1 Reel (ca. 445 items (on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Reels
Date:
1813-1891
Scope and Contents:
Letters written by Henry and Frances Greenough from various locations in Europe, most of which are to their family in Boston, including Mrs. Edward G. Loring (Harriet), Francis Boott, Mrs. Elizabeth Greenough, Charlotte Greenough, and also Mrs. James Lee and Mrs. Mary Lee. Also included are letters written to Horatio Greenough from various people.
Biographical / Historical:
Horatio Greenough was a sculptor, who spent most of his career in Florence, Italy. His brother Henry originally went to Italy with Horatio, and then returned to Boston to practice architecture. Henry was married to Frances Boott.
Provenance:
Lent 1977 by David Richardson, whose relationship to the Greenoughs is unknown.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Wylie, Samuel B. (Samuel Brown), 1773-1852 Search this
Extent:
2 Reels (ca. 150 items (on 2 partial microfilm reels))
Type:
Collection descriptions
Archival materials
Reels
Date:
1760-1935
Scope and Contents:
Letters, mainly from artists, and documents selected from the Historical Society of Pennsylvania's miscellaneous manuscript collection (Society Collection). Letters are to various people; 46 of them are to Townsend Ward and a few are to John A. McAllister, photographer. Many of the letters refer to paintings, portraits, commissions, and awards.
Writers of letters include: Edwin Austin Abbey, Mary Gertrude Abbey, F.W. Bayley, Albert Bierstadt, George Catlin, Joseph Ceracchi, John Gadsby Chapman, John Cheney, James Claypool, James Cox, F.O.C. Darley, Joseph Delaplaine, Humphrey Donnehue, William Dunlap, Pierre Eugene Du Simitiere, S. Eliot, Charles Fevret De Saint-Memin, Charles Dana Gibson, Harold Edgar Gillingham, Horatio Greenough, George Harding, Levi Hollingsworth, William Morris Hunt, Daniel Huntington, Henry Inman, Horatio Gates Jones, James Reid Lambdin, Will Hicok Low, Edward Dalton Marchant, William Henry Moody, John Neagle, Albert Newsam, Bass Otis, Thomas Paine, Charles Willson Peale, Franklin Peale, James Peale, Jr., Mary Jane Peale, Rembrandt Peale, Titian Ramsay Peale, Joseph Pennell, Clement Penrose, Robert Piggot, Thomas Buchanan Read, William Trost Richards, Thomas Prichard Rossiter, Peter Frederick Rothermel, William Rush, John Sartain, Stephen Alonzo Schooff (to Townsend Ward), Russell Smith, Charles H. Stephens, Thomas Sully, Philip Syng, John Vanderlyn, N.P. Willis, Alexander Wilson and Patience Wright.
Among the recipients of letters are Archibald Alexander, David S. Brown, William Belcher, Col. Brodhead, B. Burrell, Carey & Hart, Edward L. Carey, Henry C. Carey, Miss Clarke, Mr. Curren, Joseph Delaplaine, John Dickinson, Dr. Dickson, William Dillwyn, William Duane, James B. Elliott, Mrs. Langdon Elwyn, Mantle(?) Fielding, John W. Francis, Charles P. Hayes, David Hosack, Mr. Howell, Major William Jackson, Horatio Gates Jones, John W. Jordan, H.H. Kjmball, C.G. Leland, Joseph Leidy, J.B. Lippincott, George Livermore, James Madison, J. Hill Martin, John McAllister, James McMurtrie, James Monaghan, J. Murray, Albert Cook Myers, Rebecca and Isabella Nathans, John Neagle, C.S. Ogden, John Paca, Charles Willson Peale, Rembrandt Peale, David Rittenhouse, Albert Rosenthal, John Sartain, Jacob Schreiner, James Shrigley, James Ross Snowden, W.D. Snyder, Dr. Sommerville, J.C. Stanbridge, F.D. Stone, Henry Troth, Mr. Vaux, Townsend Ward, William Hill Wells, G.M. Wharton, Thomas Wharton, Henry J. Williams, and Samuel B. Wylie.
Other items include a sonnet of S.T. Coleridge by Washington Allston; business card of Pennel Beale; catalog of medals and coins of silver in the possession of Hon. John Smith compiled by Du Simitière, 1772; printed address by Mrs. John C. Montgomery soliciting donations for the repair of the Pennsylvania Academy of the Fine Arts, destroyed by fire, 1845; William Morris Hunt's admission ticket to Peale's Museum, 1836, stating his height and weight; description of objects on display at the Peale Museum, 1820; a photograph and business card of Benjamin Randolph; invitations and notes to Gilbert Stuart; typescript by Frank H. Taylor on lithography, 1923; subscription book for engravings of paintings by John Trumbull; and a page from John Archibald Woodside's daybook, 1802-1803.
