliott, Mrs. Langdon Elwyn, Mantle(?) Fielding, John W. Francis, Charles P. Hayes, David Hosack, Mr. Howell, Major William Jackson, Horatio Gates Jones, John W. Jordan, H.H. Kjmball, C.G. Leland, Joseph Leidy, J.B. Lippincott, George Livermore, James Madison, J. Hill Martin, John McAllister, James McMurtrie, James Monaghan, J. Murray, Albert Cook Myers, Rebecca and Isabella Nathans, John Neagle, C.S. Ogden, John Paca, Charles Willson Peale, Rembrandt Peale, David Rittenhouse, Albert Rosenthal, John Sartain, Jacob Schreiner, James Shrigley, James Ross Snowden, W.D. Snyder, Dr. Sommerville, J.C. Stanbridge, F.D. Stone, Henry Troth, Mr. Vaux, Townsend Ward, William Hill Wells, G.M. Wharton, Thomas Wharton, Henry J. Williams, and Samuel B. Wylie.
Other items include a sonnet of S.T. Coleridge by Washington Allston; business card of Pennel Beale; catalog of medals and coins of silver in the possession of Hon. John Smith compiled by Du Simitière, 1772; printed address by Mrs. John C. Montgomery soliciting donations for the repair of the Pennsylvania Academy of the Fine Arts, destroyed by fire, 1845; William Morris Hunt's admission ticket to Peale's Museum, 1836, stating his height and weight; description of objects on display at the Peale Museum, 1820; a photograph and business card of Benjamin Randolph; invitations and notes to Gilbert Stuart; typescript by Frank H. Taylor on lithography, 1923; subscription book for engravings of paintings by John Trumbull; and a page from John Archibald Woodside's daybook, 1802-1803.
Provenance:
Microfilmed by the Historical Society of Pennsylvania for the Archives of American Art, 1955.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, American  Search this
Art, Modern -- 17th-18th centuries -- United States  Search this
Art, Modern -- 19th century -- United States  Search this
Identifier:
AAA.histsopa
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-histsopa

Alfred Williams Anthony papers

Creator:
Anthony, Alfred Williams, 1860-1939  Search this
Names:
National Arts Club (New York, N.Y.)  Search this
Abbey, Edwin Austin, 1852-1911  Search this
Beard, Daniel Carter, 1850-1941  Search this
Benjamin, S. G. W. (Samuel Greene Wheeler), 1837-1914  Search this
Bierstadt, Albert, 1830-1902  Search this
Blashfield, Edwin Howland, 1848-1936  Search this
Brenner, Victor David, 1871-1924  Search this
Chase, William Merritt, 1849-1916  Search this
Church, Frederic Edwin, 1826-1900  Search this
Coffin, William A. (William Anderson), 1855-1925  Search this
Cole, Thomas, 1801-1848  Search this
Cole, Timothy, 1852-1931  Search this
Cortissoz, Royal, 1869-1948  Search this
Cranch, Christopher Pearse, 1813-1892  Search this
Darley, Felix Octavius Carr, 1822-1888  Search this
Dielman, Frederick, 1847-1935  Search this
Downing, A. J. (Andrew Jackson), 1815-1852  Search this
Eastlake, Charles Lock, Sir, 1793-1865  Search this
French, Daniel Chester, 1850-1931  Search this
Gifford, Sanford Robinson, 1823-1880  Search this
Herbert, Henry William, 1807-1858  Search this
Homer, Winslow, 1836-1910  Search this
Huntington, Daniel, 1816-1906  Search this
Isham, Norman Morrison, 1864-1943  Search this
La Farge, John, 1835-1910  Search this
Leavitt, Edward C., d. 1904  Search this
Linton, W. J. (William James), 1812-1897  Search this
Lossing, Benson John, 1813-1891  Search this
Low, Will Hicok, 1853-1932  Search this
McEntee, Jervis, 1828-1891  Search this
Mills, John Harrison, 1842-1916  Search this
Morse, Samuel Finley Breese, 1791-1872  Search this
Nast, Thomas, 1840-1902  Search this
Opper, Frederick Burr, 1857-1937  Search this
Palmer, Erastus Dow, 1817-1904  Search this
Powers, Hiram, 1805-1873  Search this
Pyle, Howard, 1853-1911  Search this
Read, Thomas Buchanan, 1822-1872  Search this
Rosenthal, Albert, 1863-1939  Search this
Saint-Gaudens, Augustus, 1848-1907  Search this
Sartain, John, 1808-1897  Search this
Smillie, George Frederick Cumming, 1854-1924  Search this
Smith, Francis Hopkinson, 1838-1915  Search this
Taylor, Bayard, 1825-1878  Search this
Trumbull, John, 1756-1843  Search this
Tuckerman, Henry T. (Henry Theodore), 1813-1871  Search this
Volk, Douglas , 1856-1935  Search this
Ward, John Quincy Adams, 1830-1910  Search this
Waters, Clara Erskine Clement, 1834-1916  Search this
Weir, Robert Walter, 1803-1889  Search this
Extent:
2 Microfilm reels (partial microfilm reels)
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
circa1880-1930
Scope and Contents:
The microfilmed Alfred Williams Anthony papers contain letters, autographs, biographical data, and miscellaneous material collected by Anthony about 19th century artists.

Artists represented in the collection include: Edwin A. Abbey, Ernest Albert, Elizabeth A. Allen, Daniel C. Beard, Frank Beard, Samuel G. W. Benjamin, Albert Bierstadt, Nathaniel Blaisdell, Edwin H. Blashfield, Evangeline Blashfield, Charles W. Bolton, Victor D. Brenner, Sydney & Mrs. Burleigh, William M. Chase, Frederic E. Church, Harry Cochrane, William A. Coffin, Timothy Cole, Thomas Cole, Royal Cortissoz, Palmer Cox, Christopher Cranch, Felix O. C. Darley, Frederick Dellenbaugh, Frederick Dielman, Andrew J. Downing, Charles L. Eastlake, George W. Edwards, Daniel C. French, Edmund H. Garrett, Sanford R. Gifford, V. Gribayedoff, Henry W. Herbert, Elbert Hubbard, Daniel Huntington, Laurence Hutton, Ernest L. Ipshen, Norman W. Isham, F. Lynn Jenkins, John La Farge, Edward C. Leavitt, William J. Linton, Benson J. Lossing, Will H. Low, Jervis McEntee, George Merrill, John H. Mills, Thomas Moran, Samuel F.B. Morse, A. R. Mullen, Thomas Nast, National Arts Club, Wilbur F. Noyes,Frederick B. Opper, Mrs. Archie M. Palmer, Erastus D. Palmer, William F. Paris, Carl R. Parker, Hiram Powers, Howard Pyle, Thomas B. Read, Albert Rosenthal, Augustus Saint-Gaudens, John Sartain, Walter Smedley, George F. C. Smillie, Francis H. Smith, Bayard Taylor, Col. Henry S. Taylor, John Trumbull, Henry T. Tuckerman, Union League Club, N.Y., D. B. Updike, Vasili Vereschagen, Charles Vezin, Douglas Volk, D. Everett Waid, John Q. A. Ward, Clara E. Waters, Robert W. Weir, J. Thomson Willing, Ellsworth Woodward, Mabel Woodward, William Woodward, and F. Hammond Wright.
Biographical / Historical:
Alfred Williams Anthony (1860-1939) was a theologian, author, and educator in Lewiston, Maine. He served in various roles for the General Conference of Freewill Baptists, the Maine chapter of the Religious Education Association, and the Committee on Goodwill between Jews and Christians. Anthony also served on the boards of trustees for Bates College, Hillsdale College, and Brown University.
Related Materials:
The New York Public Library Archives and Manuscripts Division holds the Alfred Williams Anthony collection, 1679-1944. Bates College Edmund S. Muskie Archives and Special Collections Library holds the Alfred Williams Anthony papers, 1872-1996 and the Dressler family collection of Alfred Williams Anthony Papers, 1802-1985.
Provenance:
Microfilmed 1956 by the Archives of American Art with other art-related papers in the Manuscript Division of the New York Public Library. Included in the microfilming project were selected papers of the Art Division and the Prints Division.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Educators -- Maine -- Lewiston  Search this
Theologians -- Maine  Search this
Topic:
Art, American  Search this
Identifier:
AAA.anthalfr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-anthalfr

