Search Results

Creator:

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

Subject:

Stella, Joseph  Search this

Warren, Whitney  Search this

Mauer, Alfred  Search this

Benson, Frank Weston  Search this

Blashfield, Edwin Howland  Search this

Zorach, William  Search this

Gay, Walter  Search this

Gussow, Bernard  Search this

Bouché, Louis  Search this

Cortissoz, Royal  Search this

Pan-American Exposition (1901: Buffalo, N.Y.)  Search this

Société des artistes français  Search this

Exposition d'artistes de l'école Américaine (1919 : Paris, France)  Search this

American Rights Committee  Search this

American Artists' Committee of One Hundred  Search this

Lotos Club (New York, N.Y.)  Search this

Musée d'histoire et d'art (Luxembourg)  Search this

Committee for the Exhibition of American Painting and Sculpture (Paris, France)  Search this

Type:

Scrapbooks

Photographs

Citation:

William Anderson Coffin papers, 1886-1924. Archives of American Art, Smithsonian Institution.

Topic:

Harper's Weekly  Search this

New York Post  Search this

Art Exhibitions France Paris  Search this

Landscape painters -- New York (State) -- New York  Search this

Art, American  Search this

World War, 1914-1918  Search this

Theme:

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)7476

(DSI-AAA_SIRISBib)209634

AAA_collcode_coffwill

Theme:

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209634

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2016-11-14T20:53:46.000Z

YouTube Category:

Travel & Events  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_u7g2L9Dw8ZY

Creator:

Kienbusch, William, 1914-1980  Search this

Names:

Clifford, Stanley  Search this

Davis, Stuart, 1892-1964  Search this

Kraushaar, Antoinette M., 1902-1992  Search this

Maitland, Walter McClymonds, 1912-1989  Search this

Poor, Henry Varnum, 1887-1970  Search this

Rattner, Abraham  Search this

Schrag, Karl  Search this

Tam, Reuben  Search this

Extent:

5 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Drawings

Drafts (documents)

Visitors' books

Sketchbooks

Notes

Notebooks

Date:

1915-2001

bulk 1936-1980

Summary:

The papers of landscape painter and art instructor William Kienbusch measure 5.0 linear feet and date from 1915 to 2001, with the bulk of the materials dating from 1936 to 1980. The collection documents Kienbusch's life as an artist in New York City and Cranberry Island, Maine. Files include biographical material; correspondence with family, friends, and colleagues; writings and notes; scattered printed material; photographs; and artwork, including 17 sketchbooks.

Scope and Content Note:

The papers of landscape painter and art instructor William Kienbusch measure 5.0 linear feet and date from 1915 to 2001, with the bulk of the materials dating from 1936 to 1980. The collection documents Kienbusch's life as an artist in New York City and Cranberry Island, Maine. Files include biographical material; correspondence with family, friends, and colleagues; writings and notes; scattered printed material; photographs; and artwork, including 17 sketchbooks.

Biographical materials include military records, identification and membership documents, guestbooks, and an album entitled "Book of Friendship" containing short notes written by friends for Kienbusch on the occasion of his 60th Birthday. Also of note is copy of the "In Memoriam" written for Kienbusch by Karl Schrag.

The bulk of the papers consist of family and general correspondence. Family correspondence includes letters from Kienbusch to his parents regarding school, summer camps, travel, and the army. General correspondence includes many letters he sent to his close friend, Stanley Clifford, as well as letters from friends and associates, such as Stuart Davis, Antionette Kraushaar, Walter Maitland, Henry Varnum Poor, Abraham Rattner, Karl Schrag, Reuben Tam, and others.

Writings and notes include scattered notes, lists, and draft writings, as well as three notebooks, including one on casein technique. Printed material includes several armed forces publications and maps from World War II, clippings, and press releases. Photographs are of William Kienbusch, including two snapshots of Kienbusch with friends Dorothy Andrews and Reuben Tam. Also found are numerous travel and nature photographs. Artwork includes drawings created by Kienbusch while on his military tour in Guam and seventeen sketchbooks containting drawings in pencil, ink, and pastel.

