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Civil War 150th Anniversary: Portrait of George Custer As a Student at West Point

Creator:
National Portrait Gallery  Search this
Type:
Interviews
YouTube Videos
Uploaded:
2011-10-07T15:30:29.000Z
YouTube Category:
Education  Search this
Topic:
Portraits  Search this
See more by:
NatlPortraitGallery
Data Source:
National Portrait Gallery
YouTube Channel:
NatlPortraitGallery
EDAN-URL:
edanmdm:yt_u79aGB6nqRU

John Draper

Artist:
Mathew B. Brady, 1823? - 15 Jan 1896  Search this
Sitter:
John William Draper, 5 May 1811 - 4 Jan 1882  Search this
Medium:
Half-plate ambrotype
Dimensions:
Image (oval): 12 × 8.7 cm (4 3/4 × 3 7/16")
Case Closed: 15.9 × 12.1 × 2.9 cm (6 1/4 × 4 3/4 × 1 1/8")
Case Open: 15.9 × 24.3 × 1.5 cm (6 1/4 × 9 9/16 × 9/16")
Type:
Photograph
Date:
1856
Topic:
Cased object  Search this
John William Draper: Male  Search this
John William Draper: Literature\Writer\Scientific  Search this
John William Draper: Education\Educator\Professor\College  Search this
John William Draper: Science and Technology\Inventor  Search this
John William Draper: Science and Technology\Scientist\Chemist  Search this
John William Draper: Visual Arts\Artist\Photographer\Daguerreotypist  Search this
John William Draper: Humanities and Social Sciences\Historian\Historiographer  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; conservation made possible by a grant from the Smithsonian's Collections Care and Preservation Fund
Object number:
NPG.2010.33
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4dfe2ff1f-97b6-431c-b91a-ef9b5b4e4b8e
EDAN-URL:
edanmdm:npg_NPG.2010.33

Abraham Lincoln

Artist:
George Clark, active 1853 - 1860  Search this
Copy after:
Mathew B. Brady, 1823? - 15 Jan 1896  Search this
Sitter:
Abraham Lincoln, 12 Feb 1809 - 15 Apr 1865  Search this
Medium:
Ambrotype campaign pin
Dimensions:
Image: 4.8 x 3.5cm (1 7/8 x 1 3/8")
Mount: 6.4 x 5.3cm (2 1/2 x 2 1/16")
Case: 6.4 x 5.4cm (2 1/2 x 2 1/8")
Type:
Photograph
Date:
1860
Topic:
Cased object  Search this
Abraham Lincoln: Male  Search this
Abraham Lincoln: Law and Law Enforcement\Lawyer  Search this
Abraham Lincoln: Military\Soldier  Search this
Abraham Lincoln: Politics and Government\President of US  Search this
Abraham Lincoln: Society and Social Change\Reformer\Environmentalist  Search this
Abraham Lincoln: Business and Finance\Businessperson\Merchant  Search this
Abraham Lincoln: Politics and Government\US Congressman\Illinois  Search this
Abraham Lincoln: Politics and Government\Government Official\Surveyor  Search this
Abraham Lincoln: Politics and Government\State Senator\Illinois  Search this
Abraham Lincoln: Politics and Government\Government Official\Postmaster  Search this
Abraham Lincoln: Crafts and Trades\Boat builder  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.2007.194
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm45df8fd1e-317c-4adc-a6ba-1c0064a19aa9
EDAN-URL:
edanmdm:npg_NPG.2007.194

Braxton Bragg

Artist:
Unidentified Artist  Search this
Sitter:
Braxton Bragg, 22 Mar 1817 - 27 Sep 1876  Search this
Medium:
Quarter-plate ambrotype
Dimensions:
Image/Sight: 8.7 × 6.5 cm (3 7/16 × 2 9/16")
Mat (brass): 10.2 × 7.7 cm (4 × 3 1/16")
Case open: 12.1 × 19.2 × 1.5 cm (4 3/4 × 7 9/16 × 9/16")
Case closed: 12.1 × 9.5 × 2.5 cm (4 3/4 × 3 3/4 × 1")
Type:
Photograph
Date:
c. 1857
Topic:
Interior  Search this
Costume\Dress Accessory\Tie  Search this
Personal Attribute\Facial Hair\Mustache  Search this
Personal Attribute\Facial Hair\Beard  Search this
Cased object  Search this
Braxton Bragg: Male  Search this
Braxton Bragg: Military\Army\Officer\Civil War  Search this
Braxton Bragg: Military\Army\Officer\General  Search this
Braxton Bragg: Science and Technology\Engineer\Civil  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.88.61
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm43bf8de95-9e3f-4cae-adc6-acfe1d096d68
EDAN-URL:
edanmdm:npg_NPG.88.61
Online Media:

