The papers of art historian, collector, educator, and museum administrator John Davis Hatch measure 24.9 linear feet and date from 1790-1995. Within the papers are biographical materials; correspondence; personal business and legal documents; diaries; research, organization, and teaching files; writings; printed materials; photographs; and works of art (mostly sketches) by American artists. Research files regarding artists and specific subjects comprise the bulk of this collection.
Scope and Content Note:
The papers of art historian, collector, educator, and museum administrator John Davis Hatch measure 24.9 linear feet and date from 1790-1995. Within the papers are biographical materials; correspondence; personal business and legal documents; diaries; research, organization and teaching files; writings; printed materials; photographs; and works of art (mostly sketches) by American artists. Research files regarding artists and specific subjects comprise the bulk of this collection.
Scattered biographical materials include an invitation to the Hatch's anniversary party in 1964, short biographical sketches and resumes, certificates, report cards, a silhouette of the Hatch Family circa 1904, and a typecript of a diary written by Olivia Hatch as a child.
Correspondence includes professional correspondence between Hatch and colleagues; letters from family and friends; and some materials regarding exhibitions from the Hatch Collection. The bulk of correspondence spans Hatch's professional career although there are scattered letters from 1915-1943 from Hatch to his parents. Also found are letters addressed to an unidentified "Henry." Correspondence is also found in the research files.
Personal business and financial records consist of inventories, bills, receipts, and other records for artworks purchased, loaned, or donated by Hatch. Also found are records from the J. D. Hatch Associates Cultural Consultants, a draft of Hatch's will, stock and tax materials, and travel papers and passports.
Scattered diaries and journal fragments and a transcript date from 1925-1965. Thirteen "Daily Reflection Journals" date from 1975-1987.
Research files on artists and subjects are extensive, comprising one-half of the collection. Files are varied and may include primary research materials, correspondence, printed materials, notes, and writings. Some of the artists' letters and other materials dated from 1790-early 1800s may have been purchased by Hatch. Among many other items, there is an illustrated letter written by Oscar Bluemner and photographs of Bluemner; primary research materials dating from the early 1800s on John Vanderlyn including a will, receipts, and correspondence; a letter from Rembrandt Peale dated 1830, and an autograph letter from John Trumbull dated 1790. Also found is an index card file.
Organization files contain files and records related to Hatch's affiliations with many cultural organizations. A small amount of teaching and education files consist of Hatch's notes and lectures from the University of Oregon and the University of Massachusetts, and from his continuing education courses he took at St. John's College. Writings and notes include short essays by Hatch, mostly concerning art, exhibitions and museum administration; book reviews; general notes, lists, and reports.
Printed Materials are comprised of exhibition catalogs and announcements, including those from the American Drawing Annual in the 1940s-1950s; printed articles annotated by Hatch; clippings; pricelists; and published works.
A small number of photographs are of Hatch, some by Dorothy Frazer; of his family and friends; and of artists. The bulk of the photographs are of works of art including those owned by Hatch.
Artwork includes two sketchbooks - one by Kenneth Callahan and another by Lloyd McNeill; and additional drawings and sketches by Julian Scott, Henry Kirke Browne, Kenneth Callahan, Ezra Clark, John Cranch, Jasper Francis Crospey, F. O. C. Darley, C. H. Granger, Seymour J. Guy, George Harvey, Edward Lamson Henry, Henry Inman, as well as unsigned or illegible names.