Charles M. Kurtz papers

Creator:
Kurtz, Charles M. (Charles McMeen), 1855-1909  Search this
Names:
Albright Art Gallery (Buffalo, N.Y.)  Search this
American Art Association  Search this
Buffalo Fine Arts Academy  Search this
Exposition universelle internationale de 1900 (Paris, France)  Search this
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
National Academy of Design (U.S.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Saint Louis Exposition and Music Hall Association (1883-1902 : Saint Louis, Mo.)  Search this
Southern Exposition (1885 : Louisville, Ky.)  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Starkweather family  Search this
Abbey, Edwin Austin, 1852-1911  Search this
Avery, Samuel Putnam, 1822-1904  Search this
Cesnola, Luigi Palma di, 1832-1904  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Hallowell, Sara  Search this
Hambidge, Jay, 1867-1924  Search this
Hasbrouck, Du Bois Fenelon, b.1860  Search this
Irwin, Benoni, 1840-1896  Search this
Ives, Halsey Cooley, 1847-1911  Search this
Kurtz, Davis Brook Kurtz, 1826-1906  Search this
Kurtz, Julia Stephenson  Search this
Reid, Alexander  Search this
Rhodes, Charles Ward, d. 1905  Search this
Richardson, Mary Curtis, 1848-1931  Search this
Sedelmeyer, Charles  Search this
Thum, Patty P., 1853-1926  Search this
Wanamaker, John, 1838-1922  Search this
Wickenden, Robert J.  Search this
Photographer:
Pluschow, Guglielmo  Search this
Extent:
27.74 Linear feet
Type:
Collection descriptions
Archival materials
Menus
Photographs
Lithographs
Etchings
Address books
Engravings
Visiting cards
Diaries
Photogravures
Tempera paintings
Oil paintings
Sketches
Date:
1843-1990
bulk 1884-1909
Summary:
The papers of arts administrator, museum director, collector, dealer, and editor Charles M. Kurtz (1855-1909), measure 27.74 linear feet and date from 1843-1990 (bulk dates 1884-1909). The bulk of the collection consists of detailed chronological correspondence between Kurtz and his wife and family, friends, colleagues, and business associates that documents many notable exhibitions, galleries, museums, private collections, as well as cities, people, and events of the period. Also found in the collection are Kurtz's diaries, scrapbooks, printed materials, and photographs.
Scope and Content Note:
The Charles M. Kurtz papers measure 27.74 linear feet and date from 1843 to 1990 with the bulk of the material dating from 1884 to 1909. The bulk of the collection consists of chronological correspondence between Kurtz and his family, most notably his wife, friends, colleagues, and business associates. Kurtz's letters are amazingly detailed and document many notable exhibitions, galleries, museums, private collections, as well as cities, people, and events of the period. The letters between Kurtz and his wife are most interesting for their descriptive commentary on late 19th century life and offer a complete picture of Kurtz's activities. Many of Kurtz's letters to Halsey C. Ives can be found in the Halsey C. Ives Papers. Some of the letters in the collection are illustrated. Also found in the collection are Kurtz's diaries, scrapbooks, printed materials, and photographs.
Arrangement:
The collection is organized into twelve series.

Series 1: Biographical Information, 1885-1931, undated

Series 2: Correspondence, 1843-1940, undated

Series 3: Circulars/Requests for Submissions of Works of Art, 1886-1905

Series 4: Legal Records, 1881-1928

Series 5: Financial Records, 1870-1989, undated

Series 6: Diaries, 1894-1901

Series 7: Notes and Writings, 1872-1980, undated

Series 8: Scrapbooks, 1878-1909

Series 9: Printed Material, 1873-1990, undated

Series 10: Photographs, 1898-1990

Series 11: Photographs of Works of Art, undated

Series 12: Miscellany, undated
Biographical Note:
Charles M. Kurtz's name is known to many scholars and students of American art history. To some he is important for his critical writings, others are interested in his management of exhibitions for the Art Union and the American Art Association. Many are aware of him because of his publication of National Academy Notes, which continued for nine years. Still others are familiar with Kurtz in his role as an art administrator for late 19th century art exhibitions like those at the 1893 Columbian Exposition in Chicago and the St. Louis Fair, or for his accomplishments as the first director of the Albright Gallery in Buffalo, New York. Sometimes researchers have become familiar with his name through the sale catalogue for his considerable collection, which was sold at auction after his death in 1909. His career, which encompassed the last quarter of the nineteenth century and the first decade of the twentieth century, touched on virtually every aspect of art in America during that period.

Born in 1853 to Davis Brook Kurtz (1826-1906), an attorney, and Julia Wilder, Charles Kurtz enjoyed a genteel upbringing. The Kurtz family originated in Darmstadt, Germany, and migrated to America in the eighteenth century. D.B. Kurtz, a leading member of the Lawrence County bar, was also a vice-president of the National Bank of Lawrence County, Pennsylvania. As a local representative of many important railroad and business interests, he accumulated assets estimated at one million dollars by the time of his death, just three years before that of his son, Charles, the eldest of his five children. Unlike his brothers Louis, who also became an attorney, and Edward, a professor at Columbia University, Charles eschewed a professional career to enter the art world, as did his sisters Emily, an artist, and Catherine, a musician.

After his graduation from Washington and Jefferson College in Washington, Pennsylvania, Kurtz visited the Centennial Exposition, held in 1876 in Philadelphia, before coming to New York to study art at the National Academy of Design. These two activities foreshadowed the direction that his career would eventually take. As the chronology indicates, his early efforts revolve around writing for a variety of publications, most notably, his own National Academy Notes. In 1881 he took what was to be the first of many trips abroad to survey the art scene in Europe. Later in his career, his fascination with foreign art and his own entrepeneurial interests led him to become an outspoken opponent of tariffs on imported art.

Kurtz's personal life changed significantly in 1884 when he met Julia Stephenson, a physician's daughter and fledging art student from Harrodsburg, Kentucky. Throughout their courtship and after their marriage the couple was frequently separated. Consequently, they wrote lengthy letters which document not only their personal relationship but also Kurtz's aspirations and activities in the art world.

With his appointment as one of Halsey C. Ives's (1847-1911) chief assistants of the Fine Arts Department of the World's Columbian Exposition in 1891, Charles Kurtz's career achieved international stature. Among the most notable European artists he introduced into this country through circulating exhibitions were the Glasgow School, the Danish School, the Hungarian artist, Mihaly Munkacsy, and the subject of his final exhibition, the Spanish artist, Sorolla.

Throughout his life, Kurtz was plagued by health problems and, in 1899, illness forced him to resign as Assistant Director of Fine Arts for the United States for the Paris Exposition of 1900. Throughout the following decade, his work was increasingly interrupted by ill health. His death in 1909 at the age of 54, while sudden, was not entirely unexpected. However it most certainly cut short a cosmopolitan career that encompassed virtually every aspect of the art world and the pertinent issues of the day.