Provenance:
Microfilmed by the Historical Society of Pennsylvania for the Archives of American Art, 1955.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
A journal; watercolor and pencil sketches; and a photograph.
REEL 3569: A handwritten copy, ca. 1892, of a journal kept by John Cranch from 1831 to 1833 while studying in Italy. The journal contains descriptions of Italian art, architecture and scenery, an account of Cranch's physical and emotional state of health and his drawing and painting activities, and annotated pencil sketches. Cranch's travelling companions were Thomas Cole and Henry and Horatio Greenough. The journal was hand copied by Cranch's wife, Charlotte. Also included are 6 watercolor and pencil sketches, 1856 and 1886-1887.
REEL 3667: One photograph of Cranch in his studio at his daughter's home in Urbana, Ohio, ca. 1885.
Biographical / Historical:
Portrait painter; Washington, D.C. and Urbana, Ohio.
Provenance:
Journals & sketches lent and photo donated 1985 by John E. Cranch, great-grandson of the artist.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Greenough's sketchbook from his studies in Rome (1826) and 139 drawings (1823 - ca. 1851) by Greenough from the Petit Sully Collection.
Biographical / Historical:
Sculptor; Florence, Italy. First of the American neoclassical sculptors, Greenough was born into a well-to-do family, grew up in Boston, Massachusetts, and graduated from Harvard University in 1825. In that year, he went to Rome to pursue classical studies, until illness forced his return to America in 1827. The following year, he returned to Italy and established a studio in Florence. In 1832, Greenough received a commission from Congress to execute a colossal GEORGE WASHINGTON, the first major sculptural commission given to an American. Although he worked in Florence, the majority of his patrons were Americans.
Provenance:
Microfilm was donated by Nathalia Wright, a professor at the University of Tennessee, Knoxville, who collected this material in preparation for her books, HORATIO GREENOUGH, THE FIRST AMERICAN SCULPTOR (Philadelphia: University of Pennsylvania Press, 1963) and THE LETTERS OF HORATIO GREENOUGH (Madison: Wisconsin: The University of Wisconsin Press, 1972). Ms. Wright sold the collection to a private collector, circa 1987. The group has since been added to the collection of Mr. and Mrs. John F. McGuigan Jr.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Correspondence, castings record, financial materials, photographs and printed materials relating primarily to the work of the Bronze Division of the Ames Manufacturing Company.
Professional and personal correspondence, chiefly of James Tyler Ames, with sculptors, architects, government officials, and colleagues, including his brother, Nathan Peabody Ames, Henry Kirke Brown, Randolph Rogers, and Thomas Ustick Walter. A castings record (16 p.) contains expenses and final prices of bronze castings, a printed list of "Bronze Works Executed by the Ames Manufacturing Company," and photographs of completed work. There are also an expense account for the Lincoln National Monument artillery and cavalry groups, lists of expenses relating to "Bronze Castings for Washington and his Horse," the (Benjamin) "Franklin Statue," and other works. Photographs are of works cast by the Ames Company and of unidentified works, of Ames' artisans, of a room in James Ames' house with framed medallions of Washington and Franklin on the wall, and of a head of Washington and a head of his horse in Thomas Ball's studio; reports by the architect of the Capitol extension, and the U.S. Art Commission (1860); Ames Company promotional items; a printed narrative of the incidents connected with the statue of Washington in Union Square by Henry Kirke Brown; and clippings relating to various statues.
Biographical / Historical:
The Ames Manufacturing Company, Chicopee, Massachusetts, was founded in 1835 by James Tyler Ames and his brother, Nathan Peabody Ames. The company manufactured small tools, cotton machinery, swords, cannons, and did casting of bells. It began manufacturing large bronze statuary circa 1850.
Provenance:
Donated 1986 by Malcolm Stearns, Jr., who purchased them from Parke Bernet, New York, in the 1960s. There are numerous notations on the backs of letters and photographs. It is not known who added this information.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Letters of American artists, including Washington Allston, Albert Bierstadt, Thomas Cole, Walt Disney, Asher Durand, Horatio Greenough, Winslow Homer, Peter Hurd, Henry Inman, Thomas Sully, John Trumbull, Benjamin West and many others, with an illustrated letter from Edward Gay and correspondence of the Peale family; a handwritten manuscript by Rembrandt Peale, "Washington and His Portraits"; clippings, announcements, an auction catalog of the John Trumbull collection, and other printed material.
