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Painted portrait of Tokugawa Iemochi

Photographer:
Shimooka, Renj¯o, 1823-1914  Search this
Shimooka, Renj¯o, 1823-1914  Search this
Collector:
Rosin, Henry D., Dr.  Search this
Rosin, Nancy  Search this
Collection Collector:
Rosin, Henry D., Dr.  Search this
Rosin, Nancy  Search this
Collection Creator:
Lyman, Benjamin Smith, 1835-1920  Search this
Ueno, Hikoma, 1838-1904  Search this
Beato, Felice, b. ca. 1825  Search this
Stillfried, Raimund, Baron von, 1839-1911  Search this
Underwood & Underwood  Search this
Extent:
1 Cartes-de-viste (card photographs) (9.6 x 6.2 cm.)
Culture:
Portraits  Search this
Type:
Archival materials
Cartes-de-viste (card photographs)
Photographs
Cartes-de-visite
Place:
Asia
Japan
Japan -- Kings and rulers
Japan -- Description and Travel
Date:
1873
Scope and Contents:
Cartes-de-visite. Photograph of a painted portrait of Tokugawa Iemochi (徳川将軍).
Biographical / Historical:
Generally thought of as the father of Japanese photography, Shimooka Renjo was born in Shimoda, Japan, in 1823. In 1843 he secured an apprenticeship with artist Kano Tosan in Tokyo. Inspired by a daguerreotype he saw in 1844, Shimooka decided to learn more about photography. Shimooka learned the basics of photography from Henry Heusken, the interpreter to the American counsel, Townsend Harris. Shimooka moved to Yokohama in 1859. In Yokohama, Shimooka received formal training in photography and purchased photographic equipment and in 1862 opened his first studio. Apprentices at Shimooka's studio included Yokoyama Matsusaburo, Usui Shusaburo, Esaki Reiji, and Suzuiki Shin'ichi. Shimooka Renjo died in 1914. [biographical information is from: Bennet, T. (1996). Early Japanese images. Vermont and Tokyo: Charles E. Tuttle Company, Inc. ]
Local Numbers:
R452 (Rosin Number)

FSA A1999.35 452
General:
Handwritten on verso: "Late Emperor of Japan. 1873." Stamped on verso: "Renjio, Yokohama," and imprint.
Collection Restrictions:
Collection is open for research.
Genre/Form:
Photographs
Cartes-de-visite
Collection Citation:
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Identifier:
FSA.A1999.35, Item FSA A1999.35 452
See more items in:
Henry and Nancy Rosin Collection of Early Photography of Japan
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a1999-35-ref546
Online Media:

Emma Hart Willard

Artist:
Unidentified Artist  Search this
Sitter:
Emma Hart Willard, 23 Feb 1787 - 15 Apr 1870  Search this
Medium:
Brown-toned platinum print
Dimensions:
Image/Sheet: 16.5 × 11.3 cm (6 1/2 × 4 7/16")
Mount: 24.7 × 20.3 cm (9 3/4 × 8")
Mat: 45.7 × 35.6 cm (18 × 14")
Type:
Photograph
Date:
c. 1900 (after c. 1850 daguerreotype)
Topic:
Costume\Headgear\Hat\Bonnet  Search this
Emma Hart Willard: Female  Search this
Emma Hart Willard: Education\Educator  Search this
Emma Hart Willard: Literature\Writer\Poet  Search this
Emma Hart Willard: Education\Founder\School  Search this
Emma Hart Willard: Society and Social Change\Benefactor  Search this
Emma Hart Willard: Society and Social Change\Reformer\Women's rights advocate  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of the Emma Willard School
Object number:
NPG.81.111
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4b99c46fd-bf75-4b0e-9e19-6e4a52668021
EDAN-URL:
edanmdm:npg_NPG.81.111

Portrait of Chief Kiyo-Kag (One Who Moves About Alert), Called Keokuk, in Native Dress, with Roach, Bear Claw Necklace, James Monroe Peace Medal, Other Ornaments, and Cane

