Skip to main content Smithsonian Institution

Search Results

Collections Search Center
150 documents - page 1 of 8

Walter Elmer Schofield papers

Creator:
Schofield, Walter Elmer, 1867-1944  Search this
Names:
Carnegie Institute  Search this
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Alexander, John White, 1856-1915  Search this
Anshutz, Thomas Pollock, 1851-1912  Search this
Breckenridge, Hugh H. (Hugh Henry), 1870-1937  Search this
Calder, Alexander Stirling, 1870-1945  Search this
Caro-Delvaille, Henry, 1876-1928  Search this
Chase, William Merritt, 1849-1916  Search this
Dougherty, Paul, 1877-1947  Search this
East, Alfred, Sir, 1849-1913  Search this
Forbes, Stanhope Alexander, 1857-1947  Search this
Grafly, Charles, 1862-1929  Search this
Henri, Robert, 1865-1929  Search this
Lathrop, William Langson, 1859-1938  Search this
Lever, Hayley, 1876-1958  Search this
Oberteuffer, Karl A. (Karl Amiard), 1908-1958  Search this
Olsson, Julius, 1864-1942  Search this
Redfield, Edward Willis, 1869-1965  Search this
Sargent, John Singer, 1856-1925  Search this
Shannon, Charles Hazelwood, 1863-1937  Search this
Sloan, John, 1871-1951  Search this
Symons, George Gardner, 1861-1930  Search this
Taylor, Henry Fitch, 1853-1925  Search this
Trask, John E. D., 1871-1926  Search this
Young, Charles Morris, 1869-1964  Search this
Extent:
0.8 Linear feet ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1885-1974
Scope and Contents:
Biographical material, correspondence, business records, notes, printed material and photographs document the career of landscape painter Walter Elmer Schofield.
REEL D71: Letters, 1923-1961, are from museums concerning the exhibition or collection of Schofield's work, from his son to the Archives of American Art concerning the acquisition of Schofield's papers, and a letter and biographical sketch from British sculptor Helen Stuart Weir. Photographs, ca. 1890-1937, are of Schofield, including one at a silvermine in Mexico, and 4 with the Royal Artillery and Royal Fusiliers. One shows Schofield with fellow artists John White Alexander, William Merritt Chase, and Sir Alfred East. There are also photographs of Schofield's residence in Suffolk, England, gallery installations, and art works. Business records, 1888-1921, include discharge papers from the San Antonio Rifles, and 3 leases. Printed material, 1902-1945, includes clippings, an exhibition catalog, a membership list for the National Academy of Design, 1902, and a program for a memorial service for Schofield.
REEL 5043: Biographical material, 1904-1945, includes a biographical sketch, an award certificate from the Carnegie Institute, and a death certificate. Correspondence, 1892-1974, consists primarily of letters between Schofield and his wife during his sojourns in America. Schofield's letters describe his activities including participation in the Louisiana Purchase Exposition and on Carnegie Institute juries, and mention his colleagues including Thomas Anshutz, Alexander Stirling Calder, Henry Caro-Delvaille, Paul Dougherty, Charles Grafly, Robert Henri, William Lathrop, Julius Olsson, Edward Redfield, John Singer Sargent, Charles Shannon, John Sloan, Gardner Symons, Henry Fitch Taylor, John Trask, and Charles Morris Young. There are also one to three letters each from Hugh Henry Breckenridge, Stanhope Forbes, Hayley Lever, and Karl Oberteuffer.
Business records, 1903-1937, include receipts for art supplies, the shipment of household goods, financial records for the sale of Reen Cottage,and for an exhibition at Stendahl Art Galleries, and a contract of ownership for the Delph Spinning Company. Notes consist of lecture notes "Art Noon Club Objectives" and a stanza from "Dover Beach" by Matthew Arnold. Printed material, 1901-1945, consists of clippings, 2 exhibition catalogs, and a reproduction of a wood-engraving of Otley Church. Photographs, 1887-1940, are of Schofield, his wife and sons, members of Schofield's class at the Pennsylvania Academy of the Fine Arts, classes taught by Schofield, members of his military units, his residences in Suffolk and Cornwall, England, gallery installations, and works of art.
Biographical / Historical:
Painter. Born Philadelphia, Pa., Schofield studied at the Pennsylvania Academy of the Fine Arts and, in 1890, at the Academie Julian. After marrying Murielle Redmayne in 1897, he established his residence in England, making frequent trips to the United States to conduct his art-related business. He was primarily known as a landscape and marine painter.
Provenance:
Material on reel D71 donated 1961 by Sydney Schofield, Walter Schofield's son. Material on reel 5043 donated by Mrs. S.E. Schofield through the Brandywine River Museum, 1986.
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:
Impressionism (Art) -- England  Search this
Painting  Search this
Identifier:
AAA.schowalt
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schowalt

