Search Results

Artist:

Homer, Winslow 1836-1910  Search this

Physical description:

1 folder

Type:

Photograph

Artist files

Topic:

Art, American  Search this

Image number:

VFM VF001446

See more items in:

Photograph Study Collection

Data Source:

Photograph Study Collection, Smithsonian American Art Museum

EDAN-URL:

edanmdm:siris_jul_139942

Author:

Cross, William R. 1959-  Search this

Wilmerding, John  Search this

Author:

Homer, Winslow 1836-1910  Search this

Publisher:

Cape Ann Museum  Search this

Physical description:

xi, 199 pages illustrations (chiefly color), maps 26 x 30 cm

Type:

Exhibitions

Expositions

Exhibition catalogs

Date:

2019

Topic:

Marine painting, American  Search this

Marines (Peinture) américaines  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1158306

Creator:

Macbeth Gallery  Search this

Names:

Hartley, Marsden, 1877-1943  Search this

Homer, Winslow, 1836-1910  Search this

Macbeth, Robert W. (Robert Walker), 1884-1940  Search this

Macbeth, William, 1851-1917  Search this

McIntyre, Robert G. (Robert George), b. 1885  Search this

Stuart, Gilbert, 1755-1828  Search this

Weir, Robert Walter, 1803-1889  Search this

Extent:

131.6 Linear feet

Type:

Collection descriptions

Archival materials

Daguerreotypes

Photographs

Scrapbooks

Date:

1947-1948

1838-1968

bulk 1892-1953

Summary:

The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

Scope and Content Note:

The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. The records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

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

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

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

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

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

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

Arrangement:

The collection is arranged into eight series:

Missing Title

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

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

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

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

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

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

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

Series 8: Photographs, circa 1880-circa 1968 (Box 135-161; 12.1 linear feet)

Historical Note:

The Macbeth Gallery was established in 1892 by William Macbeth, a Scotch-Irish immigrant who had spent ten years with the print dealer Frederick Keppel before he opened his doors to the art-buying public at 237 Fifth Avenue in New York. Despite the prevailing interest in foreign art at that time, particularly in that of the Barbizon and Dutch schools, Macbeth was determined to dedicate his gallery to "the permanent exhibition and sale of American pictures, both in oil and water colors."

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

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

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

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

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

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

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

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

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

Related Material:

Among the holdings of the Archives of American are a small collection of scattered Robert McIntyre's papers and 9 items of William Macbeth's papers. Macbeth Gallery exhibition catalogs are also available in the American Art Exhibition Catalog collection and the Brooklyn Museum Records, both loaned and microfilmed collections.

An extensive collection of Macbeth Gallery exhibition catalogs are also held by the Frick Art Reference Library and the Watson Library of the Metropolitan Museum of Art.

Provenance:

The bulk of the Macbeth Gallery records were donated and microfilmed in several installments between 1955 and 1966 by Robert G. McIntyre and Estate. Additional Macbeth Gallery printed material was donated by Phoebe C. and William Macbeth II, grandchildren of William Macbeth, in 1974.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Eight (Group of American artists)  Search this

Artists -- United States  Search this

Art -- Collectors and collecting  Search this

Art, American  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Daguerreotypes

Photographs

Scrapbooks

Citation:

Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.macbgall

See more items in:

Macbeth Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9755cec30-3318-4f15-a7b7-031c448a7a46

EDAN-URL:

ead_collection:sova-aaa-macbgall

Painter:

Homer, Winslow 1836-1910  Search this

Medium:

Oil

Culture:

African American  Search this

Type:

Paintings

Date:

1863

Topic:

Figure male--Nude  Search this

Ethnic  Search this

State of Being--Other--Enslaved  Search this

State of Being--Other--Imprisonment  Search this

Control number:

IAP 70620201

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_130190

Painter:

Homer, Winslow 1836-1910  Search this

Subject:

Barlow, Francis Channing  Search this

Baker, John A  Search this

Medium:

Oil on canvas

Type:

Paintings

Owner/Location:

Metropolitan Museum of Art 5th Avenue at 82nd Street New York New York 10028 Accession Number: 22.207

Date:

1866

Topic:

History--United States--Civil War  Search this

Figure group--Male  Search this

Occupation--Military--Soldier  Search this

Portrait male--Full length  Search this

State of Being--Evil--War  Search this

State of Being--Other--Imprisonment  Search this

Architecture exterior--Military--Battlefield  Search this

Control number:

