0.01 Linear feet (ca. 900 items (on 3 micofilm reels))
Type:
Collection descriptions
Archival materials
Date:
1842-1969
Scope and Contents:
Printed material and letters to Evans from collectors, dealers, and artists. Letters discuss business matters including the Munich International Art Exposition 1883, the American Watercolor Society, the Salmagundi Club, the Lotos Club, and Evans loaning work from his private collection for exhibitions, requests from artists wanting Evans to comment on and handle their work, thank you notes and invitations to openings and dinners. Significant correspondents include George Inness, Childe Hassam, Thomas W. Dewing, Worthington Whittredge, Albert Pinkham Ryder, Frederic Edwin Church, Joseph Pennell, Albert Bierstadt, Winslow Homer, Rembrandt Peale, Hobart Nichols, John George Brown, William A. Coffin and Eastman Johnson.
Biographical / Historical:
Art patron and collector. Born in Ireland, he came to the United States as a child. He gave collections of paintings to the National Gallery of Art, Washington, D.C. and the Montclair Museum.
Provenance:
Letters on reels 4054-4055 were lent to the Assistant Curator of Painting and Sculpture, National Collection of Fine Arts in 1970 by Robert Price who acquired them along with paintings from Evans' estate and elsewhere. They were photocopied and the copies were given to the NCFA-PG Librarian, who transferred them to the Archives of American Art in 1979. In 1988 the copies were microfilmed by the Archives and discarded. The original letter on reel 2804 was transfered from NMAA, 1981.
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.
Files on ca. 150 American artists and art subjects, selected from Duveen's art reference files. Included are photographs of paintings in other collections, auction and exhibition catalogs, miscellaneous publications.
Files include: Francis Alexander, Washington Allston, William H. Bartlett, Ben-Zion, Thomas Birch, Joseph Blackburn, Ralph A. Blakelock, Charles F. Blauvelt, Peter Blume, Emile Branchard, Albertis D. O. Browere, John G. Brown, Jonathan Buddington, James E. Buttersworth, Carra, Dennis M. Carter, Mary Cassatt, George Catlin, Centurion, Paul Cezanne, Moura Chabor, Marc Chagall, T. Chambers, Jean Charlot, Thomas Cole, John Constable, George Cope, John S. Copley, Ralston Crawford, Jasper F. Cropsey, Arthur B. Davies, Charles Despiau, Roland Detre, Thomas R. Dibble, Enrico Donati, William Doriani, Thomas Doughty, Jessie Drew-Bear, Robert S. Duncanson, Dunlap, Asher B. Durand, George H. Durrie, Frank Duveneck, Evert Duyckinck, Thomas Eakins, Jacob Eichholtz, Louis M. Eilshemius, Charles L. Elliott, Robert Field, Emil Ganso, Pablo Gargallo, Jan Gelb, Paul Gillman, Christian Gullager, George H. Hall, Chester Harding, William M. Harnett, George Harvey, William J. Hays, George P. A. Healy, Edward L. Henry, John Hesselius, Edward Hicks, Thomas Hicks, Holland House, Charles Fevret de Saint-Memin, Winslow Homer, S. A. Hudson, Daniel Huntington, Henry Inman, George Inness, John W, Jarvis, Eastman Johnson, Henrietta Johnston, John Johnston, Hilde B. Kayn, Dikran K. Kelekian, Fitz Hugh Lane, Ernest Lawson, M. F. Lefferts, William R. Leigh, Abraham Lincoln, George B. Luks, Edward G. Malbone, Alfred H. Maurer, Louis Maurer, McKay, Alfred J. Miller, Louis C. Moeller, Samuel F. B. Morse, John Neagle, Donald Organ, Bass Otis, Walter Pach, Charles W. Peale, James Peale, Rembrandt Peale, William Penn, Enoch W. Perry, F. E. H. Philippoteaux, Charles P. Polk, T. B. Pope, Rufus Porter, William M. Prior, Walter Quirt, William T. Ranney, Reinhardt, Frederic Remington, Louisa Robins, Severin Roesen, Thomas P. Rossiter, Peter F. Rothermel, Charles M. Russell, Edward Savage, William Sawitzky, Nikol Schattenstein, Christian Schussele, D. Serres, James Sharples, Morris Shulman, John Smibert, Sergei Soudeikin, Haim Soutine, Frederick R. Spencer, Albert Stewart, Robert Street, William J. Strong, Gilbert Stuart, C. (Charles ?) Sullivan, Thomas Sully, Arthur F. Tait, G. Tirrell, John Trumbull, John Vanderlyn, Pieter Vanderlyn, William Von Schlegell, Samuel L. Waldo, Abraham Walkowitz, George Washington, Elbert Weinberg, Julian A. Weir, Thomas B. Welch, Adolph U. Wertmuller, Benjamin West, Anne Whitney, Arnold Wiltz, William E. Winner, S. Wood, and Thomas W. Wood.
The Saint-Memin, Stuart, B. West and Wertmuller files contain material from Albert Rosenthal relating to the above artists.
Arrangement:
Files are arranged alphabetically by artist and subject, rolls NDU1-NDU3; publications and other miscellany were filmed on rolls NDU4-NDU5.
Biographical / Historical:
Albert Duveen was an art dealer and collector with offices in New York, N.Y., specializing in early American art. He was a cousin to Joseph Duveen (1869-1939), 1st Baron Duveen, president of Duveen Brothers art dealers.
Provenance:
Lent for microfilming 1958 by Duveen.
Restrictions:
The Archives does not own the original papers. Microfilmed materials must be consulted on microfilm.