Creator:
Easterly, Thomas M.  Search this
Collector:
Taylor, James E. (Artist)  Search this
Collection Creator:
Taylor, James E., 1839-1901 (artist and collector)  Search this
Extent:
1 Photographic print (004 in x 005 in mounted on 014 in x 018 in)
Container:
Volume 1, Page 33
Culture:
Fox Indians  Search this
Sauk  Search this
Indians of North America -- Northeast  Search this
Type:
Archival materials
Photographic prints
Photographs
Date:
1847
Local Numbers:
NAA INV.01601605

NAA MS.MS 4605

OPPS NEG.SI 4039

OPPS NEG.31373/617
Local Note:
Photo Copied by A Zeno Shindler in 1868 from Daguerreotype Made in 1847 by Easterly
Black and white Photoprint on Paper Mount in Album
Place:
Kansas ?
Collection Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Topic:
Sauk & Fox  Search this
Meskwaki; Sauk & Fox  Search this
Genre/Form:
Photographs
Collection Citation:
MS 4605, James E. Taylor scrapbook of the American West, National Anthropological Archives, Smithsonian Institution
See more items in:
James E. Taylor scrapbook of the American West
James E. Taylor scrapbook of the American West / Page 33
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-ms4605-ref888
Online Media:

Lucretia Mott, Daguerreotype Portrait

Creator:
National Portrait Gallery  Search this
Type:
YouTube Videos
Uploaded:
2014-09-12T17:55:45.000Z
YouTube Category:
Education  Search this
Topic:
Portraits  Search this
See more by:
NatlPortraitGallery
Data Source:
National Portrait Gallery
YouTube Channel:
NatlPortraitGallery
EDAN-URL:
edanmdm:yt_GWlwPEy2qmA

A Closer Look: Photographs Conservation at the National Portrait Gallery

Creator:
National Portrait Gallery  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2021-05-05T18:25:58.000Z
YouTube Category:
Education  Search this
Topic:
Portraits  Search this
See more by:
NatlPortraitGallery
Data Source:
National Portrait Gallery
YouTube Channel:
NatlPortraitGallery
EDAN-URL:
edanmdm:yt_n7Keaj3ozEo

Part 3: Updated Methods for Digitization of Daguerreotypes

Creator:
Smithsonian Museum Conservation Institute  Search this
Type:
YouTube Videos
Uploaded:
2012-11-26T14:08:29.000Z
YouTube Category:
Education  Search this
Topic:
Conservation and restoration;Museum conservation methods;Museum techniques  Search this
See more by:
MCISmithsonian
Data Source:
Smithsonian Museum Conservation Institute
YouTube Channel:
MCISmithsonian
EDAN-URL:
edanmdm:yt_0xXaegBKlZI

Contemporary Daguerreotype of the Capitol

Creator:
Smithsonian Museum Conservation Institute  Search this
Type:
YouTube Videos
Uploaded:
2012-06-05T18:47:30.000Z
YouTube Category:
Education  Search this
Topic:
Conservation and restoration;Museum conservation methods;Museum techniques  Search this
See more by:
MCISmithsonian
Data Source:
Smithsonian Museum Conservation Institute
YouTube Channel:
MCISmithsonian
EDAN-URL:
edanmdm:yt_6CiCAe1On_Q

Contemporary Daguerreotype Portrait with Voice Over

Creator:
Smithsonian Museum Conservation Institute  Search this
Type:
YouTube Videos
Uploaded:
2012-06-06T15:15:36.000Z
YouTube Category:
Education  Search this
Topic:
Conservation and restoration;Museum conservation methods;Museum techniques  Search this
See more by:
MCISmithsonian
Data Source:
Smithsonian Museum Conservation Institute
YouTube Channel:
MCISmithsonian
EDAN-URL:
edanmdm:yt_7csr468KG7o

Viewing a Daguerreotype with Reflectance Transformation Imaging (RTI)