Kurtz is remembered for his editorial work with the National Academy of Design; as Art Director for the Southern Exposition, 1883-1886, and the St. Louis Exposition, 1894-1899 (where he introduced the Glasgow School of Painting); and as Assistant Chief/Director for the World's Columbian Exposition, the 1900 Paris Exposition, and the 1904 Louisiana Purchase Exposition. He was also director of the Buffalo Fine Arts Academy.

1855 -- Charles McMeen Kurtz born

1876 -- receives B.S. degree from Washington and Jefferson College, Washington, Pennsylvania

1876-78 -- studies at the National Academy of Design, N.Y. with Lemuel Wilmarth and William Morgan; writes a column, "New York Letters," for The Courant published in New Castle, Pennsylvania

1878 -- edits a small daily paper published during a "National Camp Meeting for the promotion of Holiness" held that summer in New Castle, Pa.; its critical stance resulted in his public denouncement and earned him a reputation as a journalist in western Pennsylvania; receives M.A. from Washington and Jefferson College

1878-79 -- becomes the local editor of The Guardian of New Castle

1879 -- publishes The Daily Reporter, a financial success

1881 -- publishes the first issue of National Academy Notes; travels in Europe, spending time in England, Holland, Belgium, Germany, Switzerland, Italy and France (Paris)

1881-82 -- prepares Illustrated Notes for Metropolitan Museum of Art exhibition

1882 -- writes "Art Notes" in The New York Tribune and resigns Dec. 23rd

1882-83 -- accepts position to write for Music and Drama, a new daily paper

1883 -- becomes the general manager of the American Art Union; exhibits a large collection of Art Union paintings in Buffalo, N.Y. and Louisville, Ky., where they became part of the Southern Exposition's first great art display

1883-86 -- accepts offer to become Director of the Art Department, Southern Exposition, Louisville, Kentucky

1884 -- edits Art Union magazine until December; applies for position to head the Art Department of the New Orleans World's Fair in September

1884-86 -- accepts a position offered by the American Art Association; terminates uncongenial relationship in March, 1886

1885 -- writes catalogues for the sale of the George Seney Collection and for the Watts exhibition at the Metropolitan Museum of Art, New York; October 1, marries Julia Stephenson (1861-1931), daughter of Dr. A. T. Stephenson of Harrodsburg, Kentucky; they had two daughters who survived them: Julia Wilder Kurtz (1889-1977), and Isabella Starkweather Kurtz (1901-1991); another daughter, Elizabeth Stephenson Kurtz (1886-1897), predeceased them

1886 -- terminates employment with the Art Association; daughter, Elizabeth Stephenson Kurtz, born

1886-87 -- manages the circulation of Mihaly Munkacsy's Christ Before Pilot for Charles Sedelmeyer to American venues: New York, Boston, St. Louis, Cincinnati, Kansas City, Minneapolis, Saint Paul, Nashville, Phildelphia, Indianapolis; tour generates $90,000 in ticket receipts

1889-91 -- February 24, appointed art critic ("Art Notes") and book reviewer for New York Daily Star; later literary and art editor of the Sunday Star

1890 -- writes for the Sunday edition The Press, a New York paper

1891 -- writes for The World; art editor for The New York Recorder; contributes to the New York Truth

1891-93 -- contributes to Chicago Evening Post ; writes artist biographies for The Chicago Graphic, a regional magazine; appointed Assistant Chief of the Department of Fine Arts of the World's Columbian Exposition

1894 -- contributes column, "Art at the Exposition" to St. Louis Life

1895 -- tours Denmark, Scotland, and France during the summer on behalf of the St. Louis Exposition

1894-99 -- appointed Director of the Art Department of the St. Louis Annual Exposition

1896 -- elected member of The Japan Society, London

1897 -- daughter, Elizabeth (Daisy), dies

1898 -- receives a diploma and medal "in recognition of valuable services in connection with the Fine Arts Exhibit" from the directors of the Trans-Mississippi International Exposition, Omaha

1899 -- appointed Assistant Director of Fine Arts for the United States Commission to the Paris Exposition of 1900; resigned in July due to ill health

1901-04 -- appointed Assistant Chief of the Department of Art of the Louisiana Purchase Exposition, August

1901 -- daughter, Isabella Starkweather Kurtz, born

1902 -- receives honorary Ph.D from Washington and Jefferson College "in recognition of distinguished ability and services as an art critic and writer"

1905 -- receives the cross of the Order of Merit from Prince Ferdinand of Bulgaria; appointed Director, Buffalo Fine Arts Academy and Albright Art Gallery, Buffalo, New York, in January; exhibits Glasgow paintings at Albright Art Gallery from November until the following April

1906 -- writes Academy Notes, a bulletin pubished by the Buffalo Fine Arts Academy and the Albright Art Gallery; father, D.B. Kurtz, dies in Newcastle, Pennsylvania

1907 -- accused of importing German pictures free of duty for exhibition purposes and then selling some for profit

1908 -- Honorary Doctor of Philosophy degree conferred by Washington and Jefferson College

1909 -- Charles M. Kurtz dies in Buffalo, New York on March 21

1910 -- Sale of the private collection of Charles M. Kurtz at auction, Fifth Avenue Art Galleries, February 24-25

1931 -- Widow, Julia Stephenson Kurtz dies October 30

1977 -- Daughter, Julia Wilder Kurtz, dies

1991 -- Daughter, Isabel Starkweather Kurtz, dies in Buffalo, N.Y.; remaining Charles M. Kurtz Papers bequeathed to the Archives of American Art and the National Academy of Design, New York
Related Material:
The St. Louis Exposition/Halsey C. Ives papers in the Archives of American Art contain material relating to Charles M. Kurtz.

Additional Charles Kurtz papers, 1870-1910, including 340 letters which discuss exhibitions, sales of art, patronage, atelier visits, and submissions to publications, and letters to his parents in which he discsses the art market and art world new; as well as manuscripts, notebooks, a diary, and printed ephemera relating to exhibitions and publications, are available at the Getty Research Institute, Research Library, Los Angeles, California.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel 4912) including Charles Kurtz's Glasgow painting diary. The loaned diary was returned to the lender and can now be found at the Yale Center for British Art in New Haven, Connecticut. This material is not described in the collection container inventory.
Provenance:
For many years, the Kurtz Papers were thought to have been destroyed in a fire. Isabel Kurtz, a school teacher who lived with her older sister in Buffalo, New York, was vague when initially approached about her father's papers by Archives Regional Director, Robert Brown in the mid-1980s. However upon her death in 1991, her will revealed that the papers were indeed in her house in Buffalo and the bulk of them were bequeathed to the Archives of American Art. Paintings and a diary relating to the Glasgow School were given to the Yale Center for British Art. That diary has subsequently been duplicated on microfilm and is now also available in the Archives. Scorch marks on some of the papers and also on the paintings given to Yale suggest that there was indeed a fire. The material that was not bequeathed to the Archives included duplicates of printed documents along with books from the Kurtz library and a coin collection, all of which were dispersed in an estate auction that was held in Buffalo in 1991.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
Glasgow painting diary, Microfilm reel 4912: Authorization to publish, quote, or reproduce requires written permission from Yale Center for British Art. 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:
Editors -- United States  Search this
Art critics -- United States  Search this
Arts administrators -- United States  Search this
Topic:
Works of art  Search this
Glasgow school of painting  Search this
Exhibitions -- United States  Search this
Art, Scottish  Search this
Art -- Private collections  Search this
Art criticism  Search this
Art museums -- Buffalo (N.Y.)  Search this
Art -- Collectors and collecting  Search this
Museum directors -- New York (State) -- Buffalo  Search this
Genre/Form:
Menus
Photographs
Lithographs
Etchings
Address books
Engravings
Visiting cards
Diaries
Photogravures
Tempera paintings
Oil paintings
Sketches
Citation:
Charles M. Kurtz papers, 1843-1990 (bulk 1884-1909). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kurtchar
See more items in:
Charles M. Kurtz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kurtchar
Online Media:

Francis Davis Millet and Millet family papers

Creator:
Millet, Francis Davis, 1846-1912  Search this
Names:
Titanic (Steamship)  Search this
Abbey, Edwin Austin, 1852-1911  Search this
Booth, Hilda Millet  Search this
James, Henry, 1843-1916  Search this
Millet, John A. P. (John Alfred Parsons), 1888-1976  Search this
Sargent, John Singer, 1856-1925  Search this
Sharpey-Schafer, Joyce A.  Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Sketchbooks
Travel diaries
Date:
1858-1984
bulk 1858-1955
Summary:
The Francis Davis Millet and Millet family papers measure 3.3 linear feet and are dated 1858-1984, with a few scattered early eighteenth-century items, such as legal documents and printed matter. The bulk of the materials dates from 1858 to 1955. Found are biographical materials, diaries/journals, family letters, notes and writings, art work, printed matter, miscellaneous records, and photographs documenting Millet's wide-ranging artistic and writing career and personal life, including his death aboard the Titanic. Also of interest are approximately twenty ink caricatures attributed to John Singer Sargent.
Scope and Content Note:
The Francis Davis Millet and Millet family papers measure 3.3 linear feet and are dated 1858-1984, with a few scattered early eighteenth-century items, such as legal documents and printed matter. The bulk of the material dates from 1858 to 1955. Found are biographical materials, diaries/journals, family letters, notes and writings, art work, printed matter, miscellaneous records, and photographs documenting Millet's wide-ranging artistic and writing career and personal life, including his death aboard the Titanic. Also of interest are approximately twenty ink caricatures attributed to John Singer Sargent.

Biographical material consists of biographical and genealogical notes; also, memorial resolutions, invitations, and programs with several related items tipped in. Diaries/journals for the period 1858-1911 (16 vols., plus excerpts and transcripts) record Civil War experiences, the Russo-Turkish War, travels throughout Europe, to the northwest United States and Alaska, the Orient, and Panama.

Letters from F. D. Millet to his family date from his years at Harvard, art training in Antwerp, residence in Italy, and service as a correspondent during the Russo-Turkish War. Millet's letters include a few received from friends and associates, original letters sent by Millet to others, along with typescript copies of incoming letters. Also included is a file of letters addressed to Millet and others concerning the purchase and restoration of the Grange, his Broadway studio. There are four letters from Millet to his girlfriend Velma Marie Morse and scattered letters to Velma's father, A.P. Morse, and Fred Chapman. Photocopies of letters from sister Kathleen Millet to her friend Margherita describe her brother's adventures during the Russo-Turkish War, and include an account of his wedding. His sister Lucia Millet's letters to her family were written while she was in England living as a member of her brother's household, and are rich with details of Frank's daily life, work, travels, friends, and the American colony in Broadway. The letters of Lily Millet consist mainly of condolence messages sent upon the death of her husband, but also include letters from Samuel L. Clemens, Henry James, Ellen Terry [Carew], Charles Dudly Warner, her children, and others.

Included in the collection are Millet's extensive research notes about costumes and artifacts of various historical periods and locations that served as reference for details in his murals. Also included are his notebooks about Italian art, Bulgarian history and costume, and the Philippines. Writings by Millet consist of articles, short stories, lectures and speeches. Writings about him include texts by various relatives (all but one are unpublished). The most extensive written piece is by niece Hilda Millet Booth and son John [Albert] Parsons Millet, and is accompanied by early drafts, notes, and related correspondence.

Art work by Millet includes twelve volumes of sketchbooks dating from his student days in Antwerp through 1896, along with loose sketches, drawings, and two watercolors. Most were executed while traveling, and include landscapes, building, and local peoples. Works by other artists include 20 caricatures drawn in ink, attributed to John Singer Sargent.

Among the printed matter are newspaper articles by F. D. Millet, along with clippings about or mentioning him, reproductions, exhibition catalogs and announcements. Of interest are Vienna Exposition memorabilia, and a full length biography, Soldier of Fortune: F. D. Millet, 1846-1912 by granddaughter Joyce A. Sharpey-Schafer. Miscellaneous records include drawings sketches, notes, printed matter, and photographs relating to the Abbot's Grange in Broadway that served as Millet's studio.

Photographs of people include F. D. Millet, his father Asa Millet with granddaughter Kate, and Mary Anderson. Photographs of works of art are by Millet and other artists.
Arrangement:
The collection is arranged into eight series:

Series 1: Biographical material, circa 1864-1934 (Box 1, OV 5; 6 folders; Reel 5903)

Series 2: Diaries/Journals of Francis Davis Millet, 1858-1911 (Box 1; 0.5 linear ft.; Reels 5903-5904)

Series 3: Letters, 1867-1915, undated (Boxes 1-2; 0.5 linear ft.; Reel 5904)

Series 4: Notes and Writings, 1891-1970, undated (Box 3; 1.0 linear ft.; Reels 5904-5906)

Series 5: Art Work, 1872-1908, undated (Box 4; 0.5 linear ft.; Reels 5906-5907)

Series 6: Printed Matter, 1764-1984, undated (Box 4; 0.25 linear ft.; Reel 5907 and unfilmed)

Series 7: Miscellaneous Records, 1724-1897, undated(Box 4; 7 folders; Reel 5907)

Series 8: Photographs, circa 1883-circa 1910, undated (Box 4; 7 folders; Reel 5907)
Biographical Note:
During his lifetime, Francis Davis Millet (1846-1912), always known as Frank, was a prominent artist who was well known for murals that contained exactingly accurate historical details. His broad-ranging career included work with worlds' fairs in Vienna, Chicago, Paris, and Tokyo as a juror, administrator, mural painter/decorator, or advisor. In addition, Frank Millet was a newspaper writer who published short stories and enjoyed adventures as a war correspondent during the Russo-Turkish War and in the Philippines during the Spanish American War.

Millet was among the founders of the School of the Museum of Fine Arts, Boston, and was influential in the early days of the American Federation of Arts. Millet was involved with the American Academy in Rome from its inception and served as Secretary from 1904-1911. In 1911, Millet went to Rome as Chief Administrator of the newly combined Schools of Fine Arts and Classical Studies. He died aboard the Titanic while traveling to New York City on Academy business.

1846 -- born in Mattapoisett, Mass.

1864 -- enlisted as a private in the 60th Massachusetts Militia during Civil War, serving as a drummer; also acted as a surgical assistant to his physician father in the army of the Potomac

1869 -- graduated from Harvard University, where he studied modern languages and literature

1869-1870 -- learned lithography while working on the Boston Advertiser

1871-1872 -- studied at the Royal Academy of Fine Arts, Antwerp, where he won the silver medal (1871) and was awarded the gold medal (1872); traveled through Germany with 3 other American Students

1873 -- Secretary to Charles Francis Adams, Jr., Massachusetts' commissioner to the Vienna Exposition member of the Vienna Exposition; jury correspondent for the New York Herald and the New York Tribune; traveled through southern Europe and Turkey

1873-1874 -- traveled in Greece, Italy, Switzerland, and Germany

1875 -- toured Italy; returned to Boston and set up a studio on Tremont Street

1876 -- exhibited The Bay of Naples at the Philadelphia Centennial Exposition, where he represented the Boston Advertiser and was a correspondent for the American Architect and Building News; assisted John La Farge in decorating Trinity Church, Boston; founded the School of the Boston Museum of Fine Arts with La Farge and W. M. Hunt

