Skip to main content Smithsonian Institution

Search Results

Collections Search Center
546 documents - page 1 of 28

Lewis Robinson

Artist:
Unidentified Artist  Search this
Sitter:
Lewis Robinson, 1793 - 1871  Search this
Medium:
Negative cut with black ink on paper
Dimensions:
8.8cm x 6.8cm (3 7/16" x 2 11/16"), Sight
Type:
Silhouette
Date:
c. 1840-1850
Topic:
Lewis Robinson: Male  Search this
Lewis Robinson: Visual Arts\Artist\Printmaker\Engraver  Search this
Lewis Robinson: Crafts and Trades\Craftsman\Printer  Search this
Portrait  Search this
Credit Line:
Owner: Vermont Historical Society
Object number:
VHS A-303
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4c142d202-95c5-41d7-bc18-c0873e55252a
EDAN-URL:
edanmdm:npg_VHS_A-303

certified proof

Issuing authority:
U.S. Department of the Treasury  Search this
Treasurer of the United States:
Wyman, Albert Uriah  Search this
Register of the Treasury:
Allison, John  Search this
Issuing bank:
First National Bank of Orwell  Search this
Manufacturer:
Bureau of Engraving and Printing  Search this
Measurements:
overall: 13 1/2 in x 8 in; 34.29 cm x 20.32 cm
Object Name:
certified proof
Object Type:
Exchange Medium
Currency, US
Certified Proof
National Currency
Face
Place issued:
United States: Vermont, Orwell
Plate date:
1864-02-20
Crowdsourcing:
Transcribed by Smithsonian digital volunteers
Subject:
NNC-Certified Proofs-Face-VT-box 1  Search this
ID Number:
NU.297219.042119
Accession number:
297219
Catalog number:
297219.042119
Bank charter number:
228
See more items in:
Work and Industry: National Numismatic Collection
Coins, Currency and Medals
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ae-b87d-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1505709

certified proof

Issuing authority:
U.S. Department of the Treasury  Search this
Treasurer of the United States:
Roberts, Ellis Henry  Search this
Register of the Treasury:
Lyons, Judson Whitlocke  Search this
Issuing bank:
National Bank of Middlebury  Search this
Depicted:
Harrison, Benjamin  Search this
Manufacturer:
Bureau of Engraving and Printing  Search this
Measurements:
overall: 13 1/2 in x 8 in; 34.29 cm x 20.32 cm
Object Name:
certified proof
Object Type:
Exchange Medium
Currency, US
Certified Proof
National Currency
Face
Place issued:
United States: Vermont, Middlebury
BEP certification date:
1925-06-05
Plate date:
1905-04-06
Series date:
1902
Crowdsourcing:
Transcribed by Smithsonian digital volunteers
Subject:
NNC-Certified Proofs-Face-VT-box 1  Search this
ID Number:
NU.297219.042245
Catalog number:
297219.042245
Accession number:
297219
Bank charter number:
1195
See more items in:
Work and Industry: National Numismatic Collection
Coins, Currency and Medals
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ae-db4f-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1505835

certified proof

Issuing authority:
U.S. Department of the Treasury  Search this
Treasurer of the United States:
New, John Chalfant  Search this
Register of the Treasury:
Allison, John  Search this
Issuing bank:
National Black River Bank of Proctorsville  Search this
Manufacturer:
Bureau of Engraving and Printing  Search this
Measurements:
overall: 13 1/2 in x 8 in; 34.29 cm x 20.32 cm
Object Name:
certified proof
Object Type:
Exchange Medium
Currency, US
Certified Proof
National Currency
Face
Place issued:
United States: Vermont, Proctorsville
Plate date:
1865-08-01
Crowdsourcing:
Transcribed by Smithsonian digital volunteers
Subject:
NNC-Certified Proofs-Face-VT-box 2  Search this
ID Number:
NU.297219.042289
Catalog number:
297219.042289
Accession number:
297219
Bank charter number:
1383
See more items in:
Work and Industry: National Numismatic Collection
Coins, Currency and Medals
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ae-dc91-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1505879

certified proof

Issuing authority:
U.S. Department of the Treasury  Search this
Treasurer of the United States:
Gilfillan, James  Search this
Register of the Treasury:
Allison, John  Search this
Issuing bank:
Battenkill National Bank of Manchester  Search this
Manufacturer:
Bureau of Engraving and Printing  Search this
Measurements:
overall: 13 1/2 in x 8 in; 34.29 cm x 20.32 cm
Object Name:
certified proof
Object Type:
Exchange Medium
Currency, US
Certified Proof
National Currency
Face
Place issued:
United States: Vermont, Manchester
Plate date:
1865-08-15
Crowdsourcing:
Transcribed by Smithsonian digital volunteers
Subject:
NNC-Certified Proofs-Face-VT-box 2  Search this
ID Number:
NU.297219.042332
Catalog number:
297219.042332
Accession number:
297219
Bank charter number:
1488
See more items in:
Work and Industry: National Numismatic Collection
Coins, Currency and Medals
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ae-c079-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1505922

certified proof

Issuing authority:
U.S. Department of the Treasury  Search this
Treasurer of the United States:
McClung, Thomas Lee  Search this
Register of the Treasury:
Vernon, William Tecumseh  Search this
Issuing bank:
Baxter National Bank of Rutland  Search this
Depicted:
McKinley, William  Search this
McCulloch, Hugh  Search this
Manufacturer:
Bureau of Engraving and Printing  Search this
Measurements:
overall: 13 1/2 in x 8 in; 34.29 cm x 20.32 cm
Object Name:
certified proof
Object Type:
Exchange Medium
Currency, US
Certified Proof
National Currency
Face
Place issued:
United States: Vermont, Rutland
BEP certification date:
1924-07-01
Plate date:
1910-08-11
Series date:
1902
Crowdsourcing:
Transcribed by Smithsonian digital volunteers
Subject:
NNC-Certified Proofs-Face-VT-box 2  Search this
ID Number:
NU.297219.042394
Catalog number:
297219.042394
Accession number:
297219
Bank charter number:
1700
See more items in:
Work and Industry: National Numismatic Collection
Coins, Currency and Medals
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ae-b7a8-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1505984