Arrangement:

The collection is arranged as 6 series:

Missing Title

Series 1: Biographical Material, 1915-1980 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1920-2001 (Box 1-3; 2.3 linear feet)

Series 3: Writings and Notes, circa 1940s-1970s (Box 3; 0.2 linear feet)

Series 4: Printed Material, circa 1937-1980 (Box 3; 0.2 linear feet)

Series 5: Photographs, circa 1920-1980s (Box 3-5; 1.3 linear feet)

Series 6: Artwork, circa 1930s-1970s (Box 5; 0.8 linear feet)

Biographical Note:

William Kienbusch (1914-1980) was a painter and art instructor in New York, NY, and Cranberry Island, Maine.

Kienbusch was born in New York City and attended boarding school at Hotchkiss Preparatory school, where he was taught painting by Robert Osborn. During the summers of 1934 and 1935, while attending Princeton University, he studied watercolor with Eliot O'Hara at Goose Rocks Beach, Maine. After graduating from Princeton in 1936, he attended the Art Students League, studied with Henry Varnum Poor at the Colorado Springs Fine Arts Center, and spent a year in Paris, studying at the Academie Colarossi. During this time he also had the opportunity to travel throughout Europe before the outbreak of World War II. He returned to New York City in the winter of 1938 and settled in Greenwich Village, at one point living above artist Stuart Davis.

Kienbusch spent the summers of 1940 and 1941 in Stonington, Maine. Here he found his true identity as an abstract expressionist landscape painter. During World War II he served in the Army, teaching camouflage design and making maps in Guam. When he returned to New York in 1946, he began painting in casein rather than oils or watercolor. In 1947 he joined Kraushaar Galleries, which would continue to be his dealer for the remainder of his career. From 1948 to 1969 he taught at the Brooklyn Museum of Art School and spent summers in Maine. Kienbusch lost much of his artwork and personal papers in a 1969 fire at his New York studio apartment. His work is included in the collections of the Museum of Modern Art, Whitney Museum of American Art, and the Metropolitan Museum of Art among many others. After several years of poor health, Kienbusch died in 1980.

Related Material:

Also found in the Archives of American Art is the Walter Maitland correspondence with and about William Kienbusch, 1969-1981; the William Kienbusch letters to Francis and Sydney Hamabe, 1958-1977; the Thomas Barrett and Leni Mancuso papers relating to William Kienbusch, 1950-1980; and an oral history interview with William Kienbusch conducted by Forrest Selvig, November 1-7, 1968.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming (reel N70-22) including a scrapbook of clippings, exhibition catalogs, photographs of Kienbusch, letters, writings, and two journals describing his travels in Europe and Asia. Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

William Kienbusch lent materials for microfilming in 1970. Other papers were donated by his sisters, Millicent Kelly and Juliana Little, and his friend Stanley Clifford as co-executives of the Kienbusch estate from 1985-1991. Stanley Clifford donated additional materials in 2008 and 2010.

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.

Occupation:

Art teachers -- New York (State) -- New York  Search this

Topic:

Landscape painters -- New York (State) -- New York  Search this

Painting, Abstract -- United States  Search this

Painting, American  Search this

World War, 1939-1945  Search this

Painting -- Technique  Search this

Painters -- New York (State) -- New York  Search this

Genre/Form:

Photographs

Drawings

Drafts (documents)

Visitors' books

Sketchbooks

Notes

Notebooks

Citation:

William Kienbusch papers, 1915-2001, bulk 1936-1980. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kienwill

See more items in:

William Kienbusch papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90ba7980f-7579-4077-833b-4d352662490e

EDAN-URL:

ead_collection:sova-aaa-kienwill

Creator:

Myers, Frank Harmon, 1899-1956  Search this

Names:

Bunker, John  Search this

Myers, Ella Price  Search this

Extent:

2.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1891-1976

bulk 1908-1960

Summary:

The papers of painter Frank Harmon Myers measure 2.2 linear feet and date from 1891 to 1976, with the bulk of the records dating from 1908 to 1963. The records shed light on the artist's career in Ohio and California through biographical materials, personal and professional correspondence, artwork, printed materials, and photographic materials.