Hazen Collection of Band Photographs and Ephemera

Creator:
Hazen, Margaret Hindle  Search this
Hazen, Robert M.  Search this
Extent:
13.5 Cubic feet (20 boxes)
Type:
Collection descriptions
Archival materials
Programs
Posters
Stereographs
Sheet music
Picture postcards
Postcards
Pillows
Photographs
Textile fabrics
Ephemera
Cabinet photographs
Cartes-de-visite
Cabinet prints
Ambrotypes
Advertisements
Newspapers
Date:
circa 1818-1931
Scope and Contents note:
Large collection of photographs, picture postcards, printed ephemera, and music related to the brass band movement in the United States: includes 8 ambrotypes, 36 tintypes, 59 stereographs, 66 cabinet prints, 90 cartes-de-visite, 150 large photoprints, and 874 picture postcards; also posters, concert programs, instrument manufacturers' advertisemements and ephemera, periodicals, sheet music, etc.
Arrangement:
3 series: (1) photographs; (2) ephemera; and (3) resources in American band history. Series 1 has 7 sub-series: (1) ambrotypes; (2) tintypes; (3) stereographs; (4) cabinet prints; (5) cartes-de-visite; (6) large mounted photoprints; and (7) postcards. Series 2 has 7 sub-series: (1) company ephemera; (2) band ephemera; (3) music; (4) periodicals; (5) oversized paper ephemera; (6) artifacts (3-dimensional); and (7) folio-size broadsides. Geographical arrangement within postcard and stereograph sub-series.
Biographical/Historical note:
Dr. and Mrs. Robert M. Hazen formed this collection in conjunction with their research on the American brass band movement.
Provenance:
Collection purchased from Dr. Robert Hazen, May 23, 1985 (1988.3028).
Restrictions:
Unrestricted research use on site. Researchers must handle unprotected photographs with gloves.
Rights:
Archives Center cost-recovery and use fees may apply when requesting reproductions.Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Musicians -- 1900-1950  Search this
Music ensembles -- Photographs  Search this
Musicians -- 1830-1880  Search this
Musical instruments -- Photographs  Search this
Brass bands -- Photographs  Search this
Bandstands  Search this
Bands (Music) -- Photographs  Search this
Periodicals  Search this
Genre/Form:
Programs -- Concerts
Posters
Stereographs
Sheet music -- Manuscripts -- 19th century
Picture postcards
Postcards
Pillows -- Photographs
Photographs -- 1850-1900
Photographs -- 1900-1950
Textile fabrics -- Photographs on
Ephemera
Cabinet photographs
Cartes-de-visite
Cabinet prints
Ambrotypes
Advertisements
Photographs -- 1890-1900
Newspapers
Citation:
Hazen Collection of Band Photographs and Ephemera, ca. 1818-1931, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0253
See more items in:
Hazen Collection of Band Photographs and Ephemera
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0253
Online Media:

James Barton Longacre

Artist:
Isaac A. Rehn, active c. 1851 - 1860  Search this
Sitter:
James Barton Longacre, 11 Aug 1794 - 1 Jan 1869  Search this
Medium:
Sixth plate ambrotype
Dimensions:
8.2cm x 6.8cm (3 1/4" x 2 11/16"), Image
Type:
Photograph
Date:
c. 1855
Topic:
Interior  Search this
Costume\Dress Accessory\Tie  Search this
Cased object  Search this
James Barton Longacre: Male  Search this
James Barton Longacre: Visual Arts\Artist\Printmaker\Engraver  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.77.305
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4aa734016-eaf6-415a-b358-9ba2f4727db6
EDAN-URL:
edanmdm:npg_NPG.77.305
Online Media:

Daguerreotype of William Lloyd Garrison

Photograph by:
Cutting & Turner, American  Search this
Subject of:
William Lloyd Garrison, American, 1805 - 1879  Search this
Owned by:
George Thompson Garrison, American, 1836 - 1904  Search this
Medium:
silver amalgam, silver on copper photographic plates
Dimensions:
H x W x D (Closed): 3 11/16 × 3 5/16 × 3/8 in. (9.4 × 8.4 × 1 cm)
H x W x D (Open): 3 11/16 × 6 5/8 × 3/8 in. (9.4 × 16.8 × 1 cm)
Type:
daguerreotypes
portraits
Place made:
10 Tremont Row, Boston, Suffolk County, Massachusetts, United States, North and Central America
Date:
ca. 1860
Topic:
African American  Search this
Antislavery  Search this
Photography  Search this
United States--History--Civil War, 1861-1865  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Garrison Family in memory of George Thompson Garrison
Object number:
2014.115.10
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Slavery and Freedom Objects
Media Arts-Photography
Movement:
Abolitionist movement
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd52b6ef485-c50f-41f6-9d79-6b3395a46bf8
EDAN-URL:
edanmdm:nmaahc_2014.115.10
Online Media:

Ambrotype of Frederick Douglass

Created by:
Unidentified  Search this
Subject of:
Frederick Douglass, American, 1818 - 1895  Search this
Medium:
collodion and silver on glass photographic plates with leather and velvet
Dimensions:
H x W (Image and Sheet): 4 3/4 x 3 7/8 in. (12.1 x 9.8 cm)
Case open: 4 3/4 x 7 11/16 x 1/2 in. (12.1 x 19.5 x 1.3 cm)
Case closed: 4 3/4 x 3 7/8 x 3/4 in. (12.1 x 9.8 x 1.9 cm)
Type:
ambrotypes
portraits
Date:
1855-1865
Topic:
African American  Search this
Antislavery  Search this
Photography  Search this
Slavery  Search this
Social reform  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2010.36.10ab
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Slavery and Freedom Objects
Media Arts-Photography
Movement:
Anti-slavery movements
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd539360b3e-615f-42d2-a606-dfe06c34ba34
EDAN-URL:
edanmdm:nmaahc_2010.36.10ab
Online Media:

