United States of America -- Massachusetts -- Essex County -- Beverly
Scope and Contents:
The folder includes worksheets.
Reproduction Note:
There are two duplicate 35 mm. slides (MA075030) copied from an original postcard, which is not in the collection. Six 35 mm. slides are copies of original glass lantern slides. One 35 mm. slide (MA075049) is copy of original painting belonging to Society for the Preservation of New England Antiquities.
General:
Eagle Rock, a 104-room brick "cottage" in the neoclassical style, was set in a romantic, 25-acre landscape. Built in 1904, this house became Henry Clay Frick's summer house. In 1969, tired of maintaining a house Helen Frick considered pretentious, she "carefully demolished" Eagle Rock, sending the billiard room paneling, the car and carriage collection and sections of wrought iron fence to the Frick Art Museum she was building near Pittsburgh, Pennsylvania.
Related Materials:
Eagle Rock related holdings consist of 1 folder (39 35 mm. slides and 13 glass autochromes)
Plans and drawing exist in the Olmsted Association. Drawings and photographs are located at the Helen C. Frick Foundation in Pittsburgh, PA. Drawings by Arthur Little are located in the Society for the Preservation of New England Antiquities.
Records related to this site can be found at the Frederick Law Olmsted National Historic Site, Olmsted Job Number 01071, W. C. Loring.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Massachusetts -- Beverly -- Pride's Crossing Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Massachusetts -- Essex County -- Beverly
Eagle Rock (Pride's Crossing, Massachusetts)
General:
001: Residence of H. C. Frick. Prides Crossing, near Beverly, Mass. A type of the beautiful residences along the North Shore. Postcard circa 1901-1915.
002: "Eagle Rock" Prides Crossing, Mass. Postcard circa 1901-1915.
003: H.C. Frick's Residence, Prides, Beverly, Mass. Postcard circa 1901-1915.
004: H.C. Frick's Residence, Prides. Postcard circa 1901-1915.
005: H.C. Frick Residence, Prides, Beverly, Mass. Postcard circa 1915-1930.
006: Residence of H. C. Frick. Prides Crossing, near Beverly, Mass. A type of the beautiful residences along the North Shore. Postcard circa 1901-1915.
007: H. C. Frick's Gardens, Prides. Postcard circa 1901-1915.
008: H. C. Frick's Stable, Prides. Postcard circa 1901-1915.
009: Residence of H. C. Frick. Prides Crossing, near Beverly, Mass. A type of the beautiful residences along the North Shore. Postcard circa 1901-1915.
Eagle Rock, a 104-room brick "cottage" in the neoclassical style, was set in a romantic, 25-acre landscape. Built in 1904, this house became Henry Clay Frick's summer house. In 1969, tired of maintaining a house Helen Frick considered pretentious, she "carefully demolished" Eagle Rock, sending the billiard room paneling, the car and carriage collection and sections of wrought iron fence to the Frick Art Museum she was building near Pittsburgh, Pennsylvania.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, Richard Marchand historical postcard collection.
Sponsor:
A project to describe images in this finding aid in this collection received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
The papers of wood engraver Timothy Cole date from 1883-1936, and measure 0.5 linear feet. Found within the papers are letters primarily written by Timothy Cole to the editors of Century Magazine, and letters to Cole from colleagues Gifford Beal, Alice Brown, George de Forest Brush, Kenyon Cox, David Finney, Helen C. Frick, Joseph Pennell, Caroline Powell, John Singer Sargent, and Helen M. Turner. Also found are miscellaneous writings, artwork including wood engravings and printing plates, miscellaneous clippings and a photograph of Cole and his wife.
Scope and Content Note:
The papers of Timothy Cole measure 0.5 linear feet and date from 1883 to 1936. Found within the papers are letters primarily written by Timothy Cole to the editors of Century Magazine including A. W. Drake, W. Lewis Fraser, Richard Watson Gilder, Robert Underwood Johnson, and George Howes Whittle, discussing Cole's production of wood engraved copies of European master paintings for the magazine, and details of the wood engraving process. There are scattered letters to Cole from Century Magazine editors and colleagues Gifford Beal, Alice Brown (discussing Cole's wood engraved portrait of Louise Imogen Guiney for Brown's biography of her), George de Forest Brush, Kenyon Cox, David Finney, Helen C. Frick (concerning a bookplate), Joseph Pennell, Caroline Powell, John Singer Sargent, and Helen M. Turner.