Scope and Contents:

The papers of painter Frank Harmon Myers measure 2.2 linear feet and date from 1891 to 1976, with the bulk of the records dating from 1908 to 1963. The records shed light on the artist's career in Ohio and California through biographical materials, personal and professional correspondence, artwork, printed materials, and photographic materials.

Biographical materials include Myers' resume, letters that confirm some of the courses he studied and taught, one membership list and meeting minutes of the Carmel Art Association, notes from a Myers art lecture on Sante Fe, one sales ledger, and drafts and notes of "And The Glory," a biography on Myers written by his wife, Ella Price Myers. Correspondence is a mixture of personal and professional letters, shedding light on Myers' freidnships, personal and professional relationship with his wife, and his travels. Correspondents include artists Sheldon Dixie and Albert Berne, poet and advertiser John Bunker, Myers' nephew Sheldon, and his son Frank. The series also includes a map that of the United States on which Myers traced his sketching trips, 1926 to 1950, a cartoon by Herman Wessel, and clippings related to John Weis. Printed materials include newspaper and magazine clippings concerning Myers' artwork, career, and exhibitions, a series of advertisements illustrated by Myers, two lithographs of his artwork, and some exhibition ephemera. Artwork consists of childhood drawings by Myers of Native Americans, holiday themes, and portraits; later sketches, mostly in charcoal and pencil, include figure and portrait studies, city scenes, and several still lifes; one 1916 landscape painting by Myers, cloth with a linoleum block design, paint samples from Myers' studio, and small sketches and doodles drawn on scraps of paper. Photographic materials depict Myers' artwork, portraits of the artist, his family and friends, and his home in Pacific Grove.

A fair amount of the collection's files include notes with contextual information written by Ella Price Myers.

Arrangement:

The collection is arranged as five series.

Series 1: Biographical Materials, 1891-1976 (Box 1; .2 linear feet)

Series 2: Correspondence, 1921-1973 (Box 1-2; 1 linear feet)

Series 3: Printed Materials, 1924-1963 (Box 2, OV 3; .5 linear feet)

Series 4: Artwork, circa 1908-1956 (Box 2, OV 4; .6 linear feet)

Series 5: Photographical Materials, 1910-1962 (Box 2; 4 folders)

Biographical / Historical:

Frank Harmon Myers (1899-1956) was an impressionist painter and art educator who lived in Cincinnati, Ohio, and Pacific Grove, California. Myers was born in Cleves, Ohio, and moved to Cincinnati around 1907. His interest in art took off prior to his teenage years, illustrating a series of body-length portraits of Native Americans, several landscapes, and art with holiday themes. Myers studied at the Art Academy of Cincinnati under Frank Duveneck, H. H. Wessel, and John Ellsworth Weiss; took a summer course at the Pennsylvania Academy of Fine Arts under Daniel Garber, Hugh Henry Breckenridge, and Joseph Thurman Pearson Jr.; and the School of Fine Arts at Fontainebleau, France, under Jean Despujols and Gourguet. Myers began showing his art at the Closson Galleries circa 1920 and taught at the Art Academy of Cincinnati from 1921 to circa 1941. In 1932, Myers spent a year on sabbatical in Sante Fe, New Mexico, painting animals, people, ranches and farms, villages, and landscapes. He and his wife, Ella Price Myers, moved to Pacific Grove, California, in 1940 so that Myers could pursue painting full-time. His work was frequently exhibited at the Carmel Art Association from this point onwards, with additional solo shows at Pebble Beach Galleries, San Jose State College, M. H. De Young Museum, Crocker Art Gallery, and others. Myers paintings were featured in group exhibitions at The Salon, Paris, Harlow Galleries, New York, St. Louis City Museum, Missouri, Alright Museum, New York, and more. Myers served as president of the Carmel Art Association in 1953.

Separated Materials:

The Archives of American Art also holds one scrapbook of Frank Myers publicity, circa 1925-1945, lent for microfilming on reel D42. Loaned materials were returned to Ella Price Myers and are not described in the collection container inventory.

