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.
Photograph album presumably owned by Robert M. Olyphant, containing 47 installation views of the John Frederick Kensett Memorial Exhibition, National Academy of Design, March 24-29, 1873.
Biographical / Historical:
Robert M. Olyphant was a close friend and art patron of John Frederick Kensett, a leading landscape painter of the Hudson River School who worked extensively in New England and Colorado. Olyphant also served as executor of Kensett's estate.
Provenance:
Donated 1993 by David Olyphant, a descendent of Robert M. Olyphant. Although the album is unpublished, the donor believes several copies were made; circumstances of its production are unknown.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
The Thomas Prichard Rossiter and Rossiter Family papers measure 0.5 linear feet and date from 1840 to 1961. Included are letters to painter Thomas Prichard Rossiter and letters to his son, architect Ehrick Kensett Rossiter, documenting their friendships with many artists and Thomas Prichard Rossiter's sketchbook and loose sketches. Edith Rossiter Bevan's papers include her writings on her grandfather, Thomas Prichard Rossiter; a scrapbook; photographs of the Rossiter family; notes by Bevan; news clippings; and other printed material. Also found is Bevan's collection of artists' letters.
Scope and Content Note:
The Thomas Prichard Rossiter and Rossiter Family papers measure 0.5 linear feet and date from 1840 to 1961. Included are letters to painter Thomas Prichard Rossiter and letters to his son, architect Ehrick Kensett Rossiter, documenting their friendships with many artists. Notable letters are from James Fenimore Cooper, William Morris Hunt, John Jay, J. F. Kensett, William H. Morris, Samuel F. B. Morse, George Peabody, Cecelia Beaux, William A. Coffin, Daniel Chester French, Will H. Low, Gari Melchers, William Sartain, Augustus Vincent Tack, Dwight Tryon, and many others.
The collection contains Thomas Prichard Rossiter's sketchbook drawn while living in Italy in 1943, and three other sketches including a portrait of his family.
Also found are letters to Edith Rossiter Bevan and her writings on her grandfather, Thomas Prichard Rossiter, including a biography and checklist of his paintings. Bevan also compiled a scrapbook on his career and family history which includes drawings by Rossiter, photographs of the Rossiter family and his artwork, notes by Bevan, news clippings, and other printed material.
A collection of Edith Rossiter Bevan's artists' letters is found within the papers. Letters are from Alexander Archipenko, J. Carroll Beckwith, Reginald Birch, Emma M. Cadwalader-Guild, Andre Castaigne, Fanny Cory, Kenyon Cox, Frank Craig, Charles Dana Gibson, Jay Hambridge, Henry Hutt, A. J. Keller, Rockwell Kent, Fiske Kimball, David Scott Moncrieff, H. Siddons Mowbray, Peter Newell, Rhoda Holmes Nicholls, Ralph M. Pearson, Frederic Remington, Otto Soglow, and Elizabeth Whitmore.
Arrangement:
The collection is arranged into 2 series:
Series 1: Thomas Prichard Rossiter and Rossiter Family Papers, 1840-1961 (Box 1-2; 0.4 linear feet)
Series 2: Edith Rossiter Bevan Collection of Artists' Letters, circa 1891-1939, 1951 (Box 1; 2 folders)
Biographical Note:
Thomas Prichard Rossiter (1818-1871) was born in New Haven, Connecticut. He first learned painting as an apprentice for a Mr. John Boyd, and also studied with Nathaniel Jocelyn. In 1838 he exhibited two paintings at the National Academy of Design, and in 1939 moved to New York City and opened a studio.
In 1840, Rossiter traveled to Europe with Asher B. Durand, John Kensett, and John Casilaer, and while there visited Rome with Thomas Cole. He decided to stay in Italy until 1846 when he moved to New York City and shared a studio with Kensett and Louis Lang. During this period he relied on portrait painting for his income, but also painted historical and religious paintings.
In 1851 Rossiter married Anna Ehrick Parmly and they toured Europe in 1853. They settled in Paris where Anna gave birth to twins Ehrick Kensett and Charlotte. Rossiter exhibited at the Exposition Universelle in Paris in 1855. Anna died shortly after the birth of their daughter Anna, and the family moved back to New York.
For a brief period of time Rossiter had an art gallery, exhibiting his work and the work of his friends. In 1860 he married Mary (Mollie) Sterling and moved his family to Cold Spring, New York on the Hudson River. He continued to paint portraits, historical, and religious paintings, and exhibited at the National Academy of Design and the Pennsylvania Academy of the Fine Arts, until his death in 1871.