Also found are miscellaneous writings including a notebook of poems by Cole, essays about Louise Imogen Guiney and Joseph Pennell, and an autobiographical essay, artwork consisting of wood engravings executed by Cole of works by the master painters of Europe and America, and two printing plates used by Century Magazine to reproduce Cole's wood engravings. Several clippings concern Cole, his work, and the publication of the book Timothy Cole: Wood Engraver by Alphaeus P. Cole and Margaret Ward Cole in 1936. There is also a photograph of Cole cutting a wood engraving block as his wife reads nearby.
Arrangement:
The collection is arranged into 5 series:
Missing Title
Series 1: Letters, 1883-1930 (Box 1; 32 folders)
Series 2: Writings, 1920 (Box 1; 2 folders)
Series 3: Artwork, 1907-1921 (Box 1, OV 2; 4 folders)
Series 4: Clippings, 1927-1936 (Box 1; 2 folders)
Series 5: Photograph, 1910 (Box 1; 1 folder)
Biographical Note:
Timothy Cole was a wood engraver working primarily in the New York City area. Cole worked for several notable magazines, Scribner's Magazine.
Timothy Cole was born in 1852 in London, England, the seventh of the twelve sons of Skinner Cole, a milliner. In 1857, the family immigrated to New York City. Following his mother's death, the family suffered financial hardship and Cole earned money as a delivery boy, newspaper seller, and lamplighter.
In 1868, the family moved to Chicago where Cole was apprenticed to a wood engraving firm and made rapid progress in learning this skill that was the most widely used method of magazine illustration at the time. When the Chicago Fire destroyed his place of employment in 1871, Cole returned New York City where his talents as a wood engraver were soon recognized by various artists and publishers. Cole began his career working for the magazines Hearth and Home, the Christian Weekly, and the Aldine Press.
After the Aldine Press went out of business in 1875, Cole was employed by Scribner's Magazine (later renamed Century Magazine.) During the same year, he married Annie Elizabeth Carter of Jersey City Heights, New Jersey. In 1883, Cole was commissioned by Century Magazine to travel in Europe and make wood engravings of the works of the old masters. He finished a series of Italian masters in 1892, a Dutch and Flemish series in 1896, an English series in 1900, a Spanish series in 1907, and a French series in 1910. In the course of his travels, Cole befriended many artists, including Joseph Pennell and James Abbott MacNeill Whistler. In 1910, Cole returned to the United States where he began work on a series of engravings of American master paintings in public and private collections.
Cole's work received a diploma of honor at the Chicago Exposition in 1893, the gold medal at the Paris Exposition of 1900, and the Grand Prix at the St. Louis Exposition in 1904. He was an honorary member of the Society of Sculptors, Painters, and Engravers of London, a member of the American Academy of Arts and letters, and was elected a National Academician in 1908. In 1903, Cole received an honorary M.A. degree from Princeton University.
Timothy Cole died on May 17, 1931 in Poughkeepsie, New York.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel D30) including 181 letters. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The collection was acquired by the Archives of American Art in a series of accessions from several different donors between 1959 and 1973. Charles E. Feinberg donated letters in 1959. The artist's sons Percy J. Cole and Lucius Cole loaned 181 letters and gave the Archives materials in 1962. Alphaeus Cole, another son, donated papers in 1973.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Wood-engravers -- New York (State) -- New York Search this
Germany (Territory under Allied occupation, 1945-1955)
Date:
1905-1983
bulk 1920-1976
Summary:
The papers of art historian and museum curator W.G. (William George) Constable measure 25.7 linear feet and date from 1905 to 1981, with the bulk of the material from 1920 to 1976. The papers include biographical material; professional and personal correspondence; extensive lectures, writings, and notes; exhibition and book research files; printed materials; and photographs, glass plate negatives, and slides. There is substantive correspondence related to Constable's participation in the American Defense Harvard Group and about the formation of the Roberts Commission, including correspondence with Ralph Perry, Hugh Hencken, Paul Sachs and George L. Stout. There are numerous official reports prepared by Constable after World War II for the U. S. Office of Military Government for Germany.
