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Ruth Bowman papers

Creator:
Bowman, Ruth, 1923-  Search this
Names:
American Association of Museums  Search this
American Federation of Arts  Search this
Brooklyn Museum  Search this
Canadian Museums Association  Search this
Craft and Folk Art Museum  Search this
KUSC (Radio station : Los Angeles, Calif.)  Search this
Long Beach Museum of Art  Search this
Los Angeles County Museum of Art  Search this
Massachusetts Institute of Technology  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New York University  Search this
Newark Museum  Search this
WNYC (Radio station : New York, N.Y.)  Search this
Albers, Josef  Search this
Anshutz, Thomas Pollock, 1851-1912  Search this
Bengelsdorf, Rosalind, 1916-1979  Search this
Bolotowsky, Ilya, 1907-1981  Search this
Burkhardt, Hans Gustav, 1904-1994  Search this
Cézanne, Paul, 1839-1906  Search this
Diller, Burgoyne, 1906-1965  Search this
Eakins, Thomas, 1844-1916  Search this
Ferren, John, 1905-1970  Search this
Holty, Carl, 1900-1973  Search this
Holtzman, Harry  Search this
Lassaw, Ibram, 1913-2003  Search this
Levine, Les, 1935-  Search this
Lipchitz, Jacques, 1891-1973  Search this
MacDonald, Duncan (Broadcaster)  Search this
Mason, Alice Trumbull, 1904-1971  Search this
McNeil, George, 1908-1995  Search this
Morris, George L. K., 1905-1975  Search this
Noguchi, Isamu, 1904-1988  Search this
Picasso, Pablo, 1881-1973  Search this
Reinhardt, Ad, 1913-1967  Search this
Sloan, Helen Farr, 1911-2005  Search this
Wilfred, Thomas, 1889-1968  Search this
Extent:
26.7 Linear feet
21.99 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Interviews
Sound recordings
Scripts (documents)
Date:
1936-2006
bulk 1963-1999
Summary:
The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writings and related research materials include her thesis,"Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.
Scope and Contents:
The papers of art historian and museum educator Ruth Bowman are dated 1936-2006, bulk 1963-1999, and measure 26.7 linear feet and 21.99 GB. Professional correspondence and subject files document Bowman's relationships with colleagues and reflect her interests, activities including curatorial work, and accomplishments as a museum educator. Writing and related research materials include her thesis, "Thomas Pollock Anshutz, 1851-1912" (M.A., Institute of Fine Arts, New York University, 1971), and unfinished projects. Also found are interviews conducted by Bowman with a wide range of individuals for a variety of purposes.

Biographical materials consist of certificates, resumes, and a few photographs of Ruth Bowman. Correspondence concerns Bowman's professional activities and interests. Among the most frequent correspondents are: American Association of Museums, Craft and Folk Art Museum (Los Angeles), Massachusetts Institute of Technology, The Metropolitan Museum of Art, and The Museum of Modern Art.

Writings by Ruth Bowman, published and unpublished, include a thesis and articles about Thomas Pollock Anshutz, catalogs for American Federation of Arts and The Newark Museum exhibitions, lectures, as well as articles about museum education and visual arts programs. Research relates to her writings about Anshutz, and to unrealized projects concerning Anshutz, Cézanne, Eakins, Picasso, and other subjects. Also found are two brief writings about Bowman.

Subject files--general subjects, artists' files, Ruth Bowman activities, and "Sunrise Semester"--contain the majority of Bowman's professional correspondence along with printed material, writings, photographs, and sound recordings. Among the most thoroughly documented general subjects are: The Brooklyn Museum's Trustees Retreat, Canadian Museums Association, a 1981 Craft Symposium, International Network for the Arts, Long Beach Museum of Art, Los Angeles County Museum of Art, "Museum Directors' Forum", New York University Art Collection, and Massachusetts Institute of Technology Council for the Arts. Artists' files are comprised mainly of printed material with a small amount of correspondence and some photographs. The Les Levine file consists of the first issue of Art-Rite featuring a brief article about Levine on its cover; Thomas Wilfred's file includes information about Lumia. Ruth Bowman activities include lectures, radio and television appearances, and participation in professional events. "Sunrise Semester," a collaboration between CBS television and New York University, offered early morning courses for college credit. Ruth Bowman was the instructor for "20th Century American Art," which is documented by general information, scripts, and sound recordings of all 46 classes.