Ehrick Kensett Rossiter (1854-1941), named after his father's friend John Frederick Kensett, attended Cornell University and became an architect in New York as part of the firm Rossiter & Muller. He was a member of the Architectural League, United States Public Architects' League, and trustee of the American Fine Arts Society. In 1877 he married Mary Heath and they had three sons and a daughter. Their daughter Edith Rossiter Bevan was a historian and avid collector of historical autographs.
Related Material:
Also found in the Archives of American Art is a Thomas Prichard Rossiter letter to Elias Beirs dated January 12, 1840.
Provenance:
A portion of the collection was donated in 1957 by Edith Rossiter Bevan, daughter of Ehrick Kensett Rossiter, and granddaughter of Thomas Prichard Rossiter. Additional material was donated in 2007 by Patti Rossiter Ravenscroft, Rossiter's Great Great Granddaughter.
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.
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 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.
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
Correspondence, register of paintings sold, financial material, photographs, a diary, biographical information, a sketchbook, and printed material.
REELS N68/84-N68/85: Correspondence, mostly with family members and with many of Kensett's letters describing life, artists, and patrons while working in Europe; an annual register of paintings sold; miscellaneous bills, cancelled checks, and personal legal papers; and photographs of Kensett, his studio, members of his family and the 1864 Metropolitan Fair art exhibition.
REEL N738: A diary kept by Kensett while in Naples, Rome, and London, 1847.
REEL N737: Documents, obituary notices, clippings, and lists of paintings in Kensett's estate, 1873.
REELS 1533-1534: Correspondence with Thomas Gold Appleton, Eugene Benson, John William Casilear, Benjamin Champney, Jasper Francis Cropsey, Daniel Huntington, the Kellogg family, George and J. R. Lambdin, Thomas P. Rossiter, William T. Walters, and others; notes and financial papers regarding the Metropolitan Fair of the U.S. Sanitary Commission; passports; sketchbooks; and social invitations.
Biographical / Historical:
Landscape painter; b. Cheshire, Conn.
Provenance:
Materials on reels N68/84-N68/85 and N738 lent for microfilming 1968 by James R. Kellogg grand-nephew of Kensett. Materials on reel N737 lent 1968 by Kennedy Galleries of New York which obtained some of Kensett's estate papers. Materials on reels 1533-1534 lent 1979 by New York State Library.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
36 photographs of works of art collected by Esther Haines Dunn including 32 of paintings by Thomas Cole, 1 of THE FALL by John Frederick Kensett, and 3 of paintings by Sanford Robinson Gifford.
Biographical / Historical:
Collector.
Provenance:
The donor, Joan Wright, is Dunn's neice. It is not known why Dunn collected these photographs.
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 (1849-1856), business records (1849-1856), a visitors' register (1873-1885), and a scrapbook (ca. 1866-1885) concern the acquisition of paintings and prints for Claghorn's collection.
REEL 3580: 37 letters (1849-1882) to Claghorn regard his art collection and dealing activities and include letters from Goupil & Cie., J. Crumby, who served as a purchasing agent, Frederic Edwin Church, John Frederick Kensett, Hiram Powers, Thomas Buchanan Read, Peter F. Rothermel, and Thomas Worthington Whittredge.
REEL 4131: Visitors Register, March 18, 1873-Jan. 1885, containing names and addresses of those who viewed the Claghorn Collection; many artists, local art students and instructors, and foreign visitors are listed. Scrapbook, most likely compiled by Claghorn with posthumous entries added by family, contains mainly newspaper clippings concerning Claghorn, his collections, Pennsylvania Academy of the Fine Arts, art activities in Philadelphia, and artists (particularly printmakers); also includes photograph of Seymour Haden, catalogs of the Claghorn Collection, admission tickets, reprints of lengthy articles about Claghorn and his collections, and a few letters to J. Raymond Claghorn [son of James L.] regarding the disposition of the collection and its sale to Thomas Harrison Garrett.
REEL 4152: 88 letters (1848-1864) from various agents in New York and Europe regard purchases of paintings, prints and sculpture by artists, including Asher B. Durand and Worthington Whittredge. Four letters regard paintings to be exhibited at the Great Sanitary Fair. Nine letters (1855-1864) from Thomas Buchanan Read regard his activities in England. Read's letters from Cincinnati discuss his poetry and commissions for his paintings.