Robert Henri papers

Creator:
Henri, Robert, 1865-1929  Search this
Names:
Pennsylvania Academy of the Fine Arts  Search this
Anshutz, Thomas Pollock, 1851-1912  Search this
Bouguereau, William Adolphe, 1825-1905  Search this
Calder, Alexander Stirling, 1870-1945  Search this
Grafly, Charles, 1862-1929  Search this
Hovenden, Thomas, 1840-1895  Search this
MacRae, Elmer Livingston, 1875-1953 -- Photographs  Search this
Parrish, Maxfield, 1870-1966 -- Photographs  Search this
Redfield, Edward Willis, 1869-1965  Search this
Sloan, John, 1871-1951  Search this
Extent:
4 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Sketchbooks
Date:
1870-1954
Scope and Contents:
The Robert Henri papers date from 1880 to 1954. included are 26 diaries, dating from 1880 to 1928. The collection also includes writings, scrapbooks, printed material, and miscellany.
Reels 885-887: 25 diaries kept by Robert Henri, August 15, 1881 to October 20, 1928 (some entries with illustrations). Henri writes about his studies at the Pennsylvania Academy of the Fine Arts and in Paris; his instructors Thomas Anshutz, Thomas Hovenden, and Adolphe Bouguereau, and fellow students Alexander Stirling Calder, Edward Redfield, Charles Grafly, and others; his opposition to the National Academy of Design and academic painting between 1902 and 1912; the exhibition of The Eight in 1908; the 1910 Exhibition of Independent Artists; the MacDowell Club; the founding of the Association of American Painters and Sculptors; and other topics. Also included are typescripts of 4 plays; scrapbooks of clippings, 1888-1954 and loose clippings; 82 photographs of Henri, including a group photo of Henri, Elmer MacRae, Maxfield Parrish, and four unidentified women, classes, and models; a letter and receipt from John Sloan; clippings regarding The Eight; and a copy of Memoirs of My Dead Life, by George Moore, annotated by Henri.
Reel 1654: Robert Henri diary, May to November 1880. Henri writes about his daily activities as a 15-year-old boy growing up on the Platte River, including entries on family events, playing with his brothers and friends, fishing, celebrating July 4th, bailing hay for his father, a dance and fair, and houses in Cozad, Nebraska (122 pages).
Biographical / Historical:
Robert Henri (1865-1929) was a painter and instructor in New York, N.Y.
Provenance:
Material on reels 885-887 was lent by Mrs. Janet LeClair, the widow of John LeClair, nephew of Henri's sister-in-law, Violet Organ. Organ inherited these papers and planned on using them in a biography of Henri which was never written. The papers passed to John LeClair upon Organ's death in 1959 and subsequently donated to Yale University. Organ donated other Henri papers, including correspondence, notes, notebooks, photographs and other manuscript material to Yale University's Beinecke Library in the 1960s. The diary on reel 1654 was lent by Dr. Robert Gatewood, a cousin of Robert Henri, who reported that he had at one time possessed several of Henri's illustrated boyhood stories and other diaries which were all destroyed in a fire.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art teachers  Search this
Painters  Search this
Topic:
Eight (Group of American artists)  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.henrrobe
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-henrrobe