Interviews conducted by Bowman are with English museum administrators and educators; people knowledgeable about a controversial proposal for an Annenberg Fine Arts Center at The Metropolitan Museum of Art; guests on KUSC radio shows "Sounds of Seeing" and "Live from Trump's"; and guests on the WNYC radio program "Views on Art." Interviews with miscellaneous individuals include Josef Albers, Hans Burkhardt, Carl Holty, Isamu Noguchi, and Helen Farr Sloan. Bowman interviewed a dozen American abstract artists, including Ilya Bolotowsky, Rosalind Bengelsdorf Browne, Burgoyne Diller, John Ferren, Carl Holty, Harry Holtzman, Ibram Lassaw, Jacques Lipchitz, Alice Mason, George McNeil, George L. K. Morris, and Ad Reinhardt for a thesis on the subject, but eventually wrote on a different topic. Two interviews with Bowman were conducted by Duncan MacDonald and an unidentified interviewer.
Arrangement:
This collection is arranged as 5 series:

Series 1: Biographical Materials, 1964-1984 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1963-1996 (Box 1; 0.7 linear feet)

Series 3: Writings and Related Research, 1942-1999 (Boxes 1-3; 1.5 linear feet)

Series 4: Subject Files, 1936-2006 (Boxes 3-12, 26; 9.6 linear feet)

Series 5: Interviews, 1963-1989 (Boxes 12-25; 9.2 linear feet, ER01-ER70; 21.99 GB)
Biographical / Historical:
Ruth Bowman (b. 1923) is an art historian and museum educator who worked in New York City and Los Angeles. She is known for her interest in using new communications technology for museum education, discovering Arshile Gorky's long forgotten murals at Newark Airport, and expertise in the work of Thomas Anshutz.

A graduate of Bryn Mawr College (B.A. 1944), where she had studied art history and classical archaeology, Ruth Bowman began a museum career in New York as an assistant curator at the Jewish Museum in the early 1960s. From 1963-1974 Ruth Bowman served as curator of the York University Art Collection and was involved in its transition to the Grey Art Gallery and Study Center. Bowman wrote her master's thesis on Philadelphia artist Thomas Pollock Anshutz and received a degree from the Institute of Fine Arts, New York University in 1971. During this same period, she was a staff lecturer at The Museum of Modern Art and taught art history in divisions of New York University. She was the instructor for a "Sunrise Semester" 20th century American art course broadcast nationally on CBS.

In 1974 Bowman and her family moved to California and she began an association with the Los Angeles County Museum of Art as Director of Education. She attended summer courses in arts administration at Harvard University (1975) and similar training provided by the British Arts Council (1976). She taught at University of California Santa Barbara, as well as at California State University at Fullerton and Long Beach. Bowman was active in the Council of the American Association of Museums (vice president), the Craft and Folk Art Museum in Los Angeles (vice president), and has served as a consultant to several museums and a corporate collection.

Ruth Bowman with her friend Harry Kahn (1916-1999) developed a collection of self-portraits by 20th century American artists, which she donated to the National Portrait Gallery in 2002. Mrs. Bowman is the widow of R. Wallace Bowman and currently resides in New York City.
Provenance:
Donated by Ruth Bowman in 2004.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
Research material including correspondence, writings and notes, photographs, and printed material on Cezanne, Thomas Eakins, and Picasso: Authorization to publish, quote, or reproduce requires written permission from Ruth Bowman. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- California -- Los Angeles  Search this
Art historians -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Art, American -- 20th century  Search this
Genre/Form:
Photographs
Interviews
Sound recordings
Scripts (documents)
Citation:
Ruth Bowman papers, 1936-2006, bulk 1963-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bowmruth2
See more items in:
Ruth Bowman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bowmruth2
Online Media:

Boys on an industrial riverfront

Photographer:
Anshutz, Thomas Pollock, 1851-1912  Search this
Type:
Photographs
Date:
189-
Record number:
(DSI-AAA)11685
See more items in:
Thomas Anshutz papers, circa 1870-1942
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_11685