Biographical / Historical:
Collector and art patron; Philadelphia, Pa. Claghorn was an officer of the Pennsylvania Academy of the Fine Arts and the Philadelphia School of Design for Women. Best known for his print collection, he began by collecting paintings by American artists, ca. 1840. In 1877, he sold his painting collection in order to devote his efforts to his print collection. His private gallery in Philadelphia was open to visitors, and selections from the Claghorn Collection were exhibited in other cities. After his death, his print collection was purchased by Thomas Harrison Garrett, and thereafter was known as the Garrett Collection. After being on long-term loan to the Library of Congress between 1904 and 1930, the collection is now owned by the Baltimore Museum of Art.
Related Materials:
Also in the Archives on microfilm only are papers lent for microfilming by the Philadelphia Maritime Museum (reel 3581), including: letters and receipts addressed to Claghorn document the purchase and sale of American and European paintings and prints (1849-1856). There are also inventories of shipments. Letters frequently include titles and prices.
Provenance:
Materials on reel 3581 were borrowed for filming from Philadelphia Maritime Museum. Materials on reel 3580 were borrowed for filming from John W. Claghorn on July 16, 1985, and were later donated to the Archives of American Art by his descendant Frederic S. Claghorn along with additional letters appearing on reel 4152. Material on reel 4131 was donated by Mabel Claghorn Bulkeley, granddaughter of James L. Claghorn.
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.
Scrapbook of Irving Wiles containing many original letters and sketches glued in place; sketchbook of Robert Henri with loose sketches and one notebook containing some original sketches, also photocopies of sketches already removed, names of pupils, dates and amounts paid; letters, many illustrated, to William Merritt Chase from Robert Blum; a sketchbook of John F. Kensett; a copy of a book, RIP VAN WINKLE, illustrated by Everett Shinn.
Biographical / Historical:
Galleries founded in 1916 in Brussels and London; in 1923 in New York City. Active as of 1983. Chapellier Galleries collected primarily important American paintings 1840-1940, and represented virtually all significant American painters of the period in their collections. The Chapellier Galleries sometimes acted as sole agents for the works in artists' estates; the Robert Henri estate, a notable example.
Provenance:
Lent for microfilming 1968 by the Chapellier Galleries.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of art historian, art critic, author, librarian and educator Ellen Hulda Johnson measure 60.3 linear feet and date from 1872-2018, with the bulk of the material dating from 1921-1992. The papers include biographical materials; personal and family files; personal, professional, and business correspondence; extensive research and writing files; teaching files; subject files; professional and curatorial files; and artists' files. Johnson's papers reflect the full range of her career, interests, and close relationships with many artists.
Scope and Contents:
The papers of art historian, art critic, author, librarian and educator Ellen Hulda Johnson measure 60.3 linear feet and date from 1872-2018, with the bulk of the material dating from 1921-1992. The papers include biographical materials; personal and family files; personal, professional, and business correspondence; extensive research and writing files; teaching files; subject files; professional and curatorial files; and artists' files. Johnson's papers reflect the full range of her career, interests, and close relationships with many artists.
Personal papers consist of biographical materials and personal and family files, including "memorabilia" files compiled by Johnson. Correspondence is a mix of personal, business, and professional correspondence. Significant correspondents include David Saunders (who painted a portrait of Johnson), Claes Oldenburg, Jack Tworkov, Robert Venturi, the American Scandinavian Foundation. A folder of correspondence compiled for the Archives includes letters from Alfred Stieglitz, Wendell Wilkie, Carl Milles, Jim Dine, and Alexander Archipenko.
Extensive and comprehensive writing and research project files include articles, lectures, presentations, manuscripts, notes and notebooks, including her class notebooks from courses she attended in Paris in 1935, and additional notes and notebooks on a wide variety of subjects. The numerous articles, lectures, papers, and drafts were written primarily by Johnson for the College Art Association, the Allen Memorial Art Museum bulletin, and numerous additional publications and presentations; but there are also writings by others included in the research files. Major writing projects and related research files cover Scandinavian art, the Ossabaw Island artist's colony, Cezanne, Eva Hesse, John Frederick Kensett, Claes Oldenburg, Picasso, David Saunders, Athena Tacha, Pop Art, and many other topics. Johnson's research files, manuscripts, correspondence, and photographs for major exhibitions, including one on Eva Hesse (1982) and for her published books including American Artists on Art from 1940-1980 (1982), Claes Oldenburg (1971), Fragments Recalled at 80: The Art Memoirs of Ellen H. Johnson (1993), and Modern Art and Object (1976) are arranged with the writing project files. Johnson's bibliographic index cards are found here as well.