IAP 36120454

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_42230

Author:

Homer, Winslow 1836-1910  Search this

Subject:

Homer, Winslow 1836-1910  Search this

Physical description:

136 p. illus. 26 cm

Type:

Books

Date:

1968

[1968]

Call number:

NE539.H76 G6

N40.1.H76y G6

NE539.H6 G6X

NE539.H76G6 N40.1.H76yG6 NE539.H6G6X

NE539.H6G6X

N40.1.H76yG6

NE539.H76G6

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_261

Creator:

O'Brien Galleries (Chicago, Ill.)  Search this

Names:

House of O'Brien  Search this

M. O'Brien & Son  Search this

O'Brien Art Galleries  Search this

O'Brien's Art Emporium  Search this

Betts, Louis, 1873-1961  Search this

Homer, Winslow, 1836-1910  Search this

O'Brien, Martin, 1834-1917  Search this

O'Brien, William Vincent, 1859-1952  Search this

O'Brien, William Vincent, 1902-1972  Search this

Extent:

3 Microfilm reels

Type:

Collection descriptions

Archival materials

Microfilm reels

Drawings

Scrapbooks

Date:

1811-1970

Scope and Contents:

Correspondence, business records, notes and writings, printed material, and photographs chart the gallery's history.

REELS 4180-4181: Correspondence from artists, patrons, and others (1811-1952) includes 8 letters from Winslow Homer (1898-1902). Business records include financial and legal documents (1857-1941), name lists and lists of paintings sold, painting and print registers (1898-1954), and minutes from corporation meetings (1901-1941). Howard O'Brien's writings include poems (1909-1944), some illustrated with photographs; a script "Cherchez La Femme"; and a typescript "The Long Trail". Printed material includes advertisements, clippings (1900-1970), exhibition catalogs (1921-1924), a sale catalog, and a booklet (1927) on landscape painters of America. An album contains photographs of portraits painted by Louis Betts, an artist promoted by O'Brien. Other photographs (1885-1936) show O'Brien family members, Winslow Homer, and one of Irene Dunne (an autographed publicity shot).

REEL 4193: A scrapbook contains exhibition announcements, clippings, and brochures from Chicago (1873-1941) and Arizona (1953-1958).

Biographical / Historical:

Art gallery; Chicago, Ill. and Scottsdale, Az. Chicago's first art gallery and one of the oldest family owned and operated gallery in the United States. It opened in 1855 as a frame shop, offering a variety of services to both artists and collectors. It was called by several names, including O'Brien's Art Emporium, O'Brien Art Galleries, O'Brien Galleries, House of O'Brien, and M. O'Brien & Sons. The gallery remained in Chicago until 1941, closed during the war, and resumed operation in Scottsdale, Arizona in the 1950s.

Three generations of O'Briens (Martin, William, and William Jr.) ran the gallery before it moved to Arizona; all were committed to bringing culture and the visual arts to Chicago. O'Brien's Art Emporium was a vital factor in shaping art collections and attitudes in the city; it supported and sold work by conservative, academic painters, developing and reflecting the taste of the majority of Chicagoans.

Other Title:

O'Brien's Art Emporium (microfilm title)

Provenance:

Lent for microfilming 1986 by the current owners of the gallery, Stephanie Roberts and her husband, Bill Dickerson.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Function:

Art galleries, Commercial -- Arizona

Art galleries, Commercial -- Illinois

Genre/Form:

Drawings

Scrapbooks

Identifier:

AAA.obrigall

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f620cb4e-7a3b-408d-ae28-5078955ac5d4

EDAN-URL:

ead_collection:sova-aaa-obrigall

Creator:

Chase, J. Eastman  Search this

Names:

Cranch, Christopher Pearse, 1813-1892  Search this

Homer, Winslow, 1836-1910  Search this

La Farge, John, 1835-1910  Search this

Millet, Francis Davis, 1846-1912  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Date:

1866-1917

Summary:

The scattered papers of art dealer J. Eastman Chase measure 0.2 linear feet and date from 1866 to 1917. Found is an autobiographical sketch, letters from prominent late 19th and early 20th century artists, printed material, and a scrapbook.