Creator:
Smithsonian Museum Conservation Institute  Search this
Type:
YouTube Videos
Uploaded:
2012-03-16T17:57:53.000Z
YouTube Category:
Education  Search this
Topic:
Conservation and restoration;Museum conservation methods;Museum techniques  Search this
See more by:
MCISmithsonian
Data Source:
Smithsonian Museum Conservation Institute
YouTube Channel:
MCISmithsonian
EDAN-URL:
edanmdm:yt_N00aYLgO1Ms

Part 1: Updated Methods for Digitization of Daguerreotypes

Creator:
Smithsonian Museum Conservation Institute  Search this
Type:
YouTube Videos
Uploaded:
2012-11-26T14:08:53.000Z
YouTube Category:
Education  Search this
Topic:
Conservation and restoration;Museum conservation methods;Museum techniques  Search this
See more by:
MCISmithsonian
Data Source:
Smithsonian Museum Conservation Institute
YouTube Channel:
MCISmithsonian
EDAN-URL:
edanmdm:yt_VzolOGIMS18

Contemporary Daguerreotype Portrait

Creator:
Smithsonian Museum Conservation Institute  Search this
Type:
YouTube Videos
Uploaded:
2012-06-05T15:23:55.000Z
YouTube Category:
Education  Search this
Topic:
Conservation and restoration;Museum conservation methods;Museum techniques  Search this
See more by:
MCISmithsonian
Data Source:
Smithsonian Museum Conservation Institute
YouTube Channel:
MCISmithsonian
EDAN-URL:
edanmdm:yt_rx-1g3zlOaE

Imaging Daguerreotypes

Creator:
Smithsonian Museum Conservation Institute  Search this
Type:
YouTube Videos
Uploaded:
2012-04-03T14:05:25.000Z
YouTube Category:
Education  Search this
Topic:
Conservation and restoration;Museum conservation methods;Museum techniques  Search this
See more by:
MCISmithsonian
Data Source:
Smithsonian Museum Conservation Institute
YouTube Channel:
MCISmithsonian
EDAN-URL:
edanmdm:yt_t-WFawaZzXo

Warshaw Collection of Business Americana Subject Categories: Photography

Creator:
Warshaw, Isadore, 1900-1969  Search this
Extent:
6.79 Cubic feet (consisting of 11 boxes, 2 folders, 10 oversize folders, 3 map case folders, 1 flat box, plus digital images of some collection material. )
Type:
Collection descriptions
Archival materials
Ephemera
Business ephemera
Date:
circa 1871-1925
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Photography forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
This material consists primarily of catalogs, printed advertisements scattered correspondence on letterhead stationery, price lists, bills/receipts, addresses, envelopes, advertising cards both for products and photographers, reports, photographs, descriptive circulars, leaflets, sales contracts, product manuals, periodicals, books, handbooks, guides, patents and order forms from manufacturers and dealers of photographic supplies and equipment. The different types of products include film, burnishing tools, cameras, camera lenses, magazine plate holders, photographic chemicals, magic lanterns, stereopticons and slides, photographic paper, daguerreotype apparatus', pressing machines and dry plates. Many of the companies sold other products such as photograph albums, books, views, photograph cards, reproductions and other photographic outfits.

There are numerous illustrations throughout this collection. A number of these images are of photographic products. These product illustrations are found primarily in trade catalogs, as well as on advertisements and price lists. Various images are of world sites and cities. There are numerous images of women, children, flowers and birds on photographer advertising cards and some catalogs from some of the manufacturers and dealers.

Researchers interested in material from photographic societies, organizations and associations will also find information in this collection. Such organizations include the Photographers Association of America, The Association of Heliographers, and various other groups formed on the state level. Most of the information relates to exhibits and conventions.

Publications pertaining to photography for the amateur and novice are in a variety of articles, reports, bulletins, periodicals, journals and handbooks. Instructional guides on using photographic products are also included, as well as discussions on many aspects of photography.

Most of the material found in this collection was published in English, however, several articles, books and reports were printed in German and French.