The collection contains extensive teaching files for courses taught by Johnson at Oberlin and as a visiting professor at other institutions; professional and curatorial files reflecting her curatorial career at Allen Memorial Art Museum, as a consultant, jury member, and continuing education courses she later attended, including the Baldwin Lecture Series; and 18 linear feet of artist's files assembled by Johnson.
Arrangement:
The Ellen Hulda Johnson papers are arranged into seven series:
Series 1: Personal Papers, circa 1905-2009 (5 linear feet; Boxes 1-2, 56-59)
Series 2: Correspondence, 1927-2009 (5.5 linear feet; Boxes 3-7, 60)
Series 3: Writing and Research Projects, 1872, 1932-1994 (15.5 linear feet; Boxes 7-20, 56, 61-62)
Series 4: Subject Files, 1930-1993 (5 linear feet; Boxes 21-25, 62)
Series 5: Teaching Files, 1928-1989 (6 linear feet; Boxes 26-31, 62)
Series 6: Professional and Curatorial Files, 1936-1991 (6 linear feet; Boxes 32-37, 56)
Series 7: Artists Files, 1935-1992 (18.3 linear feet; Boxes 37-55, 62)
Biographical / Historical:
Ellen Hulda Johnson (1910-1992) was an art historian, critic, and professor who worked and taught at Oberlin College in Ohio for most of her career.
Ellen Hulda Johnson was born in 1910 in Warren, Pennsylvania. She received her Bachelor's and Master's degrees in art history at Oberlin in 1933 and 1935. She worked briefly at the Toledo Museum of Art before returning to Oberlin as the art librarian. In 1940 she started Oberlin's art rental program, the first of its kind in the country. She was appointed to the faculty in 1948 and taught nineteenth and twentieth century art, American art from colonial times to the present, contemporary art, and Scandinavian art. She was a member of the Allen Memorial Art Museum's acquisition committee and appointed honorary curator of modern art in 1973. She remained at Oberlin her entire career, retiring from teaching in 1977.
Johnson was the author of numerous articles, books, and exhibition catalogs including Cezanne (Penquin, 1967); Claes Oldenburg (Penquin, 1971); American Artists on Art from 1940-1980 (Harper and Row, 1982); and Modern Art and the Object (Thames and Hudson, 1976).
In 1968, Johnson purchased the Frank Lloyd Wright-designed Weltzheimer house in Oberlin, and spent a considerable part of her time and money restoring the building where she lived the rest of her life. She bequethed the house and her significant art collection to Oberlin upon her death in 1992.
Related Materials:
Papers of Ellen H. Johnson, 1933-1992, are also located at Oberlin College Archives.
Separated Materials:
Shortly after aquisition, the Archives transferred Ellen Hulda Johnson's vertical file (16 linear feet) of clippings, press releases, and exhibition announcements to the library of the Smithsonian American Art Museum and National Portrait Gallery.
Provenance:
The Ellen Hulda Johnson papers were donated in 1994, 1998, and 2019 by the estate of Ellen Hulda Johnson via exectutor Athena Tacha.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington D.C. Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
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.
Ellen Hulda Johnson papers, 1872-2018, bulk 1921-1992. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Correspondence, including two letters to engraver and landscape painter John Frederick Kensett, 1832-1833, four to his son, John W. Casilear, Jr. 1891-1892; typed excerpts from a diary kept by Kensett, 1840-1841; genealogical and biographical material including family documents, articles and publication extracts about Casilear, compiled and/or annotated by Grace Casilear Burr, John W. Casilear, Jr., and historian Foster Wild Rice; five original Casilear engravings; reproductions of art works; lists of art work; and family photographs, including a daguerreotype of Casilear, and two unidentified ambrotypes.
Biographical / Historical:
Engraver, painter. The Casilear family were engravers of bank notes. In 1840, Casilear along with friends John Frederick Kensett, Asher B. Durand and others, went to Europe to study art.
Provenance:
Donated by Lawrence Fleischman, who received them from Foster Wild Rice, 1962. Rice, the great-grandson of bank note engraver Nathaniel Jocelyn, wrote a brief history of the Jocelyn family of engravers, The Jocelyn Engravers (1948), with whom Casilear was associated in the bank note engraving business. He acquired the papers from Grace Casilear Burr (d. 1906), and Miss Elinor Woolson, Casilear descendents.
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.
Primarily research material on 19th century artists, engravers and photographers of New Hampshire views.