Provenance:

The collection was donated by Ella Price Myers, Myers' widow, from 1960 to 1974. An addition was donated in 1994 by Myers' daughter-in-law Patricia Clarke Myers, ex-wife of Myers' only son Frank P. Myers.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Occupation:

Educators -- Ohio -- Cincinnati  Search this

Landscape painters -- Ohio -- Cincinnati  Search this

Painters -- Ohio -- Cincinnati  Search this

Painters -- California -- Monterey  Search this

Topic:

Painting, American  Search this

Impressionism (Art) -- United States  Search this

Citation:

Frank Harmon Myers papers, 1891-1976. 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.

Identifier:

AAA.myerfran

See more items in:

Frank Harmon Myers papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9077c2193-4a6b-4502-a980-af9b71db1d43

EDAN-URL:

ead_collection:sova-aaa-myerfran

Creator:

Cushing, Lily Emmet, 1909-1969  Search this

Subject:

Onassis, Jacqueline Kennedy  Search this

Frankfurter, Alfred M.  Search this

Graham, Katharine  Search this

Kefauver, Nancy  Search this

Bernstein, Henri  Search this

Chiang, May-ling Soong  Search this

Kuhn, Walt  Search this

Zhonghua fu nü fan gong kang E lian he hui  Search this

Maynard Walker Gallery  Search this

Type:

Postcards

Notebooks

Photographs

Typescripts

Paintings

Citation:

Lily Emmet Cushing papers, 1929-1972. Archives of American Art, Smithsonian Institution.

Topic:

Landscape painting  Search this

Women artists  Search this

Women painters  Search this

Theme:

Women  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9463

(DSI-AAA_SIRISBib)211661

AAA_collcode_cushlily

Theme:

Women

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211661

Container:

Box 1 of 1

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Accession 08-057, Smithsonian American Art Museum, Curatorial Office, Exhibition Records (Declined)

See more items in:

Exhibition Records (Declined)

Exhibition Records (Declined) / Box 1

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-fa08-057-refidd1e1111

Creator:

Weir family  Search this

Names:

McGuigan, John F., Jr. (John Fuller)  Search this

McGuigan, Mary K.  Search this

Perry, Edith Weir, 1875-  Search this

Weir, John F. (John Ferguson), 1841-1926  Search this

Weir, Julian Alden, 1852-1919  Search this

Weir, Robert Walter, 1803-1889  Search this

Extent:

0.8 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Date:

1809-circa 1961

bulk 1830-1920

Summary:

The papers of the prominent New York and Connecticut Weir family of artists measure 0.8 linear feet and date from 1809-circa 1961, with the bulk of the material dating from 1830-1920. The papers are a collection of correspondence and photographs that constitute a small but vivid record of the influence and relationships of this family of Hudson River School, landscape, and miniature painters. Correspondence consists primarily of letters to painter John Ferguson Weir when he was director of the Yale School of Fine Arts, with scattered letters to his daughter Edith Weir (Perry), and a small amount of correspondence of Robert Weir, his daughter Carrie M. Mansfield, son-in-law Lewis William Mansfield, and Julia Bayard. Letters to John F. Weir are from many late-19th century artists, as well as actors, poets, lawyers, scholars, and clergymen, often concerning arrangements for visiting lectures at the school. Photographs are of Robert Walter Weir, Susan Bayard Weir, Julian Alden Weir, and artwork.

Scope and Contents:

The papers of the prominent New York and Connecticut Weir family of artists measure 0.8 linear feet and date from 1809-circa 1961, with the bulk of the material dating from 1830-1920. The papers are a collection of correspondence and photographs that constitute a small but vivid record of the influence and relationships of this family of Hudson River School, landscape, and miniature painters. Correspondence consists primarily of letters to painter John Ferguson Weir when he was director of the Yale School of Fine Arts, with scattered letters to his daughter Edith Weir (Perry), and a small amount of correspondence of Robert Weir, his daughter Carrie M. Mansfield, son-in-law Lewis William Mansfield, and Julia Bayard. Letters to John F. Weir are from many late-19th century artists, as well as actors, poets, lawyers, scholars, and clergymen, often concerning arrangements for visiting lectures at the school. Photographs are of Robert Walter Weir, Susan Bayard Weir, Julian Alden Weir, and artwork.