Naomi Savage Papers on Man Ray

Creator:
Savage, Naomi, 1927-2005  Search this
Names:
Galerie Anderson-Mayer  Search this
La Boetie, Inc.  Search this
Philadelphia Museum of Art  Search this
Prakapas Gallery  Search this
Ronny Van de Velde (Gallery : Antwerp, Belgium)  Search this
Serpentine Gallery  Search this
Vered Gallery  Search this
Zabriskie Gallery  Search this
Duchamp, Alexina, 1906-1995  Search this
Duchamp, Marcel, 1887-1968 -- Photographs  Search this
Greenbaum, Theodora S.  Search this
Hunter, Sam, 1923-  Search this
Kimmel, Roberta  Search this
Man Ray, Juliet, d. 1991  Search this
Noguchi, Isamu, 1904-1988  Search this
Ray, Man, 1890-1976  Search this
Savage, Naomi, 1927-2005  Search this
Serger, Helen  Search this
Extent:
1.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1913-2005
Summary:
The Naomi Savage papers on Man Ray measure 1.6 linear feet and date from 1913-2005. The collection provides an overview of Man Ray's career as a photographer and painter through correspondence, exhibition files, writings, notes, artwork, printed material, and photographs.
Scope and Content Note:
The Naomi Savage papers on Man Ray measure 1.6 linear feet and date from 1913-2005. The collection provides an overview of Man Ray's career as a photographer and painter through correspondence, exhibition files, writings, notes, artwork, printed material, and photographs.

Correspondence primarily consists of incoming letters from art historians, students, publishers, museums, and galleries interested in obtaining biographical information, scheduling exhibitions, or seeking permission to reproduce artwork. Correspondents include Theodora Greenbaum, Sam Hunter, and Roberta Kimmel. Also found is a letter to Man Ray from Isamu Noguchi.

Exhibition files document some of Man Ray's solo and group exhibitions held at museums and galleries in the United States and abroad, including Galerie Anderson Mayer, the Philadelphia Museum of Art, Prakapas Gallery, Helen Serger, La Boetie, Inc., Ronny Van De Velde Gallery, Serpentine Gallery, Vered Gallery, and Zabriskie Gallery.

Writings and notes include typescripts of unpublished pieces on Man Ray and Surrealist photography and on Juliet Man Ray, miscellaneous writings, and Naomi Savage's list of Man Ray published work. Artwork consists of an artist's proof of a print by Paul Levitt.

Printed material houses news and periodical clippings on Man Ray and Juliet Man Ray, newsletters, reproductions of artwork, and miscellaneous printed material. Clippings provide documentation on Man Ray's early commercial photography for advertisements and fashion magazines as well as his experimental photographic work.

Photographs include portrait photographs of Man Ray and Juliet Man Ray. There are photographs of Man Ray and Juliet with family, friends, and colleagues, including photographs of Marcel Duchamp and Teeny Duchamp.
Arrangement:
The collection is arranged as 6 series:

Series 1: Naomi Savage Correspondence, 1939-1995 (Box 1; 0.1 linear feet)

Series 2: Man Ray Exhibition Files, 1941-1997 (Box 1, OV 4; 0.8 linear feet)

Series 3: Writings and Notes, 1974-1998 (Box 1, OV 4; 0.1 linear feet)

Series 4: Artwork, circa 1963 (Box 1; 1 folder)

Series 5: Printed Material, circa 1913-1998 (Boxes 1, 3; 0.2 linear feet)

Series 6: Photographs, 1913-1991 (Boxes 1-3; 0.4 linear feet)
Biographical Note:
Photographer Naomi Siegler Savage (1927-2007) lived and worked in Princeton, New Jersey. While a teenager, Savage attended a photography class taught by Berenice Abbott and pursued this interest at Bennington College in Vermont. In California, Savage apprenticed with her uncle Man Ray, who was a close friend as well as mentor to his niece.

Influenced by Man Ray's experimental techniques with film, Naomi Savage pioneered the use of the photographic metal plate which produced a three dimensional form with a metallic surface. One of her best-known photographic engravings is a magnesium mural for the Johnson Library and Museum in Austin, Texas, depicting the national elective offices held by President Johnson and the various Presidents under which he served. In later years, Savage continued to experiment with the photographic process by using digital cameras, color photocopiers, and computer imaging.

In 1952, Savage had her first exhibition at the Museum of Modern Art in New York. In addition to the Museum of Modern Art, Savage's work is also in the collections of the Art Institute of Chicago, the Fogg Museum at Harvard University, the International Center of Photography in New York, and the Museum of Fine Arts in Boston, Massachusetts.

Naomi Savage was married to the painter, sculptor, and architect, David Savage. Naomi Savage died in Princeton, New Jersey in 2007.

Man Ray (1890-1976) lived and worked in New York and Paris, France and was best known for his painting and photography.

Man Ray was born Emmanuel Radnitsky in Philadelphia, Pennsylvania in 1890. His family later moved to Brooklyn, New York. During this period, the family changed their name to Ray and Emmanuel shortened his first name to Man, gradually using Man Ray as his combined single name. Man Ray attended Boys High School from 1904-1908 where he developed an interest in painting. After high school, he worked as a commercial artist and technical illustrator in New York City while attending classes at the Art Students League, Ferrer School, and National Academy of Design.

Influenced by European artists, whose Modernist works were being shown at the 1913 Armory Show and Alfred Stieglitz's "292" Gallery, and other such venues, Man Ray began to incorporate elements of Cubism in his paintings and drawings. In 1915, Man Ray met Marcel Duchamp (1887-1968) and they formed a lifelong friendship and professional partnership. That same year, the Dada group, founded by a Tristan Tzara and other artists in Zurich, Switzerland also took root in New York; Man Ray, Marcel Duchamp and Francis Picabia were credited for starting the New York Dada movement.

By 1921, Man Ray moved to Paris and became part of the circle that formed the Dada group. He photographed many of the Dada poets and writers, including Louis Aragon, André Breton, and Paul Eluard. Man Ray's work for André Breton established his reputation as a portrait photographer of artists, writers, and other prominent individuals, including George Antheil, Salvador Dalí, James Joyce, Sinclair Lewis, Gertrude Stein, and Virginia Woolf. In that same period, Man Ray pioneered the photographic process of rayographs (named after him) and he also participated in the first Surrealist exhibition at the Galerie Pierre.

Man Ray moved to Los Angeles, California in 1940. There he met New York City-born Juliet Browner (1910-1991), a trained dancer and professional artists' model. They married in 1946 in a double wedding ceremony with their friends Max Ernst and Dorothea Tanning. In 1951, Man Ray and Juliet Man Ray returned to live in the Montparnasse section of Paris.