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)  Search this
Painting  Search this
Identifier:
AAA.schowalt
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schowalt

Horatio W. Shaw papers

Creator:
Shaw, Horatio W., 1847-1918  Search this
Names:
Anshutz, Thomas Pollock, 1851-1912  Search this
Gifford, R. Swain (Robert Swain), 1840-1905  Search this
Kelly, James Edward, 1855-1933  Search this
Rathbone, Perry Townsend, 1911-2000  Search this
Seiss, C. Few  Search this
Shaw, Wilfred B., b. 1881  Search this
Stephens, Kid  Search this
Extent:
0.2 Linear feet ((41 items on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1880-1975
Scope and Contents:
Thirty letters written by Shaw while studying with Thomas Eakins at the Pennsylvania Academy of Fine Arts to his wife Susan; some from Kid Stephens, R. Swain Gifford, C. Few Seiss, Thomas Anshutz, and [James E.?] Kelly; two articles about Shaw by his nephew Wilfred B. Shaw; exhibition catalogs, including one from a retrospective show of Shaw's works in 1940; correspondence of Perry T. Rathbone relating to Shaw, including some biographical information.
Biographical / Historical:
Painter and draftsman; Michigan.
Provenance:
Donated, 1960 and 1974, Detroit Institute of Art and University of Michigan.
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 -- Michigan  Search this
Draftsmen (artists) -- Michigan  Search this
Topic:
Painting, Modern -- 19th century -- History -- Michigan  Search this
Identifier:
AAA.shawhora
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-shawhora

The Seeker in the Marshes : illustrated by the Philadelphia Sketch Club; presented to Mr. W. Moylan Lansdale club historian by his fellow members, 1889

Creator:
Lansdale, William Moylan, 1842-1926  Search this
Names:
Philadelphia Sketch Club  Search this
Anshutz, Thomas Pollock, 1851-1912  Search this
Blaikie, J. G.  Search this
Cariss, Henry T., 1850-1903  Search this
Clark, William J., 1840-1889  Search this
Deitz, Carl S.  Search this
Dunk, Walter M., b. 1855  Search this
English, Frank F., 1854-1922  Search this
Faber, Ludwig E., 1855-1913  Search this
Hensel, John C.  Search this
Huston, Clair Aubrey, b. 1857  Search this
Lummis, F. E.  Search this
Moran, Peter, 1841-1914  Search this
Neely, Joseph, Jr.  Search this
Noll, W. C.  Search this
Paine, Birdsall D.  Search this
Pitts, Frederick L.  Search this
Poore, Henry Rankin, 1859-1940  Search this
Porter, William A. (William Arnold), 1844-1909  Search this
Schell, Frank Cresson, 1857-1942  Search this
Schell, Frederic B.  Search this
Seiss, C. Few  Search this
Stephens, Charles H., 1855?-1931  Search this
Stern, Max, 1903-1980  Search this
Taylor, J. Madison  Search this
Thomson, William J.  Search this
Uhle, Bernhard  Search this
Extent:
1 Volume ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Volumes
Date:
1889
Scope and Contents:
Volume presented to W. Moylan Lansdale, historian of the Philadelphia Sketch Club, containing 32 original drawings and prints by members of the Philadelphia Sketch Club, illustrating Daniel L. Dawson's text, "Seeker in the Marshes." The illustrations, in order of appearance, are signed: Frederic B. Schell, Walter M. Dunk, Frederick L. Pitts, Bernhard Uhle, J. B. Blaike, Charles H. Stephens, Joseph Neely, Jr., W. C. Noll, Thomas Anshutz, Covington Few Seiss, Max Stern, _ Day (possibly Joseph R. Day, Frank M. Day, or Arthur Day), Carl Dietz, Ludwig. E. Faber, Birdsall D. Paine, Frank F. English, Henry T. Cariss, R.E. Lummis, F. B. or possibly E. B. (possibly Edmund B. Bensell or Franklin Dullin Biscoe), Peter Moran, F. Cresson Schell, William A. Porter, W. J. Clark Jr., John C. Hensel, J. Madison Taylor, Henry R. Poore, Aubrey Huston, and William J. Thomson.
Publication, Distribution, Etc. (Imprint):
Philadelphia, Pa.: Philadelphia Sketch Club, 1889
Provenance:
Lent for microfilming 2002 by Christine Rendell, who received it from her aunt by marriage, Mrs. Elizabeth Jones. Jones was Lansdale's grandaughter. Jones received the volume from her mother, Lansdale's daughter, Maria Lansdale.
Occupation:
Artists -- Pennsylvania -- Philadelphia  Search this
Identifier:
AAA.lanswmay
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lanswmay

