Search Results

Creator:

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

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

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:

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)7476

(DSI-AAA_SIRISBib)209634

AAA_collcode_coffwill

Theme:

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209634

Artist:

John Marin, 23 Dec 1870 - 2 Oct 1953  Search this

Sitter:

John Marin, 23 Dec 1870 - 2 Oct 1953  Search this

Medium:

Graphite and charcoal pencil on transparent film

Dimensions:

Image: 23.3cm x 17.2cm (9 3/16" x 7")

Sheet: 24.4cm x 19.2cm (9 5/8" x 7 9/16")

Type:

Drawing

Date:

c. 1945

Topic:

Artwork\Painting  Search this

Interior\Studio\Art  Search this

Artist's Effects\Easel  Search this

Self-portrait  Search this

John Marin: Male  Search this

John Marin: Visual Arts\Artist\Painter\Landscape painter  Search this

John Marin: Visual Arts\Artist\Painter\Watercolorist  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.83.136

Restrictions & Rights:

Usage conditions apply

Copyright:

© Estate of John Marin

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm43277825f-6659-4365-996e-3ccc940a9ab7

EDAN-URL:

edanmdm:npg_NPG.83.136

Creator:

Richards, William Trost, 1833-1905  Search this

Names:

Avery, Samuel Putnam, 1822-1904  Search this

Coates, Edward Hornor, 1846-1921  Search this

Eakins, Thomas, 1844-1916  Search this

Lambdin, George Cochran, 1830-1896  Search this

Lanman, Charles, 1819-1895  Search this

Whitney, George, d. 1885  Search this

Wilcox, William H.  Search this

Extent:

1.8 Linear feet

Type:

Collection descriptions

Archival materials

Daguerreotypes

Photographs

Date:

1848-1920

Summary:

The William Trost Richards papers measure 1.8 linear feet and date from 1848-1920. The collection documents Richards' personal life and his career as a landscape and seascape painter. The collection consists of correspondence, writings, business files, printed material, photographs, and other miscellaneous materials.

Scope and Contents note:

The William Trost Richards papers measure 1.8 linear feet and date from 1848-1920. The collection documents Richards' personal life and his career as a landscape and seascape painter. The collection consists of correspondence, writings, business files, printed material, photographs, and other miscellaneous materials.

Correspondence files date from 1851 to 1917 and include family correspondence between Richards and his wife Anna as well as with their children. Of note are letters written by William Trost Richards to his wife while he was in Europe, which include many illustrations of his travels. Also found is general correspondence of a personal and professional nature between Richards and friends, artists, art dealers, and collectors, many of whom played a prominent role in Philadelphia society. Writings include essays written by Richards, homemade magazines written and illustrated by the Richards family, and writings by his wife Anna and others. Business files contain financial, legal, and real estate records, and printed material contains an exhibition catalog from 1976, news clippings, and event programs. Miscellany found in this collection include artwork by others, and inventory of paintings by others, compiled by Richards, and an interview transcript with Miriam Thayer Richards. Photographs include images of Richards, his wife Anna, and their home in Newport, Rhode Island.

Arrangement note:

The collection is arranged into 6 series:

Missing Title

Series 1: Correspondence, 1851-1917, undated (Box 1-2; 0.7 linear feet)

Series 2: Writings, 1849-1905, undated (Box 2-4; 0.8 linear feet)

Series 3: Business Files, 1865-1920, undated (Box 4; 3 folders)

Series 4: Printed Material, 1850-1906, 1976, undated (Box 4-5; 5 folders)

Series 5: Miscellany, 1848-1876, undated (Box 5; 5 folders)

Series 6: Photographs, circa 1850-1900 (Box 5; 7 folders)

Biographical/Historical note:

William Trost Richards was born in Philadelphia, Pennsylvania, in 1833. From 1850 to 1858 he worked as a designer and illustrator of ornamental metalwork, and briefly studied draughtsmanship and painting with the German artist Paul Weber. Richards was also an active member of the Forensic and Literary Circle of Philadelphia during the early 1850s. In 1852 he had his first exhibition at the Pennsylvania Academy of Fine Arts and a year later was elected a full Academician. He had great interest in landscapes and geological subjects, and spent summers sketching in the Catskills and Adirondacks. From 1855 to 1856 Richards toured Europe with William Stanley Haseltine and Alexander Lawrie, and was influenced by the Dusseldorf school of landscape painters.