Manufacturers and dealers of photographic materials are in boxes one through seven and are arranged in alphabetical order by name of company. Box seven also includes photographers, instructors/schools and printing, developing, enlarging and copying houses. Box eight through nine is a continuation of the developing houses, general works, patents, import/export documents and related publications. Related publication s are organized by type and then alphabetically by name of publication.
Materials in the Archives Center:
Archives Center Collection of Business Americana (AC0404)
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material
Provenance:
Photography is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Photography  Search this
Genre/Form:
Ephemera
Business ephemera
Citation:
Warshaw Collection of Business Americana Subject Categories: Photography, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0060.S01.01.Photography
See more items in:
Warshaw Collection of Business Americana Subject Categories: Photography
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0060-s01-01-photography
Online Media:

Palmer & Longking

Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Container:
Box 5, Folder 31
Type:
Archival materials
Scope and Contents:
New York, New York; Daguerreotype Apparatus and Pressing Machines
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Photography, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana Subject Categories: Photography
Warshaw Collection of Business Americana Subject Categories: Photography / 1: Manufacturers and Dealers of Photographic Materials
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s01-01-photography-ref685

Scovill Mfg. Company

Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Container:
Box 6, Folder 22-23
Type:
Archival materials
Scope and Contents:
New York, New York; Daguerreotype Materials
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Photography, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana Subject Categories: Photography
Warshaw Collection of Business Americana Subject Categories: Photography / 1: Manufacturers and Dealers of Photographic Materials
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s01-01-photography-ref715

"Photography-A Daguerreotype"

Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Container:
Box 8, Folder 14
Type:
Archival materials
Date:
1918
Scope and Contents:
Issued by The Mentor Association, Inc., Written by Paul L. Anderson; location unknown
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Photography, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana Subject Categories: Photography
Warshaw Collection of Business Americana Subject Categories: Photography / 6: Related Publications / 6.1: Articles from Journals and Periodicals
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s01-01-photography-ref801

Macbeth Gallery records

Creator:
Macbeth Gallery  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Homer, Winslow, 1836-1910  Search this
Macbeth, Robert W. (Robert Walker), 1884-1940  Search this
Macbeth, William, 1851-1917  Search this
McIntyre, Robert G. (Robert George), b. 1885  Search this
Stuart, Gilbert, 1755-1828  Search this
Weir, Robert Walter, 1803-1889  Search this
Extent:
131.6 Linear feet
Type:
Collection descriptions
Archival materials
Daguerreotypes
Photographs
Scrapbooks
Date:
1947-1948
1838-1968
bulk 1892-1953
Summary:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.
Scope and Content Note:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. The records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

The gallery's correspondence files form the core of the collection and illuminate most aspects of American art history: the creation and sale of works of art, the development of reputations, the rise of museums and art societies, change and resistance to change in the art market, and the evolution of taste. Ninety-five feet of correspondence house substantial and informative letters from dozens of important American painters and sculptors, including older artists and younger contemporaries of the gallery in its later years. There are also letters from collectors, curators, other galleries, and critics.

The financial files found in the collection offer insight into the changing economic climate in which the gallery operated. They include information ranging from the details of individual sales and the market for individual artists, to consignment activities and artist commissions, to overviews of annual sales. This information is augmented by the firm's inventory records and the photographs of artwork with their accompanying records of paintings sold. The inventory records provide details of all works of art handled by the gallery, both sold and unsold, and the buyers who purchased them; the photographs of artwork include images of artwork sold with accompanying sales information.

The highlight of the gallery's printed material is the publication Art Notes. Although published only until 1930, Art Notes provides an excellent and detailed view of the gallery's exhibition schedule and the relationship of the gallery owners with many of the artists whose work they handled. It was a house organ that also provided a running commentary on events in the art world. The gallery's 19 fragile scrapbooks, maintained throughout the firm's history, provide further coverage of activities through exhibition catalogs and related news clippings. Printed material from other sources provides a frame of reference for activities in the art world from the mid-19th to the mid-20th-centuries and includes an almost complete run of the rare and important pre-Civil War art publication The Crayon.