Arrangement:
The collection is arranged as 11 series:
Missing Title
Series 1: Biographical Information, circa 1900-1980s (Box 1; 8 folders)
Series 2: Correspondence, 1903-1990s (Box 1-3; 2 linear feet)
Series 3: Personal Business and Legal Records, Date (Box 3; 0.3 linear feet)
Series 4: Diaries and Journals, 1925-1987 (Box 3, 23; 1.2 linear feet)
Series 5: Research Files, 1790-1992 (Box 3-13, 20-21, 24; 12.7 linear feet)
Series 6: Organization Files, 1930s-1990s (Box 13-14; 1.0 linear feet)
Series 7: Teaching and Education Files, 1930s-1993 (Box 14-15; 1.0 linear feet)
Series 8: Writings and Notes, 1936-1990s (Box 15; 0.3 linear feet)
Series 9: Printed Material, 1870s-1990s (Box 15-19, 22, 25-26, OV1; 5.9 linear feet)
Series 10: Photographs, circa 1900-1990s (Box 22; 0.2 linear feet)
Series 11: Artwork, 1851-1973 (Box 22; 0.3 linear feet)
Biographical Note:
Art historian, collector, educator, and museum administrator John Davis Hatch (1907-1996) worked in the Boston and New England area, as well as the Pacific Northwest, and New York state. Hatch served as director of the Art Institute of Seattle, the Isabella Stewart Gardner Museum, the Albany Institute of Art and History, and the Norfolk Museum of Art and Sciences.
John Davis Hatch was born in San Francisco, California in 1907. His father, grandfather, and great-grandfather were architects and Hatch studied landscape architecture at the University of California, Berkeley. He served as an apprentice to Lockwood de Forest. After abandoning landscape architecture, he accepted a position as director of the Seattle Fine Arts Society (1928-1931) at the age of twenty-one and taught art history courses at the University of Washington.
In 1932, Hatch accepted the position of assistant director of the Isabella Stewart Gardener Museum in Boston, Massachusetts. He also directed the federal Public Works of Art Project in New England. Additionally, Hatch served from 1940-1948 as director of the Albany Institute of Art and History and from 1950-1959 of the Norfolk Museum of Arts and Sciences. Hatch worked as an art advisor for exhibitions at five historically African-American colleges in Atlanta and in San Simeon in California. He founded the American Drawing Annual exhibition.
Hatch conducted extensive research on artists Oscar Bluemner and John Vanderlyn, American silverwork, and American drawing. In addition, Hatch collected American drawings and later donated many of works of art from his personal collection to the National Gallery in Washington, D.C. Aside from his early teaching in Washington state, Hatch taught at the University of Massachusetts and the University of Oregon. He was a member of numerous professional arts-related organizations.
In 1939, Hatch married Olivia Stokes with whom he had four children: Sarah, John, Daniel and James. He died in 1996.
Related Material:
The Archives of American Art holds two oral history interviews with John Davis Hatch: June 8, 1964 conducted by H. Wade White and 1979-1980 conducted by Robert F. Brown. Also found is a separately cataloged photograph of Hatch and Henry Francis Taylor from 1933.
Additional research materials complied by Hatch are located in the Albany Institute of History and Art, the Metropolitan Museum, the library of the National Gallery of Art, and the Senate House, Kingston, New York.
Hatch donated two hundred and seventy American drawings to the National Gallery of Art in Washington, D.C.
Separated Material:
Four books annotated by Bluemner, a letter from Bluemner, a letter from A. Stieglitz to Bluemner, photographs of works of art, and exhibition materials were removed from the papers and merged with the Oscar Bluemner papers at the Archives of American Art.
Provenance:
John Davis Hatch and the John Davis Hatch estate donated his papers to the Archives of American Art in several installments between 1960-1996. Many of the primary materials relating to John Vanderlyn were acquired by Hatch from a photographer in Kingston, New York, who received them from a niece of Vanderlyn. Robert Graham of James Graham and Sons gave Vanderlyn's will to Hatch.
Restrictions:
Use of originals 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.
Contents: Byington, Cyrus. Letter to Anselm T. Nye, Marrietta, Ohio. Stockbridge, Choctaw Nation (Indian Territory) October 20, 1845. 2 pages and cover. Photostat carbon of Autograph document. Concerns Peter Pitchlynn, who is to carry the letter. Byington, Cyrus. "A Pioneer Missionary," account of early mission work of Cyrus Byington. Bible House, New York, N.Y. October 1867. Photostat Carbon of newsclipping. 2 pages. Photographs of Cyrus Byington and Sophia Nye Byington: individual portraits painted 1827; individual photographs, photographs of both together, (ca. 1860-1868). 5 prints. Inman, Henry. "A Great Choctaw Chief (Peter Pitchlynn)." No date. Published document (News clipping) 1 column. Anonymous. "Peter Pitchlynn, Chief of the Choctaws." Atlantic Monthly, volume 25, Number 150, April, 1870, pages 486-497; in whole volume with anonymous Manuscript note on cover concerning Peter Pitchlynn and "Grandfather Byington."