Scope and Contents:

The scattered papers of art dealer J. Eastman Chase measure 0.2 linear feet and date from 1866 to 1917. Found is an autobiographical sketch, letters from prominent late 19th and early 20th century artists, printed material, and a scrapbook. Notable correspondence include Winslow Homer and John La Farge.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

J. Eastman Chase (1840-1923) was an art dealer based in Boston, Massachusetts. He worked at Doll and Richards, Inc. and later began his own framing business and art gallery. Among the artists Chase handled were Christopher Cranch, Winslow Homer, John La Farge, and Francis D. Millet.

Provenance:

The papers were given to the Archives of American Art in 1975 through Mr. and Mrs. Eugene Robbins, innkeepers, who owned the house once occupied by J. Eastman Chase, and found the collection in the attic.

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.

Occupation:

Art dealers -- Massachusetts -- Boston  Search this

Topic:

Art -- Massachusetts -- Boston -- 19th century  Search this

Genre/Form:

Scrapbooks

Citation:

J. Eastman Chase papers, 1866-1917. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.chasj

See more items in:

J. Eastman Chase papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9107c2700-bcc2-48b0-a03a-109c08747d90

EDAN-URL:

ead_collection:sova-aaa-chasj

Creator:

Anthony, Alfred Williams, 1860-1939  Search this

Names:

National Arts Club (New York, N.Y.)  Search this

Abbey, Edwin Austin, 1852-1911  Search this

Beard, Daniel Carter, 1850-1941  Search this

Benjamin, S. G. W. (Samuel Greene Wheeler), 1837-1914  Search this

Bierstadt, Albert, 1830-1902  Search this

Blashfield, Edwin Howland, 1848-1936  Search this

Brenner, Victor David, 1871-1924  Search this

Chase, William Merritt, 1849-1916  Search this

Church, Frederic Edwin, 1826-1900  Search this

Coffin, William A. (William Anderson), 1855-1925  Search this

Cole, Thomas, 1801-1848  Search this

Cole, Timothy, 1852-1931  Search this

Cortissoz, Royal, 1869-1948  Search this

Cranch, Christopher Pearse, 1813-1892  Search this

Darley, Felix Octavius Carr, 1822-1888  Search this

Dielman, Frederick, 1847-1935  Search this

Downing, A. J. (Andrew Jackson), 1815-1852  Search this

Eastlake, Charles Lock, Sir, 1793-1865  Search this

French, Daniel Chester, 1850-1931  Search this

Gifford, Sanford Robinson, 1823-1880  Search this

Herbert, Henry William, 1807-1858  Search this

Homer, Winslow, 1836-1910  Search this

Huntington, Daniel, 1816-1906  Search this

Isham, Norman Morrison, 1864-1943  Search this

La Farge, John, 1835-1910  Search this

Leavitt, Edward C., d. 1904  Search this

Linton, W. J. (William James), 1812-1897  Search this

Lossing, Benson John, 1813-1891  Search this

Low, Will Hicok, 1853-1932  Search this

McEntee, Jervis, 1828-1891  Search this

Mills, John Harrison, 1842-1916  Search this

Morse, Samuel Finley Breese, 1791-1872  Search this

Nast, Thomas, 1840-1902  Search this

Opper, Frederick Burr, 1857-1937  Search this

Palmer, Erastus Dow, 1817-1904  Search this

Powers, Hiram, 1805-1873  Search this

Pyle, Howard, 1853-1911  Search this

Read, Thomas Buchanan, 1822-1872  Search this

Rosenthal, Albert, 1863-1939  Search this

Saint-Gaudens, Augustus, 1848-1907  Search this

Sartain, John, 1808-1897  Search this

Smillie, George Frederick Cumming, 1854-1924  Search this

Smith, Francis Hopkinson, 1838-1915  Search this

Taylor, Bayard, 1825-1878  Search this

Trumbull, John, 1756-1843  Search this

Tuckerman, Henry T. (Henry Theodore), 1813-1871  Search this

Volk, Douglas , 1856-1935  Search this

Ward, John Quincy Adams, 1830-1910  Search this

Waters, Clara Erskine Clement, 1834-1916  Search this

Weir, Robert Walter, 1803-1889  Search this

Extent:

2 Microfilm reels (partial microfilm reels)

Type:

Collection descriptions

Archival materials

Microfilm reels

Date:

circa1880-1930

Scope and Contents:

The microfilmed Alfred Williams Anthony papers contain letters, autographs, biographical data, and miscellaneous material collected by Anthony about 19th century artists.