1877 -- exhibited portraits of Charles Francis Adams, Jr. and Samuel L. Clements at the National Academy of Design

1877-1878 -- special war correspondent to the New York Herald and Times of London, and special artist to the London Graphic, reporting on the Russo-Turkish War; Russia awarded him the Cross of St. Stanislaus and the Cross of St. Anne for military advice and exceptional service (informing Russian officers of a ford that would allow them to cross into Turkey more easily) and the Iron Cross of Romania

1878 -- returned to Paris to paint; served on fine arts jury at the Exposition Universelle in Paris; exhibited in the Paris Salon and at the British Royal Academy

1879 -- married Elizabeth (Lily) Greeley Merrill in Paris; returned to the United States, settling in East Bridgewater, Mass., where he set up a studio that included an accurate reconstruction of a colonial era kitchen

1880 -- lectured on costumes at the School of the Museum of Fine Arts, Boston; birth of daughter, Katharine Field; became a member of the Society of American Artists; worked with Louis Comfort Tiffany on the decoration of the Seventh Regiment Armory, New York City

1881 -- shared studio in New York with Edwin Austin Abbey; birth of son, Edwin Abbey; commissioned by the Class of 1861 to design two windows for Harvard University Memorial Hall

1882 -- traveled in northern German and Scandinavia with Edwin Austin Abbey and R. Swain Gifford; elected an Associate member of the National Academy of Design

1883 -- traveled to England

1884 -- birth of Laurance, in London; settled with family in Broadway, Worcestershire (spending the winters of the next decade in New York); along with Edwin Austen Abbey, John Singer Sargent, and Alfred Parsons, he established a colony that at various times included Edwin Howland Blashfield, Lawrence Alma-Tadema, and Henry James, along with various other writers, actors, musicians

1885 -- traveled with Charles Francis Adams, Jr. throughout the U.S. and its territories, and to Mexico; elected a National Academician, National Academy of Design

1886 -- purchased "Russell House," that became his permanent home in Broadway, Worcestershire; and moved studio to "Abbot's Grange"

1887 -- translated "Sebastopol" by Tolstoy from French to English for publication

1888 -- birth of John Alfred Parsons

1889 -- awarded silver medal, Salon des Artistes, Paris

1890 -- published a collection of short stories, A Capillary Crime and Other Tales; purchased the "Abbot's Grange" that had been serving as his studio for the previous four years

1891 -- elected vice-president of National Academy of Design; for Harper's Magazine traveled with Alfred Parsons and Poultney Bigelow on a trip down the Danube in one-man canoes, from the Black Forest to the Black Sea (their illustrated narrative was published in the magazine, Feb.-May 1892; the following year, it appeared in book form as From the Black Forest to the Black Sea)

1892-1893 -- director of decorations for the White City of the World's Columbian Exposition, acting as a close advisor to the fair's architect Daniel Burnham; served on New York jury of the Columbian Exposition; once the Exposition opened, he served as Director of Functions and Ceremonies and also provided public relations and advertising services

1897 -- completed restoring "Abbot's Grange" to its 16th century appearance; completed lunette, Agriculture, commissioned for the Bank of Pittsburgh

1898 -- went to the Philippines to cover the Spanish American War as a special correspondent to Harper's Weekly, the London Times, and the New York Sun

1899 -- published Expedition to the Philippines, P. Bigelow, co-author

1900 -- appointed U. S. representative to the Paris Universal International Exposition where he was in charge of decoration of the Government Pavilion, and was a member of the Jury of Selection and the Fine Arts Jury; awarded Chevalier de la Legion of Hounneur by the French government in appreciation for his services to the Paris Exposition

1905 -- traveled to northwest United States, Alaska, and British Columbia; completed mural, The Treaty of the Traverse des Sioux, July 23, 1851, commissioned for the Minnesota State Capitol; became a charter member of the American Academy in Rome

1906 -- traveled to North Africa, Italy, and France

1907 -- completed mural, The Fourth Minnesota Regiment Entering Vicksburg, July 4, 1863, commissioned for the Minnesota State Capitol; completed mural, Foreman of the Grand Jury Rebuking the Chief Justice of New Jersey, 1774, commissioned for the Essex County Courthouse, Newark, New Jersey; traveled to Cuba

1908 -- completed The History of Shipping from the Earliest Recorded Use of Boats until the Present Time commissioned to decorate the ceiling of the Custom House, Baltimore; traveled to Japan as Special Commissioner to the proposed World's Fair in Tokyo [the fair was never held]; awarded "First Class Order of the Sacred Treasure" by the Japanese government; additional travel to Germany, Italy, Russia, Turkey, and China; elected Secretary of the American Academy in Rome; elected a member of the National Institute of Arts and Letters

1909 -- completed frieze of 13 panels, The History of the Settlement of Ohio, and several portraits commissioned by the Cleveland Trust Company; also responsible for the general color scheme of the building; completed frieze of 35 panels, The History of Mail Delivery, commissioned for the Post Office in the Federal Building, Cleveland; also responsible for determining the general color

1910 -- influential in the founding of the American Federation of Arts; served as its Secretary until his death; appointed to Federal Commission of Fine Arts; elected a member of the American Academy of Arts and Letters

1911 -- completed lunettes, The Repulse of the Dutch, September 3, 1609, and The Purchase of the Land, 1658, and 12 small historical panels, commissioned for the Hudson County Courthouse, Jersey City, New Jersey; also responsible for the general color scheme of the building; traveled to Panama with Lily and Mr. and Mrs. C. F. Adams, Jr.; elected Vice Chairman of the Fine Arts Committee, American Academy in Rome; moved to Rome to serve as Chief Administrator of the consolidated schools of the American Academy in Rome and the American School of Classical Studies in Rome following the death of Charles F. McKim (Millet was a charter member and had served as Secretary since its inception)

1912 -- died aboard the S. S. Titanic, while heading to New York City on American Academy in Rome business
Related Material:
Found within the holdings of the Archives of American Art are several collections related to Francis Davis Millet, including five letters from Millet to Miss Ward and "Ticknor" and a collection of Francis Millet Rogers research material regarding Francis Davis Millet. The Philip Martiny papers contains two group photographs that include F. D. Millet. A letter describing a visit to Millet's studio is among the William Cushing Loring Papers. The American Academy in Rome records include documents created by F. D. Millet in his capacity as Secretary from 1904-1907 and as Chief Administrator in Rome, 1911-1912.
Separated Material:
The Archives of American Art also holds material lent for microfilming. Charles S. Millet loaned photographs, biographical information, and miscellaneous items in 1974 (reel 849). In 1976, he loaned an album of photographs of F. D. Millet's murals in the Baltimore Customs House, with related printed matter (reel 1080). Lent materials were returned to Charles S. Millet.
Provenance:
The Francis Davis Millet and Millet family papers were received between 1974 and 1996 from several family members. Most were gifts from Dr. John A. P. Millet, son of F. D. Millet, in 1974 and 1976. In 1974, Charles S. Millet, grandnephew of F. D. Millet, donated a copy of his brief biography he wrote on F. D. Millet and lent materials for microfilming. Also in 1974, Mrs. William King, granddaughter of F. D. Millet gave photographs of F. D. Millet and his art work, along with various printed matter. Additional letters to F. D. Millet were given by grandson, Frank D. Millet, in 1977.

In 1987, granddaughter Joyce A. Sharpey-Schafer donated documents she had used while writing a biography of Millet. In 1996, David M. Emerson, grandnephew of F. D. Millet, donated loose sketches and miscellaneous printed matter.