In addition to an autobiography, Self-Portrait, published in 1963, Man Ray wrote a number of monographs and articles on photography that included Electricité, a portfolio of ten gravure prints of rayographs commissioned by the Paris electric company, Compagnie Parisenne de Distribution d'Electricité, 1931.

Man Ray received an honorary Master of Fine Arts degree from Freemont University, Los Angeles, 1948 and the gold medal for photography at the Venice Photo Biennale, 1962. In 1967, Man Ray received an award from the Philadelphia Arts Festival honoring its native son for his accomplishments.

Man Ray died in Paris in 1976. Juliet Man Ray survived her husband and continued to live in Paris until her death in 1991.
Provenance:
The Naomi Savage papers were donated in 2007 by Lourie Savage Bates, Naomi Savage's daughter. Naomi Savage was Man Ray's niece.
Restrictions:
The collection is open for research. Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Naomi Savage papers on Man Ray are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters -- France -- Paris  Search this
Photography  Search this
Surrealism  Search this
Photographers -- France -- Paris  Search this
Painters -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Naomi Savage papers on Man Ray, 1913-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.savanaom
See more items in:
Naomi Savage Papers on Man Ray
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-savanaom

55c Justin S. Morrill single

Title:
Scott Catalogue USA 2941
Printer:
Banknote Corporation of America  Search this
Medium:
paper; ink (black); self-adhesive / engraved
Type:
Postage Stamps
Place:
United States of America
Date:
July 17, 1999
Topic:
Contemporary (1990-present)  Search this
Education & Teaching  Search this
Political Figures  Search this
U.S. Stamps  Search this
Credit line:
Copyright United States Postal Service. All rights reserved.
Object number:
1999.2026.175
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm85cd6956e-101f-4b44-877e-6479ba6d5647
EDAN-URL:
edanmdm:npm_1999.2026.175

Graves & Co. 12-Keyed Presentation Bugle

User:
Pier, Edwin  Search this
Maker:
Graves & Co.  Search this
Graves & Co.  Search this
Physical Description:
silver (overall material)
Measurements:
overall: 7 in x 4 1/2 in x 13 1/2 in x 11.4 cm; 17.78 cm x 11.43 cm x 34.29 cm x 4 1/2 in
Object Name:
bugle
Place made:
United States: Massachusetts, Boston
Date made:
1860
ID Number:
MI.63.610
Accession number:
243422
Catalog number:
63.610
See more items in:
Cultural and Community Life: Musical Instruments
Music & Musical Instruments
Bugles
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746b3-436e-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_606560
Online Media:

Lorenzo James Hatch and Hatch family papers, bulk 1902-1914

Creator:
Hatch, Lorenzo James, 1856-1914  Search this
Subject:
Sun, Yat-sen  Search this
Yuan, Shikai  Search this
Hatch, Grace  Search this
Harrison, Effie C.  Search this
Type:
Scrapbooks
Photographs
Place:
China -- Social conditions -- 1644-1912
China -- History -- Qing dynasty, 1644-1912
China -- History -- Revolution, 1911-1912
China -- description and travel
Topic:
Engravers  Search this
Record number:
(DSI-AAA_CollID)10222
(DSI-AAA_SIRISBib)213298
AAA_collcode_hatclore
Theme:
American Art and Artists in a Global Context
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213298
Online Media:

Natural history of Vermont with numerous engravings and an appendix, 1853 by Zadock Thompson

Author:
Thompson, Zadock 1796-1856  Search this
Physical description:
[ii], 224, 63 pages illustrations, map (1 folded color) 24 cm
Type:
Books
Place:
Vermont
Date:
1853
Topic:
Natural history  Search this
Call number:
QH105.V7 T4Z
QH105.V7T4Z
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_287157

The Liberator, Vol. XXIII, No. 7

Created by:
The Liberator, American, 1831 - 1865  Search this
Edited by:
William Lloyd Garrison, American, 1805 - 1879  Search this
Published by:
Isaac Knapp, American, 1808 - 1858  Search this
Printed by:
J.B. Yerrington & Son, American  Search this
Medium:
ink on paper
Dimensions:
H x W (closed): 24 3/4 × 17 7/8 in. (62.9 × 45.4 cm)
Type:
newspapers
Place printed:
Boston, Suffolk County, Massachusetts, United States, North and Central America
Date:
February 18, 1853
Topic:
African American  Search this
Activism  Search this
Antislavery  Search this
Journalism  Search this
Mass media  Search this
Resistance  Search this
Slavery  Search this
Social reform  Search this
Societies  Search this
United States--History--1815-1861  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift from the Liljenquist Family Collection
Object number:
2016.166.41.1
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Collection title:
Liljenquist Family Collection
Classification:
Slavery and Freedom Objects
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd510e39fba-e97d-4109-b93d-6ea8cd0593e3
EDAN-URL:
edanmdm:nmaahc_2016.166.41.1
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View <I>The Liberator, Vol. XXIII, No. 7</I> digital asset number 1
Online Media:

The Liberator, Vol. XXVI, No. 26

Created by:
The Liberator, American, 1831 - 1865  Search this
Edited by:
William Lloyd Garrison, American, 1805 - 1879  Search this
Published by:
Isaac Knapp, American, 1808 - 1858  Search this
Printed by:
J.B. Yerrington & Son, American  Search this
Medium:
ink on paper
Dimensions:
H x W (closed): 25 × 18 1/16 in. (63.5 × 45.9 cm)
Type:
newspapers
Place printed:
Boston, Suffolk County, Massachusetts, United States, North and Central America
Date:
June 27, 1856
Topic:
African American  Search this
Activism  Search this
Antislavery  Search this
Journalism  Search this
Mass media  Search this
Resistance  Search this
Slavery  Search this
Social reform  Search this
Societies  Search this
United States--History--1815-1861  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift from the Liljenquist Family Collection
Object number:
2016.166.41.10
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Collection title:
Liljenquist Family Collection
Classification:
Slavery and Freedom Objects
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd52a0f4c62-f099-4949-ab32-e15082e2beb0
EDAN-URL:
edanmdm:nmaahc_2016.166.41.10
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View <I>The Liberator, Vol. XXVI, No. 26</I> digital asset number 1
Online Media:

Union Card Company, Montpelier, Vermont

Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Container:
Box 2, Folder 52
Type:
Archival 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: Engraving, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana Subject Categories: Engraving
Warshaw Collection of Business Americana Subject Categories: Engraving / Business Records, Marketing Material, and Other / Engravers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s01-01-engraving-ref704

