Handwritten card, "What is called the 'line' of beauty," undated
To [Charles] Lanman, May 10, circa 1846
To Mr. Champney, March 4, circa 1870s
To Mr. [Alfred] Ordway, June 3, 1859
To [John] Coyle, March 13, 1864
To Mr. Cozzens, February 8, 1865
To Jervis [McEntee], October 12, 1879
To Jervis [McEntee], September 22, 1881
To Mrs. [P.?] (name illegible, photocopy), January 16, 1884
To Mr. Clark, June 3, 1891
To Dr. E. Hochheimer, April 20, 1899
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:
Eastman Johnson letters, 1851-1899. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
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:
Eastman Johnson letters, 1851-1899. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
Brumbaugh, Thomas B. (Thomas Brendle), 1921- Search this
Extent:
9 Items (Letters, written in ink, ball point, graphite)
Type:
Archival materials
Correspondence
Date:
1848-1924
Scope and Contents:
This folder is an amalgamation of letters written and recieved by prominent figures in 19th and 20th century American art. Included in the folder are letters from George P. Healy, Eastman Johnson, George W. Maynard, Ambrose McEvoy, and James Henry Moser.
Arrangement:
Organized alphabetically by author.
Biographical / Historical:
Healy was an American academic painter during the 19th century who painted mostly portraits, including a rather well-known one of Abraham Lincoln seated, which hangs in the National Portrait Gallery in Washington, D.C. He studied in Paris, and worked in Paris, Rome, and Boston. Healy was prolific, painting as many as 50 portraits in a single year, including a series of American presidents, and group pictures depicting congressmen and other famous political figures. The picture depicts Senator Daniel Webster's (MA) reply in Senate to Senator Robert Hayne (SC) in 1830. They debated the issue of states' rights and nullification, and Webster defended a strong national government, famously declaring, "The motto should not be 'Liberty first, and Union afterwards,' but 'Liberty and Union, now and forever, one and inseparable!'"
Hon. George C. Washington was born in Virginia in 1789 and died in Georgetown, D.C. in 1854. He attended Phillips Academy in Andover, Massachusetts, served in the Maryland legislature, and served several terms representing Montgomery County in Congress.
Eastman Johnson was an American painter who co-founded the Metropolitan Museum of Art. Johnson painted many influential Americans of his day, and his style was influenced by the Dutch masters, earning him the title of "The American Rembrandt."He was born in Maine in 1824, but moved to Washington, D.C., where he completed many of his portraits. Johnson lived among Native American tribes and opened a studio in New York.
George Willoughby Maynard was an American painter who started his career by completing murals in Boston's Trinity Church. He later did many murals in the Library of Congress.
Ambrose McEvoy painted figures, landscapes, and portraits in the late 19th and early 20th centuries. He was a founder-member of the National Portrait Society in England, and painted a number of portraits of soldiers and sailors, which are now in the Imperial War Museum.
Edward StanleyMercer was an English artist who studied at the Slade School of Art, along with time in Holland, Spain, and Italy. He exhibited at the Royal Academy, and was a member of both the Royal Society of Portrait Painters and the Royal Institute of Oil Painters.
In the letter, Ambrose McEvoy mentions that he has "written to Harold Speed," who was an English painter of oil and watercolor landscapes and portraits. Speed (1872-1957) studied art at the Royal Academy Schools and was elected a member of the Royal Society of Portrait Painters. Speed exhibited at the Royal Academy.
James Henry Moser was born in Ontario, Canada, who worked as an illustrator and landscape painter in oil and watercolor. In Washington, D.C., he was awarded the first Corcoran Prize by the Washington Watercolor Club. He was an art critic for the Washington Times, Post, and Herald, and did freelance illustrations for Harper's, among other publications. Mrs. Benjamin Harrison, the First Lady, purchased one of Moser's pieces, "A Sunny Morning at Salisbury Beach," to hang in the White House living room. He died in 1913 after having suffered a stroke earlier that year.
Local Numbers:
FSA A2009.06 5
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.
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:
Eastman Johnson letters, 1851-1899. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
73 Items (Letters, written in ink, ball point, graphite, typewriter)
26 Items (Stamps)
3 Items (Photographs)
Type:
Collection descriptions
Archival materials
Correspondence
Place:
USA -- Tennessee -- Nashville
Date:
1831-1979
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 the collection is a significant portion of letters from Abbott Thayer to correspondents from his circle of family, friends and art world figures such as Maria Oakey Dewing and Samuel Coleman.
Arrangement:
Organized alphabetically by author.
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.
Local Numbers:
FSA A2009.06
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.
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Correspondence, writings, drawings and printed material by or about G.P.A. Healy, compiled by his grandaughter, Marie De Mare, in the process of the writing of her book G.P.A. HEALY, AMERICAN ARTIST (1954).