Charles Sheeler papers

Creator:
Sheeler, Charles, 1883-1965  Search this
Names:
Archives of American Art  Search this
Downtown Gallery (New York, N.Y.)  Search this
Adams, Ansel, 1902-1984  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Bacon, Peggy, 1895-1987  Search this
Eidlitz, Dorothy  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Lane, William H.  Search this
Newhall, Beaumont, 1908-1993  Search this
Newhall, Nancy Wynne.  Search this
Rourke, Constance, 1885-1941  Search this
Sheeler, Musya, 1908-1981  Search this
Waters, George  Search this
Weston, Edward, 1886-1958  Search this
Williams, William Carlos, 1883-1963  Search this
Photographer:
Sheeler, Musya  Search this
White, Minor  Search this
Extent:
4.9 Linear feet
Type:
Collection descriptions
Archival materials
Artifacts
Awards
Photographs
Journals (accounts)
Scrapbooks
Writings
Date:
circa 1840s-1966
bulk 1923-1965
Summary:
The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. Notable photographs include Sheeler with Edward Weston, Edward Steichen, and John Marin.
Scope and Content Note:
The papers of painter, photographer, lithographer and industrial designer Charles Sheeler measure 4.9 linear feet and date from circa 1840s to 1966, with the bulk of the material dating from 1923-1965. The collection documents Sheeler's family, personal life and career through financial and medical records, awards, correspondence, writings, an autobiography, journal and notebooks, scrapbooks, exhibition catalogs and announcements, printed materials, photographs, funeral records and artwork by Sheeler and others. The collection is particularly rich in Sheeler's writings, and also includes Sheeler's industrial designs and manufactured artwork. There are photographs of Sheeler with Edward Weston, Edward Steichen, and John Marin.

Biographical materials date from 1875, and 1928-1965, and include funeral records, medical records, insurance, tax, and scattered financial records. There is one folder of records relating to artwork and exhibitions, as well as Sheeler's numerous certificates, prizes and awards, and the condolence book used at his funeral.

Correspondence consists of Sheeler's personal and professional correspondence dating from 1937-1966 with friends, artists, dealers, collectors, photographers, and curators. Notable correspondents include Ansel Adams, Walter and Louise Arensberg, William Lane, Beaumont and Nancy Newhall, George Waters, William Carlos Williams, and Edward Weston. The series also includes correspondence with the Archives of American Art, Sheeler's biographer Constance Rourke, and with publishers, editors, children, and the general public. Lastly, there are condolence letters written to Musya Sheeler following Sheeler's death in May 1965.

Writings include Sheeler's journal dating from the 1950s-1963 and two notebooks containing notes, addresses, recipes, etc. Also found are Sheeler's writings on artists, drafts for articles, and a manuscript and notes for an autobiography that Sheeler wrote for Harcourt Brace. The autobiography became the basis for Constance Rourke's biography Charles Sheeler: Artist in the American Tradition published in 1938. The writing series also includes a short story by Musya Sheeler, and an illustrated short story by friend Dorothy Eidlitz.

The scrapbook series contains two oversize scrapbooks dating from 1930s-1960s that include newspaper and magazine clippings about Sheeler and his artwork, exhibition announcements and brochures, a poem, and a thank you letter from Abby Aldrich Rockefeller.

Additional printed materials date from 1923-1966 and document Sheeler's numerous exhibitions, notably his partnership with Edith Halpert and the Downtown Gallery. Found here are clippings, copies of magazines, exhibition announcements and catalogs, museum bulletings, books, and miscellaneous items.

Photographs date from circa 1840s-1963 and include photographs of Sheeler's family, of Sheeler, and of Sheeler with friends and colleagues. There is one daguerreotype, two ambrotypes, and two tintypes of Sheeler's family and of Sheeler as a child. There are copyprints of these originals. Additional photographs are of Sheeler's mother and father (or possibly Sheeler's grandparent), of Sheeler, of Sheeler with his wife Musya, Sheeler with William Lane, Sheeler with Edward Weston, and Sheeler with Edward Steichen and John Marin. The series also includes photographs of Sheeler's collection of Shaker furniture, and photographs of exhibitions.