Paul Aschenbach papers

Creator:
Aschenbach, Paul, 1921-  Search this
Names:
Vermont International Sculpture Symposia (1968)  Search this
Vermont International Sculpture Symposia (1971)  Search this
Vermont Marble Company  Search this
Baumann, Herbert, 1925-  Search this
Campbell, Kenneth, 1913-  Search this
Mizui, Jasuo, 1925-  Search this
Pavia, Philip, 1915-2005  Search this
Prantl, Karl  Search this
Reischke, Erich  Search this
Sartory, Barna von  Search this
Witkin, Isaac  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1957-1976
Scope and Contents:
Correspondence, notes and writings, project files, printed material, photographs, and art work primarily concerning Aschenbach's involvement with the Vermont International Sculpture Symposia (1968, 1971), and other projects he participated in, most relating to sculpture and its role in the community.
Included are biographical material; correspondence, 1965-1975, primarily related to Aschenbach's coordination of the Vermont International Sculpture Symposia of 1968 and 1971, the Sculpture on the Highway project, ca. 1971, and to his association with the Vermont Marble Company. Correspondence with artists participating in the Symposia include Karl Prantl, Jasuo Mizui, Herbert Baumann, Erich Reischke, Barna von Sartory, Philip Pavia, Kenneth Campbell, Clement Meadmore, Isaac Witkin, Eduardo Ramirez, James Silva, and Rudolf Uher. Notes and writings include unmailed letters to Aschenbach, ca. 1973-1974, written by his wife, June.
Project files, 1968-1975, contain correspondence, notes and writings, printed material, invoices, receipts, mailing lists, reference material, biographical material on participating artists, and photographs for the Vermont International Sculpture Symposia, Danby Sculpture Works, Inc., Danby-Currier Memorial Sculpture Project and other sculpture projects. Printed material, 1957-1978, includes newspaper and magazine clippings, exhibition announcements and catalogs, newsletters, and annual reports.
Photographs consist of Aschenbach at work, his finished sculptures, and a few personal photographs. Works of art include a variety of Aschenbach's studies and sketches for sculptures, executed in watercolor, pencil, felt pen, woodblock and chalk, and an unbound booklet of anonymous wood engravings.
Biographical / Historical:
Sculptor; Vermont. b. 1921; d. 1994. Organized the Vermont International Sculpture Symposium in 1968 and 1971, which supported stone sculpture by several sculptors for installation in rest areas along the Vermont Interstate Highways 89 and 91.
Provenance:
Donated 1983 by Paul Aschenbach.
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:
Sculptors -- Vermont  Search this
Topic:
Sculpture, Modern -- 20th century -- United States  Search this
Public sculpture  Search this
Citation:
Paul Aschenbach papers. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.aschpaul
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-aschpaul

William Page and Page Family papers

Creator:
Page, William, 1811-1885  Search this
Names:
National Academy of Design (U.S.)  Search this
Beecher, Henry Ward, 1813-1887  Search this
Beecher, Thomas Kinnicut, 1824-1900  Search this
Briggs, Charles F. (Charles Frederick), 1804-1877  Search this
Curtis, George William, 1824-1892  Search this
Cushman, Charlotte, 1816-1876  Search this
Fenton, Rueben  Search this
Garrison, William Lloyd, 1805-1879  Search this
Hicks, Thomas, 1823-1890  Search this
Lowell, James Russell, 1819-1891  Search this
O'Donovan, William Rudolph, 1844-1920  Search this
Olmstead, Bertha  Search this
Olmstead, Mary  Search this
Page, Sophia Stevens, 1827-1892  Search this
Page, William, 1811-1885  Search this
Perry, E. W. (Enoch Wood), 1831-1915  Search this
Phillips, Wendell, 1811-1884  Search this
Scranton, William Walker  Search this
Shaw, Francis George, 1809-1882  Search this
Stark, William, 1825-1873  Search this
Sumner, Charles, 1811-1874  Search this
Tilton, Theodore, 1835-1907  Search this
Wilmarth, Lemuel Everett, 1835-1918  Search this
Extent:
11.06 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Poems
Drawings
Diaries
Date:
1815-1947
bulk 1843-1892
Summary:
The papers of the portraitist and art theorist William Page and the Page family measure 11.06 linear feet and date from 1815 to 1947, bulk 1843-1892. In addition to the papers of William Page, the papers include documents related to Page's wife's career as a writer and records documenting their personal lives and the lives of their family members. Types of documents found include personal documents and artifacts, correspondence, essays, lectures, diaries, poems, notes and notebooks, financial records, legal records, published works, clippings, catalogs, photographs, and artwork.
Scope and Content Note:
The papers of the painter William Page and the Page family measure 11.06 linear feet and date from 1815 to 1947, with the bulk of papers dating from 1843 to 1892. Papers contain records related to the life and career of William Page, president of the National Academy of Design from 1871 to 1873 and prominent portraitist and art theorist of his day. Also found are records related to his wife's career as a writer and records documenting their personal lives and the lives of their family members. Types of documents found include personal documents and artifacts, correspondence, essays, lectures, diaries, poems, notes and notebooks, financial records, legal records, published works, clippings, catalogs, photographs, and artwork.

Correspondence includes the personal and professional correspondence of William and Sophia Page, and their parents, siblings, and children. Significant correspondents include Thomas Hicks, Enoch Wood Perry, William Stark, Theodore Tilton, Lemuel Wilmarth, Wendell Phillips, William Walker Scranton, Francis G. Shaw; James Russell Lowell, Charles Frederick Briggs, George W. Curtis, Charlotte Cushman, Thomas K. Beecher, Mary Olmsted, and Bertha Olmsted.

Writings include the essays and lectures of William Page, as written by him and revised by Sophia Page in the late 1870s, as well as Sophia's writings as a columnist in Europe in the 1850s. Notes, notebooks, diaries, and poems are also found. Personal Business Records include business records related to the sale and exhibition of artwork as well as financial and legal documents. A small number of memoranda and documents related to Page's work at the National Academy of Design are also found. Printed Materials include exhibition catalogs, published works by William and Sophia Page, and clippings and articles about Page.