There are approximately 275 letters to John Ferguson Weir, some of which enclose sketches, photographs, and printed writings. The letters of Hudson River School artists including Frederic Edwin Church, Thomas Cole, Sanford Robinson Gifford, Jervis McEntee, and Worthington Whittredge, capture a sense of the intense ties those artists felt to the landscape and to each other. Often the correspondents mention their fellow artists in their letters in personal as well as professional terms, writing of family, friendships, visits to each other's homes, practical arrangements for delivering, retrieving, and exhibiting artwork, and their shared artistic aspirations, successes, and disappointments.

Many of the letters are responses from lawyers, scholars, clergymen, writers, and educators in reply to Weir's requests to speak at the Yale School of Fine Arts. Taken together the letters, which often go beyond routine matters to extend to more personal affairs, reveal the warm esteem in which Weir was held, not only in his capacity as director of the school but as an artist and a friend. The letters, such as those from Laura Hills, Lucia Fairchild Fuller, Adele Herter, and Candace and Dora Wheeler, also document the Weir family's friendships with and encouragement of women artists, at a time of limited support for women in the arts. Also of note are letters from actors Edwin Booth and Joseph Jefferson, who were both friends of John F. Weir.

Letters of Robert Weir and extended Bayard and Mansfield family members relate primarily to family affairs. Photographs of Julian Alden Weir, Robert W. Weir, and Susan Bayard Weir include professional portraits and candid family shots, as well as photographs of two sketches of Julian Alden Weir and two miscellaneous photos of artwork.

Arrangement:

Due to the small size of the collection, the Weir family papers are arranged as one series.

Biographical / Historical:

The New York and Connecticut Weir family of artists included painter and West Point professor Robert Walter Weir (1803-1889), his sons John Ferguson Weir (1841-1926) and Julian Alden Weir (1852-1919), and granddaughter Edith Weir (Perry) (1875-1955).

Julian Alden Weir was a renowned American Impressionist painter and a founding member of "The Ten," a loosely allied group of American artists dissatisfied with some of the established professional art organizations of the time who exhibited their work as a unified group. He also taught at the Women's Art School of the Cooper Union in New York.

John Ferguson Weir became acquainted with many of the rising young artists of his day when he took a room in the Tenth Street Studio in his early twenties and developed proficiency in landscape and still life painting. Like his brother, he then studied art abroad and returned to become director and later dean of the School of Fine Arts at Yale University from 1869-1913.

John Ferguson Weir married Mary Hannah French in 1866. Their daughter, Edith Weir Perry, was a noted miniature painter who studied under Lucy Fairchild Fuller.

Related Materials:

The Archives of American Art also holds the microfilm (Reels 70-71, 125-126, 577) for the Julian Alden Weir papers, 1869-1966, including correspondence (mostly typed transcripts); scrapbooks; photographs; sketches; notebooks and scrapbooks and clippings compiled by Dorothy Weir Young in preparation for her book, The Life and Letters of J. Alden Weir (1960, Yale University Press).

Additional Weir family records are held by the Yale University Archives. The records form part of the material previously lent to the Archives of American Art for microfilming by Reverend DeWolf Perry, and described above as separated materials.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming by Reverend DeWolf Perry. Included on reels 529-531 are correspondence of John Ferguson Weir, much of it with his brother Julian Alden Weir, with his future wife which he wrote while serving in the Civil War, and with artists; 77 letters, 1823-1881, of Robert W. Weir with members of the Congress and War Dept. regarding commissions, and with artists and others, including Horatio Greenough, William Page, Thomas Cole, William Cullen Bryant, and George P. Morris; a pocket diary of John F. Weir, 1860, with occasional poems and sketches; 2 sketchbooks, and 71 drawings, watercolors, and oils by John F. Weir; 3 sketchbooks and 165 original drawings, lithographs, watercolors and oils by Robert Weir; 4 portraits of John F. by others; sheet music with words and lithograph on the cover by Robert; 81 photographs of John and Robert, family, and work; exhibition material of Robert; a list of John F. Weir's paintings with prices; drafts of Robert W. Weir, Artist by Irene Weir (1947); and a typescript of a biography of John F. Weir by his daughter, Edith Weir (Perry); genealogical material; and clippings. Reel 533 includes a typescript of "The Story of My Life: The Inner Life of a Human Soul," by Mary French Weir, ca. 1920 (94 p.), and a typescript of a biography of her mother, Clara Miller-French, ca. 1920 (28 p.). Reel 565 contains family correspondence, 1866-1927, of Mary French Weir; an excerpt from the French family genealogy; and an obituary of Mary French Weir written by her daughter Edith Weir Perry. Reel 936 contains a sketchbook, 1826, by Robert Weir, of figures, statues, and buildings in Rome done while a student. The drawings are in pencil, ink wash, and pen and ink. (111 p.); reel 949 contains three sketchbooks, 1869-1902, by John F. Weir, done in watercolor, pencil and ink wash. (69 p.), of landscapes, figures, and heads of individuals in Italy, Switzerland, Dordricht, Holland, and France.