In 2003, additional letters were donated by grandsons Mr. Harry Flynn and Frank D. Millet, and again in 2006 by Frank D. Millet.
Restrictions:
Use of originals 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  Search this
Topic:
Mural painting and decoration  Search this
Works of art  Search this
Art -- Study and teaching  Search this
Russo-Turkish War, 1877-1878  Search this
Artists' studios  Search this
United States -- History -- Civil War, 1861-1865  Search this
Painting, American  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Travel diaries
Citation:
Francis Davis Millet and Millet family papers, 1858-1984 (bulk 1858-1955). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.millfran
See more items in:
Francis Davis Millet and Millet family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-millfran
Online Media:

Edwin Austin Abbey letters

Creator:
Abbey, Edwin Austin, 1852-1911  Search this
Names:
Prang, Louis, 1824-1909  Search this
Extent:
6 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1874-[ca. 1887]
Scope and Contents:
2 letters to Louis Prang, 1 letter to Miss Tracy, 1 letter to Senator Clark, and 2 letters to unidentified people.
Biographical / Historical:
Painter, illustrator, mural painter.
Provenance:
All material except letter to "Miss Tracy" donated 1955-1962 by Charles E. Feinberg, an active donor and friend of AAA. Letter to "Miss Tracy" purchased through funds donated by Thomas Steele, 1956.
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:
Illustrators  Search this
Painters  Search this
Topic:
Muralists  Search this
Identifier:
AAA.abbeedwi
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-abbeedwi

National Academy of Design records

Creator:
National Academy of Design (U.S.)  Search this
Names:
American Federation of Arts  Search this
Abbey, Edwin Austin, 1852-1911  Search this
Durand, Asher Brown, 1796-1886  Search this
Lanyon, Ellen  Search this
Ranger, Henry Ward, 1858-1916  Search this
Extent:
92.7 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Scrapbooks
Interviews
Date:
1817-2012
Summary:
The records of New York City's National Academy of Design measure 92.7 linear feet and date from 1817-2012. The records pertain to all three constituents of the tripartite organization consisting of the Academy, a membership body of artists founded in 1825; the school, founded at the same time to promote arts education; and the exhibition program, inaugurated in 1826. Extensive administrative records include minutes, committee files, director files, annual reports, constitutions, and correspondence and subject files of council officers. Exhibition records, also substantive, date to the Academy's first annual exhibition and include gallery and special exhibitions, as well as exhibitions at the Academy's museum, established in 1979. The collection also includes gifts and funding files, especially relating to endowments and prizes; membership records; National Academy Association records; Ranger Fund assignments; extensive files pertaining to the school's administration, courses of instruction, registrations, and attendance; twenty scrapbooks containing clippings and ephemera; Society of American Artists records; correspondence and ephemera from other organizations; transcripts from oral histories with Academy members; extensive photographic material documenting artists, members, the school, exhibitions, buildings, and artwork created by Academy members; artist files containing correspondence, writings, and sketches from those associated with the Academy; and assorted printed material and ephemera.
Scope and Contents:
The records of New York City's National Academy of Design measure 92.7 linear feet and date from 1817-2012. The records pertain to all three constituents of the tripartite organization consisting of the Academy, a membership body of artists founded in 1825; the school, founded at the same time to promote arts education; and the exhibition program, inaugurated in 1826. Extensive administrative records include minutes, committee files, director files, annual reports, constitutions, and correspondence and subject files of council officers. Exhibition records, also substantive, date to the Academy's first annual exhibition and include gallery and special exhibitions, as well as exhibitions at the Academy's museum, established in 1979. The collection also includes gifts and funding files, especially relating to endowments and prizes; membership records; National Academy Association records; Ranger Fund assignments; extensive files pertaining to the school's administration, courses of instruction, registrations, and attendance; twenty scrapbooks containing clippings and ephemera; Society of American Artists records; correspondence and ephemera from other organizations; transcripts from oral histories with Academy members; extensive photographic material documenting artists, members, the school, exhibitions, buildings, and artwork created by Academy members; artist files containing correspondence, writings, and sketches from those associated with the Academy; and assorted printed material and ephemera.

The Academy minutes and committee files consist of official, original, and transcribed proceedings for the council, annual, business, and some committee meetings, as well as related correspondence, reports, financial documents, notes, drafts, and ballots pertaining to the Academy's administration and activities from its 1825 founding until 2006. As an organization actively engaged in the development of art and art education in the United States, the Academy minutes and committee files are a valuable resource on subjects and topics in the Academy's history; in particular, its founding, administration, school, and exhibition program.

Director files date from 1942-1990 and document the activities of four of the Academy's chief administrators, including Vernon Porter (1950-1966), Earl Tyler (1966-1967), Alice Melrose (1967-1977), and John H. Dobkin (1978-1990). Items include correspondence, memoranda, minutes, and printed material.

Annual reports, dating from 1828-2003, summarize the activities of the Academy over the course of a year, and may include presidents' reports, treasurers' reports, audits of financial operations by public accountants, and printed annual reports containing summaries from multiple council officers. Information pertains to the year's activities including finances, exhibitions, membership, the school, committee activities, awards, and other business.

Academy constitutions date from 1826-2012 and include the printed constitutions and by-laws as well as constitutional proposals. Constitutions and by-laws name the current council officials, professors, academicians, associates, and honorary members, and state the mission and guidelines for operation in regards to membership, officers, annual meetings, elections, school, exhibitions, and how the constitution can be amended or altered. Constitutional proposals contain amendment drafts, alterations, and related correspondence.

Council officer files, dating from 1848-1980, contain the correspondence and subjects files of Academy officers—presidents, vice presidents, corresponding secretaries, and treasurers—concerning all matters of Academy business and operations including membership, gifts and funds, the federal charter, exhibitions, juries, the school, scholarships, committee affairs, anniversaries, publicity, administrative matters, resignations, and relationships with other organizations.

General administrative files date from 1825-1982 and include ledgers, certificates, correspondence, and legal documents pertaining to the Academy's founding, building, financial accounts, art collection, and other administrative matters.

Exhibition files, dating from 1826-2003, document the Academy's long exhibition history and includes annual, gallery, special, and museum exhibitions. Files may include exhibition catalogs, photographs, press clippings, sales records, and correspondence related to jury selection, awards and prizes, and logistical planning. Files pertaining to the Academy's annual exhibitions comprise a bulk of the series. Held since 1826, the Annuals were organized and curated by Academy members, and considered to be an important and sweeping survey of contemporary American art.

Gifts and funding files date from 1860-2009 and include financial documents, ledgers, legal material, and correspondence concerning the bequests, endowments, donations, and other gifts that financed the operations of the Academy and school. A significant number of records pertain to the Abbey Trust Fund and the Archer M. Hunting Fund.

Membership files, 1826-2012, document Academy members, honorary members, fellows, and the nominations and elections whereby members were voted into the Academy. Materials include registers, certificates, nomination ledgers and proposals, candidate biographies, and ballots.

The National Academy Association files date from 1911-1959 and contain a constitution, plan, and agreement, as well as correspondence, meeting minutes, and reports for the Association, incorporated in 1912 with the aim to erect a building shared by several New York art societies. At the time of incorporation, the Association consisted of members from the National Academy of Design, American Water Color Society, American Institute of Architects, Architectural League of New York, New York Water Color Club, National Sculpture Society, Municipal Art Society, Society of Beaux-Arts Architects, Mural Painters, Society of Illustrators, and a number of city representatives and citizens.

The Ranger Fund assignment files, 1919-2008, document the distribution of artworks by living American artists to institutions throughout the United States, in accordance with the will of Henry Ward Ranger. The Ranger Fund was initiated to stimulate public interest in the work of contemporary American painters in 1919, when the Academy received a bequest from Henry Ward Ranger, totaling $400,000. Ranger stated in his will that the capital should be invested and the income used as a purchase fund to facilitate gifts of paintings by living American artists to arts institutions throughout the United States. Files document the assignment of particular works of art to institutions through the official agreement, related correspondence, and in some instances, photographs of the artwork.