UNMICROFILMED: Correspondence related to Campbell's research, undated and 1972-1983; manuscripts for Campbell's book, CRAWFORD NOTCH (Chapters I -VII); articles and lecture notes on White Mountain (N.H. and Me.) artists and early photography in N.H.; research files for the 1980 exhibition and catalog "The White Mountains: Place and Perceptions"; research and card files on N.H. sites and on 19th and 20th century artists who lived in or painted scenes of the White Mountains, including Samuel Bemis, Albert Bierstadt, James Buckley, Benjamin Champney, Thomas Cole, William Derrick, Sanford Gifford, Edward Hill, John Kensett, Henry Pratt, F.H. Shapleigh, Aaron Shattuck, Benjamin Stone and others. Also included are exhibition catalogs and announcements for New Hampshire artists.
REEL 3134: A Christmas card with a short personal note from Edward and Jo Hopper, 1944, and a letter to the Crawford J. Campbell family, June 7, 1946, from Jo Hopper. She responds to news of the Campbell family in Chicago, comments on the possibility that Hopper's Washington Square studio may be annexed by New York University, and on their trip to Mexico.
Biographical / Historical:
Artist, art historian, summer resident at Center Harbor, N.H. Born 1916. Died 1989.
Provenance:
Material on reel 3134 donated 1971 and 1978 by Campbell. Unmicrofilmed material donated 1990 by Joanna Campbell Dellenbaugh, Campbell's daughter.
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.
A letter to Warren from Kensett, 1861, concerning pictures for an exhibition organized by Warren, and four letters from Boughton, 1893-1894, referring to illustrations Boughton did for Warren.
Provenance:
Purchased 1964 from Kingston Galleries by the Archives of American Art.
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.
Brumbaugh, Thomas B. (Thomas Brendle), 1921- Search this
Extent:
11 Items (Letters, written in ink, ball point, graphite)
1 Photograph
Type:
Archival materials
Photographs
Correspondence
Date:
1818-1847
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 by Robert Reid, Hugo Robus, Thomas Prichard Rossiter, Eugene Speicher, John Greenleaf Whittier and Peter A.B. Widener.
Arrangement:
Organized alphabetically by author.
Biographical / Historical:
Erastus D. Palmer was an American sculptor. He sculpted portrait busts and religious bas-reliefs in a style that combined neoclassical idealism and realism. His most famous sculpture is "The White Captive," which depicts a young girl who has been captured by Native Americans.
Robert Reid was an American artist who studied in New England and Paris. He began by painting French peasants, but became known for his murals and stained glass designs. Some of his work can be found in the Congressional Library in Washington, D.C.
Hugo Robus was an American painter and sculpture from Ohio. He studied in the United States and Paris, and then taught at the Modern Art School in New York. He worked in a very lyrical cubist style, usually with people as his subject.
Thomas Prichard Rossiter was an American painter born in New Haven, Connecticut. He traveled throughout Europe, painting portraits along the way, and he kept a studio in Paris. He painted mostly portraits, but also completed a series of paintings depicting the life of Christ.
John Frederick Kensett was an American artist and engraver who worked in New Haven, Connecticut, and New York City.
Henry Rox was a German artist who studied in Berlin and Paris before settling in the United States in 1938, where he taught at many universities, including Mount Holyoke College. He is known for fruit and vegetable photo-sculptures.
Eugene Speicher was an American realist painter from Buffalo, New York. He attended the Art Students League, and then studied in Europe for a few years. He was considered a leading portrait artist in America at the time, favoring female subjects. Speicher won numerous awards for his work, and was appointed Director of the American Academy of Arts and Letters in 1945.
Max Weber was a Russian-born Jewish-American cubist. He studied with Matisse, Rousseau, and Picasso in Paris. Weber helped introduce cubism to America.
John Greenleaf Whittier was an American Quaker poet. Whittier was an ardent abolitionist who was extremely influenced by the doctrines of humanitarianism, compassion, and social responsibility found in Quakerism. He was a founding member of the American Anti-Slavery Society, and worked as a lobbyist. He is remembered today for his patriotic poetry, and his poems that were later turned into hymns.
Paul Hayne was an American poet who Whittier references in his letter to the publishers Houghton, Mifflin & Co. Hayne had just died, and his son, W.H. Hayne, wanted to edit his later poems for publication.
Widener (1834-1915) was an American businessman from Pennsylvania. During the Civil War, he supplied meat to the Union Army. By investing in trolley cars and public transit services, Widener became quite successful and wealthy. He was an avid art collector whose collection included works by Rembrandt, Edouard Manet, and Auguste Renoir. He is considered one of the top 100 wealthiest Americans of all time.
Local Numbers:
FSA A2009.06 6
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.