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

Henry T. Cariss papers

Creator:
Cariss, Henry T., 1850-1903  Search this
Names:
Philadelphia Sketch Club  Search this
Philadelphia Society of Etchers  Search this
Anshutz, Thomas Pollock, 1851-1912  Search this
Briscoe, Franklin D.  Search this
Deigendesch, Herman F., 1858-1921  Search this
Dunk, Walter M., b. 1855  Search this
Hahs, Philip B.  Search this
James, Frederick, 1845-1907  Search this
Poore, Henry Rankin, 1859-1940  Search this
Simon, Hermann  Search this
de Kosenko, Stephan, 1865-1932  Search this
Extent:
20 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
[ca. 1876-1900]
Scope and Contents:
Cariss family genealogy; three letters to Cariss, 1880-1900, from the Gibson Stained Glass Co, the Art Institute of Chicago, and the World's Columbian Exposition; a journal of his passage by sea to Europe with members of the Philadelphia Sketch Club; a photograph of Cariss; a watercolor, "Potatoe [sic] Gatherers" and an etching by Cariss; papers concerning his research for his painting, "The Oath of Allegiance at Valley Forge"; and a scrapbook containing photographs, newspaper clippings, prints, drawings, letters, and announcements about the Philadelphia Sketch Club and Cariss' artist friends Thomas Anshutz, Franklin D. Briscoe, Stephan de Kosenko, Herman Deigendesch, Walter M. Dunk, Philip B. Hahs, Frederick James, Henry R. Poore, Hermann Simon and others.
Biographical / Historical:
Painter, etcher; Philadelphia, Pa. President of Philadelphia Sketch Club and active member of Philadelphia Society of Etchers.
Provenance:
Lent for microfilming 1992 by Bill Patterson, who received the material from the family of a friend of Henry Carriss' only son, William Hyde Carris, to whom William had willed the papers.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Artists -- Pennsylvania -- Philadelphia  Search this
Etchers -- Pennsylvania -- Philadelphia  Search this
Painters -- Pennsylvania -- Philadelphia  Search this
Topic:
Art -- Societies, etc. -- Pennsylvania -- Philadelphia  Search this
Identifier:
AAA.carihenr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carihenr

Alexander Francis Harmer papers and Alexander Francis Harmer Trust records

Creator:
Harmer, Alexander Francis, 1856-1925  Search this
Names:
Anshutz, Thomas Pollock, 1851-1912  Search this
Eakins, Thomas, 1844-1916  Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1882-1985
Scope and Contents:
Alexander Franis Harmer papers include: letters, 1882-1920, to Harmer from artists Frank Stephens, Thomas Eakins (illustrated; providing instructions on how to make a camera), and Thomas Anshutz (writing about the Pennsylvania Academy of the Fine Arts), also curator Hector Alliot, Captain John G. Bourke, Editor of "The Land of Sunshine," Charles F. Lumis, attorney Joseph D. Redding, George Wharton James, J.L. Wallace, and others; photographs, negatives, slides, and reproductions of works of art by Harmer, a photograph of Harmer, and photographs possibly of his studio; published biographies of Harmer and other printed material; Library of Congress copyright registrations for paintings, 1906; and periodicals, with illustrations by Harmer, including seven issues of "The Land of Sunshine," "The Magazine of California and the West," 1895-1899, the "Overland Monthly," March 1896, and "The Californian, Illustrated Magazine" September and October 1893.
Records, 1954-1985, of the Alexander Francis Harmer Trust include correspondence; conservation records; inventories; financial statements; deeds and emendations; minutes of trustees meetings; photocopies of Santa Barbara Historical Society Registration Data Sheets concerning works of art on loan from the Harmer Trust, notes and miscellany.
Biographical / Historical:
Painter; Santa Barbara, Calif. Harmer is known for his paintings and illustrations of frontier life in Southern Calif.
Provenance:
Donated 2002 by Florence Weston Harmer, daughter-in-law of Alexander Francis Harmer via her executor, Linda C. Weston .
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Artists -- California  Search this
Identifier:
AAA.harmalex
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-harmalex