Scope and Contents:
The papers of art historian and museum curator W.G. (William George) Constable measure 25.7 linear feet and date from 1905 to 1981, with the bulk of the material from 1920 to 1976. The papers include biographical material; professional and personal correspondence; extensive lectures, writings, and notes; exhibition and book research files; printed materials; and photographs, glass plate negatives, and slides. There is substantive correspondence related to Constable's participation in the American Defense Harvard Group and about the formation of the Roberts Commission, including correspondence with Ralph Perry, Hugh Hencken, Paul Sachs and George L. Stout. There are numerous official reports prepared by Constable after World War II for the U. S. Office of Military Government for Germany.
Biographical material includes W.G. Constable's curriculum vitae; club memberships; personal, educational, and military records; three memorial essays and obituaries; five address books; appointment books dating from 1930-1968; and financial records related to personal business travels.
Correspondence is mostly professional and arranged into General, Committee, Condolences, and J.G. Links. General correspondence is with friends, business associates, auction houses, galleries, and museums. The letters cover a wide variety of professional work, such as research projects, letters of inquiry and recommendation, and work done for Christie's and the Internal Revenue Service. Correspondents include Mortimer Brandt, Helen Frick, Helen Gluck, William Ivins, Duncan Phillips, Paul Sachs, and Rudolph Vasalle, among many others.
Committee related correspondence includes letters, memoranda, and reports related to ongoing committee objectives, projects, and routine activities. There is correspondence related to Constable's advisory work with the Art Gallery of Toronto, the National Gallery of Canada, and the Watts Gallery, among other projects. Condolences consists of letters and cards received by Constable's wife, Olivia, after Constable's death. Correspondence with J.G. Links is primarily about the second edition revision of Constable's book Canaletto.
There are over 170 drafts of Constable's notes and outlines for lectures. Topics range from 13th-20th century European and American art to museum conservation, ethics, art education, and art collecting. The series also includes lecture notes from organized touring trips to Canada, Northern Europe, Scandanavia, and Poland.
Writings consist of Constable's published and unpublished articles, articles submitted for the Encyclopedia of World Art, essays, notes, exhibition catalogs, translations, and drafts and research material related to Art Collecting in the United States, Art History and Connoisseurship, and The Painter's Workshop.
Files specifically documenting Constable's advisory role in the World War II American Defense Harvard Group drafting and organizing lists of men with curatorial, museum conservation, or library/archives backgrounds to aid in the protection European most valued cultural artifacts, artwork, and architecture. There are letters documenting the formation of the Harvard Group and its goals and objections. The files also include many of the original lists that were forwarded to the Commission for the Protection and Salvage of Artistic and Historic Monuments in Europe, also known as the Roberts Commission, eventually leading to the formation of the U.S. Army's Monuments, Fine Arts, and Archives division. The series also includes the Harvard Group's manual Safeguarding and Conserving Cultural Materials in the Field, committee minutes, and clippings related to their work. Correspondents include Ralph Perry, Paul Sachs, George L. Stout, and Hugh Hencken.
Constable's work after the war for the U.S. Office of Military Government for Germany is documented through numerous reports, memoranda, letters, and other official documents from the U. S. Army to Constable about surveying the state of German and Italian art institutions after World War II. The series also includes Constable's notebook "Visits in Germany" (1949), and a copy of his report Art and Reorientation: Status and Future of Museums and the Teaching of Art in Western Germany.
Exhibition files contain correspondence, notes, lists, research material, and reports related to exhibitions that Constable organized prior to his employment by and after his retirement from the Boston Museum of Art.
Research files contain materials relevant to Constable's interests and include notes, lists, correspondence, and printed and photographic reference material. These subject areas cover artists, including extensive files on Canaletto and other vedute painters, museum conservation, museums and galleries, private and public art collections, and schools of art.
Printed materials include clippings, programs, book excerpts and other miscellaneous printed materials.
Photographic materials include prints of Constable with friends and family, as well as prints, glass negatives and slides of artwork. There are also prints of the Fogg Art Museum's interiors and exterior and interior shots of Tennessee Valley Authority dam projects.
Arrangement:
The collection is arranged as 10 series.