Local Numbers:
NAA MS 4484-c
Local Note:
Printed document
Other Title:
A Pioneer Missionary
A Great Choctaw Chief (Peter Pitchlynn)
Peter Pitchlynn, Chief of the Choctaws
Topic:
Indians of North America -- Southern states Search this
Genre/Form:
Photographs
Clippings
Citation:
Manuscript 4484-c, National Anthropological Archives, Smithsonian Institution
Inman writes from New York to McMurtrie in Philadelphia. He discusses the pricing for one of his works (which he refers to as "the retouched Bishop"), and mentions a full-length portrait of Benjamin West.
Biographical / Historical:
Painter, portrait painter; New York, N.Y.
General:
Letter is tipped onto a sheet which has a clipping pasted on with a short biography of Inman.
Provenance:
Purchased 1956 through the Steele purchase.
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:
Portrait painters -- New York (State) -- New York Search this
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.
342 letters, 1792-1901, chiefly addressed to Benjamin and Faith Huntington, including frequent correspondence with Faith's siblings Ann Channing Richards, Daniel Huntington, Elizabeth Moore Huntington and Harriet Smith DeWitt. Included are ca. 35 letters, ca. 1840s, from Daniel mainly to his father, his brothers Gurdon and Jedediah Vincent, his brother-in-law Cornelius Ver Bryck, written from London, Florence, Rome and New York, describing his travels throughout Italy, his New York studio and the visitors there, and discussing his current portrait and allegorical work, including his proposal to complete Henry Inman's work for the Rotunda left incomplete at his death in 1846. Letters from the 1870s-1890s are addressed to his nephew Channing.
Also included are an 11 p. draft of an article about Daniel Huntington; excerpts from the Book of Revelation on "Future Life and Rewards"; a poem "To Charlotte"; calling cards; a photograph of Daniel Huntington; household accounts possibly of Faith Huntington; stocks and bonds; a mortgage; and two deeds. Total microfilmed: 1 linear ft.
Biographical / Historical:
Daniel Huntington (1816-1906) was a portrait painter from New York. His father, Benjamin, married Faith Trumbull in 1812, daughter of Revolutionary War general Jedediah Huntington (1743-1818). Daniel Huntington spent a year at Yale before entering Hamilton College in New York where he met Charles Loring Elliot who encouraged him to paint. Upon graduation in 1836, he returned home to New York City where he studied under Samuel F.B. Morse and Henry Inman. Beginning in 1839, he made several extended journeys to Europe, spending three years in Rome just after his marriage in 1842 to Harriet Sophia Richards, and seven years in London from 1851-1858.
Provenance:
Lent for microfilming 1993 by Channing M. Huntington II, whose great grandfather was Daniel Huntington's brother, Gurdon.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The Albert Duveen collection of artists' letters and ephemera measures 1.1 linear feet and dates from 1807 to 1946. Unrelated letters written by over 170 mostly 19th and early 20th century American artists are found in this compiled collection of art critic, dealer, and collector Albert Duveen. Additional ephemera includes printed material and photographs of artwork.
Scope and Contents:
The Albert Duveen collection of artists' letters and ephemera measures 1.1 linear feet and dates from 1807 to 1946. Unrelated letters written by over 170 mostly 19th and early 20th century American artists are found in this compiled collection of art critic, dealer, and collector Albert Duveen. Additional ephemera includes printed material and photographs of artwork.
Found are letters from artists Albert Bierstadt, Frederic E. Church, Frederick S. Church, Henry Inman, Constant Mayer, Jervis McEntee, Henry Mosler, Frederick Law Olmstead, Rembrandt Peale, Albert Rosenthal, and many others. Printed materials include catalog inventories of public and private art collections. There are also brochure booklets on New England historical houses and towns. Photographs are duplicate copies of early American artwork from Duveen's personal reference files.
Arrangement:
The collection is arranged as 3 series.