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

Charles Henry Hart autograph collection

Creator:
Hart, Charles Henry, 1847-1918  Search this
Names:
Anshutz, Thomas Pollock, 1851-1912  Search this
Audubon, John James, 1785-1851  Search this
Chase, William Merritt, 1846-1916  Search this
Church, Frederic Edwin, 1826-1900  Search this
Copley, John Singleton, 1738-1815  Search this
Cox, Kenyon, 1856-1919  Search this
Eakins, Thomas, 1844-1916  Search this
James McNeill Whistler, 1834-1903  Search this
McEntee, Jervis, 1828-1891  Search this
Morse, Samuel Finley Breese, 1791-1872  Search this
Peale, Charles Willson, 1741-1827  Search this
Peale, Raphaelle, 1774-1825  Search this
Peale, Rembrandt, 1778-1860  Search this
Peale, Rubens, 1784-1865  Search this
Peale, Titian Ramsay, 1799-1885  Search this
Smillie, James David, 1833-1909  Search this
Stuart, Gilbert, 1755-1828  Search this
Sully, Thomas, 1783-1872  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Vanderlyn, John, 1775-1852  Search this
Vedder, Elihu, 1836-1923  Search this
Ward, John Quincy Adams, 1830-1910  Search this
West, Benjamin, 1738-1820  Search this
Extent:
1.7 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1731-1918
Summary:
The Charles Henry Hart autograph collection dates from 1731-1917 and measures 1.7 linear feet comprised of 226 letters, portrait prints, and other documents signed by American artists.
Scope and Contents:
The Charles Henry Hart autograph collection dates from 1731-1917 and measures 1.7 linear feet comprised of 226 letters, portrait prints, and other documents signed by American artists.

Originally titled by Hart as "The History of Art in America as Told in a Remarkable Collection of Autograph Letters and Documents of Celebrated American Artists of the Eighteenth, Nineteenth, and Twentieth Century," the collection includes letters and other items signed by Thomas Anshutz, John J. Audubon, William Merritt Chase, Frederic Edwin Church, John Singleton Copley, Kenyon Cox, Thomas Eakins, Jervis McEntee, Samuel F.B. Morse, Charles Willson Peale, Raphaelle Peale, Rembrandt Peale, Rubens Peale, Titian Peale, James Daivd Smillie, Gilbert Stuart, Thomas Sully, Abbott Handerson Thayer, John Vanderlyn, Elihu Vedder, John Quincy Adams Ward, Benjamin West, James Abbott McNeill Whistler, and many others.
Arrangement:
The collection is arranged as 1 series.

Series 1: Charles Henry Hart autograph collection, 1731-1917 (226 items; Box 1-5)
Biographical / Historical:
Charles Henry Hart (1847-1918) was a historian, lawyer, writer, and director, Pennsylvania Academy of the Fine Arts, 1882-1904. Widely, he published on the subject of 18th and 19th century portraiture in the United States.
Related Materials:
The Archives of American Art also holds the personal papers of Charles Henry Hart, dating from 1774-1930, bulk 1888-1918.