Artists represented in the collection include: Edwin A. Abbey, Ernest Albert, Elizabeth A. Allen, Daniel C. Beard, Frank Beard, Samuel G. W. Benjamin, Albert Bierstadt, Nathaniel Blaisdell, Edwin H. Blashfield, Evangeline Blashfield, Charles W. Bolton, Victor D. Brenner, Sydney & Mrs. Burleigh, William M. Chase, Frederic E. Church, Harry Cochrane, William A. Coffin, Timothy Cole, Thomas Cole, Royal Cortissoz, Palmer Cox, Christopher Cranch, Felix O. C. Darley, Frederick Dellenbaugh, Frederick Dielman, Andrew J. Downing, Charles L. Eastlake, George W. Edwards, Daniel C. French, Edmund H. Garrett, Sanford R. Gifford, V. Gribayedoff, Henry W. Herbert, Elbert Hubbard, Daniel Huntington, Laurence Hutton, Ernest L. Ipshen, Norman W. Isham, F. Lynn Jenkins, John La Farge, Edward C. Leavitt, William J. Linton, Benson J. Lossing, Will H. Low, Jervis McEntee, George Merrill, John H. Mills, Thomas Moran, Samuel F.B. Morse, A. R. Mullen, Thomas Nast, National Arts Club, Wilbur F. Noyes,Frederick B. Opper, Mrs. Archie M. Palmer, Erastus D. Palmer, William F. Paris, Carl R. Parker, Hiram Powers, Howard Pyle, Thomas B. Read, Albert Rosenthal, Augustus Saint-Gaudens, John Sartain, Walter Smedley, George F. C. Smillie, Francis H. Smith, Bayard Taylor, Col. Henry S. Taylor, John Trumbull, Henry T. Tuckerman, Union League Club, N.Y., D. B. Updike, Vasili Vereschagen, Charles Vezin, Douglas Volk, D. Everett Waid, John Q. A. Ward, Clara E. Waters, Robert W. Weir, J. Thomson Willing, Ellsworth Woodward, Mabel Woodward, William Woodward, and F. Hammond Wright.

Biographical / Historical:

Alfred Williams Anthony (1860-1939) was a theologian, author, and educator in Lewiston, Maine. He served in various roles for the General Conference of Freewill Baptists, the Maine chapter of the Religious Education Association, and the Committee on Goodwill between Jews and Christians. Anthony also served on the boards of trustees for Bates College, Hillsdale College, and Brown University.

Related Materials:

The New York Public Library Archives and Manuscripts Division holds the Alfred Williams Anthony collection, 1679-1944. Bates College Edmund S. Muskie Archives and Special Collections Library holds the Alfred Williams Anthony papers, 1872-1996 and the Dressler family collection of Alfred Williams Anthony Papers, 1802-1985.

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.

Occupation:

Educators -- Maine -- Lewiston  Search this

Theologians -- Maine  Search this

Topic:

Art, American  Search this

Identifier:

AAA.anthalfr

See more items in:

Alfred Williams Anthony papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9fbd0fda8-8fc8-489b-81c5-ed2a3e13ff88

EDAN-URL:

ead_collection:sova-aaa-anthalfr

Creator:

Evans, William T., 1843-1918  Search this

Names:

American Watercolor Society  Search this

Salmagundi Club  Search this

Bierstadt, Albert, 1830-1902  Search this

Brown, John George, 1831-1913  Search this

Church, Frederic Edwin, 1826-1900  Search this

Coffin, William A. (William Anderson), 1855-1925  Search this

Dewing, Thomas Wilmer, 1851-1938  Search this

Hassam, Childe, 1859-1935  Search this

Homer, Winslow, 1836-1910  Search this

Inness, George, 1825-1894  Search this

Johnson, Eastman, 1824-1906  Search this

Nichols, Hobart, 1869-1962  Search this

Peale, Rembrandt, 1778-1860  Search this

Pennell, Joseph, 1857-1926  Search this

Ryder, Albert Pinkham, 1847-1917  Search this

Whittredge, Worthington, 1820-1910  Search this

Extent:

0.01 Linear feet (ca. 900 items (on 3 micofilm reels))

Type:

Collection descriptions

Archival materials

Date:

1842-1969

Scope and Contents:

Printed material and letters to Evans from collectors, dealers, and artists. Letters discuss business matters including the Munich International Art Exposition 1883, the American Watercolor Society, the Salmagundi Club, the Lotos Club, and Evans loaning work from his private collection for exhibitions, requests from artists wanting Evans to comment on and handle their work, thank you notes and invitations to openings and dinners. Significant correspondents include George Inness, Childe Hassam, Thomas W. Dewing, Worthington Whittredge, Albert Pinkham Ryder, Frederic Edwin Church, Joseph Pennell, Albert Bierstadt, Winslow Homer, Rembrandt Peale, Hobart Nichols, John George Brown, William A. Coffin and Eastman Johnson.