Reference files record the interest which the gallery owners took in the work of early portrait painters and in later artists such as George Inness and Winslow Homer. Together with the immense volume of correspondence with buyers and sellers of paintings by the great portraitists and the Hudson River School found in the gallery's correspondence files, these records are still useful sources of information today and underscore the deep interest that the Macbeths and Robert McIntyre took in 18th and 19th-century American art.

The photographs of artists found here are a treasure trove of images of some of the major figures of the 19th and 20th-centuries. There are photographs of artists such as Chester Beach, Emil Carlsen, Charles Melville Dewey, Frederick Carl Frieseke, Childe Hassam, Winslow Homer, George Inness, Maurice Prendergast, and Julian Alden Weir, many of them original prints and the majority of them autographed.

With the exception of the "The Eight" and a few of their contemporaries, an important aspect of art history, the modernist movement, is generally represented in the Macbeth Gallery records only in a negative form as the three successive proprietors of the gallery showed very little interest in this area. Nevertheless, the collection is a highly significant source of information on many of the major and minor figures in American art in the period after 1890.
Arrangement:
The collection is arranged into eight series:

Missing Title

Series 1: Correspondence, 1838-1968 (Box 1-95, 163-164, OV 165; 96.2 linear feet)

Series 2: Financial and Shipping Records, 1892-1956 (Box 96-110; 11.8 linear feet)

Series 3: Inventory Records, 1892-circa 1957 (Box 111-113; 3.0 linear feet)

Series 4: Printed Material, 1838-1963 (Box 114-119, 162; 5.0 linear feet)

Series 5: Scrapbooks, 1892-1952 (Box 120-130; 3.3 linear feet)

Series 6: Reference Files, 1839-1959 (Box 131-132; 0.6 linear feet)

Series 7: Miscellaneous Files, 1912-1956 (Box 133-134; 0.8 linear feet)

Series 8: Photographs, circa 1880-circa 1968 (Box 135-161; 12.1 linear feet)
Historical Note:
The Macbeth Gallery was established in 1892 by William Macbeth, a Scotch-Irish immigrant who had spent ten years with the print dealer Frederick Keppel before he opened his doors to the art-buying public at 237 Fifth Avenue in New York. Despite the prevailing interest in foreign art at that time, particularly in that of the Barbizon and Dutch schools, Macbeth was determined to dedicate his gallery to "the permanent exhibition and sale of American pictures, both in oil and water colors."

Although some of the gallery's earliest exhibitions were of work by European artists, the business soon became the only gallery in continuous operation that kept American art permanently on display. In the January 1917 issue of Art Notes, Macbeth recounts those early days remembering that "The opening of my gallery......was a rash venture under the existing conditions, and disaster was freely predicted." Nevertheless, he struggled through the financial crisis of 1893 and persisted with his devotion to American art; slowly the market for his pictures grew more amenable.

Macbeth moved to more spacious quarters at 450 Fifth Avenue in 1906 and two years later undertook what was to become the major event in the gallery's early history: the 1908 exhibition of "The Eight," featuring work by Arthur B. Davies, Willam J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. "The Eight" were an unlikely combination of social realists, visionaries and impressionists eager to challenge the dominating influence of the National Academy. The exhibition received an immense amount of publicity and instantly entered into art history as a successful assault on tradition.

Despite the splash that the exhibition made and its implications for the future of American art, nothing that the gallery did subsequently indicated that Macbeth intended to capitalize on its significance. It is true that Macbeth supported many artists later considered leaders in American art when the public would pay no attention to them because of their modernist tendencies; Arthur B. Davies, Paul Dougherty, Maurice Prendergast, Theodore Robinson, and F. Ballard Williams all held their first exhibitions at his gallery. Nevertheless, neither Macbeth nor the gallery's two successive proprietors, Robert G. McIntyre (William's nephew) and Robert Macbeth (William's son), who joined the gallery in 1903 and 1906 respectively, ever developed a true interest in modern art. The November 1930 issue of Art Notes summarizes their collective disdain for modernism, stating: "We believe that, by and large, modern art is amusing. We are heretical enough to believe that much of it was started for the amusement of its creators and that no one was more surprised than they when it was taken seriously by a certain audience to whom the bizarre and the unintelligible always makes an appeal." So while the Macbeths and McIntyre cetainly championed American artists and insisted they deserved as much recognition as the Europeans, their deepest and most abiding interest was undoubtedly the established artists of the 18th and 19th-centuries and those of the early 20th-century who continued in a more conservative style. Artists such as Emil Carlsen, Charles Harold Davis, Frederick C. Frieseke, Robert Henri, Winslow Homer, Chauncey F. Ryder, Abbot Handerson Thayer, J. Francis Murphy, A. H. Wyant were the gallery's bread and butter.