Provenance:
Lent for microfilming, 1955, by Haverford College Library.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Correspondents include: John White Alexander, William H. Beard, Eugene Benson, Albert Bierstadt, William Bispham, Edward A. Brackett, George L. Brown, Henry Kirke Brown, John G. Brown, John G. Chapman, William A. Coffin, Frederick S. Cozzens, Christopher P. Cranch, Charles T. Dix, Francis W. Edmonds, John W. Ehninger, Regis F. Gignoux, Horatio Greenough, George H. Hall, Thomas Hicks, Alfred C. Howland, Daniel P. Huntington, Laurence Hutton, Joseph Jefferson, Eastman Johnson, John LaFarge, Louis Lang, Samuel Laurence, William H. Lippincott, Jervis McEntee, Frank B. Mayer, Charles H. Miller, Samuel F. B. Morse, Louis L. Noble, Thomas S. Noble, William R. O'Donovan, Johannes A. S. Oertel, Thomas A. Richards, Horace W. Robbins, John Rogers, Thomas P. Rossiter, Samuel W. Rowse, Napoleon Sarony, James D. Smillie, Bayard Taylor, Cephas G. Thompson, Launt A. Thompson, John Q. A. Ward, John F. Weir, Robert W. Weir, Edwin D. White, Worthington Whittredge, and Thomas W. Wood.
Reel N25: A calling card of Herbert Adams; a letter to Mrs. Frederic N. Goddard from Adams, returning photographs of Bryant; and a letter to Bryant from F. Tabbot about his painting of a forest.
Biographical / Historical:
Poet; New York City. Bryant's son-in-law, Parke Godwin, was an author, one of whose books was a biography of Bryant, THE LIFE AND WORKS OF WILLIAM CULLEN BRYANT, 1883.
Other Title:
Bryant-Godwin collection (NYPL microfilm title)
Provenance:
Microfilmed 1956 by the Archives of American Art with other art-related papers in the Manuscript Division of the New York Public Library. Included in the microfilming project were selected papers of the Art Division and the Prints Division.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The collection of artists' letters compiled by Mary and John McGuigan Jr. measure 0.6 linear feet and date from 1794-1938. The collection is comprised of a group of letters, writings, and signed documents to and from a variety of artists, art administrators, art critics, historians, and art-related organizations assembled from multiple sources. It also includes associated printed material with some documents and a few photographs, including carte de visites and cabinet cards.
Scope and Contents:
The collection of artists' letters compiled by Mary and John McGuigan Jr. measure 0.6 linear feet and date from 1794-1938. The collection is comprised of a group of letters, writings, and signed documents to and from a variety of artists, art administrators, art critics, historians, and art-related organizations assembled from multiple sources. It also includes associated printed material with some documents and a few photographs, including carte de visites and cabinet cards.
Item descriptions included in the container listing were provided by Mary and John McGuigan and illuminate the wide range of artists and types of material represented in the collection. While some of the letters document routine transactions such as responses to requests for information, and transmittals of autographs, others document specific artist commissions and projects, exhibition and financial arrangements, business relationships, family events, and travels. The collection includes documentation of portrait painters, including Chester Harding and Rembrandt Peale; nineteenth century landscape artists and artists of the Hudson River School including Albert Bierstadt, George Henry Boughton, Samuel Colman, Jasper Francis Cropsey, and George Inness; sculptors including Daniel Chester French whose letters include sixty-three letters to Charles Dupuy, the caretaker of French's summer home in Massachusetts; publishers such as Mathew Carey, in letters from John Neagle; and the activities of arts institutions such as the Pennsylvania Academy of Fine Arts.
In addition to those mentioned above, letters and signed documents are from Washington Allston, William Holbrook Beard, Eugene Benson, William Tilden Blodgett, Jr., James Renwick Brevoort, Frederic Edwin Church, James Claghorn, John Singleton Copley, Kenyon Cox, F.O.C. Darley, Joseph DeCamp, Frank Duveneck, John Mackie Falconer, Horatio Greenough, Childe Hassam, Ignaz Michael Marcel Gaugengigl, George Healy, George Hollingsworth, William Morris Hunt, Daniel Huntington, Anna Vaughn Hyatt Huntington, Henry Inman, Hugh Bolton Jones, Thomas Dow Jones, Louis Ashton Knight, Charles Robert Leslie, Will Low, Frederick William MacMonnies, Frank Blackwell Mayer, Samuel F. B. Morse, Erastus Dow Palmer, Rubens Peale, Elizabeth Robins Pennell, Tobias (Toby) Edward Rosenthal, John Singer Sargent, George Henry Smillie, Marie Spartali Stillman, William James Stillman, Henry Ossawa Tanner, Abbott Handerson Thayer, Charles Yardley Turner, Stephen Arnold Douglas Volk, William Walcutt, Henry Antonio Wenzler, Benjamin West, Stanford White, Worthington Whittredge, and others.