Thomas Anshutz papers

Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Names:
Pennsylvania Academy of the Fine Arts  Search this
Philadelphia Sketch Club  Search this
Eakins, Thomas, 1844-1916  Search this
Extent:
2.76 Linear feet
Type:
Collection descriptions
Archival materials
Glass negatives
Photographs
Date:
circa 1870-1942
Summary:
The papers of Thomas Anshutz measure 2.76 linear feet and date from around 1870 to 1942, with the bulk of materials dating from 1880 to 1911. The papers document his education and career as a painter, photographer, and art instructor. The collection is particularly rich in photographs made between approximately 1880 and 1900, when Anshutz and others at the Pennsylvania Academy of the Fine Arts, under the direction of Thomas Eakins (1844-1916), began using photography as an aid in the study of the figure and as studies for paintings. Also found are correspondence, a notebook with scattered sketches, a handful of clippings regarding Anshutz's career, and scattered notes and printed materials.
Scope and Content Note:
The papers of Thomas Anshutz measure 2.76 linear feet and document his education and career as a painter, photographer, and art instructor. The collection is particularly rich in photographs made between approximately 1880 and 1900, when Anshutz and others at the Pennsylvania Academy of the Fine Arts, under the direction of Thomas Eakins (1844-1916), began using photography as an aid in the study of the figure and as studies for paintings. Also found are correspondence, a notebook with scattered sketches, a handful of clippings regarding Anshutz's career, and scattered notes and printed materials.

Photographs include vintage, original prints that were made during the period when Anshutz worked closely with Thomas Eakins, between 1880 and 1886, consisting of portraits, figure studies both nude and clothed, and class groups both posed and informal. Among the nude photographs are pastoral figure studies with Eakins himself as the model. This collection does not include any of the photographs from Eakins' so-called "Naked Series," although a triptych of three figure studies of Eadweard Muybridge closely resembles photographs from that series. Prints from this period are small in size and are probably original contact prints.

Also found are 49 glass negatives and 3 prints that Thomas Anshutz likely made in the 1890s, mostly of figures and marine subjects, many of which were used in his paintings of that period. Additional unattributed photographs of similar subjects are also found, as well as professional studio portraits of Eakins and others, and a handful of photographs that seem to have been made at a later time and kept by the family, which depict Anshutz, his studio, the Philadelphia Sketch Club, and Anshutz's artwork.

Dates and attributions made in this finding aid are taken from scholarly and curatorial publications based on primary sources, including Eakins and the Photograph (1994) by Susan Danly and Cheryl Leibold; Thomas Eakins (2002), catalog to the exhibition Thomas Eakins: American Realist at the Philadelphia Museum of Art, especially the chronology by Kathleen Brown; The Photography of Thomas Eakins (1972) by Gordon Hendricks; and Thomas Anshutz: Artist and Teacher (1994) by Randall C. Griffin.

See the series descriptions below for additional information on the attribution and identification of photographs in this collection.
Arrangement:
The collection is arranged into 5 series. Glass plate negatives are housed separately and closed to researchers:

Series 1: Correspondence, c. 1870-1911, 1942 (Box 1; 0.2 linear feet)

Series 2: Writings, 1880s, 1893 (Box 1; 2 folders)

Series 3: Financial Records, 1884-1910 (Box 1; 1 folder)

Series 4: Printed Material, 1884-1942, undated (Box 1; 2 folders)

Series 5: Photographs, circa 1880-1904, 1936 (Boxes 1-3, MGP 2; 2.1 linear feet)
Biographical Note:
Thomas Pollock Anshutz was born in Newport, Kentucky in 1851. He grew up in Newport and in Wheeling, then in Virginia, now West Virginia. He received early art instruction at the National Academy of Design in New York in the early 1870s, studying under Lemuel Wilmarth.

In 1875, Anshutz moved to Philadelphia and attended the life class taught by Thomas Eakins at the Philadelphia Sketch Club. Eakins would soon come to be a major influence and close associate of Anshutz. In 1876, both artists joined the Pennsylvania Academy of the Fine Arts (PAFA); Eakins as Chief Demonstrator of Anatomy, and Anshutz as a student of Eakins and Christian Schussele. Anshutz became Eakins' assistant in 1878, and then succeeded him as Chief Demonstrator when Eakins was appointed Professor of Drawing and Painting. While he was still a student, Anshutz completed his ambitious painting Ironworkers' Noontime (1880), which was first exhibited at the Philadelphia Sketch Club in 1881 and was compared to Eakins' work by critics. 1881 was also the year that Anshutz became an instructor of drawing and painting at PAFA.

Around 1880, Thomas Eakins bought his first camera. By 1882, when he was appointed Director of Schools, he was using photography as an aid in his own artwork and as a teaching tool in his life classes. Many at the Academy got involved with photography, the cutting-edge medium of the age, a time when new photographic processes, materials, and devices were being introduced at a rapid rate and being put to new uses across many disciplines. At PAFA, Anshutz, Eakins, and others used the medium to carry out Eakins' vision of studying nature from life, posing models and students for the camera and making prints available for study.