Biographical / Historical:

Art patron and collector. Born in Ireland, he came to the United States as a child. He gave collections of paintings to the National Gallery of Art, Washington, D.C. and the Montclair Museum.

Provenance:

Letters on reels 4054-4055 were lent to the Assistant Curator of Painting and Sculpture, National Collection of Fine Arts in 1970 by Robert Price who acquired them along with paintings from Evans' estate and elsewhere. They were photocopied and the copies were given to the NCFA-PG Librarian, who transferred them to the Archives of American Art in 1979. In 1988 the copies were microfilmed by the Archives and discarded. The original letter on reel 2804 was transfered from NMAA, 1981.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Art patrons  Search this

Topic:

Art -- Collectors and collecting  Search this

Art, Modern -- 20th century -- United States  Search this

Identifier:

AAA.evanwill

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91f59aec2-ef2e-402b-9334-5184292a7ac4

EDAN-URL:

ead_collection:sova-aaa-evanwill

Creator:

WCBB (Television station : Lewiston, Me.)  Search this

Names:

WCBB (Television station : Lewiston, Me.)  Search this

Beam, Philip C.  Search this

Homer, Winslow, 1836-1910  Search this

Skinner, Odell  Search this

Extent:

1 Videocassettes (U-matic) ((28 min), sd., col., 3/4 in.)

Type:

Collection descriptions

Archival materials

Videocassettes (u-matic)

Date:

1984

Scope and Contents:

Describe's Homer's early career and his life at Prout's Neck, Maine. Shows photographs, diaries, sketchbooks, and letters from the Homer Collection at the Bowdoin College Museum of Art, as well as Homer's work.

Publication, Distribution, Etc. (Imprint):

Lewiston, Me. : WBCC-TV, 1984.

General:

Based on the book Winslow Homer at Prout's Neck by Philip C. Beam.

Provenance:

Donated by WCBB-TV via Odell Skinner, 1984.

Rights:

Authorization to reproduce, quote, or publicly broadcast requires written permission from WCBB-TV, 1450 Lisbon St., Lewiston, ME 04240. Contact Reference Services for more information.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- Maine -- Prout's Neck  Search this

Topic:

Painting, American -- Maine -- Prout's Neck  Search this

Identifier:

AAA.wcbbtele

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9526715d1-d77a-4656-b2b6-c2b6533331b4

EDAN-URL:

ead_collection:sova-aaa-wcbbtele

Creator:

Campbell, Robert B., 1909-1974  Search this

Shore Galleries  Search this

Names:

Goodrich, Lloyd, 1897-1987  Search this

Homer, Charles L.  Search this

Homer, Winslow, 1836-1910  Search this

Prang, Louis, 1824-1909  Search this

Extent:

1.8 Linear feet ((partially microfilmed on 2 reels))

Type:

Collection descriptions

Archival materials

Date:

1918-1973

Scope and Contents:

Correspondence; and photographs.

REELS 328-329: Personal and gallery correspondence, 1918-1966.

UNFILMED: Letters about Winslow Homer from Lloyd Goodrich and Charles L. Homer, and copies of Winslow Homer's letters to Louis Prang; papers relating to paintings by Feke, Copley, and Stuart; correspondence of the Shore Galleries; and photographs of paintings.

Biographical / Historical:

Gallery director, Art dealer; Boston, Mass. Director of Shore Galleries.

Provenance:

Donated 1974-1975 by Robert and Grace Campbell.

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.

Occupation:

Art dealers -- Massachusetts -- Boston  Search this

Gallery directors -- Massachusetts -- Boston  Search this

Identifier:

AAA.camprobe

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9444a5f75-8f10-4e0e-b0ad-6bf9375ec187

EDAN-URL:

ead_collection:sova-aaa-camprobe

Creator:

Erffa, Helmut von, 1900-1979  Search this

Swarthmore College  Search this

Names:

Goodrich, Lloyd, 1897-1987  Search this

Homer, Winslow, 1836-1910  Search this

Price, F. Newlin (Frederic Newlin)  Search this

Extent:

39 Items ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1944

Scope and Contents:

Correspondence, March-July 1944, with institutions and owners of works by Winslow Homer regarding a Homer exhibition at Swarthmore College, July 1944, organized by von Erffa. The exhibition centered around Homer prints given to the College by Frederic Newlin Price. Correspondents include John W. Nason, Frederic Newlin Price, Lloyd Goodrich, Robert M. Walker, Daniel Catton Rich, and others.