REEL D130: Correspondence, notes, clippings and draft writings, kept by De Mare in connection with her book. Correspondence is mostly between De Mare and family members, but includes copies of letters to and from Healy. Also included are excerpts from Healy's diary and that of his daughter, Marie H. Bigot, lists of his paintings, and the draft of De Mare's book. Among De Mare's correspondents are Van Wyck Brooks and Eleanor Roosevelt; Healy's include Samuel F.B. Morse, Lewis Cass Ledyard, and Eastman Johnson. There is also a letter from John La Farge to Tiburce De Mare, 1873.
REELS 1209-1210: Correspondence; 3 diaries, 1866-1900, written by Healy's daughter Edith; correspondence and research notes dealing with De Mare's book; galley proofs; miscellaneous printed matter; a sketch of Healy on his deathbed by his son, and photographs of artist George De Mare, including a group photo of Atelier Bouguereau, Academie Julian, 1886, and of Henry Wadsworth Longfellow and his daughter. Correspondents include Frederic Bridgman and Thomas Couture.
Biographical / Historical:
G.P.A. Healy was a 19th century portrait and historical painter, who painted in the U.S. and in Europe.
Provenance:
Marie De Mare is the granddaughter of George P.A. Healy. Bulk of Healy's papers were destroyed by fire. Material was donated 1956 & 1971 by Marie and Jeanne de Mare.
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.
The papers of Hudson River School painter Jervis McEntee measure 1.6 linear feet and date from 1796 and 1848 to 1905. Letters from close friends and family members to McEntee include many from his mentor Frederic Edwin Church, and fellow artists Samuel Putnam Avery, George Henry Boughton, Sanford Gifford, Richard Henry, Eastman Johnson, Elizabeth B. Stoddard, John Ferguson Weir, Worthington Whittredge, and others. Papers relating to the McEntee family include obituaries, a family genealogy, and letters from and regarding family members. There are also papers relating to the Vaux family (McEntee's brother-in-law's family) and American architect and landscape artist Calvert Vaux, who designed a studio for McEntee. Of special significance are five volumes of diaries dating from 1872 through 1890 which provide a detailed depiction of the American art world in the 1870s and 1880s.
Scope and Content Note:
The papers of Hudson River School painter Jervis McEntee measure 1.6 linear feet and date from 1796 and 1850 to 1905. Letters from close friends and family members to McEntee include many from his mentor Frederic Edwin Church, and fellow artists Samuel Putnam Avery, George Henry Boughton, Sanford Gifford, Richard Henry, Eastman Johnson, Elizabeth B. Stoddard, John Ferguson Weir, Worthington Whittredge, and others. Papers relating to the McEntee family include obituaries, a family genealogy, and letters from and regarding family members. There are also papers relating to the Vaux family (McEntee's brother-in-law's family) and American architect and landscape artist Calvert Vaux, who designed a studio for McEntee. Of special significance are five volumes of diaries dating from 1872 through 1890 which provide a detailed depiction of the American art world in the 1870s and 1880s.
Arrangement:
The Jervis McEntee papers have been arranged into five series, based on material type.
Missing Title
Series 1: Letters, 1850-1905, undated (Box 1; 0.2 linear feet)
Series 2: Vaux Family Letters and Correspondence, 1850-1890, undated (Box 1; 0.2 linear feet)
Series 3: Third Party Letters, 1861-1873, undated (Box 2; 0.1 linear feet)
Series 4: Miscellany, 1796, 1848-1895, undated (Box 2; 0.1 linear feet)
Series 5: Diaries, 1872-1890 (Box 3-4; 0.6 linear feet)
Biographical Note:
Jervis McEntee was born in Rondout, New York, July 14, 1828. He had early literary and artistic aspirations and studied under Frederic E. Church, who had himself studied under the Hudson River School master, Thomas Cole. McEntee was to maintain a close relationship with Church for the rest of his life. After an unsuccessful stint as a businessman, McEntee settled in New York in 1857 as one of the charter residents of Richard Morris Hunt's Tenth Street Studio Building. Since many of the other occupants were either bachelors or commuters, and since Mrs. McEntee was a lively, sympathetic hostess, the couple became the center of a spontaneous salon frequented by some of the best-known artists, writers, and actors of the time. After his wife died in 1878, McEntee stayed on, an increasingly neglected widower until his death in 1891.
McEntee was identified with the Hudson River School and an accomplished and sensitive painter of autumnal landscapes. He wrote in 1874, "Perhaps what would mark my work among that of my brother artists is a preference for the soberer phases Nature, the gray days of November and its leafless trees." McEntee stood at the center of the interlocking directorate formed by the National Academy of Design, the Century Club, and the Tenth Street Studio Building. In the latter part of the 19th century, these formed a supreme art establishment whose membership was composed of the old guard American artists, such as McEntee's close friends Eastman Johnson, Sanford Gifford, John Ferguson Weir, Worthington Whittredge, and Church, who were fighting an ultimately futile battle against the encroachment of European influences among both artists and collectors.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel D9) including a diary dated June 12, 1851-August 17, 1851. This material was returned to the Adirondack Museum in Blue Mountain Lake, New York and is not described in the collection container inventory.
