The papers of sculptor Anna Coleman Ladd measure 4.26 linear feet, date from 1881-1950, and document the career of sculptor Anna Coleman Ladd. Found within the papers are biographical material, letters, diaries, financial material, notes and writings, art work, a file concerning the American Red Cross Studio for Portrait-Masks, scrapbooks, printed material, and photographs.
Scope and Contents note:
The papers of sculptor Anna Coleman Ladd measure 4.26 linear feet, date from 1881-1950, and document the career of sculptor Anna Coleman Ladd. Found within the papers are biographical material, letters, diaries, financial material, notes and writings, art work, a file concerning the American Red Cross Studio for Portrait-Masks, scrapbooks, printed material, and photographs.
Biographical materials are scattered and include calling cards, biographical sketches notes, and certificates.
Correspondence includes letters written to Anna Coleman Ladd from various family members, friends, and colleagues. Notable correspodents include William Aldrich, Gabriella Fabbricotti, Isabella Stewart Gardner, Natalie Hays Hammond, and Jessie Eldridge Southwick.
Diaries are daily diaries dating from 1903-1905 and from 1911-1912. Each diary includes short descriptions of Ladd's days.
Financial materials include receipts, stock certificates, travel materials, lists, and an account book for Dr. Maynard Ladd.
Writings and notes consists of notebooks, lists of works of art, inventories, manuscripts by Ladd and by others.
Artworks include two sketchbooks, loose drawings, and a plaster relief by Ladd as well as several sketches by others.
American Red Cross Studio for Portrait-Masks files include correspondence, writings, a scrapbook, printed materials, and photographs. Materials concern portrait masks used to disguise the disfigured faces of World War I veterans.
Scrapbooks consists of three scrapbooks containing photographs, printed materials, and writings.
Printed materials include clippings, exhibition announcements and catalogs for Ladd's works, books and booklets, and posters, some of which are French World War I propaganda.
Photographs include photographs of Anna Coleman Ladd with her works of art and in the studio, Dr. Maynard Ladd, friends, family, colleagues, and works of sculpture.
Arrangement note:
The collection is arranged as 10 series. Glass plate negatives are housed separately and closed to researchers.
Missing Title
Series 1: Biographical Material, 1910-1950 (Box 1; 4 folders)
Series 2: Correspondence, 1895-1937 (Box 1-2; 1.1 linear feet)
Series 3: Diaries, 1903-1912 (Box 2; 2 folders)
Series 4: Financial Material, 1899-1934 (Box 2; 6 folders)
Series 5: Writings and Notes, 1888-1949 (Box 2, 6, OV 7; 0.6 linear feet)
Series 6: Artwork, 1901-1928 (Box 2, 6, OV 7; 0.2 linear feet)
Series 7: American Red Cross Studio for Portrait-Masks File, 1914-1925 (Box 2-3, 6; 0.4 linear feet)
Series 8: Scrapbooks, 1900-1940 (Box 3; 0.3 linear feet)
Series 9: Printed Material, 1889-1942 (Box 3, 6, OV 7; 0.5 linear feet)
Series 10: Photographs, 1881-1932 (Box 4-6, MGP 1; 0.8 linear feet)
Biographical/Historical note:
Born in 1878 in Philadelphia to John and Mary Watts, Anna Coleman Ladd (née Watts) was educated in private schools and Europe. She also studied in America under Charles Grafly.
She moved to Boston in 1905 and married Boston pediatrician Maynard Ladd with whom she had two daughters, Gabriella May Ladd and Vernon Abbott Ladd . Working in her studio on Clarendon Street, Ladd became one of the city's most prolific sculptors, creating fountain pieces, portrait busts, memorials, and reliefs in addition to authoring two novels, Hieronymus Rides in 1912, and The Candid Adventurer in 1913.
Between 1907 and 1915, Ladd had solo exhibitions at the Gorham Gallery in New York, the Corcoran Gallery in Washington, D.C., and the Pennsylvania Academy in Philadelphia. She was also invited to exhibit her bronzes at the Panama Pacific Exposition in San Francisco. In 1914 she executed a bronze statuette of Eleanora Duse for which the actress posed, and later completed portrait busts of Anna Pavlova and Ethel Barrimore.