Biographical / Historical:

Art historian. Taught art history at Rutgers University.

Provenance:

Donated 1958 by Helmut von Erffa.

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.

Occupation:

Art historians -- New Jersey -- New Brunswick  Search this

Topic:

Curators -- New Jersey -- New Brunswick  Search this

Identifier:

AAA.erffhelm

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ca1bf636-5aa2-40f3-ac8d-78dca595d979

EDAN-URL:

ead_collection:sova-aaa-erffhelm

Creator:

Homer, Winslow, 1836-1910  Search this

Names:

Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this

Prang, Louis, 1824-1909  Search this

Salinger, Emil  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1863, 1877-1945

Summary:

The Winslow Homer collection measures 0.2 linear feet with material from 1863 and 1877 to 1945. The collection documents Homer's career as a painter and lithographer through letters, printed material, family records, and photographs.

Scope and Content Note:

The Winslow Homer collection measures 0.2 linear feet with material that dates from 1863 and 1877 to 1945. The collection documents Homer's career as a painter and lithographer through letters, printed material, family records, and photographs.

Letters in the collection primarily document Homer's later career between 1890 and 1909. Included are an illustrated letter to the art collector George G. Briggs concerning frames, and twenty-six letters to art collector and friend, Thomas B. Clarke, discussing Homer's artwork, exhibitions, sale of his work, and his family. Many of the Clarke letters are transcribed. Also found are twelve letters to Louis Prang, a friend and successful chromolithographer, concerning Homer's drawing techniques and making drawings for Prang's use. Miscellaneous letters include a letter to cellist Emil Salinger, art editor Florence Fuller, and others, discussing his artwork. Marie "Midie" W. Blanchard was Homer's cousin and the folder of her letters includes a letter from Homer to her, and two letters from her to others about Homer.

This collection also contains photograph copies of four pages from the "Family Record" in the Homer family Bible, which records births, deaths, marriages, and locations of family members. The "Century Loan Exhibition" catalog is annotated throughout with notes regarding the exhibition and contains an introduction by Booth Tarkington. Also found is a newspaper clipping about Homer's artwork. Photographs include twenty albumen and cyanotype photographs, on two pages from a photo album, of Winslow Homer and family in various activities.

Arrangement:

Due to the small size of this collection, items are categorized into one series consisting of twelve folders. Items are arranged chronologically within each folder.

Biographical Note:

Winslow Homer was born in Boston, Massachusetts, in 1836. He was raised in Cambridge, where he developed a love of art and the outdoors. At the age of 19 he began his career as an illustrator, apprenticing at the J.H. Bufford lithographic firm in Boston. He then decided to become a freelance illustrator. In 1859 Homer moved to New York to work for Harper's Weekly, serving as artist-correspondent for the magazine during the Civil War. After taking some art classes at the National Academy of Design, he decided to focus on oil painting. He quickly gained international recognition as a painter, and in 1866 made his first trip to Europe. In 1873 he decided to work in watercolor and found great success in his experimentation with light and color in this medium. In the mid-1880s Homer moved permanently to Prout's Neck, Maine, an isolated area where he built a studio and focused his paintings on man's struggle with nature. Also during the 1880s he worked on a series of etchings based on his paintings. Homer continued to paint for the next twenty years, vacationing summers in places such as the Adirondacks and the Bahamas to capture varied landscapes, until his death in 1910.

Related Material:

Also found in the Archives of American Art are the Winslow Homer letters to M. Knoedler & Company, 1900-1904.

Provenance:

Items in this collection are gifts of various donors. The exhibition catalog was donated by Lawrence Fleischman in 1954, the photographs donated by Dorothy Adlow in 1961, and the Marie Blanchard letters and news clipping donated by Carlotta Claflin in 1976. Other letters were donated by Charles Feinberg in 1959, Joyce Tyler in 1979, Lawrence Fleischman in 1959, Jean Meissner and William T. Campbell in 1966, Katherine H. Coudon in 1989, and Edgar Salinger in 1961. The bible pages were a 1977 anonymous donation. Items were microfilmed shortly after receipt.