Provenance:
The Adirondack Museum lent one diary for microfilming in 1964. The rest of the collection was acquired from several donors between 1959 and 1997. The noted collector Charles E. Feinberg donated letters in 1959 and, Mrs. Helen S. McEntee, who married the nephew of Jervis McEntee, donated the five volumes of diaries in 1964. William Gaffken, director of the insurance company that acquired the McEntee family insurance business, donated the remaining papers in 1997.
Restrictions:
Use of original papers requires and 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:
Artists -- New York (State) -- New York Search this
Landscape painters -- New York (State) -- New York Search this
Hudson River school of landscape painting Search this
Painters -- New York (State) -- New York Search this
Art, Modern -- 19th century -- New York (State) -- New York Search this
Letters, autographs, and photographs of artists solicited by Stebbins and pasted in his copy of Henry T. Tuckerman's BOOK OF THE ARTISTS (1867). Among the artists are Christopher P. Cranch, F.O.C. Darley, Sanford R. Gifford, Eastman Johnson, Miner K. Kellogg, John F. Kensett, Jervis McEntee, Samuel F.B. Morse, Thomas Nast, Erastus D. Palmer, George H. Smillie, John Vanderlyn and Worthington Whittredge.
Biographical / Historical:
Librarian of the San Francisco Mercantile Library Association.
Provenance:
Lent for microfilming 1965 by the Henry F. DuPont Winterthur Museum.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
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.
5.1 Linear feet ((partially microfilmed on 6 reels))
Type:
Collection descriptions
Archival materials
Date:
1905-1969
Scope and Contents:
Photographs, correspondence, appointment books, etchings, a scrapbook, printed materials, writings, and posters.
REEL D113: Primarily letters received from artists, 1940s-50s; background material for Ft.Lee and Amsterdam (N.Y.) murals; and miscellaneous printed material and photographs.
Correspondents include John Angel, Artists Equity, Peggy Bacon, Gifford Beal, Henry Billings, Isabel Bishop, Peter Blume, Louis Bouche, Van Wyck Brooks, Audrey Buller, Paul Cadmus, Alexander Calder, William Congdon, Horace T. Day, Olin Dows, Marcel Duchamp, Emlen P. Etting, Philip Evergood, Barry Faulkner, Ernest Fiene, Leon Hartl, Whitney F. Hoyt, William M. Ivins, Jr., Lincoln E. Kirstein, Leon Kroll, Yasuo Kuniyoshi, Edward Laning, Joseph L. Lasker, Clare Leighton, Charles W. Locke, Sanford B.D. Low, Luigi Lucioni, Reginald Marsh, Kenneth H. Miller, Nat'l Institute of Arts and Letters, Betty Parsons, Hugo Robus, Homer Saint-Gaudens, Katherine Schmidt, Ben Shahn, Charles Sheeler, Eugene Speicher, Theodoros Stamos, Franklin C. Watkins, Forbes and Nan Watson, and Leonard Weisgard.
REEL 847: Photographs, including 67 of Schnakenberg and friends, 1 of a portrait of him by Lloyd Goff, 95 of his oil paintings, 33 of his watercolors, 25 of his works in unidentified media, 29 of works by other artists, and 46 of pre-Columbian art from Central and South America. Among artists whose works are included are Antoine Louis Barye, Albert Bierstadt, Frederick Catherwood, Constantin Guys, Thomas Hardy, William Harnett, Winslow Homer, George Inness, Eastman Johnson, Yasuo Kuniyoshi, Reginald Marsh, Rockland Savery, Theodoros Stamos, and Arthur Fitzwilliam Tait.
REELS 850-853: Biographical information; personal and business correspondence; 17 diaries, mainly about Schnakenberg's travels, 1905-1960; appointment calendars, 1963-1969; 70 etchings by Schnakenberg; a scrapbook containing clippings, catalogs, and other printed material; a book published by G. Alan Chidsey on Schnakenberg; clippings, catalogs, and announcements; papers relating to gifts and acquisitions of works of art; receipts for Schnakenberg paintings from C.W. Kraushaar Galleries; a 650-page typescript for a book "The Background of Painting" by Schnakenberg; and drafts of speeches.
UNMICROFILMED: Six World War I posters designed by Schnakenberg; Christmas cards from artists and other friends; printed material; and a photograph of Lloyd Goff, inscribed to Schnakenberg, in front of one of his paintings, 1939.
Biographical / Historical:
Painter, etcher; Newton, Conn.
Provenance:
Material donated 1963-1971 by Schnakenberg and, after his death, by his estate.
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.