Artwork by Sheeler dates from circa 1930s-1960s and includes artifacts of manufactured pieces based on his industrial designs. Found are a glass tumbler, salt and pepper shakers, a tea spoon, fabrics designed by Sheeler, and sketches. The series also includes a drawing by Peggy Bacon and a photograph by Minor White.
Arrangement:
The collection is arranged into seven series. Materials are arranged by material type and chronologically or alphabetically thereafter:

Series 1: Biographical Materials, 1875, 1928-1965 (Boxes 1, 5, OV10; 0.6 linear feet)

Series 2: Correspondence, 1937-1966 (Box 1; 0.5 linear feet)

Series 3: Writings, circa 1930s-1965 (Boxes 1-2 ; 0.4 linear feet)

Series 4: Scrapbooks, 1930s-1960s (Boxes 2, 6; 0.4 linear feet)

Series 5: Printed Material, 1923-1966 (Boxes 2-4, 7; 1.5 linear feet)

Series 6: Photographs, circa 1840s-1963 (Box 4, OV11; 0.4 linear feet)

Series 7: Artwork, circa 1930s-1960s (Boxes 4-5, 8-9, OV12-OV14; 1.1 linear feet)
Biographical Note:
Painter, photographer, lithographer and designer, Charles Rettew Sheeler Jr. was born on July 16, 1883 to Mary Cunningham Sheeler and Charles Rettew Sheeler in Philadelphia. He attended the School of Industrial Art in Philadelphia from 1900-1903 and the Pennsylvania Academy of the Fine Arts, where he studied under William Merritt Chase. He found early success as a painter and exhibited at the Macbeth Gallery in 1908.

Around 1910 Sheeler took up photography, and by 1912 financially supported himself photographing buildings for local Philadelphia architects. The following year, Sheeler exhibited six paintings at the 1913 Armory Show in New York. In the mid 1910s, Sheeler began to collect American antiques, and by the 1920s was actively acquiring Shaker crafts and furniture.

In 1916, Sheeler was hired by Marius de Zayas of the Modern Gallery in New York to photograph objects and artwork. From 1917-1924, he worked as the staff photographer for the Modern Gallery and moved to New York in 1918. In 1920, Sheeler was hired as a still photographer for The Arts Magazine.

In 1926, Sheeler was hired by Edward Steichen to work as a fashion and celebrity photographer for Conde Nast Publications. His photographs were regularly featured in Vogue and Vanity Fair, but Sheeler also worked as a still life photographer for numerous advertising agencies. The following year, he was commissioned by the advertising firm N.W. Ayer and Son to photograph Ford Motor Company's new plant at River Rouge.

While working as a photographer, Sheeler continued to paint and used the subjects and composition of his photographs as a basis for his painting. His paintings Skyscrapers, 1922; Upper Deck, 1929; and American Landscape, 1930 are examples of Sheeler's technique of merging photographic imagery with painting and his overall precisionist style.

In 1931, upon the advice and guidance of Edith Halpert of the Downtown Gallery, Sheeler began to paint more often and to photograph less. Halpert became Sheeler's primarily dealer, and from 1931-1966 regularly exhibited his paintings and drawings. With Halpert's support, Sheeler produced Classic Landscape, 1931; American Interior, 1934; Silo, 1938; Amoskeag Canal, 1948; and Convolutions, 1952. In addition to Sheeler's partnership with Halpert, his work was exhibited by other galleries and museums throughout the United States and abroad.

In 1939, Sheeler married his second wife, Musya Metas Sokolova (1908-1981) and, in 1942, the couple moved to Irvington-on-Hudson, New York. Sheeler continued to paint and photograph until he suffered a debilitating stroke in 1959. After 1959, Sheeler remained active exhibiting his artwork until his death on May 7, 1965 in Dobbs Ferry, New York.
Related Material:
The Archives of American Art holds several collections that are related to Charles Sheeler.

There are two oral history interviews with Sheeler conducted by Mary Bartlett Cowdrey in December 1958, and by Martin Friedman in June 1959. The Archives also has the records of the Macbeth Gallery, which include a substantial amount of correspondence with Sheeler from 1907-1921, and the Downtown Gallery records, which also include correspondence with Sheeler, photographs of Sheeler and his artwork, exhibition publications, clippings, press releases, and audio visual materials dating from 1904-1972.

Also found in the the Archives is a loan of Charles Sheeler letters filmed on reel NY/59-5 containing letters written by Sheeler to his psychologist and art collector, Dr. Helen Boigon, art student George Craven, and friend William Carlos Williams, all dating from 1939-1958. There is a collection of six letters of Sheeler letters addressed to Doris Royce, possibly an art critic, dating from 1949-1957. Miscellaneous manuscript collections include one letter written by Sheeler to E.P. Richardson in 1958, and another letter written to Frank Crowninshield in September, 1939.
Separated Material:
Portions of Sheeler's papers that were originally loaned for microfilming were not included in the later gifts and are available only on microfilm reel NSH-1. A watercolor study microfilmed on reel 1811 was later transferred to the Smithsonian American Art Museum. These materials are not described in the container list of this finding aid.
Provenance:
Charles Sheeler's wife Musya initially loaned the papers to the Archives of American Art for microfilming in 1958, 1965, and 1966. In June, 1966, she donated most of the earlier loaned materials. In 1964, Sheeler's friend Howard Lipman donated three photographs of Sheeler with Edward Steichen and John Marin. The third accrual was transferred to the Archives by the Smithsonian American Art Museum and National Portrait Gallery Library in June 1979.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Charles Sheeler papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to copyright laws.
Topic:
Works of art  Search this
Painters -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Industrial designers -- New York (State) -- New York  Search this
Genre/Form:
Artifacts
Awards
Photographs
Journals (accounts)
Scrapbooks
Writings
Citation:
Charles Sheeler papers, circa 1840s-1966, bulk 1923-1965. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sheechar
See more items in:
Charles Sheeler papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sheechar
Online Media:

Ambrotype of a Civil War soldier

Photograph by:
Unidentified  Search this
Created by:
Littlefield, Parsons & Co., American, 1858 - 1866  Search this
Medium:
collodion and silver on glass photographic plates
Dimensions:
Closed: 3 × 2 5/8 × 7/8 in. (7.6 × 6.7 × 2.2 cm)
Open: 3 × 5 1/8 × 9/16 in. (7.6 × 13 × 1.4 cm)
3 x 5 in. (7.6 x 12.7 cm)
Type:
ambrotypes
portraits
Date:
1861-1865
Topic:
African American  Search this
Military  Search this
Photography  Search this
Slavery  Search this
United States Colored Troops  Search this
United States--History--Civil War, 1861-1865  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2008.9.2
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Slavery and Freedom Objects
Media Arts-Photography
Exhibition:
Double Victory: The African American Military Experience
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Community/Third Floor, 3 053
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd54636eeeb-b802-4df8-9d1b-5ced1dd36122
EDAN-URL:
edanmdm:nmaahc_2008.9.2
Online Media:

Ambrotype of Qualls Tibbs, 5th Sergeant, 27th U.S.C.T., Camp Delaware, Ohio

Created by:
Unidentified  Search this
Subject of:
Qualls Tibbs, American, 1836 - 1922  Search this
Medium:
silver nitrate on glass photographic plate
Dimensions:
H x W (Image): 3 1/4 × 2 3/4 in. (8.3 × 7 cm)
H x W (Case): 3 5/8 x 3 3/16 x 3/8 in. (9.2 x 8.1 x 1 cm)
Type:
ambrotypes
portraits
Date:
1864 - 1865
Topic:
African American  Search this
Military  Search this
Photography  Search this
Slavery  Search this
United States--History--Civil War, 1861-1865  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2011.4.2ab
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Slavery and Freedom Objects
Media Arts-Photography
Exhibition:
Double Victory: The African American Military Experience
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Community/Third Floor, 3 053
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd56341e1ee-3a97-44c3-ab08-3a330a7b3740
EDAN-URL:
edanmdm:nmaahc_2011.4.2ab

Plate with a stamped brass eagle design from a cartridge box belt

Manufactured by:
Warren H. Wilkinson, American  Search this
Medium:
brass (alloy) , lead and iron
Dimensions:
2 1/2 x 2 1/2 x 5/8 in. (6.4 x 6.4 x 1.6 cm)
Type:
medallions (medals)
Date:
1862-1865
Topic:
African American  Search this
Clothing and dress  Search this
Military  Search this
Slavery  Search this
United States--History--Civil War, 1861-1865  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2011.4.3
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Slavery and Freedom Objects
Clothing-Historical
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5bd80cecb-88ca-453c-b367-b11414065fdc
EDAN-URL:
edanmdm:nmaahc_2011.4.3
Online Media:

Ambrotype of an unidentified woman and child

Created by:
Unidentified  Search this
Subject of:
Unidentified Woman or Women  Search this
Unidentified Child or Children  Search this
Medium:
collodion and silver on glass photographic plate with unidentified tint
Dimensions:
H x W (Closed): 3 7/8 x 3 1/2 x 7/8 in. (9.8 x 8.9 x 2.2 cm)
H x W (Open): 3 7/8 x 7 x 5/8 in. (9.8 x 17.8 x 1.6 cm)
Type:
ambrotypes
portraits
Date:
ca. 1860
Topic:
African American  Search this
Children  Search this
Photography  Search this
Slavery  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift from the Liljenquist Family Collection
Object number:
2011.51.11
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Collection title:
Liljenquist Family Collection
Classification:
Slavery and Freedom Objects
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5539852f0-6d81-4f26-8b4b-cbc75c01a490
EDAN-URL:
edanmdm:nmaahc_2011.51.11

Ambrotype of three women in dotted calico dresses

Photograph by:
Unidentified  Search this
Subject of:
Unidentified Woman or Women  Search this
Medium:
collodion and silver on glass photographic plates in a foil frame and leather-covered wood case
Dimensions:
H x W x D: 3 3/4 × 3 1/4 × 1/2 in. (9.5 × 8.3 × 1.3 cm)
Type:
tintypes
portraits
Date:
1850-1870
Topic:
African American  Search this
Emancipation  Search this
Photography  Search this
Slavery  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2014.174.10ab
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd554d9e42e-0f04-469d-8c1f-16425105ff81
EDAN-URL:
edanmdm:nmaahc_2014.174.10ab
Online Media:

Ambrotype of an unidentified young woman

Photograph by:
Unidentified  Search this
Subject of:
Unidentified Woman or Women  Search this
Medium:
collodion and silver on glass photographic plates, paper, and metal
Dimensions:
H x W x D: 2 1/2 × 2 1/8 × 1/8 in. (6.4 × 5.4 × 0.3 cm)
Type:
ambrotypes
portraits
Date:
ca. 1860
Topic:
African American  Search this
Photography  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2014.174.6
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd501a411d4-5e67-4c51-bf37-77bdfae9fde4
EDAN-URL:
edanmdm:nmaahc_2014.174.6
Online Media:

Ambrotype of Ann Hurst Copeland in an embossed leather case

Photograph by:
Unidentified  Search this
Subject of:
Ann Hurst Copeland, American, born 1843  Search this
Medium:
collodion and silver on glass photographic plates, velvet, wood, leather, and metal
Dimensions:
H x W x D (a): 3 3/4 × 3 3/16 × 3/8 in. (9.5 × 8.1 × 1 cm)
H x W x D (b): 3 3/4 × 3 3/16 × 1/4 in. (9.5 × 8.1 × 0.6 cm)
Type:
ambrotypes
portraits
Place depicted:
Virginia, United States, North and Central America
Date:
ca. 1860
Topic:
African American  Search this
Families  Search this
Free communities of color  Search this
Photography  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2014.174.7.1ab
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Slavery and Freedom Objects
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5070a4084-9a91-431c-a205-8469386e92eb
EDAN-URL:
edanmdm:nmaahc_2014.174.7.1ab
Online Media:

Ambrotype of Elisa Greenwell with handwritten note

Photograph by:
Unidentified  Search this
Subject of:
Elisa Greenwell, American  Search this
Medium:
cased photograph (a): collodion and silver on glass photographic plates, with wood, papier-mâché, and metal case;
note (b): ink on paper
Dimensions:
H x W x D (a): 3 11/16 × 3 1/4 × 7/16 in. (9.4 × 8.3 × 1.1 cm)
H x W (b): 3/4 × 2 13/16 in. (1.9 × 7.1 cm)
Type:
ambrotypes
portraits
notes
Place depicted:
Philadelphia, Pennsylvania, United States, North and Central America
Leonardtown, St. Mary's County, Maryland, United States, North and Central America
Date:
early 1860s
Topic:
African American  Search this
Emancipation  Search this
Freedom  Search this
Fugitive enslaved  Search this
Photography  Search this
Resistance  Search this
Self-liberation  Search this
Slavery  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2015.97.4ab
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Slavery and Freedom Objects
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5ca96c53c-089f-4b39-a61f-da88782e5972
EDAN-URL:
edanmdm:nmaahc_2015.97.4ab
Online Media:

Alice Brown Chittenden papers

Creator:
Chittenden, Alice Brown, 1859 or 60-1944  Search this
Names:
Chittenden, Ann Miriam Green  Search this
Extent:
0.8 Items (linear ft.(on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1860-1972
Scope and Contents:
Correspondence; notebooks; drawings and sketches; financial logbook; scrapbook; exhibition catalogs; and photographs.
REEL 919: Correspondence; 2 school notebooks; 40 drawings and sketches; a financial logbook kept by Alice Chittenden; a scrapbook of clippings; and 6 exhibition catalogs.
REEL 950: 38 photographs of Chittenden's paintings and of her family, including some albumen cartes-de-visites; a photo album containing 125 photographs of her family and friends; 2 cased ambrotypes and 1 cased tintype of Chittenden as a child and 1 cased ambrotype and 1 cased tintype of her mother, Ann Miriam Green Chittenden, ca. 1860-1865.
Biographical / Historical:
Painter; San Francisco, Calif.
Provenance:
Donated 1974 by Virginia Larribeau, granddaughter of Alice B. Chittenden.
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:
Painters  Search this
Topic:
Painting, American -- California -- San Francisco  Search this
Women painters -- California  Search this
Identifier:
AAA.chitalic
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-chitalic

Allyn Cox papers

Creator:
Cox, Allyn, 1896-1982  Search this
Names:
American Battle Monuments Commission  Search this
Art Commission of the City of New York  Search this
Art Students League (New York, N.Y.)  Search this
Century Association (New York, N.Y.)  Search this
Cosmos Club (Washington, D.C.)  Search this
Dumbarton Oaks  Search this
George Washington Masonic National Memorial (Alexandria, Va.)  Search this
National Society of Mural Painters (New York, N.Y.)  Search this
Park Club of Kalamazoo  Search this
Smithsonian Institution  Search this
United States Capitol Historical Society  Search this
Bayley, John Barrington, 1914-1981  Search this
Bishop, Warner  Search this
Cassio, Fabrizio  Search this
Conrad, Arthur  Search this
Cox, Ethel  Search this
Cox, Kenyon, 1856-1919  Search this
Cox, Louise Howland King, 1865-1945  Search this
DeWitt, Roscoe, 1894-1975  Search this
Frost, Stuart  Search this
Harbeson, John F., 1888-1986 ((John Frederick))  Search this
Keally, Francis, 1889-1978  Search this
Keller, Deane, 1901-1992  Search this
Lamb, Adrian  Search this
Laning, Edward, 1906-  Search this
Lay, Charles Downing, 1877-1956  Search this
MacDonald, Pirie, 1867-1942  Search this
Schwengel, Fred, 1907-1993  Search this
Shutze, Philip Trammell  Search this
Young, Clifford, 1905-  Search this
Extent:
11 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Diaries
Photographs
Sketchbooks
Sketches
Place:
General Grant National Memorial (New York, N.Y.)
Date:
1856-1982
Summary:
The papers of New York, N.Y., and Washington, D.C. painter and muralist Allyn Cox measure 11 linear feet and date from 1856-1982. The collection documents Cox's personal and professional life through biographical material, family and general correspondence, writings and notes, research material, printed material, sketchbooks and loose sketches, and photographs. Photographs are of Cox at work, the Cox family, including Kenyon and Louise Cox, Cox's friends and colleagues, events, and Cox's artwork.
Scope and Contents:
The papers of New York, N.Y., and Washington, D.C. painter and muralist Allyn Cox measure 11 linear feet and date from 1856-1982. The collection documents Cox's personal and professional life through biographical material, family and general correspondence, writings and notes, research material, printed material, sketchbooks and loose sketches, and photographs. Photographs are of Cox at work, the Cox family, including Kenyon and Louise Cox, Cox's friends and colleagues, events, and Cox's artwork.