Missing Title
Series 1: Letters, 1808-1910 (0.8 linear feet; Box 1)
Series 2: Printed material, circa 1909-1946 (4 folders; Box 1, OV 2)
Series 3: Photographs, circa 1808-1910 (3 folders; Box 1)
Biographical / Historical:
Art critic, collector, and dealer Albert Duveen (1892-1965) lived and worked in New York City, New York. He is known for his expertise in early American art and was a cousin to Joseph Duveen, president of Duveen Brothers art dealers.
Related Materials:
The Archives holds a microfilm copy of the Albert Duveen art reference files and a lecture, "An Art Dealer is Intrigued by American Folk Art," delivered by Albert Duveen, March 4, 1961.
Provenance:
The Albert Duveen collection of artists' letters and ephemera was purchased from Duveen by the Archives of American Art in February 1956.
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.
Files on ca. 150 American artists and art subjects, selected from Duveen's art reference files. Included are photographs of paintings in other collections, auction and exhibition catalogs, miscellaneous publications.
Files include: Francis Alexander, Washington Allston, William H. Bartlett, Ben-Zion, Thomas Birch, Joseph Blackburn, Ralph A. Blakelock, Charles F. Blauvelt, Peter Blume, Emile Branchard, Albertis D. O. Browere, John G. Brown, Jonathan Buddington, James E. Buttersworth, Carra, Dennis M. Carter, Mary Cassatt, George Catlin, Centurion, Paul Cezanne, Moura Chabor, Marc Chagall, T. Chambers, Jean Charlot, Thomas Cole, John Constable, George Cope, John S. Copley, Ralston Crawford, Jasper F. Cropsey, Arthur B. Davies, Charles Despiau, Roland Detre, Thomas R. Dibble, Enrico Donati, William Doriani, Thomas Doughty, Jessie Drew-Bear, Robert S. Duncanson, Dunlap, Asher B. Durand, George H. Durrie, Frank Duveneck, Evert Duyckinck, Thomas Eakins, Jacob Eichholtz, Louis M. Eilshemius, Charles L. Elliott, Robert Field, Emil Ganso, Pablo Gargallo, Jan Gelb, Paul Gillman, Christian Gullager, George H. Hall, Chester Harding, William M. Harnett, George Harvey, William J. Hays, George P. A. Healy, Edward L. Henry, John Hesselius, Edward Hicks, Thomas Hicks, Holland House, Charles Fevret de Saint-Memin, Winslow Homer, S. A. Hudson, Daniel Huntington, Henry Inman, George Inness, John W, Jarvis, Eastman Johnson, Henrietta Johnston, John Johnston, Hilde B. Kayn, Dikran K. Kelekian, Fitz Hugh Lane, Ernest Lawson, M. F. Lefferts, William R. Leigh, Abraham Lincoln, George B. Luks, Edward G. Malbone, Alfred H. Maurer, Louis Maurer, McKay, Alfred J. Miller, Louis C. Moeller, Samuel F. B. Morse, John Neagle, Donald Organ, Bass Otis, Walter Pach, Charles W. Peale, James Peale, Rembrandt Peale, William Penn, Enoch W. Perry, F. E. H. Philippoteaux, Charles P. Polk, T. B. Pope, Rufus Porter, William M. Prior, Walter Quirt, William T. Ranney, Reinhardt, Frederic Remington, Louisa Robins, Severin Roesen, Thomas P. Rossiter, Peter F. Rothermel, Charles M. Russell, Edward Savage, William Sawitzky, Nikol Schattenstein, Christian Schussele, D. Serres, James Sharples, Morris Shulman, John Smibert, Sergei Soudeikin, Haim Soutine, Frederick R. Spencer, Albert Stewart, Robert Street, William J. Strong, Gilbert Stuart, C. (Charles ?) Sullivan, Thomas Sully, Arthur F. Tait, G. Tirrell, John Trumbull, John Vanderlyn, Pieter Vanderlyn, William Von Schlegell, Samuel L. Waldo, Abraham Walkowitz, George Washington, Elbert Weinberg, Julian A. Weir, Thomas B. Welch, Adolph U. Wertmuller, Benjamin West, Anne Whitney, Arnold Wiltz, William E. Winner, S. Wood, and Thomas W. Wood.