Loaned materials were returned to the donor and are not described in the collection container inventory.

Provenance:

Photographs were given to the Archives of American Art in 2019 by Mary and John McGuigan, Jr. Letters to John Ferguson Weir were donated by Harold O. Love in 1961. Material on reels 529-531, 533, 565, 936 and 949 was lent for microfilming 1973-1975 by Rev. DeWolf Perry, grandson of John F. Weir. He also donated two photographs in 1975. The donor and date of acquisition of the manuscript draft of Julian Alden Weir's biography are unknown.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Occupation:

Landscape painters -- New York (State) -- New York  Search this

Miniature painters -- New York (State) -- New York  Search this

Topic:

Women painters  Search this

Hudson River school of landscape painting  Search this

Genre/Form:

Drawings

Citation:

Weir family papers, 1809-circa 1961. 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.

Identifier:

AAA.weirweir

See more items in:

Weir family papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ccba1ad3-1d32-4462-b119-2f2587caf3c0

EDAN-URL:

ead_collection:sova-aaa-weirweir

Artist:

Fairfield Porter, 10 Jun 1907 - 18 Sep 1975  Search this

Sitter:

Elizabeth Porter, born 1956  Search this

Fairfield Porter, 10 Jun 1907 - 18 Sep 1975  Search this

Formerly identified as:

Katharine Minot Porter, born 1949  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 182.9 x 152.4cm (72 x 60")

Frame: 184.8 × 154.3 × 4.1cm (72 3/4 × 60 3/4 × 1 5/8")

Type:

Painting

Date:

1966

Topic:

Artwork\Painting  Search this

Architecture\Window  Search this

Interior\Domestic  Search this

Home Furnishings\Furniture\Seating\Stool  Search this

Container\Bottle  Search this

Architecture\Building  Search this

Home Furnishings\Curtain  Search this

Home Furnishings\Stove\Wood stove  Search this

Fairfield Porter: Male  Search this

Fairfield Porter: Visual Arts\Artist\Portraitist  Search this

Fairfield Porter: Visual Arts\Artist\Painter\Landscape painter  Search this

Fairfield Porter: Visual Arts\Art critic  Search this

Fairfield Porter: Journalism and Media\Magazine editor  Search this

Elizabeth Porter: Female  Search this

Portrait  Search this

Credit Line:

Owner: The Nelson-Atkins Museum of Art

Object number:

F86-25

Restrictions & Rights:

Usage conditions apply

Copyright:

Photography by Jamison Miller

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm43f7df8ed-478d-4594-951c-0f59f295c18b

EDAN-URL:

edanmdm:npg_F86-25

Creator:

Parshall, DeWitt, 1864-1956  Search this

Names:

Harrison, Thomas Alexander, 1853-1930  Search this

Hyde, William H. (William Henry), 1858-1943  Search this

Peters, Charles Rollo, 1862-1928  Search this

Potthast, Edward, 1857-1927  Search this

Extent:

0.2 Linear feet ((93 items on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1898-1932

Scope and Contents:

Photographs, including one with George and Nina Stevens at the 1917 exhibition of Parshall's work at the Toledo Museum, and two photographs of Alexander Harrison's art class in Paris with Parshall, William Hyde, Alexander Harrison, Edward H. Potthast, and Charles Rollo Peters. Also, includes correspondence; notes, some with sketches; writings on painting, sculpture, and visual techniques; and printed miscellany.