Biographical material includes family birth, death, and marriage certificates, and passports for Cox and his wife Ethel, whom he married in 1927; professional membership cards, awards and certificates; records related to sales of furnishings from the Cox family home in Essex, Massachusetts; and an untranscribed interview of Cox by Tony Janak of NBC TV.

Cox's family correspondence is primarily with his mother, Louise Cox. Also found is correspondence with Cox's sister, Caroline Cox Lansing, and his brother Leonard Cox and Leonard's wife, Sylvia, and letters from Ethel Cox to her mother. Additional correspondence relating to the disposition of Kenyon Cox''s artwork and archives to various institutions, can also be found here.

General correspondence documents Cox's career and professional relationships with artists and architects, including John Barrington Bayley, Fabrizio Cassio, Arthur Conrad, Roscoe DeWitt, Stuart Frost, John Harbeson, Francis Keally, Adrian Lamb, Edward Laning, Charles Downing Lay, Deane Keller, Philip Trammell Shutze, and Cliff Young; art institutions and organizations including the Art Commission of the City of New York, the Art Students League, Dumbarton Oaks, the National Society of Mural Painters, and the Smithsonian Institution; federal, state and local government agencies including the American Battle Monuments Commission, the Architect of the Capitol, and the General Grant National Memorial; members of Congress including founder of the United States Capitol Historical Society, Representative Fred Schwengel; and private social clubs in which Cox was active, including the Century Association, the Cosmopolitan Club and the Cosmos Club. Correspondence documents Cox's most well known commissions including work for the George Washington Masonic National Memorial and the United States Capitol, as well as work for many private clients including banks and residences.

Also found are typescripts, manuscripts and notes for Cox's lectures, as well as Ethel Cox's diary from 1923-1936 and her diary excerpt from 1955. Ten folders of research files, consisting primarily of clippings, comprise Cox's source material. Additional printed material provides scattered documentation of Cox's career through announcements and catalogs, and magazine and newspaper articles written by him or about his work. Also found is one folder of clippings about Kenyon Cox.

Four sketchbooks and circa twenty-two loose animal, figure, architectural and landscape sketches comprise Cox's artwork, in addition to two 1943 sketches Cox entered into a War Department mural competition. Also found is an 1873 sketchbook of Kenyon Cox, with sketches of people and scenes in Ohio.

Photographs are of Cox from childhood to the 1980s; his family, including parents, siblings, and grandparents; friends including Philip Trammell Shutze and Warner Bishop; family residences; artist models; events; and artwork, including many of Cox's commissions. In addition to photographic prints, slides, and negatives, the series includes vintage formats such as an ambrotype, 8 tintypes, 2 cyanotypes, and a platinum print. Of particular note are circa 16 photos of Kenyon Cox, one taken by Pirie MacDonald and three of him teaching a class at the Art Students League, and a series of circa 1906 photos taken in a garden, of Louise and Kenyon Cox with their children and others. Also found are 10 glass plate negatives of artwork by Cox.
Arrangement:
The collection is arranged as 7 series. Glass plate negatives are housed separately and are closed to researchers.

Series 1: Biographical Material, 1916-1982 (0.33 linear feet; Boxes 1, 12)

Series 2: Correspondence, 1878-1982 (6.74 linear feet; Boxes 1-7, 12)

Series 3: Writings and Notes, 1919-1982 (0.58 linear feet; Boxes 7-8)

Series 4: Research Files, circa 1950s-circa 1970s (0.25 linear feet; Box 8)

Series 5: Printed Material, 1920s-1982 (0.5 linear feet; Boxes 8-9)

Series 6: Sketchbooks and Sketches, 1873-circa 1978 (0.25 linear feet; Box 9, OVs 13-14)

Series 7: Photographs, 1856-circa 1980 (2.25 linear feet; Boxes 9-12, OV 13)
Biographical / Historical:
New York, N.Y. and Washington, D.C. painter and muralist, Allyn Cox (1896-1982), was born in New York City to artists Kenyon and Louise Cox. Cox first trained as his father's assistant, serving as an apprentice to Kenyon Cox during the painting of the murals at the Wisconsin State Capitol, circa 1912. He attended the National Academy of Design from 1910-1915, and the Art Student's League with George Bridgman in 1915. In 1916 he was awarded the Prix de Rome and subsequently studied at the American Academy in Rome for 2 years before returning to New York City to begin a career in mural painting.