Photographs consist mainly of portraits, most of them mounted cabinet photographs or cartes-des-visites, some of which appear to have been used as studies for Page's painted portraits. Among those pictured are William Page, James Russell Lowell, Henry Ward Beecher, Reuben Fenton, Wendell Phillips, Charles Sumner, William R. O'Donovan, and William Lloyd Garrison. Many of the photographic portraits are unidentified. Artwork includes sketches, drawings, prints, and a small number of notes made by Page in the course of painting portraits.
Arrangement:
The collection is arranged into 7 series. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Materials and Artifacts, 1847-1917 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1815-1942 (Boxes 1-4, 9-10; 3.2 linear feet)

Series 3: Notes and Writings, 1839-1888, 1949 (Boxes 4-5, OV 10; 1.3 linear feet)

Series 4: Personal Business Records, 1848-1932 (Boxes 5 and 9; 0.2 linear feet)

Series 5: Printed Materials, 1845-1938 (Boxes 5-7, 9, OV 11; 1.6 linear feet)

Series 6: Photographs, 1845-1947 (Boxes 7-9, OV 12, MGP 5-6; 1.4 linear feet)

Series 7: Artwork, 1856-1874 (Box 8, OV 13-16, rolled documents 17-19; 0.6 linear feet and 3 rolled documents)
Biographical Note:
The painter William Page was born in 1811 in Albany, NY. He attended public schools in New York City, and after working briefly in the law firm of Frederick de Peyster, was placed in the studio of the painter/engraver James Herring in 1825, where he received his first formal art training. He took classes at the National Academy of Design the year it was formed, in 1826, under Samuel F.B. Morse, and in 1827 he was awarded one of the National Academy's first annual student prizes.

Page joined the Presbyterian church and attended Phillips Academy and Amherst with the intention of becoming a minister, but his artistic ability won out, and by 1830 he was painting commissioned portraits in Albany, Rochester, and New York. He married Lavinia Twibill in 1833, and they had three daughters between 1834 and 1839. He joined the American Academy and served on its board of directors in 1835. He exhibited at the American Academy, the National Academy of Design, the Boston Athenaeum, and other venues throughout the 1830s. Favorable reviews brought steady portrait commissions, including John Quincy Adams and the New York governor William L. Marcy. He was made a full member of the National Academy in 1837.

In the 1840s, Page's reputation and maturity as a painter grew. His first wife left him around 1840, and in 1843 he married Sarah Dougherty. The couple moved to Albany, Boston, and back to New York seeking portrait commissions and patronage. He became friends with the poet James Russell Lowell and the writer and publisher Charles Frederick Briggs, two writers and editors who helped to promote his artwork in Boston and New York and published his theoretical writings. In 1844, Lowell dedicated his first published book of poetry to Page, and the following year, Briggs published a series of articles by Page in the Broadway Journal, entitled "The Art of the Use of Color in Imitation in Painting." The series described Page's arduous experiments with color and glazes, and his ideas about correspondences between spirituality and the natural world as expressed in art.

In 1850, Page traveled to Florence, Italy, where he painted several copies of the works of Titian in the galleries of the Uffizi and Pitti palaces, studying his use of color and further developing his own experimental techniques. He became friends with the sculptor Hiram Powers, who introduced him to the writings of Emmanuel Swedenborg, a Christian metaphysician whose ideas fueled Page's interest in the spiritual aspects of art. In 1852, Page moved to Rome, a city with an international artists' community and a strong market for art. Page found a loyal following in Rome's large circle of American ex-patriates, including the sculptors Thomas Crawford and Harriet Hosmer, the actress Charlotte Cushman, and the poets Robert and Elizabeth Barrett Browning, all of whom sat for portraits by Page.

In 1854, Page's second wife left him amidst public scandal, and he sank deep in debt to his bankers at Packenham and Hooker, an English firm that by 1856 had a lien on all the paintings in his studio. That same year Page met Sophia Stevens Hitchcock, an American widow traveling in Rome with Bertha Olmsted, Frederick Law Olmsted's sister. Hitchcock was from Barnet, Vermont and came to Europe after her first husband died in 1852 after only a year of marriage. She traveled to England and Paris, where she wrote regular columns on local customs and events for the New York Tribune that were published under the by-line "An American Woman in Paris." She and Page met in Rome in 1856, and in October 1857, after Page traveled back the United States to obtain a divorce from Sarah Dougherty, he and Sophia married.

The couple stayed in Rome until 1860. His wife's three brothers, all businessmen, helped to promote his artwork in Europe and America. Page's paintings of this period include several Venus subjects, one of which was championed by his most loyal patrons, who raised $3000 by subscription to buy the painting for the Boston Athenaeum. A later Venus painting was rejected from the Paris salon for indecency, a controversy that was later leveraged for publicity in a touring exhibition in the United States.

The Pages returned to the United States in 1860 and settled in Tottenville, New York. They had six children between 1858 and 1870. Page had a studio at Eagleswood, NJ, and later in the Studio Building on 10th Street in Manhattan, where he held a large exhibition in 1867. In the 1860s, he painted a self-portrait and a companion portrait of Sophia set in Rome, as well as a series of civil war heroes including Robert Gould Shaw, Winfield Scott, and David Farragut. Photographs played a consistent part in Page's technique of portraiture, and he is known to have worked with the photographer Matthew Brady, who attended art classes early on with Page, as well as the photographers Sarony and Charles Williamson, who taught classes on drawing from enlarged photo-transparencies. Brady photographs taken for Page include David Farragut and Reuben Fenton.

Page lectured frequently on Titian and Venetian art, a subject in which he was considered an expert, and on painting technique and his philosophical ideas about nature, art, and spirituality. In 1871, Page was elected the president of the National Academy of Design, a post he held until 1873, but his poor health following a collapse in 1872 limited his accomplishments in office. Despite these limitations, he continued to paint, including portraits of General Grant, an idealized portrait of the president based on early photographs and Charles Sumner. He also became interested in portraiture of William Shakespeare around this time, and his studies resulted in a book, Shakespeare's Portraits, a bust based on existing portraiture, and a full-length portrait entitled "Shakespeare Reading," based on Page's measurements of a supposed death mask in Darmstadt, Germany, which he went to inspect against the advice of his doctor in 1874.

In 1877, another collapse left Page incapacitated for the remainder of his life. Sophia Page tried editing and publishing his writings and lectures, but with little success. Page died in 1885. A life marked by personal scandal ended the same, when two of his daughters from his first marriage contested his will, tying up his estate in a lengthy and public probate trial. Their suit was dismissed in 1889, and Sophia Page died in 1892.

