This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.
An invitation to William Meredith for the eighth annual exhibition of the Artists' Fund Society "Private View," Apr. 3, 1843; circular letters, Mar. 13, 1834 and Oct. 1834, concerning the finances of the Pennsylvania Academy and the durability of the members. The first letter is signed by Joseph Hopkinson and the second by William Strickland, Henry Inman, Charles Graff, Cephas G. Childs, J. K. Kane, and Nathan Dunn. Also, correspondence between David Hosack and William Meredith, Jan. 12 and 18, 1817, about Thomas Sully's portrait of Gouverneur Morris; and a letter to Nicholas Biddle from Rembrandt Peale, concerning a portrait of Mr. Dennie and a copy for Biddle, with a note by Biddle at the bottom of the page.
Provenance:
Microfilmed by the Historical Society of Pennsylvania for the Archives of American Art, 1955.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Ca. 850 pages of selected art related excerpts from Sill's diaries. The diaries date from 1832 to 1854 and document his own painting activities, his association with the Artists and Amateurs Association, Artists' Fund Society, and Pennsylvania Academy of the Fine Arts. He gives his reactions to the work of other artists as seen in exhibitions in Philadelphia and New York, especially at the National Academy of Design, as well as in private collections. He writes about panoramas shown in Philadelphia, purchases of works of art for himself and others, commissions to artists to paint pictures for him, etc. In particular he writes frequently of his friend, the collector and patron Edward L. Carey, and of Carey's collection. He often mentions John Sartain, James R. Lambdin, Peter F. Rothermel, Daniel Huntington, Thomas Sully, William H. Furness, Emanuel Leutze, George L. Saunders, Samuel B. Waugh, Paul Weber, William J. Hubard, Monachesi, and John Neagle. He tells of the founding and subsequent activities of the Art-Union of Philadelphia; the sale of Joshua Shaw's paintings and his misfortunes; the work and ill natured personality of William Page; meeting with and a drawing and description of John J. Audubon; a controversy between Robert W. Weir and Samuel F. B. Morse about who will paint the Mayflower Compact; V. G. Audubon's efforts to get subscribers for his father's book; and Bowen's lithographic shop.
He characterizes Edward Watmough and William E. Winner.
Biographical / Historical:
Collector, amateur painter; Philadelphia, Pa.
Provenance:
Microfilmed for the Archives of American Art in 1955 by the Historical Society of Pennsylvania. Diaries donated to the Society by Edward Madiera.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