Extensive school records, dating from 1826-2008, contain administrative files, enrollment records, course files, student affairs files, and printed material documenting all aspects of the school's activities aligned with the Academy's mission to educate aspiring professional artists. A bulk of this series consists of student course registrations, documented in registers, then on index cards beginning in the 1930s. While information collected varied over the decades, registrations document student names and the year, and may additionally include course name, instructor, and cost.

Twenty Academy scrapbooks document the organization's activities from 1828-1939 and include clippings and ephemera. Three of the scrapbooks are devoted to specific topics, including one for the Society of American Artists, one for both the Society of American Artists and the Society of American Fakirs, and one for the Academy's centennial exhibition.

The Society of American Artists files, 1878-1906, document the formation of the Society as a departure from the Academy in 1877, its independent operations and activities, and its eventual consolidation with the Academy in 1906. The Society's members have included Edwin Abbey, James Carroll Beckwith, Mary Cassatt, William Merritt Chase, Thomas Eakins, George Inness Jr., John La Farge, Albert Pinkham Ryder, among many others.

Files from other organizations date from 1817-1997 and may include correspondence, ledgers, and printed material. Many of these organizations had business with the Academy, and records pertain to events, meetings, and exhibitions. Notable organizations include the American Academy of Fine Arts, American Federation of Arts, American Watercolor Society, Art Students League, Fine Arts Federation of New York, Metropolitan Museum of Art, New York Etching Club, Pennsylvania Academy of Fine Arts, and Salmagundi Club.

Oral history transcripts date from 2002-2007. Eight comprehensive interviews, conducted by Avis Berman for the Academy, are with Academy members and cover all aspects of the artists' lives, including family, early life, beginning career, mentors, contemporaries, influences, patrons, awards, residencies, as well as the artists' relationship with the Academy. The interview transcripts provide first-hand accounts of the organization, particularly from circa 1940 up to the time of the interview. Artists interviewed include Will Barnet, Hyman Bloom, Richard Haas, Ellen Lanyon, Jules Olitski, Bernard Olshan, Paul Resika, and Dorothea Rockburne.

Photographic material, dating from 1845-2010, includes a wide variety of formats and processes including 19th and 20th photographic prints, glass plate negatives, copy prints, contact sheets, slides, and 35mm negatives. Subjects include artists and others associated with the Academy, the school, exhibitions and events, Academy buildings, artwork, and reference photographs. Many 19th century photographs contain descriptive annotations. Supplementary inventories and guides prepared by Academy archivists are scattered throughout the series.

Artist files date from 1826-2004 and include the correspondence, writings, manuscripts, diaries, exhibition catalogs, and clippings of many notable artists involved with the Academy, including Asher B. Durand and Rembrandt Peale. Of particular note are two notebooks Durand gifted to the Academy, both containing notes and sketches from anatomy lectures.

While printed material is scattered throughout, the final series collects a small number of additional announcements, brochures, clippings, illustrations, and other ephemera not filed in other series.
Arrangement:
The collection is arranged as nineteen series.

Series 1: Minutes and Committee Files, 1825-2006 (11.5 linear feet; Boxes 1-11, BV 100-106)

Series 2: Director Files, 1942-1990 (0.5 linear feet; Box 11)

Series 3: Annual Reports, 1828-2003, circa 2010 (2.1 linear feet; Boxes 11-13, OV 139-142)

Series 4: Constitutions, 1826-2012 (1.1 linear feet; Boxes 13-14)

Series 5: Council Officers, 1848-1980 (4 linear feet; Boxes 14-18)

Series 6: General Administration, 1825-1982 (0.6 linear feet; Boxes 18, 126)

Series 7: Exhibitions, 1826-2003, 2008 (14.4 linear feet; Boxes 18-33)

Series 8: Gifts and Funding, 1860-2009 (4.1 linear feet; Boxes 33-37)

Series 9: Membership, 1826-2012 (3.4 linear feet; Boxes 37-39, 127-131)

Series 10: National Academy Association, 1911-1959 (0.4 linear feet; Box 39)

Series 11: Ranger Fund Assignments, 1919-2008 (4.3 linear feet; Boxes 39-44)

Series 12: School, 1826-2008 (28.5 linear feet; Boxes 44-56, 68-99)

Series 13: Scrapbooks, 1828-1939 (4 linear feet; Box 56, BV 107-125)

Series 14: Society of American Artists, 1878-1906 (0.8 linear feet; Boxes 56-57)

Series 15: Other Organizations, 1817-1997 (1.8 linear feet; Boxes 57-59, 131)

Series 16: Oral History Transcripts, 2002-2007 (0.7 linear feet; Box 59)

Series 17: Photographic Material, 1845-2010 (6.1 linear feet; Boxes 60-63, 131-138, OV 143-144)

Series 18: Artist Files, 1826-2004 (3.5 linear feet; Boxes 63-66)

Series 19: Printed Material, 1839-1954 (0.4 linear feet; Boxes 67, 131, OV 145)
Biographical / Historical:
The National Academy of Design (1825- ) based in New York City, is a tripartite organization consisting of a membership body of artists, a school, and an exhibition program. The Academy was founded in 1825 by a group of professional artists with the mission to promote the fine arts in America through exhibition and education. Originally named the New York Drawing Association, the Academy was the first organization in the United States established and managed by professional artists. Samuel F.B. Morse, the Academy's first president, was influenced by the organization of the Royal Academy in London, which was comprised of professional artist members and elected government council, an art school, and a venue for exhibitions. After unsuccessful negotiations to unite with the American Academy of Fine Arts, the New York Drawing Association reformed as the National Academy of The Arts of Design on January 19, 1826. Among the founders were mostly young artists who became prominent figures in American art, including Frederick S. Agate, Thomas Cole, Thomas S. Cummings, Asher B. Durand, John Frazee, Charles C. Ingham, Henry Inman, Gerlando Marsiglia, Samuel F. B. Morse, Samuel L. Waldo, and Charles Cushing Wright.

The first Academy members were elected in January 1826, and levels of membership were established shortly thereafter. Originally there were four levels of Academy membership: associates, academicians, artists, and honorary corresponding members. The category of artists was eliminated in 1829, and the honorary member category, established to recognize American artists living outside New York, distinguished foreign artists, and patrons and friends of the Academy, was eliminated in 1862 (the constitution was not amended with this change until 1896). Since 1869, the residency requirement for election to active membership was eliminated and membership was opened to all American artists. In 1920, the classification of honorary corresponding member was re-introduced to recognize representatives of other national academies. With the 1997 constitution, the honorary corresponding member classification was again eliminated, and in 1994 the associate category was eliminated.

Artists are proposed for membership by academicians through the membership committee and are elected for life by a sixty percent majority, based on recognized excellence and significant contributions to the field. Procedures and rules for nominating and choosing new academicians changed over the years, as detailed in the constitutions. Associates were at one time required to present a portrait of themselves upon election and academicians were required to provide an additional representative work upon election. With the elimination of the category of associate in 1994, only one representative work is currently required. These works of art become part of the Academy's permanent collection.

The original classes of professional artists were painting, sculpture, architecture, and engraving. These professional classes were modified over the years. In 1936 the engraving class was made more comprehensive, including all of the graphic arts. Watercolor was added as a class in 1943 and was codified in the 1945 constitution. However, the division into five distinct classes started to create difficulties in how specific works of art were to be categorized. In 1981 the council eased the rules regarding separate media classification so that members could submit a work in any medium to the annual exhibitions regardless of the class to which they had been elected. The constitution of 1994 restated four professional classes—painting, sculpture, graphics, and architecture—which were further reduced in the 2011 constitution to two: visual arts and architecture.