This biography relies heavily on Joshua Taylor's William Page: The American Titian (1957).
Separated Material:
The Archives of American Art also holds materials lent for microfilming (reel 1091) including letters from Elizabeth Barrett and Robert Browning, Lydia Maria Child, Charlotte Cushman, James Russell Lowell, Charles A. Dana, and others. Lent material was returned to the donor and is This material is not described in the container listing of this finding aid.
Provenance:
A portion of the collection was donated to the Archives of American Art by Mrs. Lesslie S. (Pauline Page) Howell, William Page's grandaughter, in 1963. William S. Page, Pauline Page Howell's nephew, donated additional papers in 1964 and 1973. Pauline Page Howell and William S. Page also loaned a group of letters to the Archives in 1964 which were microfilmed on reel 1091 and then returned to the donors. Mrs. Howell's son, William Page Howell, donated material in 1980.

Letters of Charles F. Briggs to James Russell Lowell (Series 2.2) were a part of Pauline Page Howell's 1963 donation to the Archives of American Art. They had been given to Mrs. Howell by Charlotte Briggs, daughter of Charles F. Briggs, because of her father's lifelong friendship with William Page. Letters from Lowell to Briggs are in the James Russell Lowell papers in Houghton Library at Harvard University.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The William Page and Page Family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Works of art  Search this
Portrait painters -- New York (State) -- New York  Search this
Portrait painting -- 19th century -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Sketches
Poems
Drawings
Diaries
Citation:
William Page and Page Family papers, 1815-1947, bulk 1843-1892. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pagewill
See more items in:
William Page and Page Family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pagewill
Online Media:

Elfriede Abbe papers, 1948-1978

Creator:
Abbe, Elfriede Martha, 1919-  Search this
Topic:
Women artists -- Vermont  Search this
Women engravers -- Vermont  Search this
Women sculptors -- Vermont  Search this
Record number:
(DSI-AAA_CollID)5599
(DSI-AAA_SIRISBib)208433
AAA_collcode_abbeelfr
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208433

Paul Aschenbach papers, 1957-1976

Creator:
Aschenbach, Paul, 1921-1994  Search this
Subject:
Mizui, Jasuo  Search this
Baumann, Herbert  Search this
Reischke, Erich  Search this
Sartory, Barna von  Search this
Pavia, Philip  Search this
Campbell, Kenneth  Search this
Witkin, Isaac  Search this
Prantl, Karl  Search this
Vermont Marble Company  Search this
Vermont International Sculpture Symposia  Search this
Topic:
Sculpture, Modern -- 20th century -- United States  Search this
Public sculpture  Search this
Record number:
(DSI-AAA_CollID)7308
(DSI-AAA_SIRISBib)209461
AAA_collcode_aschpaul
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209461

Reginald Marsh papers

Creator:
Marsh, Reginald, 1898-1954  Search this
Names:
Benton, William, 1900-1973  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Marsh, Felicia Meyer, 1912-1978  Search this
Marsh, Fred Dana, 1872-1961  Search this
Powys, Llewelyn, 1884-1939  Search this
Schmidt, Katherine, 1898-1978  Search this
Woodhouse, Betty Burroughs, 1899-1988  Search this
Extent:
9.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Sketchbooks
Date:
1897-1955
Summary:
The papers of Reginald Marsh (1898-1954) measure approximately 9.3 linear feet and date from circa 1897 to 1955. The collection documents the life and work of the artist, who was best known for his paintings and illustrations depicting scenes of vaudeville, night clubs, burlesque, and New York City. Marsh was a lifelong free-lance illustrator for the New Yorker, Esquire and many other national magazines. Papers include correspondence, diaries, notebooks, sketches, scrapbooks, business and financial papers, and photographs, as well as some biographical and printed material.
Scope and Content Note:
The papers of Reginald Marsh (1898-1954) measure approximately 9.3 linear feet and date from circa 1897 to 1955. The collection documents the life and work of the artist, who was best known for his paintings and illustrations depicting scenes of vaudeville, night clubs, burlesque, and New York City. Marsh was a lifelong free-lance illustrator for the New Yorker, Esquire and many other national magazines. Papers include correspondence, diaries, notebooks, sketches, scrapbooks, business and financial papers, and photographs, as well as some biographical and printed material.

Marsh's correspondence is typically with family, friends, artists, colleagues, dealers, government officials, publishers, greeting card companies, admirers and former students. Correspondence concerns both personal and professional matters, documenting his relationships with family and friends and his work on various projects ranging from book illustrations to the murals he executed as part of the Treasury Department Art Program. Diaries include those Marsh kept as an adolescent, those in which he recorded his technique and work on art, and those in which he recorded his daily engagements. Notebooks include ones on art, in which he recorded notes on particular works and on painting techniques, mediums and other processes; ones used as address books and to record notes on travel and art work; and ones on finances, in which he kept track of earnings from his stocks and art, as well as some student notebooks. Diaries and notebooks both document various practical aspects involved in the creation of Marsh's art work.

Sketches include ones on loose sheets and scraps of paper and in sketchbooks, documenting some of the sources and recurrent themes of Marsh's art work, as well as shedding light on Marsh's process of creation. Scrapbooks consist primarily of clippings (illustrations, reviews, reproductions of art work) compiled by Marsh, documenting the publication, exhibition, and reception of his art work. Business and financial papers consist of paperwork (contracts, agreements, statements, receipts, permissions) relating to business matters, practical concerns, and financial aspects involved in handling his various art projects and in exhibiting and selling his art work. Photographs include ones of Marsh's family and friends, the artist at work (sketching around Coney Island and on the streets of New York), and his art work (some of which was compiled into volumes by Marsh and some of which was compiled by Norman Sasowsky).

Also found are limited amounts of biographical material, including juvenilia, official documents, awards and certificates, writings, an appraisal of Marsh's estate, and catalogs of Marsh's art work, and printed material, including exhibition catalogs, clippings, and publications.
Arrangement:
The Reginald Marsh papers are arranged as 9 series:

Series 1: Biographical Material, 1910s-1955 (boxes 1, 11; 0.8 linear feet)

Series 2: Correspondence, 1920-1954 (boxes 1-2, OV 12; 1.2 linear feet)

Series 3: Diaries, 1912-1954 (box 3; 1 linear foot)

Series 4: Notebooks, 1919-1954 (box 4; 0.8 linear feet)

Series 5: Sketches, 1901-1954, undated (boxes 4-5, OV 12-21; 1.4 linear feet)

Series 6: Scrapbooks, 1901-1954, undated (boxes 6, 9-11; 1.5 linear feet)

Series 7: Business and Financial Papers, 1923-1954 (box 6; 0.3 linear feet)

Series 8: Photographs, circa 1897-1908, 1920-1952 (boxes 6-8, 10; 1.3 linear feet)

Series 9: Printed Material, 1931-1955 (boxes 8, 10; 0.2 linear feet)
Biographical Note:
Reginald Marsh was born in Paris on March 14, 1898. His father, Fred Dana Marsh, was a well-known muralist, and his mother, Alice Randall Marsh, was also an artist who painted miniature watercolors. Marsh returned with his family to the United States in 1900 and grew up in Nutley, New Jersey.