Cox completed numerous murals and decorative paintings for private residences, businesses, churches, and public buildings. Some of his most famous commissions included murals for the Royal Arch Room and Memorial Hall of the George Washington Masonic National Memorial in Alexandria, Virginia; the Law School at the University of Virginia, Charlottesville; and the William A. Clark Memorial Library at the University of California, Los Angeles; panels for the National City Bank, the Continental Bank, and the Guaranty Trust Company in New York; and glass mosaics and inlaid stone maps for the United States Military Cemetery in Hamm, Luxembourg.

Cox is best known for his work in the United States Capitol, beginning in 1952 when he undertook a congressional commission to restore and complete the murals in in the Capitol rotunda begun by Constantino Brumidi and Filipo Costaggini in 1878. Over the course of the next two decades Cox, now residing in Washington, D.C., restored the Frieze of American History and the Apotheosis of Washington in the Rotunda, and designed murals for three first-floor corridors in the Capitol's House wing, now known as the Cox Corridors. Assisted by Cliff Young, Cox completed painting for two of these corridors before his death. In 1958 Cox also painted a portrait of Henry Clay for the Senate Reception Room and in 1975 completed a mural depicting the 1969 moon landing in the Brumidi Corridor.

Cox taught at the Art Students League in 1940 and 1941, and was active in professional organizations throughout his career. He served as President of the American Artists Professional League and the National Society of Mural Painters, and Vice President of both the Fine Arts Federation and the New York Architectural League. He was a member of the board of the New York Municipal Art Society and served on the the New York City Art Commission.

Cox retired in March 1982 at the age of 86 and died the following September.
Related Materials:
Also found in the Archives of American Art are the Allyn Cox papers relating to U.S. Capitol murals, 1970-1974, donated by the Committee on House Administration, via Cindy Szady in 1981. Papers include a resume; a cost estimate by Cox for designing and executing mural decorations in the U.S. Capitol, 1970; a letter, 1974, from the Office of the Architect of the Capitol to the Capitol Historical Society enclosing photocopies of printed material pertinent to the unveiling and dedication of the Capitol rotunda frieze in 1954; miscellaneous printed material, 1971-1974; and 15 photographs of the murals in the Capitol.
Provenance:
The bulk of the Allyn Cox papers was donated in 1977 and 1983 by the Estate of Allyn Cox, Stephen M. Pulsifer, Exectuor, including material that had been loaned for microfiliming in 1969. Two mural sketches were donated by the Essex County Greenbelt Association in 1984.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Glass plate negatives are housed separately and are closed to researchers,

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Allyn Cox papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters -- New York (State) -- New York  Search this
Muralists -- Washington (D.C.)  Search this
Painters -- Washington (D.C.)  Search this
Muralists -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Diaries
Photographs
Sketchbooks
Sketches
Citation:
Allyn Cox papers, 1856-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.coxally
See more items in:
Allyn Cox papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-coxally
Online Media:

John William Casilear papers

Creator:
Casilear, John William, 1811-1893  Search this
Names:
Burr, Grace Casilear  Search this
Casilear, John W., 1868-1937  Search this
Kensett, John Frederick, 1816-1872  Search this
Rice, Foster Wild  Search this
Woolson, Elinor  Search this
Extent:
80 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1832-1962
Scope and Contents:
Correspondence, including two letters to engraver and landscape painter John Frederick Kensett, 1832-1833, four to his son, John W. Casilear, Jr. 1891-1892; typed excerpts from a diary kept by Kensett, 1840-1841; genealogical and biographical material including family documents, articles and publication extracts about Casilear, compiled and/or annotated by Grace Casilear Burr, John W. Casilear, Jr., and historian Foster Wild Rice; five original Casilear engravings; reproductions of art works; lists of art work; and family photographs, including a daguerreotype of Casilear, and two unidentified ambrotypes.
Biographical / Historical:
Engraver, painter. The Casilear family were engravers of bank notes. In 1840, Casilear along with friends John Frederick Kensett, Asher B. Durand and others, went to Europe to study art.
Provenance:
Donated by Lawrence Fleischman, who received them from Foster Wild Rice, 1962. Rice, the great-grandson of bank note engraver Nathaniel Jocelyn, wrote a brief history of the Jocelyn family of engravers, The Jocelyn Engravers (1948), with whom Casilear was associated in the bank note engraving business. He acquired the papers from Grace Casilear Burr (d. 1906), and Miss Elinor Woolson, Casilear descendents.
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:
Engravers  Search this
Landscape painters  Search this
Painters  Search this
Topic:
Bank notes -- United States  Search this
Identifier:
AAA.casijohn
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-casijohn

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