Photography at the Academy ranged from informal photographs and class portraits to posed studies of nude or classically-dressed figures. Eakins also carried out a systematic documentation of nudes in seven pre-defined standing poses, which he called "The Naked Series." Anshutz, John Laurie Wallace, and Covington Few Seiss are known to have made photographs for this project, and Eakins himself was among the models. Around this same time, outings were organized with groups including Eakins, Anshutz, Wallace, and others, in which they photographed each other outdoors in the nude, boxing, wrestling, swimming, and in repose. Eakins used photographs from these outings in his Arcadia paintings and reliefs and in his painting, The Swimming Hole. In 1884, Eakins and Anshutz also became involved with the work of Eadweard Muybridge, who had come to Philadelphia to develop his photographic motion studies of animals and people. Eakins and Anshutz helped to build Muybridge's elaborate apparatus and took photographs for his well-known series, Animal Locomotion.

In 1886, when Eakins was dismissed from his position at PAFA for misconduct, Anshutz took over his classes and his leadership role in art instruction at the Academy. With the exception of a brief stint in Europe, teaching dominated Anshutz's remaining years, and may have earned him a more lasting reputation than his own artwork. Anshutz taught an impressive roster of American artists, many of whom would be among the vanguard of modernism in American art, including Robert Henri, John Marin, William Glackens, Everett Shinn, John Sloan, Charles Sheeler, Charles Demuth, and George Luks.

In 1892, Anshutz married Effie Shriver Russell, and the two traveled to Paris, where Anshutz briefly enrolled in the Académie Julian and visited museums, galleries, and the Salon des Indépendants. He returned to Philadelphia in 1893 and resumed teaching at the Pennsylvania Academy. During family vacations at Holly Beach, New Jersey, Anshutz experimented with watercolors, a brighter palette, and simplified compositions. He also continued taking photographic studies of scenes from nature and transcribing them onto canvas. He made dozens of photographs of Holly Beach scenes and other marine views from an 1897 boat trip down the Delaware and Maurice Rivers. Many of these photographs were used in his watercolors and oils of that period.

In 1898, Anshutz opened the Darby School, a summer school northwest of Philadelphia that emphasized plein air painting. He ran the school with Hugh Breckenridge, a former student who had studied at the Académie Julian around the same time as Anshutz. It was in this setting that Anshutz painted his most abstract work, a series of loosely-rendered and bright oil landscapes that were never exhibited. He continued teaching at the Darby School until 1910.

Despite his openness to experimentation and his accomplishments in genre scenes and landscapes, Anshutz was best-known by his contemporaries for his portraiture. In the late 1890s and 1900s, he exhibited his portraits regularly and won several awards for them, including a silver medal at the 1904 World's Fair, the Gold Medal of Honor at the Pennsylvania Academy in 1909, and a gold medal at the Buenos Aires International Exposition in 1910. Around this time he advanced to head instructor at PAFA, was made a member of the National Academy of Design, and was elected president of the Philadelphia Sketch Club. In the fall of 1911 he was forced by ill health to stop teaching, and he died the following June.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 140) including eighteen illustrated letters written by Thomas Anshutz to his wife in 1897. Loaned materials were returned to the lender, Elizabeth R. Anshutz of Philadelphia, Pennsylvania, and are not described in the collection container inventory.
Provenance:
A portion of the letters, the glass negatives and photographs were donated to the Archives of American Art in 1971 by Robert and Joy McCarty, occupants of the property formerly owned by the Anshutz family in Fort Washington, Pennsylvania. The remaining letters, photographs, and other papers were donated by Elizabeth R. Anshutz, wife of Anshutz's son Edward, in two separate accessions in 1971 and 1972. Eighteen illustrated letters were also loaned by Mrs. Anshutz to the Archives for microfilming (reel 140) and were later returned.
Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Rights:
The Thomas Anshutz 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:
Photography -- Pennsylvania -- Philadelphia  Search this
Art, American -- Pennsylvania -- Philadelphia  Search this
Painters -- Pennsylvania -- Philadelphia  Search this
Genre/Form:
Glass negatives
Photographs
Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.anshthom
See more items in:
Thomas Anshutz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-anshthom
Online Media:

Correspondence

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
circa 1870-1874
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref16