Biographical / Historical:

Painter, landscape painter; Santa Barbara, California.

Provenance:

The donor, Douglass E. Parshall, is DeWitt Parshall's son.

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:

Landscape painters  Search this

Painters  Search this

Topic:

Painting -- California -- Santa Barbara  Search this

Landscape painting -- California -- Santa Barbara  Search this

Art -- Study and teaching -- France -- Paris -- Photographs  Search this

Identifier:

AAA.parsdewi

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw957ab3c16-3d71-41f1-92cb-ecd2616c7b1c

EDAN-URL:

ead_collection:sova-aaa-parsdewi

Creator:

Bernard, Francois  Search this

Artist:

Bernard, Francisco ?  Search this

Extent:

1 Photograph (8x10 in)

Culture:

Choctaw  Search this

Type:

Archival materials

Photographs

Place:

Louisiana -- Terrebonne Parish -- Bonfouca

Date:

1869

Scope and Contents:

In the catalog of the Bushnell collection in the Peabody Museum, Harvard there is the following entry: Bernard, Francois. Born in Paris, France: died in Tonkin, French Indo-China. Did most of his work in New Orleans where he made a fortune with his pastels. Probably born in Paris between the years 1820-1830 and probably went to the United States in 1856. Bushnell's notes. 27. Choctaw village near the Chefuncte. (47) 48 1/2" x 34 1/2". Purchased from Stein's Auction Exchange, New Orleans, by Mr Bushnell, November 1, 1921, according to recepted invoice (100.00 dollars). There is no indication that the Peabody Museum has made a negative.(Bureau of American Ethnology Negative Number 2860 ZZ 1)

Letter of Mrs Katherine B. Edsall, Peabody Museum, December 15, 1965 reports that the painting has just been cleaned and "the painting is signed very legibly "Bernard 1869"and it is not possible to mistake the signature for anthing else."

Biographical / Historical:

Groce & Wallace, 1957 (The New York Historical Society Dictionary of Artists in America), page 46 list a Francisco Bernard as a portrait and landscape painter who was in New Orleans from 1856 to 1860, and returned there in 1867.

Judging from this and from Bushnell's own note quoted in the Peabody catalog, Bushnell was mistaken when he gave the date as 1846 in the caption of Plate 11, in Bureau of American Ethnology Bulletin 69, 1919, and stated in his text that the picture was made "the next year" after Pere Roquette erected his first chapel in 1845.

What he actually says is (page 64): "A part of this settlement as it was the next year is shown in Plate 11, this being a reproduction of a painting made by Bernard, bearing the date 1846." Perhaps the people at Peabody could examine the painting for any date which might be written on it. MCB 6/58.

Local Numbers:

OPPS NEG.2860 ZZ 1

Local Note:

Black and white copy negative

Topic:

Language and languages -- Documentation  Search this

Indians of North America -- Southern states  Search this

Genre/Form:

Photographs

See more items in:

Bureau of American Ethnology negatives

Bureau of American Ethnology negatives / Additional Materials / Bernard, Francois

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw354965ec6-f278-4013-b711-af45f7b75937

EDAN-URL:

ead_component:sova-naa-photolot-176-ref7555

Collection Creator:

National Academy of Design (U.S.)  Search this

Container:

Box 64, Folder 14

Type:

Archival materials

Date:

1867-1887

1900

Collection Restrictions:

This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

See more items in:

National Academy of Design records

National Academy of Design records / Series 18: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw904e8b170-3bde-4605-88e7-7e06ebda50f5

EDAN-URL:

ead_component:sova-aaa-natiacad-ref1120

Collection Creator:

National Academy of Design (U.S.)  Search this

Container:

Box 65, Folder 36

Type:

Archival materials

Date:

circa 1830s

Collection Restrictions:

This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

See more items in:

National Academy of Design records

National Academy of Design records / Series 18: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9fcd37931-8fc2-40ce-84c9-0ac6815e1ccc