When William Macbeth died in 1917 Robert Macbeth took up the reins with the assistance of Robert G. McIntyre . Although they incorporated the business as William Macbeth, Inc., in 1918 the gallery continued to be known, as it always would be, simply as Macbeth Gallery. Macbeth and McIntyre continued to show work in the same vein as the elder Macbeth. They concentrated primarily on oil paintings at this time, having found by the 1920s that "oils are all that our gallery owners will buy," though they also exhibited an occasional group of watercolors and pastels in addition to bronzes and other sculpture by contemporary American artists such as Chester Beach and Janet Scudder.

Of the early American painters the Macbeths and McIntyre were particularly interested in colonial portraits and miniatures, especially those painted by prominent artists in the latter part of the eighteenth century such as John Singleton Copley, Gilbert Stuart, Thomas Sully and John Trumbull. In its early years the gallery also handled the work of a few prominent American etchers including Frank W. Benson, Emil Fuchs, Daniel Garber, Childe Hassam and Chauncey F. Ryder. The print department was generally discontinued, however, in the late 1930s although the gallery continued to show prints by contemporaries such as Stow Wengenroth.

In 1924 relative prosperity allowed the gallery to move uptown to 15 East Fifty-seventh Street. When the 1930s brought new financial hardship for the gallery Macbeth and McIntyre took a variety of approaches to boosting sales. In 1930 they decided to hold only group exhibitions throughout the season to the exclusion of one-man shows, and also held some special exhibitions of paintings priced at a hundred dollars each in the hope that they could tempt those "willing to take advantage of a rare chance to secure representative examples of good art at a most attractive price." A move to smaller quarters at 15 East Fifty-seventh Street in 1935 was made with the intention of concentrating their efforts on the work of fewer contemporary artists, while continuing to handle the work of the older Americans they had long supported.

When Macbeth died suddenly and unexpectedly in August 1940 following an operation for appendicitis, McIntyre continued to run the gallery with the assistance of Hazel Lewis. During the 1940s McIntyre and Lewis showed primarily contemporary art in a wide range of media including oil, watercolor, pastel, drawing and sculpture, while continuing, as always, to show the occasional group of 19th-century Americans. The great success of the gallery's later years was undeniably Andrew Wyeth whose first exhibition, held at Macbeth Gallery in 1937, resulted in the sale of all twenty-two paintings cataloged.

Although subsequent Wyeth exhibitions were also successful, McIntyre struggled financially throughout the 1940s and periodically considered liquidating the company. Although "vitally interested" in contemporary art by people such as Robert Brackman, Jay Connaway, Carl Gaertner, James Lechay, Herbert Meyer and Ogden M. Pleissner he found that, for the most part, it did not pay. McIntyre continued operations until 1953 when he decided that doing so for profit was not only a financial burden but also ran contrary to his desire to spend more time devoted to his first love, early American art. When the lease expired on 11 East Fifty-seventh Street in April 1953 McIntyre did not renew it. After closing the gallery's doors he sold art from his New York apartment and from his home in Dorset, Vermont. He officially dissolved William Macbeth, Inc., in 1957.