Until 2009, the governing body of the Academy was the council. The seven officers of the council were president, vice-president, treasurer, assistant treasurer, corresponding secretary, assistant corresponding secretary and recording secretary, all of whom were required to be academicians. In 2009, a new constitution provided for a board of governors, replacing the council. The five officers of the board of governors are chair, vice-chair, president, vice-president, and treasurer. Only the offices of president and vice-president are required to be held by academicians.

Central to the Academy's mission, the school began with an anatomy lecture for the New York Drawing Association, delivered by Dr. Frederick G. King in November 1825. The first drawing session took place in November 1826 in the Old Alms House at City Hall Park with two academicians and twenty students. In the school's early years, professional artists met with students to draw from plaster casts of antique sculpture in the academic tradition. Both lectures and studio training were central the school's early curricula. Life classes, the practice of drawing from live models, were introduced in 1837, but only to advanced male students. A life class for women was not instituted until 1857, even though women were allowed membership to the Academy since its beginning. Due to financial difficulties at the Academy, the school was forced to move locations and shut down its operations for extended periods. Mounting dissatisfaction and frustration led several students and Lemuel E. Wilmarth, one of the school's leaders and first full-time professional instructor, to leave the Academy in 1875 and form a new school, the Art Students League. While charging tuition was unpopular, the Academy realized that it was necessary to ensure the school's sustainability, and implemented fee structures with varying success over the second half of the 19th century and first half of the 20th. Eventually, tuition was established by 1951, when the school was reopened at a new location, 5th Avenue and 89th Street.

Exhibitions have always been an important activity for the Academy, even prior to the opening of the National Academy Museum in 1979. Since 1826, the Academy has held annual exhibitions intended to reflect contemporary art currents in America. Any American artist was eligible to submit work to be reviewed by a jury of selection, comprised of academicians. Throughout the 19th century, the annual exhibitions at the Academy were one of the most significant and influential in the country. The selection process for these exhibitions was a critical topic, at times actively discussed in the press, and continually undergoing modification and change. In addition to the Annuals, the galleries of the Academy were often rented or loaned to outside organizations such as the American Watercolor Society, Audubon Artists, and the National Association of Women Artists. The galleries also mounted special exhibitions curated by its members and hosted a certain number of travelling exhibitions organized by other museums or art organizations. The museum, opened in 1979, hosted and presented major exhibitions, many focusing on historic European subjects.

Official Names of the Academy 1825-2017

1825 -- The New York Drawing Association

1826 -- The National Academy of The Arts of Design

1828 -- The National Academy of Design

1997 -- The National Academy Museum and School of Fine Art

2017 -- The National Academy of Design

National Academy of Design Meeting, Exhibition, and School Locations

1826 -- Old Alms House at City Hall Park in lower Manhattan

1827-1830 -- Chambers Street over the Arcade Baths

1831-1840 -- Corner of Nassau and Beckman Streets, the Mercantile Library on the third floor of Clinton Hall

1841 to 1849 -- 346 Broadway (at Leonard Street), the third and fourth floors of the New York Society Library

1850-1854 -- 663 Broadway, where the Academy erected a suite of six galleries

1855-1856 -- 548 Broadway (over Dr. Chapin's Church)

1857 -- 663 Broadway

1858-1861 -- 10th Street and 4th Avenue, the upper floor of a building

1861-1863 -- 625 Broadway, the Institute of Art

1865-1899 -- 23rd Street and Fourth Avenue (now Park Avenue South)

1899-1940 -- 109th Street and Amsterdam Avenue; exhibition galleries at 215 West 57th Street

1940-2017 -- 1083 Fifth Avenue at East 89th Street
Provenance:
The bulk of the collection was donated by the National Academy of Design in 2018. The trustees' ledger book in series 6 was donated in 1979 by Warder Cadbury of the Adirondack Museum; it is unclear how Cadbury acquired the ledger. Microfilm reels 798-799 containing transcriptions of minutes were given to the Archives by Lois Fink in 1974.
Restrictions:
This bulk of 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.
Function:
Art Schools -- New York (State) -- New York
Arts organizations -- New York (State) -- New York
Genre/Form:
Drawings
Scrapbooks
Interviews
Citation:
National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.natiacad
See more items in:
National Academy of Design records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-natiacad
Online Media:

[Cavalier] [graphic] / Edwin Austin Abbey, 1890

Creator:
Abbey, Edwin Austin, 1852-1911  Search this
Topic:
Muralists  Search this
Record number:
(DSI-AAA_CollID)7099
(DSI-AAA_SIRISBib)209232
AAA_collcode_abbeedwi2
Theme:
Ephemera, Miscellany, and General Art Related
Audio - Visual
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209232

The Queen in "Hamlet," (painting)

Painter:
Abbey, Edwin Austin 1852-1911  Search this
Medium:
Pastel on paper
Type:
Paintings
Owner/Location:
Smithsonian American Art Museum 8th & G Streets, N.W Washington District of Columbia 20560 Accession Number: 1972.28.1
Date:
1895
Topic:
Literature--Shakespeare--Hamlet  Search this
Control number:
IAP 08585683
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_476106

Edwin Austin Abbey : artist file, [photographs]

Artist:
Abbey, Edwin Austin 1852-1911  Search this
Physical description:
1 folder
Type:
Photograph
Artist files
Topic:
Art, American  Search this
Image number:
VFM VF000001
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_136627

Amfortas Released by Galahad [photomechanical print]

Artist:
Abbey, Edwin Austin 1852-1911  Search this
Photographic firm:
Curtis & Cameron  Search this
Physical description:
1 photomechanical print : black and white
Type:
Photomechanical prints
Date:
Copyrighted 1901, 1902
Topic:
Literature--Tennyson--Sir Galahad  Search this
Literature--Character--Amfortas  Search this
Literature--Character--Galahad  Search this
Image number:
LOC LC000003
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_136630

The Hours [photomechanical print]

Artist:
Abbey, Edwin Austin 1852-1911  Search this
Physical description:
1 photomechanical print : black and white
Type:
Photomechanical prints
Date:
1911. Copyrighted 1912
Topic:
Allegory--Time--Hour  Search this
Figure group  Search this
Emblem--Zodiac  Search this
Image number:
LOC LC000002
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_136638

Art [photomechanical print]

Artist:
Abbey, Edwin Austin 1852-1911  Search this
Photographic firm:
Curtis & Cameron  Search this
Physical description:
1 photomechanical print : black and white
Type:
Photomechanical prints
Date:
Copyrighted 1908
Topic:
Allegory--Arts & Sciences--Art  Search this
Dress--Historic--Classical Dress  Search this
Figure male--Full length  Search this
Image number:
LOC LC000004
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_136639

Castle of the Maidens [photomechanical print]

Artist:
Abbey, Edwin Austin 1852-1911  Search this
Photographic firm:
Curtis & Cameron  Search this
Physical description:
1 photomechanical print : black and white
Type:
Photomechanical prints
Date:
Copyrighted 1901, 1902
Topic:
Figure group--Female  Search this
Dress--Historic--Medieval Dress  Search this
Image number:
LOC LC000005
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_136640

The Castle of the Maidens [photomechanical print]

Artist:
Abbey, Edwin Austin 1852-1911  Search this
Photographic firm:
Curtis & Cameron  Search this
Physical description:
1 photomechanical print : black and white
Type:
Photomechanical prints
Date:
Copyrighted 1901, 1902
Topic:
Figure group--Female  Search this
Dress--Historic--Medieval Dress  Search this
Image number:
LOC LC000006
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_136641

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