William H. MacDowell

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
(1 vintage print)
Container:
Box 1, Folder 25
Type:
Archival materials
Date:
circa 1883-1884
Scope and Contents note:
(photograph attributed to Thomas Eakins)
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.1: Photographs by Circle of Thomas Anshutz and Thomas Eakins
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref32

Bartram's Garden, Fairmount Park, Philadelphia

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
(6 vintage Prints)
Container:
Box 1, Folder 31
Type:
Archival materials
Date:
circa 1882
Scope and Contents note:
(pictured are Anshutz, M. Laurie Wallace, and unidentified painter at easel)
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.1: Photographs by Circle of Thomas Anshutz and Thomas Eakins
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref37

Students Working

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
(3 vintage prints)
Container:
Box 1, Folder 33
Type:
Archival materials
Date:
circa 1882
Scope and Contents note:
(pictured are students dissecting a cadaver in anatomy class, men's modeling class, women painting)
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.1: Photographs by Circle of Thomas Anshutz and Thomas Eakins / Class Groups in PAFA Classroom
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref40

Class Portraits

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
(4 vintage prints)
Container:
Box 1, Folder 35
Type:
Archival materials
Date:
circa 1882
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.1: Photographs by Circle of Thomas Anshutz and Thomas Eakins / Class Groups in PAFA Classroom
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref42

Women in Empire Dress

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
(5 vintage prints)
Container:
Box 1, Folder 43
Type:
Archival materials
Date:
circa 1882-1883
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.1: Photographs by Circle of Thomas Anshutz and Thomas Eakins / Figure Studies in Pennsylvania Academy of Fine Arts Classroom
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref46

Susan MacDowell in Group, Empire Dress

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
(2 vintage prints)
Container:
Box 1, Folder 47
Type:
Archival materials
Date:
circa 1882-1883
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.1: Photographs by Circle of Thomas Anshutz and Thomas Eakins / Figure Studies in Pennsylvania Academy of Fine Arts Classroom
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref48

Woman in Kimono

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
(1 vintage print)
Container:
Box 1, Folder 49
Type:
Archival materials
Date:
circa 1882-1883
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.1: Photographs by Circle of Thomas Anshutz and Thomas Eakins / Figure Studies in Pennsylvania Academy of Fine Arts Classroom
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref49

Two Nude Models with Clothed Man

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
(2 vintage prints)
Container:
Box 1, Folder 55
Type:
Archival materials
Date:
circa 1883
Scope and Contents note:
(clothed man appears to be Thomas Anshutz)
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.1: Photographs by Circle of Thomas Anshutz and Thomas Eakins / Figure Studies Outdoors, Male Nudes
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref53

Thomas Eakins

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
(1 vintage print)
Container:
Box 1, Folder 60
Type:
Archival materials
Date:
circa 1883
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.1: Photographs by Circle of Thomas Anshutz and Thomas Eakins / Figure Studies Outdoors, Male Nudes
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref56

Costumed Groups in Staged Outdoor Scenes

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
(5 vintage prints)
Container:
Box 1, Folder 62
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.1: Photographs by Circle of Thomas Anshutz and Thomas Eakins
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref57

Boys with Fishing Boat

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
(2 glass plate negatives housed in Box 3)
Container:
Box 2, Folder 1
Type:
Archival materials
Date:
1890s
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.2: Photographs by Thomas Anshutz
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref62

Figures with Fishing Boat

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 2, Folder 3
Type:
Archival materials
Date:
1890s
Scope and Contents:
Includes 1 vintage print.
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.2: Photographs by Thomas Anshutz
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref63

Thomas Eakins and J. Laurie Wallace

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
(2 vintage prints)
Container:
Box 1, Folder 58
Type:
Archival materials
Date:
circa 1883
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.1: Photographs by Circle of Thomas Anshutz and Thomas Eakins / Figure Studies Outdoors, Male Nudes
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref669

Portraits

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
(9 vintage prints)
Container:
Box 2, Folder 21
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.3: Unattributed Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref678

Landscapes, Exteriors, and Views

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
(8 vintage prints)
Container:
Box 2, Folder 33
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.3: Unattributed Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref687

Correspondence

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 1, Folder 2
Type:
Archival materials
Date:
1892
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Collection Rights:
The Thomas Anshutz 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.
Collection Citation:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref691

Modify Your Search







or


Narrow By