The history of the Macbeth Gallery is a long and distinguished one with each successive proprietor making a significant contribution to art in America. William Macbeth helped establish an audience and a market for American art when few were willing to give it serious consideration. Robert Macbeth continued to cement the gallery's reputation as one of the leading firms in New York and was instrumental in organizing the American Art Dealers Association. Robert G. McIntyre claimed in a letter to Lloyd Goodrich, dated 22 June 1945, that the thing of which he was most proud was "the share I have had in the formation of the collection of the Addison Gallery of American Art, at Andover, Massacusetts." McIntyre was widely respected in the art community as a dealer, as an adviser to curators, and as a scholar whose research and book on Martin Johnson Heade helped "rediscover" an important American artist. One of his most significant and lasting contributions to the history of art in America, however, was undoubtedly his gift of the gallery's historical records to the Archives of American Art.
Related Material:
Among the holdings of the Archives of American are a small collection of scattered Robert McIntyre's papers and 9 items of William Macbeth's papers. Macbeth Gallery exhibition catalogs are also available in the American Art Exhibition Catalog collection and the Brooklyn Museum Records, both loaned and microfilmed collections.

An extensive collection of Macbeth Gallery exhibition catalogs are also held by the Frick Art Reference Library and the Watson Library of the Metropolitan Museum of Art.
Provenance:
The bulk of the Macbeth Gallery records were donated and microfilmed in several installments between 1955 and 1966 by Robert G. McIntyre and Estate. Additional Macbeth Gallery printed material was donated by Phoebe C. and William Macbeth II, grandchildren of William Macbeth, in 1974.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are 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:
Eight (Group of American artists)  Search this
Artists -- United States  Search this
Art -- Collectors and collecting  Search this
Art, American  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Daguerreotypes
Photographs
Scrapbooks
Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macbgall
See more items in:
Macbeth Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-macbgall
Online Media:

Franklin Pierce

Artist:
Unidentified Artist  Search this
Sitter:
Franklin Pierce, 23 Nov 1804 - 8 Oct 1869  Search this
Medium:
Gelatin silver print
Dimensions:
Image: 15.4 × 11.4 cm (6 1/16 × 4 1/2")
Sheet: 16.6 × 12.2 cm (6 9/16 × 4 13/16")
Mount: 25.5 × 20.4 cm (10 1/16 × 8 1/16")
Mat: 45.7 × 35.6 cm (18 × 14")
Type:
Photograph
Date:
c. 1890 (after c. 1850 daguerreotype)
Topic:
Interior  Search this
Costume\Dress Accessory\Tie\Bowtie  Search this
Franklin Pierce: Male  Search this
Franklin Pierce: Law and Law Enforcement\Lawyer  Search this
Franklin Pierce: Politics and Government\US Senator\New Hampshire  Search this
Franklin Pierce: Politics and Government\President of US  Search this
Franklin Pierce: Military\Army\Officer\Brigadier General  Search this
Franklin Pierce: Politics and Government\US Congressman\New Hampshire  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
S/NPG.77.31
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4336a4950-a687-413d-a771-f0c2551b7f93
EDAN-URL:
edanmdm:npg_S_NPG.77.31

Part 2: Updated Methods for Digitization of Daguerreotypes

Creator:
Smithsonian Museum Conservation Institute  Search this
Type:
YouTube Videos
Uploaded:
2012-11-26T14:08:41.000Z
YouTube Category:
Education  Search this
Topic:
Conservation and restoration;Museum conservation methods;Museum techniques  Search this
See more by:
MCISmithsonian
Data Source:
Smithsonian Museum Conservation Institute
YouTube Channel:
MCISmithsonian
EDAN-URL:
edanmdm:yt_KXVyS6Allh0

Viewing a Gigapixel Image of a Daguerreotype

Creator:
Smithsonian Museum Conservation Institute  Search this
Type:
YouTube Videos
Uploaded:
2012-03-16T17:16:10.000Z
YouTube Category:
Education  Search this
Topic:
Conservation and restoration;Museum conservation methods;Museum techniques  Search this
See more by:
MCISmithsonian
Data Source:
Smithsonian Museum Conservation Institute
YouTube Channel:
MCISmithsonian
EDAN-URL:
edanmdm:yt_PJYT6PghkC4

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