In late 1917 in Paris, Ladd founded the American Red Cross Studio for Portrait-Masks to provide cosmetic masks to be worn by men who had been badly disfigured in World War I. Her services earned her the Légion d'Honneur Crois de Chevalier and the Serbian Order of Saint Sava.
For many years, Ladd maintained a summer studio "Arden" at Beverly Farms in Manchester, Massachusetts. In 1923, she received an honorary degree of Master of Arts from Tufts College.
Anna Coleman Ladd died June 3, 1939 in Santa Barbara, California.
Provenance:
The Anna Coleman Ladd papers were donated in 1991 by William Terry on behalf of Robert Edwards, a friend of Anna Coleman Ladd.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Anna Coleman Ladd papers, 1881-1950. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for processing in preparation for digitization, and for the digitization of this collection, was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Ladd, Anna Coleman, 1878-1939 (sculptor) Search this
Container:
Box 1, Folder 52
Type:
Archival materials
Date:
1911
Scope and Contents:
Missing Title
Mechlin, Leila
Fabbricotti, Gabriella
Macbeth, Robert Walker
Brunetti, Jose
Polasek, Albin
Trask, John E.D.
Borghese, Ann
Scudder, Janet
Phillips, Caroline Drayton
MacMillan, Frederick
Aldrich, William
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Anna Coleman Ladd papers, 1881-1950. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for processing in preparation for digitization, and for the digitization of this collection, was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Letters are primarily from family members, artists, museum staff concerned with work in Egypt, and art patrons involved with Smith's charitable pageants. Correspondents include Cecilia Beaux, Frank Benson, George DeForest Brush, Isabella Stewart Gardner, and Denman Ross. There are scattered letters from Lawrence Alma-Tadema, Henry James, Charles G. Loring, Paul Manship, General John J. Pershing, John Singer Sargent, and Abbott Handerson Thayer.
See Appendix for a list of correspondents in Series 2
Appendix: Correspondents in Series 2:
Abbas, Abdul Baba, 1912
Abbott, Holker, 1917
Abdullah, Mohamed, 1938
Abingdon, The Countess of, 1940, 1941
Aldrich, Eleanor, 1940
Aldrich, J.B., 1896
Aldrich, William T., 1931
Alexander, L.G., 1894
Alma Tadema, Sir Lawrence, 1894
American Express Company, 1934
American Federation of Arts, 1940, 1941, 1942
American Red Cross, 1917, 1945, 1946
Baldwin, Florence, 1898
Baltimore Museum of Art, 1941, 1943
Bartlett, Frederic Clay, 1910
Bass, R.P. and Edith, 1932, 1932
Beaulieu, Elizabeth, 1943
Beaux, Cecilia, undated, 1899
Bennett, Esther, 1895, 1899
Bennett, Sophie, 1897, 1899, 1903
Benson, Eugene, undated
Benson, Frank Weston, 1899, 1943, 1945
Berenson, Bernard, 1897
Bey, Sahfik Ghorbal, 1948, 1949
Bey, A. Heikal, 1948, 1949
Bigelow, W. Sturgis, undated, 1893, 1901
Bittinger, Charles, 1950
Bliss, Robert Woods and Mildred, 1916, 1940
Boston Breeze, 1931
Bradley, Kate A., 1919
Breasted, Charles, 1931
Breckingham, Eugenia B., 1893, 1943
Brejant, Grace M., 1895
Brewster, Frederick and Margaret, 1936
Bridges, Styles, 1939, 1940
British War Relief Society, 1941
Brooklyn Museum, 1933, 1943
Brown family, undated, 1894, 1895, 1986, 1899
Brown, Frederick and Ida, 1894, 1895, 1896, 1897, 1900
Brown University, 1929
Brummer Gallery, Inc., 1937
Brush, George de Forest, 1894, 1895, 1896, 1897, 1898, 1935
Buck, Matilda S., 1897
Buffalo Fine Arts Academy, 1912, 1917
Burbank, Mr., 1943
Cabot, Arthur J. and Sally, 1896
Calhoun, Lucy, 1910
Cambridge: Superintendent of Schools, 1942, 1943