The Saint-Memin, Stuart, B. West and Wertmuller files contain material from Albert Rosenthal relating to the above artists.
Arrangement:
Files are arranged alphabetically by artist and subject, rolls NDU1-NDU3; publications and other miscellany were filmed on rolls NDU4-NDU5.
Biographical / Historical:
Albert Duveen was an art dealer and collector with offices in New York, N.Y., specializing in early American art. He was a cousin to Joseph Duveen (1869-1939), 1st Baron Duveen, president of Duveen Brothers art dealers.
Provenance:
Lent for microfilming 1958 by Duveen.
Restrictions:
The Archives does not own the original papers. Microfilmed materials must be consulted on microfilm.
A March 21, 1834 letter from painter Henry Inman thanking Prosper Wetmore for influence on his behalf, reporting the election of town officers and offering to forward Wetmore's letters to the Capitol; and a December 20, 1847 letter from painter Thomas Seir Cummings to Wetmore describing the selection of new members into the New York Sketch Club at the home of H. W. Greatorex and congratulating Wetmore on achieving honorary membership.
Biographical / Historical:
Merchant, military official, legislator and educational administrator.
Provenance:
Donated 1987 by Wright Museum of Art, Beloit College, Beloit, Wisc.
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 to Roberts Vaux, 1811-1833, from William Dillwyn, Samuel Emlen, Joseph Delaplaine, John F. Watson, Henry Inman, and G. Gibbon, relating to paintings by Benjamin West, paintings by Sully, etc.
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 letter to "My dear friend and pupil," January 25, 1841, telling of the death of his father-in-law. Inman tells his pupil he will not be able to give his usual lesson due to the funeral, and gives an at-home assignment instead.
Biographical / Historical:
Portrait, miniature and landscape painter, and teacher; New York City. Inman was instrumental in the founding of the National Academy of Design, and was its Vice-President from 1826-1831.
Provenance:
Donated 1960 by Lawrence A. Fleischman.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
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.
Letters to Newnam written in response to queries regarding portraits Newnam is painting or selling. Included are letters, 1937, from Victor Morris Tyler, Morris Tyler, and Constance Rourke regarding a Henry Inman portrait of John J. Audubon which Newnam wishes to copy; from Mildred Steinbach,1952, Asst. Librarian at the Frick Art Reference Library regarding portraits by Thomas Eakins of Frank Linton and Samuel Meyers; from Hannah J. Howell, 1952-3, Librarian at the Frick Art Reference Library regarding photographs of Gilbert Stuart's portraits of Edward Penington and Mrs. Penington; from Raymond Rubicam, 1955, regarding his purchase of a portrait by William K. Hewitt of his great uncle Jonathan Rubicam; also included is a photograph of the portrait; from Howell, 1957, thanking Newnam for a photo of a painting by Gustavus Hesselius; letters and a photograph regarding a portrait of Baroness Brudenell, 1966 and 1970; and a letter from Marguerite Coolbaugh, 1978, regarding a photograph of Abraham Lincoln.
Biographical / Historical:
Art dealer and portrait painter; Philadelphia, Pennsylvania.
Provenance:
Donated 1994 by Edward A. Newnam.
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:
Portrait painters -- Pennsylvania -- Philadelphia Search this
Art dealers -- Pennsylvania -- Philadelphia Search this
The Robert C. Graham collection of artists' letters measure 0.2 linear feet and dates from 1783 to 1935, with the bulk of the letters dating from 1804 to 1877. Graham, an art dealer and collector, compiled the unrelated letters of several late eighteenth-century and nineteenth-century painters such as Thomas Biddle, Thomas Doughty, G. P. A. Healy, Daniel Huntington, Henry Inman, Emanuel Leutze, Samuel F. B. Morse, Rembrandt Peale, John Singer Sargent, Thomas Sully, John Trumbull, Benjamin West, and others.