REEL 2029: 41 group photographs of artists' outings. Appearing in one or more photos are: George R. Barse, Charles Bittinger, A.E. Blackmore, Robert F. Bloodgood, J.G. Brown, Frederick S. Church, Percival De Luce, William H. Drake, Charles H. Ebert, Homer F. Emens, L. Farragut, William B. Faxon, William C. Fitler, Arthur R. Freedlander, J.C. Guy, Seymour J. Guy, William St. John Harper, Carl Hirschberg, William H. Howe, Francis C. Jones, James Kinsella, L. Kleiser, Homer Lee, Joseph Lauber, William H. Lippincott, Will H. Low, George W. Maynard, Charles F. W. Mielatz, B. Mitchell, James C. Nicoll, Ivan G. Olinsky, John F. O'Sullivan, W. P. Phelps, William M. Post, Frederick Richardson, Roswell M. Shurtleff, William T. Smedley, Charles Y. Turner, Douglas Volk, and Giles Whiting.
Biographical / Historical:
Artists' Fellowship's purpose is to assist artists and their families in case of sickness, bereavement or distress. It grew out of the Helpful Society, founded 1868, and housed in the Tenth Street Studio Building. It became the Artists' Mutual Aid Society, whose name was changed in 1889 to the Artists' Aid Society. In 1925 the Society was incorporated as Artists' Fellowhip, Inc.
Provenance:
Donated 1980 by Artists' Fellowship, via Michael Engel II, President. The original negatives and album of vintage prints on reel 2029 were found in the offices of the National Academy of Design, where the Fellowship at one time maintained offices.
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.
Rights:
Identities of recipients of awards: Authorization to quote or reproduce for purposes of publication requires written permission from Artists' Fellowship, Inc. 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.
10 Items (photographic prints, b&w, 19 x 24 cm. and smaller.)
Type:
Collection descriptions
Archival materials
Date:
circa 1880-1900
Scope and Contents:
Included are photographs of: J.G. Brown, Carle J. Blenner, Bruce Crane, J.H. Dolph, Gilbert Gaul, James McDougal Hart, Francis Coates Jones, Arthur Parton, Henry P. Smith, and Carleton Wiggins.
Biographical / Historical:
Art museum (1880-1905) in Worcester, Mass.
Provenance:
Donated by the Worcester Art Museum in 1963. The photographs were initially placed in AAA's Photographs of Artists Collection I and II, separated by artist depicted, and microfilmed on reels 439-441 and 1817-1818. They have been subsequently scanned and compiled together under Worcester Art Museum.
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.
Correspondents include: John White Alexander, William H. Beard, Eugene Benson, Albert Bierstadt, William Bispham, Edward A. Brackett, George L. Brown, Henry Kirke Brown, John G. Brown, John G. Chapman, William A. Coffin, Frederick S. Cozzens, Christopher P. Cranch, Charles T. Dix, Francis W. Edmonds, John W. Ehninger, Regis F. Gignoux, Horatio Greenough, George H. Hall, Thomas Hicks, Alfred C. Howland, Daniel P. Huntington, Laurence Hutton, Joseph Jefferson, Eastman Johnson, John LaFarge, Louis Lang, Samuel Laurence, William H. Lippincott, Jervis McEntee, Frank B. Mayer, Charles H. Miller, Samuel F. B. Morse, Louis L. Noble, Thomas S. Noble, William R. O'Donovan, Johannes A. S. Oertel, Thomas A. Richards, Horace W. Robbins, John Rogers, Thomas P. Rossiter, Samuel W. Rowse, Napoleon Sarony, James D. Smillie, Bayard Taylor, Cephas G. Thompson, Launt A. Thompson, John Q. A. Ward, John F. Weir, Robert W. Weir, Edwin D. White, Worthington Whittredge, and Thomas W. Wood.
Reel N25: A calling card of Herbert Adams; a letter to Mrs. Frederic N. Goddard from Adams, returning photographs of Bryant; and a letter to Bryant from F. Tabbot about his painting of a forest.
Biographical / Historical:
Poet; New York City. Bryant's son-in-law, Parke Godwin, was an author, one of whose books was a biography of Bryant, THE LIFE AND WORKS OF WILLIAM CULLEN BRYANT, 1883.
Other Title:
Bryant-Godwin collection (NYPL microfilm title)
Provenance:
Microfilmed 1956 by the Archives of American Art with other art-related papers in the Manuscript Division of the New York Public Library. Included in the microfilming project were selected papers of the Art Division and the Prints Division.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Four letters and a writing by Brown. Included is a letter from Brown to dealer Mr. Kraushaar regarding Brown's painting Invested a Nickel; a letter from Brown to Mr. Wheeler (of Hayden W. Wheeler & Co., New York, N.Y.) thanking him for the purchase of one of his paintings, inquiring about the sale of a painting to Mrs. Beard; a letter from Brown to Wheeler, thanking Wheeler for facilitating the sale of the painting to Mrs. Beard; and a letter from Brown to Mrs. George Alfred Joslyn regarding Brown's life and work. Also included is a written description by Brown of his painting Cornered.
Biographical / Historical:
John George Brown (1831-1913) was born in England and came to the U.S. to achieve success in New York, painting street urchins. He exhibited frequently in Boston, New York, and Philadelphia, before he died in New York.
Provenance:
This collection is comprised of several gifts from various people over a period of 53 years. Letters from Brown to Mr. Wheeler were donated from 1955-1962 by Charles E. Feinberg, long time friend and active donor to AAA. The letter from Brown to Kraushaar was purchased from the Kingston Galleries in 1964; the letter from Brown to Joslyn and the writing by Brown were donated in 2008 by George Turak.
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.
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Edgar P. Richardson papers, 1814-1996, bulk 1921-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