Papers of Charles Henry Hart, 1888-1894, are also located at The New York Public Library Archives & Manuscripts.
Provenance:
The Charles Henry Hart autograph collection was donated to the Archives of American Art in 1954 as an anonymous gift. It is assumed that Hart assembled the letters. Original collation was two letterbooks entitled "The History of Art in America as Told in a Remarkable Collection of Autograph Letters and Documents of Celebrated American Artists of the Eighteenth, Nineteenth, and Twentieth Century."
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.
Topic:
Autographs -- Collections  Search this
Artists -- United States -- Portraits  Search this
Autographs -- Collectors and collecting  Search this
Artists -- United States -- Autographs  Search this
Citation:
Charles Henry Hart autograph collection, 1731-1918. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hartchar
See more items in:
Charles Henry Hart autograph collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hartchar

Thomas Anshutz papers, circa 1870-1942

Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Subject:
Eakins, Thomas  Search this
Pennsylvania Academy of the Fine Arts  Search this
Philadelphia Sketch Club  Search this
Type:
Glass negatives
Photographs
Topic:
Photography -- Pennsylvania -- Philadelphia  Search this
Art, American -- Pennsylvania -- Philadelphia  Search this
Painters -- Pennsylvania -- Philadelphia  Search this
Record number:
(DSI-AAA_CollID)5816
(DSI-AAA_SIRISBib)208656
AAA_collcode_anshthom
Theme:
Art Materials, Techniques, and Studio Art Education
Lives of American Artists
Photography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208656
Online Media:

Photographs of Anshutz and His Studio

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 2, Folder 45
Type:
Archival materials
Date:
1913, 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 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:
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 / 5.5: Photographs of Anshutz and Works of Art
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref100

Group Photograph, Philadelphia Sketch Club

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 2, Folder 47
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 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:
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 / 5.5: Photographs of Anshutz and Works of Art
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref101

Drawings of Harper's Ferry

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 2, Folder 48
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 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:
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 / 5.5: Photographs of Anshutz and Works of Art
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref102

Correspondence

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
0.2 Linear feet (Box 1)
Type:
Archival materials
Date:
circa 1870-1911 and 1942
Scope and Contents note:
This series includes correspondence with family members, fellow artists, and other personal and professional contacts. Early letters include letters from Anshutz to family while a student at the National Academy in the 1870s, and to his brother from Europe in 1892 and 1893. Letters from Anshutz to his wife, Effie, include many letters from Philadelphia in 1893 and 1894, and from a long river excursion in New Jersey in 1897. Letters from Anshutz to Frank Cresson Schell (1900-1903, 1911 and undated), a former student, discuss his own painting, Schell's artwork and the progress of his students at the Darby School. Correspondence dating from 1905 to 1911 consists of letters from various personal and professional contacts to Anshutz or to his wife. Several letters from clients refer to payments made for portraits. Other significant correspondents include the artists Charles Francis Browne (1908), David Wilson Jordan (1908), Francis Grafly (1910), Edward W. Redfield (1910), Malcolm Stewart (1909-1910), Samuel S. Fleisher (1911), and Daniel Garber (undated).

Three envelopes without letters may have contained illustrated letters, which were loaned to the archives for microfilming but later returned to the donor. A total of eighteen illustrated letters, which are no longer in the collection, can be viewed on microfilm reel 140.
Arrangement note:
Correspondence is arranged chronologically, with undated letters placed at the end of the group. Dates written on correspondence in pencil were transcribed from envelopes, which were then discarded, by Archives staff upon accession of the collection. Other notations may have also been made at that time.
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 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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.anshthom, Series 1
See more items in:
Thomas Anshutz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref15

Glass Plate Negatives

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
18 Glass negatives
Container:
Box MGP 2
Type:
Archival materials
Negatives
Glass negatives
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 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:
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-ref151

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 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:
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

Writings

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
2 Folders (Box 1)
Type:
Archival materials
Date:
1880s, 1893
Scope and Contents note:
This series contains a notebook kept by Thomas Anshutz during a trip to Europe in 1892-1893. Contents include word games and French language exercises, five pages of sketches, one list of artwork, and a recipe for Spanish White. Also found is a list of contact information on letterhead for the Ladies Decorative Art Club of Philadelphia.
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 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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.anshthom, Series 2
See more items in:
Thomas Anshutz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref19

Travel Notebook

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 1, Folder 20
Type:
Archival materials
Date:
1893
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 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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 2: Writings
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref20

Contact List

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 1, Folder 21
Type:
Archival materials
Date:
circa 1880s
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 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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 2: Writings
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-anshthom-ref21

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