Missing Title
Series 1: Biographical Materials, 1905-1983 (1.2 linear feet; Box 1-2, OV 28)
Series 2: Correspondence, 1906-1981 (6.2 linear feet; Box 2-8, OV 28-29)
Series 3: Lectures, 1909-1963 (4.6 linear feet; Box 8-12)
Series 4: Writings and Notes, 1910-1974 (2 linear feet; Box 13-14)
Series 5: American Defense Harvard Group, 1942-1946 (0.6 linear feet; Box 15)
Series 6: Office of Military Government for Germany, 1947-1952 (0.3 linear feet; Box 15)
Series 7: Exhibition Files, 1930-1969 (1 linear foot; Box 15-16, OV 29)
Series 8: Research Files, 1922-1976 (7.5 linear feet; Box 16-24, OV 28-29)
Series 9: Printed Material, 1921-1977 (0.5 linear feet; Box 24)
Series 10: Photographic Materials, circa 1940-1960 (1.4 linear feet; Box 24-27, OV 28-29)
Biographical / Historical:
W. G. (William George) Constable (1887-1976) was a museum curator and art historian who worked in England and Boston.
Born in Derby, England, Constable studied for the bar at Cambridge University, but was encouraged to pursue art over law by the Lord Chancellor who told him that law would be too strenuous after a two year convalescence from gassing during World War I. For three years, he studied at the Slade School and the Bartlett School of Architecture. In 1923, he joined the National Gallery of London where he became the Assistant Director in 1929. In 1930, he accepted the first Director's position at the newly formed Courtauld Institute, where he worked to develop one of the first programs on art history. In 1938, Constable became Curator of Paintings at the Boston Museum of Fine Arts and worked there until his retirement in 1957.
Throughout his career as an arts administrator, Constable remained an accomplished lecturer and held appointments as the Slade Professor of Art at Cambridge (1933-1936), Ryerson Lecturer at Yale University (1940), and the Lowell Lecturer at the Lowell Insitute (1958). As a researcher and art historian, he published a steady stream of essays on European and American art connoisseurship, and authored over ten scholarly books, including The Painter's Workshop (1953), Richard Wilson (1953), and Canaletto (1962), the definitive work on the Venetian master.
Constable was a trusted arts advisor and, in this capacity, worked for the Wadsworth Atheneum from 1943-1945.
He also worked closely with Lord Beaverbrook to establish the National Gallery of Canada and later consulted for Sotheby's and the U. S. Internal Revenue Service.
In the years leading to World War II, Constable served as an advisor to the American Defense Harvard Group and was later appointed to the Commission for the Protection of Artistic and Historic Monuments in Europe (the Roberts Commission) by President Roosevelt. The Roberts Commission was responsible for the establishment of the U. S. Army's Monuments, Fine Arts, and Archives section. After the war, Constable served the U.S. government as a member of a commission responsible for the recovery of looted art work and the evaluation of the state of the arts in Germany and Italy.
After his retirement from the Boston Museum, Constable continued to research and write, and also served as president of the International Institute of Conservation (1958-1960) and the Renaissance Society of America (1959-1961). From 1957 to 1966, he worked on behalf of Christie's auction house, where he met with prospective clients and provided preliminary valuations of private art works and collections.
On February 4, 1976, Constable died in Cambridge, Massachusetts from natural causes.
Related Materials:
The Archives also holds additional materials related to W.G. Constable, including an oral history interview with Constable conducted by Robert Brown in 1972-1973, and a photograph and clipping of Constable donated by Eleanor Barton in 1982.
Additional W.G. Constable papers are located at archival materials are also located at St. Johns College in Cambridge,England; the Warburg Institute in London, England; the National Gallery in London, England; and the Society for the Protection of Science and Learning in London, England. Photographs of works art collected by Constable are found at the British Studies Center at Yale University. Records relating to his tenure at the Museum of Fine Arts, Boston are housed there.
Provenance:
The papers of W.G. Constable were donated in multiple gifts from 1978 to 1979 and in 1987 to 1988 by his son Giles Constable. Additional material regarding Constable's research on Canaletto was donated by researcher J.G. Links in 1985.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and not served 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.
World War, 1939-1945 -- Art and the war Search this
Citation:
W.G. Constable papers, 1905-1983, bulk 1920-1976. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Digitization of this collection was funded by the Samuel H. Kress Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