After graduating from Yale University in 1920, Marsh moved to New York, where he worked as an illustrator for the New York Evening Post and Herald, Vanity Fair and Harper's Bazaar. Beginning in 1922, he worked as staff artist at the New York Daily News doing a cartoon review of vaudeville and burlesque. During the 1920s, he designed theater curtains for the Greenwich Village Follies and other theater productions, and became one of the original cartoonists at The New Yorker after it was founded in 1925, actively working for the magazine until 1931 and regularly contributing drawings from time to time after that.

In 1923, Marsh married Betty Burroughs, who was the daughter of the curator of painting at the Metropolitan Museum of Art and herself a sculptor. They divorced in 1933, and he married his second wife, Felicia Meyer, a landscape painter, in 1934.

In the early 1920s, Marsh began to study painting and attended classes taught by John Sloan and Kenneth Hayes Miller, among others, at the Art Students League in New York. He made several trips to Europe, once in 1925-1926 and again in 1928, to study the old masters in the museums. In 1929, he began to paint in egg tempera. He also worked in watercolor, painting several large compositions in 1939-1940. In the 1940s, he studied the "Maroger medium" with Jacques Maroger and began to use this emulsion technique in his paintings. In addition to painting, he also worked in lithography, etching, and engraving.

Marsh had his first one-man show of oils and watercolors at the Whitney Studio Club in 1924 and another show of lithographs there in 1928. He had one-man shows of his watercolors at the Valentine Dudensing Galleries in 1927, the Weyhe Gallery in 1928, and the Marie Sterner Galleries in 1929. In 1930, he had his first show of paintings at the Rehn Galleries, where he regularly exhibited for the next two decades.

In 1935 and 1937 respectively, Marsh was commissioned by the Treasury Department Art Program to paint two murals in the Post Office Department Building in Washington, D.C. and a series of murals in the rotunda of the Customs House in New York. Beginning in 1935, Marsh taught drawing and painting at the Art Students League. In the summer of 1946, he was guest instructor at Mills College, Oakland, California, for six weeks. In 1949, he was appointed head of the Department of Paintings at Moore Institute of Art, Science, and Industry, Philadelphia and taught advanced painting there in 1953-1954.

Beginning in the mid-1930s, some of Marsh's art work began to be reproduced on greeting cards issued by the American Artists Group and Living American Art, Inc. He also did illustrations for editions of Theodore Dreiser's Sister Carrie (1938), John Dos Passos's USA (1945) and Adventures of a Young Man (1946), and Mark Twain's The Prince and the Pauper (1946), among others. He continued to do freelance illustrations for magazines, including Esquire, Fortune, and Life. Notably, he served as an artist correspondent for Life during the Second World War, and traveled to Brazil in 1943 to draw the army installations there.

Marsh was the recipient of various awards throughout his career, including the M. V. Kohnstamm Prize from the Art Institute of Chicago in 1931, the First W. A. Clark Prize and Corcoran Gold Medal from the Corcoran Gallery of Art, Washington, D.C., in 1945, and the Gold Medal for Graphic Arts of the National Institute of Arts and Letters in 1954.

Marsh died of a heart attack in Dorset, Vermont on July 3, 1954.

This biographical note draws heavily from information originally printed in the catalogue of the Reginald Marsh Retrospective Exhibition organized by the Whitney Museum in 1955.
Related Material:
The Archives holds several collections of different provenance that relate to Reginald Marsh, including Felicia Meyer Marsh and Meyer Family Papers (available on reels 2082, 2087-2090, and 4474-4475), Fred Dana Marsh illustrated letters (available on reel 3134), Norman Sasowsky Research Material on Reginald Marsh (partially available on reels 1195 and 1463-1464), and Reginald Marsh Printed Material, consisting of two yearbooks from Lawrenceville School donated by Alvin Macauley who was a classmate of Marsh (not available on microfilm). In addition, a portion of the materials loaned and microfilmed in 1963 on reel NRM 19, including several small paintings, are housed in the Pierpont Morgan Library.
Separated Material:
The Archives of American Art also holds material lent for microfilming. Some of the material loaned for microfilming in 1963, including the bulk of Marsh's sketchbooks and some anatomy sketches, was subsequently donated to the Metropolitan Museum of Art, New York Public Library, and Whitney Museum of American Art. Other loaned material, including several small paintings, was from the Pierpont Morgan Library. Most of the files of clippings that were donated to AAA with Marsh's papers were transferred to the Smithsonian American Art Museum and National Portrait Gallery Library in 1979. Even though this material is not technically part of the collection housed in AAA, copies are available on microfilm reels NRM3-NRM17 (sketchbooks and sketches), NRM 19 (material from the Pierpont Morgan Library), NRM 20 (small paintings), and 2233-2234 (clippings). A portion of the material donated to AAA with the Reginald Marsh papers has been separated to create a new collection of Felicia Meyer Marsh and Marsh Family papers. Loaned and transferred material is not described in this finding aid.
Provenance:
A large portion of the Reginald Marsh papers, including diaries, notebooks, sketchbooks, and photograph albums, was lent for microfilming in 1963 by Marsh's wife, Felicia Meyer Marsh. Some, but not all, of this material was subsequently donated to AAA in 1979, after the death of Mrs. Marsh, along with some additional material, including notebooks, scrapbooks, biographical and printed material. Another portion of the collection, comprised mainly of correspondence and a catalog of Marsh's art work, was donated in 1964. Three items of Marsh juvenilia were donated in 1984 by Alice Heffernan. Sketches that Mrs. Marsh bequeathed to the Whitney Museum were donated to AAA by the museum in 1987, along with 5 sketchbooks previously lent. Later gift portions were microfilmed.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Rights:
The Reginald Marsh papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Etchers -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- Philosophy  Search this
Painting, American  Search this
Painting -- Technique  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Citation:
Reginald Marsh papers, 1897-1955. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.marsregi
See more items in:
Reginald Marsh papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-marsregi
Online Media:

Lorenzo James Hatch and Hatch family papers

Creator:
Hatch, Lorenzo James, 1856-1914  Search this
Names:
Harrison, Effie C.  Search this
Hatch, Grace  Search this
Sun, Yat-sen, 1866-1925  Search this
Yuan, Shikai, 1859-1916  Search this
Extent:
1.7 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Place:
China -- Social conditions -- 1644-1912
China -- History -- Qing dynasty, 1644-1912
China -- History -- Revolution, 1911-1912
China -- Description and Travel
Date:
bulk 1902-1914
circa 1890-1950
Summary:
The Lorenzo James Hatch and Hatch family papers measure 1.7 linear feet and date from circa 1890-1950, with the bulk of the materials dating from 1902-1914. The papers consist of family correspondence, printed material, three scrapbooks of printed materials and photographs, and a travel account. Letters are from Lorenzo Hatch, his wife Grace Harrison Hatch, and other family members. Most of the collection concerns the family's time in Peking (Beijing), China from 1908-1914 while Hatch was assisting the Chinese government create a Bureau of Printing and Engraving. The papers reveal impressions of the social and economic conditions of the Chinese, the revolutionary events of 1911 and 1912, the Pneumonic Plague epidemic in China from 1910-1911, and sight-seeing trips. An unprocessed addition of 0.4 linear feet includes biographical material; photographs of Hatch, his family and works of art; personal correspondence; artwork; printed material, and legal and financial records relating to the estate of Lorenzo Hatch. Also included is a horseshoe from Harrison Hatch's pony "Moses" (in China).
Scope and Content Note:
The Lorenzo James Hatch and Hatch family papers measure 1.7 linear feet and date from circa 1890-1950, with the bulk of the materials dating from 1902-1914. The papers consist of family correspondence, printed material, three scrapbooks of printed materials and photographs, and a travel account. Letters are from Lorenzo Hatch, his wife Grace Harrison Hatch, and other family members. Most of the collection concerns the family's time in Peking (Beijing), China from 1908-1914 while Hatch was assisting the Chinese government create a Bureau of Printing and Engraving. The papers reveal impressions of the social and economic conditions of the Chinese, the revolutionary events of 1911 and 1912, the Pneumonic Plague epidemic in China from 1910-1911, and sight-seeing trips. An unprocessed addition of 0.4 linear feet includes biographical material; photographs of Hatch, his family and works of art; personal correspondence; artwork; printed material, and legal and financial records relating to the estate of Lorenzo Hatch. Also included is a horseshoe from Harrison Hatch's pony "Moses" (in China).

Letters trace the family's journey from California to Peking, China, and their life in China. Lorenzo's correspondence includes information concerning Chinese politics and the revolution, the roles of Sun Yat-Sen and Yuan Shih K'ai between 1911-1912 and the fall of the Qing Dynasty. Effie Harrison's and Grace Hatch's letters discuss day-to-day life in China, sight-seeing trips and their reactions to the social and political unrest in the country. Additional correspondence includes condolence letters sent to the family after Lorenzo's death. There is a also a written account by Effie Harrison describing her travel to China on a steamer ship.

Printed materials consist of clippings and a Macbeth Gallery exhibition catalog from a 1937 show of Hatch's paintings.

There are three photographs of Peking. Three disbound scrapbooks include photographs of the Chinese landscape and monuments, interior shots, and of the family traveling through China. Photographs are of the Ming Tombs, the Great Wall of China, as well as temples and city buildings. Some later photographs are of family members that were taken around 1920, after their return to the United States. The scrapbooks also contain examples of Chinese currency designed by Lorenzo James Hatch.

An unprocessed addition of 0.4 linear feet includes biographical material; photographs of Hatch, his family and works of art; personal correspondence; artwork; printed material, and legal and financial records relating to the estate of Lorenzo Hatch. Also included is a horseshoe from Harrison Hatch's pony "Moses" (in China).
Arrangement:
The collection is arranged into 6 series:

Series 1: Correspondence, 1902-1914 (Box 1-3; 0.9 linear feet)

Series 2: Writings, circa 1912 (Box 3; 1 folder)

Series 3: Printed Material, 1902-1937 (Box 3; 2 folders)

Series 4: Photographs, circa 1911 (Box 3; 1 folder)

Series 5: Scrapbooks, 1908-1911, circa 1920s (Box 3-4; 0.3)

Series 6: Unprocessed Addition, circa 1902-1937 (Box 5; 0.4)
Biographical Note:
Lorenzo James Hatch (1856-1914) was born in Vermont and is best known for his work as a portrait engraver in Washington, D.C. and New York. He worked for the United States Bureau of Printing and Engraving, private bank note printers, and in China, assisting the government with establishing a government bureau of printing and engraving.

Early in his career, Lorenzo found his talent for engraving intricate portraits in metals. In 1874, the head of the United States Bureau of Printing and Engraving admired Hatch's portrait of George Washington on copper and hired him. During his time in Washington, D.C., Hatch spent his nights studying drawing and watercolor painting. However, his talent to engrave vignettes of presidents and other famous figures proved more impressive.

In 1888, Hatch moved to Chicago to work for a private bank note company. There, he met Grace Harrison of California. They were married and had one son, Harrison in 1902. After taking a job in New York City with another bank note company, Hatch solidified his reputation in the field. Around 1908, the Chinese government invited Hatch to establish a Bureau of Printing and Engraving modeled after that of the United States. He accepted a six-year contract to oversee the building of the bureau and train the Chinese to run the office. With his wife, their son, and sister-in-law Effie Harrision, Lorenzo moved to Peking.

During his time in China, Lorenzo Hatch succeeded in building the foundations for a modern printing bureau. However, the revolution in China between 1911-1912 hindered completion. He described his experiences, perceptions, and insecurities of being in China to his family and friends through letters. Before his contract ended, Hatch passed away on February 3, 1914.
Provenance:
The papers of Lorenzo James Hatch and the Hatch family were donated in 1989 by Hatch's great-grandniece, Janet Young Brockmoller. Additional materials were donated in 2015 by John and Janet Fesler, who acquired the material from a neighbor who received the papers from Gail Hatch, Hatch's sister-n-law and executor for Hatch's wife Grace Harrison Hatch.
Restrictions:
The collection has been digitized and is available online via AAA's website. A 2015 addition to the papers is not digitized. Use of original papers requires an appointment.
Rights:
The Lorenzo James Hatch and Hatch family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Engravers  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
Lorenzo James Hatch and Hatch family papers, 1902-1937, bulk 1908-1914. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hatclore
See more items in:
Lorenzo James Hatch and Hatch family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hatclore
Online Media:

Modify Your Search







or


Narrow By