Carey, Arthur Astor, 1902
Carnegie Corporation of New York, 1931
Carnegie Institution of Washington, 1940, 1941, 1942
Carter, Mary Duncan, 1937
Cartland, Joseph, 1898
Chace, Lucretia G., 1909
Chandler, J.E., 1894
Chicago: Art Institute of Chicago, 1911
Chinese Republic, 1944
Churchill, Winston, 1901, 1945
Clements, Cyril, 1946
Coca Cola Company, 1943
Constable, William George and Olivia, undated, 1942, 1943, 1949
Taylor, William and Rebecca Smith, 1932, 1933, 1935, 1936, 1937, 1938
Teachman, Jessie, 1897, 1905
Thayer, Abbott Handerson, undated
Thayer, Abbott Handerson Thayer Memorial, 1941
Tobey, Charles W., 1939, 1942
Tomita, Kojiro, 1936, 1937, 1943, 1947
Turner, C.Y., 1902
Turner, Ross, 1896
Union League Club, 1918
United China Relief, Inc., 1944
United Nations Relief Fund, 1942
University Museum, University of Pennsylvania, 1931, 1943
Vanderbilt, Mrs. George and Cornelia, 1923
Vanelli, Caesar, 1929, 1930
Vaughan, Henry Goodwin, 1936
Volpi, Elia, 1903, 1904, 1905, 1907
von Pustau, Helene, 1895, 1899
Walters, Thorstina Jackson, 1929
Wang, Lucy C., 1944
War Finance Committee (New Hampshire), 1944
Warren, H. Langford, 1907
Warren, Harold B., 1931
Webster, Laurence and Edith, 1941
Webster, Sue, 1916
Weems, Katharine Lane, 1965
Wendelstadt, Baron Wendelstadt, 1894, 1896, 1897
Wheeler, Roy R., 1932, 1946
White, Elise, 1931
Whitman, Paul, undated, 1893, 1899, 1901, 1902
Willard, Belle, 1931
Williams, Ben Ames, 1928
Yale University, 1915, 1934
Yamanaka and Company, 1930, 1931
Young, Hugh H., 1941, 1942
Zatelli, H., 1897
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Joseph Lindon Smith papers, 1647-1965, bulk 1873-1965. Archives of American Art, Smithsonian Institution.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.
Almost all of the papers in this collection deal with Carl Weaver Mitman's role as chairman of the Smithsonian War Committee. Loyal B. Aldrich, William N. Fenton, Herbert
Friedmann, and Webster P. True also served on the committee. Minutes of the committee's meetings, correspondence and notes document the committee's projects. In addition to
the War Committee files, small groups of correspondence and miscellaneous materials on other projects that Mitman was involved in are included in Series 2. There is no material
covering the many expositions that Mitman coordinated or his research and curatorial duties. There is only one newspaper clipping relating to the founding of the National
Air Museum. Additional information on Mitman's career may be found in Record Units 84, 162, 239, 250 and 297 in the Smithsonian Institution Archives.
Historical Note:
Carl Weaver Mitman (1889-1958) was born in Newberg, Pennsylvania. He joined the United States National Museum (USNM) in 1914 as an Aid in the Division of Mineral Technology.
He was promoted to Curator in the Division of Mechanical Technology in 1919, and served as Curator of the Divisions of Mechanical Technology and Mineral Technology from 1921.
He was made Head Curator of the Department of Arts and Industries in 1932. In addition to his responsibilities at the museum, Mitman organized Smithsonian exhibits at fairs
and expositions in the United States and abroad. In 1942 he was appointed chairman of the Smithsonian War Committee, and served until 1944. On August 12, 1946, President Truman
signed a bill creating the National Air Museum within the Smithsonian Institution. Mitman was relieved of his duties at USNM and was appointed Assistant to the Secretary for
the Air Museum on March 7, 1948. He worked on planning the new museum until his retirement in 1952.