EDAN-URL:

ead_component:sova-aaa-natiacad-ref1147

Collection Creator:

National Academy of Design (U.S.)  Search this

Container:

Box 64, Folder 15

Type:

Archival materials

Date:

1900

Collection Restrictions:

This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

See more items in:

National Academy of Design records

National Academy of Design records / Series 18: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d891017f-e22a-4955-961d-7b430efea2e8

EDAN-URL:

ead_component:sova-aaa-natiacad-ref1318

Collection Creator:

National Academy of Design (U.S.)  Search this

Container:

Box 64, Folder 16

Type:

Archival materials

Date:

1900

Collection Restrictions:

This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

See more items in:

National Academy of Design records

National Academy of Design records / Series 18: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99c6c2e99-4805-4211-b186-f3db472ff1c6

EDAN-URL:

ead_component:sova-aaa-natiacad-ref1319

Collection Creator:

National Academy of Design (U.S.)  Search this

Container:

Box 66, Folder 9

Type:

Archival materials

Date:

1914

1958

Collection Restrictions:

This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

See more items in:

National Academy of Design records

National Academy of Design records / Series 18: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94b025bb5-b8c7-4f98-aced-93950064aae7

EDAN-URL:

ead_component:sova-aaa-natiacad-ref1338

Collection Creator:

Freer, Charles Lang, 1856-1919  Search this

Container:

Box 114, Folder 1-14

Box 115, Folder 1

Type:

Archival materials

Date:

1906-1907

Collection Restrictions:

Collection is open for research.

Collection Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Collection Citation:

Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

See more items in:

Charles Lang Freer Papers

Charles Lang Freer Papers / Series 6: Financial Materials / 6.5: Vouchers / 6.5.2: Financial materials - Vouchers - Art vouchers

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3a1bb597f-ba93-4bba-886a-9478b347619d

EDAN-URL:

ead_component:sova-fsa-a-01-ref1732

Collection Creator:

Freer, Charles Lang, 1856-1919  Search this

Container:

Box 36, Folder 24

Type:

Archival materials

Date:

1910-1917

Collection Restrictions:

Collection is open for research.

Collection Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Collection Citation:

Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

See more items in:

Charles Lang Freer Papers

Charles Lang Freer Papers / Series 2: Correspondence / 2.1: Charles Lang Freer Correspondence

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3d6fdb688-9151-42dd-93eb-0b6a65337285

EDAN-URL:

ead_component:sova-fsa-a-01-ref636

Collection Creator:

Freer, Charles Lang, 1856-1919  Search this

Container:

Box 41, Folder 1

Type:

Archival materials

Collection Restrictions:

Collection is open for research.

Collection Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Collection Citation:

Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

See more items in:

Charles Lang Freer Papers

Charles Lang Freer Papers / Series 2: Correspondence / 2.2: Charles Lang Freer Letterpress Books, 1892-1910

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3ad383e59-ee63-4999-a020-94da60d4ed9a

EDAN-URL:

ead_component:sova-fsa-a-01-ref647

Collection Creator:

Freer, Charles Lang, 1856-1919  Search this

Container:

Box 41, Folder 2

Type:

Archival materials

Collection Restrictions:

Collection is open for research.

Collection Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Collection Citation:

Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

See more items in:

Charles Lang Freer Papers

Charles Lang Freer Papers / Series 2: Correspondence / 2.2: Charles Lang Freer Letterpress Books, 1892-1910

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc379acf6e6-9754-4ce6-9b0e-333d86ec1a78

EDAN-URL:

ead_component:sova-fsa-a-01-ref648

Collection Creator:

Freer, Charles Lang, 1856-1919  Search this

Container:

Box 43, Folder 1

Type:

Archival materials

Collection Restrictions:

Collection is open for research.

Collection Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Collection Citation:

Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

See more items in:

Charles Lang Freer Papers

Charles Lang Freer Papers / Series 2: Correspondence / 2.2: Charles Lang Freer Letterpress Books, 1892-1910

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3c3c3bfd3-e233-45f4-ab60-40d8100258ed

EDAN-URL:

ead_component:sova-fsa-a-01-ref651