Scope and Content Note:
The Robert C. Graham collection of artists' letters measure 0.2 linear feet dates from 1783 to 1935, with the bulk of the letters dating from 1804 to 1877. Graham, an art dealer and collector, compiled the unrelated letters of several late eighteenth-century and nineteenth-century painters such as Thomas Doughty, G. P. A. Healy, Daniel Huntington, Henry Inman, Emanuel Leutze, Samuel F. B. Morse, Rembrandt Peale, John Singer Sargent, Thomas Sully, John Trumbull, Benjamin West, and others.
Arrangement:
Folders are arranged alphabetically by the author of the letter. Multiple letters within folders are arranged chronologically.
Biographical Note:
Robert Claverhouse Graham (1913-1994) was the director of the Graham Gallery in New York City. He and his brother James were fourth generation owners of the gallery which specialized in nineteenth- and twentieth-century American art.
Related Material:
Related material found in the Archives includes the recording and transcript of a 1976 interview of Robert Claverhouse Graham conducted by Paul Cummings for the Archives of American Art. The Archives also holds numerous collections of papers related to or created by the artists who wrote these letters.
Provenance:
The collection was donated in 1961 by Robert C. Graham.
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.
Archambault, Anna Margaretta, 1856-1956 Search this
Container:
Reel P026, Frame 652
Type:
Archival materials
Microform [P026.archambaul]
Date:
1924 July 15
Scope and Contents:
Letter to A. Margaretta Archambault from Luther E. Hewitt, Librarian of the Law Association of Philadelphia, July 15, 1924, informing her that she may have copies made of the lithographed prints of original paintings of John Marshall by Henry Inman and Horace Binney by Thomas Sully.
Collection Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Shattuck, Aaron Draper, 1832-1928 -- Portraits -- Photographs Search this
Sully, Thomas, 1783-1872 -- Portraits -- Photographs Search this
Tuckerman, Henry T. (Henry Theodore), 1813-1871 Search this
Whittredge, Worthington, 1820-1910 -- Portraits -- Photographs Search this
Extent:
24 Items (photographic prints, b&w, 17 1/2 x 13 1/2 cm., on sheet 30 1/2 x 24 cm. or smaller.)
Type:
Collection descriptions
Archival materials
Date:
undated
Scope and Contents:
Portraits of artists taken by George Rockwood and Napoleon Sarony (Sarony Photographic Co.) for the large paper, extra-illustrated edition of Henry Tuckerman's, "American artist life : comprising biographical and critical sketches of American artists : preceded by an historical account of the rise and progress of art in America : with an appendix containing an account of notable pictures and private collections" (New York, G.P. Putnam & Son, 1867). Also included is a copy of Tuckerman's book (not the extra illustrated version.) Photographs include: Eugene Benson (original missing, copyprint only), Henry Kirke Brown (original missing, copyprint only), Frederic Edwin Church, Thomas Cole, J. Francis Cropsey, Christopher Cranch, F.O.C. Darley, Asher Brown Durand, Charles Loring Elliott, Sanford Robinson Gifford, Henry Peters Gray, James M. Hart, Thomas Hicks (incorrectly identified as John Ehninger), Richard W. Hubbard, Henry Inman, George Inness (incorrectly identified as Albert Bierstadt), Eastman Johnson, John F. Kensett (original missing, copyprint only), Emanuel Leutze, Jervis McEntee (original missing, copyprint only), John Rogers, A.D. Shattuck, Thomas Sully (original missing, copyprint only), and Worthington Whittredge (original missing, copyprint only).
Provenance:
The copy of Tuckerman's book was donated in 1958 by Robert McIntyre. The photographs, along with the extra illustrated edition of Henry Tuckerman's, "Book of the Artists..." (1867) were donated in 1960 by McIntyre. The folio was one of the 25 copies produced, possibly acquired by McIntyre through auction of the library of S.K. Cleven of Iowa handled by Anderson Galleries in 1915. The photographs were removed from the folio prior to its transfer to the Smithsonian American Art Museum Library. Photographer and provenance information (annotated) from Putnam's Monthly Advertiser is enclosed with the original folio housed at the Smithsonian American Art Museum Library.
Topic:
Artists -- United States -- Portraits -- Photographs Search this
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.