Restrictions:

The collection has been digitized and is available online via AAA's website.

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:

Painters -- Maine  Search this

Topic:

Art -- Collectors and collecting  Search this

Painting, American  Search this

Citation:

Winslow Homer collection, 1863, 1877-1945. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the re-processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.homewinl

See more items in:

Winslow Homer collection

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ae0d3910-2c03-4ce4-bc60-b12406f9a56b

EDAN-URL:

ead_collection:sova-aaa-homewinl

Collection Creator:

Homer, Winslow, 1836-1910  Search this

Extent:

12 Folders (Box 1)

Type:

Archival materials

Date:

1863

1877-1945

undated

Collection Restrictions:

The collection has been digitized and is available online via AAA's website.

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:

Winslow Homer collection, 1863, 1877-1945. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the re-processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.homewinl, Series 1

See more items in:

Winslow Homer collection

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ab0d7860-de3e-4e8b-aed6-dacb1e08c12d

EDAN-URL:

ead_component:sova-aaa-homewinl-ref12

Collection Creator:

Homer, Winslow, 1836-1910  Search this

Container:

Box 1, Folder 1

Type:

Archival materials

Date:

1896

Collection Restrictions:

The collection has been digitized and is available online via AAA's website.

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:

Winslow Homer collection, 1863, 1877-1945. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the re-processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Winslow Homer collection

Winslow Homer collection / Series 1: Winslow Homer Collection

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a089e8d6-5091-4b36-91d9-6673d119ce73

EDAN-URL:

ead_component:sova-aaa-homewinl-ref13

Collection Creator:

Homer, Winslow, 1836-1910  Search this

Container:

Box 1, Folder 2

Type:

Archival materials

Date:

1890-1896

Collection Restrictions:

The collection has been digitized and is available online via AAA's website.

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:

Winslow Homer collection, 1863, 1877-1945. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the re-processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Winslow Homer collection

Winslow Homer collection / Series 1: Winslow Homer Collection

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a8b28cb8-6f6d-4e99-a8cb-30cccbfb885d

EDAN-URL:

ead_component:sova-aaa-homewinl-ref14

Collection Creator:

Homer, Winslow, 1836-1910  Search this

Container:

Box 1, Folder 5

Type:

Archival materials

Date:

1863

1893

undated

Collection Restrictions:

The collection has been digitized and is available online via AAA's website.

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:

Winslow Homer collection, 1863, 1877-1945. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the re-processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Winslow Homer collection

Winslow Homer collection / Series 1: Winslow Homer Collection

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw919a62d0f-4edf-43ae-8b5f-1250c9ee41de

EDAN-URL:

ead_component:sova-aaa-homewinl-ref15

Collection Creator:

Homer, Winslow, 1836-1910  Search this

Container:

Box 1, Folder 7

Type:

Archival materials

Date:

1877

1890-1909

undated

Scope and Contents note:

To G. W. H. Ritchie, November 2

To "Mattie", November 29

To Emil Salinger, November 26, 1877

To "Madam", May 21, 1890

To Mr. Bryant, December 28, 1892

To Richard and Co., December 14, 1893

To T. H. Allen, February 18, 1897

From Whittemore Brothers, May 6, 1897

To Florence S. Fuller, December 9, 1900

To "My dear old friend", October 18, 1905

To William Howe Downes, September 8, 1909

Collection Restrictions:

The collection has been digitized and is available online via AAA's website.

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:

Winslow Homer collection, 1863, 1877-1945. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the re-processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Winslow Homer collection

Winslow Homer collection / Series 1: Winslow Homer Collection

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bba8b4b0-11e9-45cf-b8a0-2989314af0e4

EDAN-URL:

ead_component:sova-aaa-homewinl-ref16

Collection Creator:

Homer, Winslow, 1836-1910  Search this

Container:

Box 1, Folder 8

Type:

Archival materials

Date:

1883

1891

undated

Collection Restrictions:

The collection has been digitized and is available online via AAA's website.

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:

Winslow Homer collection, 1863, 1877-1945. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the re-processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Winslow Homer collection

Winslow Homer collection / Series 1: Winslow Homer Collection

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b9428ee7-2466-4c42-b28b-aaec4e01fe1e

EDAN-URL:

ead_component:sova-aaa-homewinl-ref18