The collection also includes a friendship album belonging to William Tilden Blodgett, Jr., with poems, sketches, and botanical watercolors, eight photographs including carte de visites and cabinet cards with images of George Hollingsworth, Thomas Dow Jones, Louis Ashton Knight, Henry Antonio Wenzler, and William Walcutt, and two photographs of a model used by Francis Blackwell Mayer when painting The Burning of the Peggy Stewart.
Arrangement:
The collection is arranged as 1 series.
Biographical / Historical:
Mary K. McGuigan and John F. McGuigan Jr. are art historians and collectors in Milford, Pennsylvania.
Provenance:
John F. McGuigan Jr. and Mary K. McGuigan purchased these letters and generously donated them to the Archives of American Art between 2000 and 2019. The McGuigans have purchased and donated additional archival materials to the Archives, including a portion of the Douglas Volk and Leonard Wells Volk papers. In 2017 the McGuigans donated an addition to the Sylvester Rosa Koehler papers, including sixty-nine letters from A. Barry, Truman Howe Bartlett, William Merritt Chase, Timothy Cole, Edward Henry Clement, Cyrus Edwin Dallin, Robert Swain Gifford, George Inness, Anna Lea Merritt, Stephen Parrish, John Sartain, Francis Hopkinson Smith, and Frederic Porter Vinton.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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.
Brumbaugh, Thomas B. (Thomas Brendle), 1921- Search this
Extent:
10 Items (Letters, written in ink, ball point, graphite, typewritter)
Type:
Archival materials
Correspondence
Date:
1941-1970
Scope and Contents:
This collection is an amalgamation of letters written and recieved by prominent figures in 19th and 20th century American art. Included in this folder are letters between the collector, Thomas Brumbaugh, and various artists, including American playwright and writer Oliver Wolcott Gibbs, mural artist Barry Faulkner, and Louis Hardin.
Arrangement:
Organized chronologically.
Biographical / Historical:
Beginning in his youth Thomas Brumbaugh collected autographed correspondence. Mr. Brumbaugh's collecting instincts resulted in a unique collaborative collection providing a glimpse into the lives of a variety of 19th and 20th century American artists, such as Abbott Thayer. Brumbaugh was a professor of fine arts at Vanderbilt University in Nashville, and author of many articles on American art and artists.
Oliver Wolcott Gibbs was an American playwright and writer who lived in New York City. He wrote for The New Yorker and worked as a humorist and theatre critic. Gibbs was a direct descendent of President Martin Van Buren.
Barry Faulkner was an American artist who studied with Abbott H. Thayer, George de Forest Brush, and Augustus Saint-Gaudens. Along with sculptor Sherry Edmundson Fry, Faulkner organized artists to train as camouflage specialists. Faulkner was born in New Hampshire, traveled to Europe as he studied art, and then returned to New York, where he began work as a mural artist. He completed "The Constitution" and "The Declaration" in 1936 for the Rotunda for the Charters of Freedom at the National Archives.
Isaac Soyer was a social realist painter from New York City who used working-class and unemployed people as the subjects in his paintings. He also painted portraits for friends, and used his friends and family as models for his work.
Louis Hardin, commonly known as "Moondog," was a blind American composer and poet who lived on the streets of New York for a large portion of his life. He wore clothes inspired by the Norse god Thor, giving him the epithet, "The Viking of 6th Avenue." Moondog was influenced by ambient noises in his environment, and Native American music.
Henry Rox was a German artist who studied in Berlin and Paris before settling in the United States in 1938, where he taught at many universities, including Mount Holyoke College. He is known for fruit and vegetable photo-sculptures.
Ibram Lassaw was an American sculptor in the 20th century. Born in Egypt to Russian parents, Lassaw grew up in Brooklyn, New York. He was influenced by Alexander Calder and Wassily Kandinsky. Lassaw created open-space sculptural abstractions with metal, and helped abstract art grow in the United States.
Harry Rosin was an American sculptor born in Philadelphia, Pennsylvania. After working around the area following his studies at the Pennsylvania Academy of Fine Arts, he traveled to Tahiti, where he married his wife. He is known for his iron sculptures.
Local Numbers:
FSA A2009.06 3
Other Archival Materials:
Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists, 1876-1994 (bulk 1960s-1994); Also located at Archives of American Art, Smithsonian Institution.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Edgar P. Richardson papers, 1814-1996, bulk 1921-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