Richards married aspiring poetess Anna Matlack in 1856, and they settled in Germantown, Pennsylvania, where they had eight children, five of which survived to adulthood. In 1858 he attended an exhibition of British art in Philadelphia, and was greatly influenced by the works of Pre-Raphaelite painters. He began painting outdoors, executing precise, naturalistic, yet atmospheric, landscapes. In 1862 he joined the National Academy of Design, and in 1863 joined the Society for the Advancement of Truth in Art, an American Pre-Raphaelite organization. From 1868 to 1874, Richards spent summers on the East Coast and began focusing on marine subjects painted in watercolor, exhibiting often with the American Watercolor Society. Richards also traveled to Europe several times, and lived there from 1879-1880 while trying to find a new direction for his artwork. In 1881 he built a summer house for his family in Newport, Rhode Island and moved there permanently in 1890. His wife Anna died in 1900, and he continued to paint landscapes and seascapes until his death in 1905.

Related Archival Materials note:

Also available on microfilm at the Archives are the Geoge Whitney papers relating to William Trost Richards, 1875-1885, which includes 112 watercolors and an oil painting by William Trost Richards. These items were lent anonymously in 1979 and returned to the lender after they were filmed. They are available on reels 1497.

Provenance:

The bulk of the collection was donated in 1980 by Mrs. James B. Conant, Richards's granddaughter. The Archives microfilmed this portion of the collection on reels 2296-2299 upon receipt. The inventory of paintings by others was donated by Victor Spark in 1954 and filmed on reel 3470.

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.

Topic:

Marine painters -- Rhode Island -- Newport  Search this

Marine painting -- 19th century -- Rhode Island -- Newport  Search this

Landscape painting -- 19th century -- Pennsylvania -- Germantown  Search this

Landscape painters -- Pennsylvania -- Germantown  Search this

Genre/Form:

Daguerreotypes

Photographs

Citation:

William Trost Richards papers, 1848-1920. 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.richwill

See more items in:

William Trost Richards papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b8b6c315-02ac-406e-a08f-b0851fc2df78

EDAN-URL:

ead_collection:sova-aaa-richwill

Creator:

McEvoy, Ambrose, 1878-1927  Search this

Healy, G. P. A. (George Peter Alexander), 1813-1894  Search this

Johnson, Eastman, 1824-1906  Search this

Maynard, George W. (George Willoughby), 1843-1923  Search this

Moser, James Henry, 1854-1913  Search this

Names:

Mercer, Edward  Search this

Washington, George Corbin, 1789-1854  Search this

Collection Creator:

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.

Topic:

Art, American  Search this

Genre/Form:

Correspondence -- 19th century

Correspondence -- 20th century

Identifier:

FSA.A2009.06, Series FSA A2009.06 5

See more items in:

The Brumbaugh Collection of Artist Letters

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc393601999-7d3d-4e2d-8e2b-51f22faeead0

EDAN-URL:

ead_component:sova-fsa-a2009-06-ref3

Creator:

Dasburg, Andrew, 1887-1979  Search this

Names:

Carlson, John F., 1874-1945  Search this

Cramer, Florence Ballin, 1884-1962  Search this

Davidson, Florence Lucius, d. 1962  Search this

Davidson, Jo, 1883-1952  Search this

Frankl, Walter  Search this

Hartley, Marsden, 1877-1943  Search this

Howard, Lila  Search this

Johnson, Grace Mott, 1882-1967  Search this

Kuhn, Vera, d. 1961  Search this

Lockwood, Ward  Search this

Luhan, Mabel Dodge, 1879-1962  Search this

McFee, Henry Lee, 1886-1953  Search this

Riley, Mary G., 1883-1939  Search this

Simonson, Lee, 1888-  Search this

Sterling, Lindsey, 1876-1931  Search this

Wright, Alice Morgan, 1881-1975  Search this

Extent:

8.8 Linear feet

Type:

Collection descriptions

Archival materials

Poetry

Diaries

Sketchbooks

Photographs

Date:

1833-1980

bulk 1900-1980

Summary:

The papers of painter Andrew Dasburg and his wife and sculptor Grace Mott Johnson date from 1833 to 1980 (bulk 1900 to 1980), and measure 8.8 linear feet. The collection documents each artist's career and personal lives, including their brief marriage and their friendships with many notable artists in the New Mexico and New York art colonies during the early twentieth century. The papers of Dasburg (6 linear feet) and Johnson (2.8 linear feet) include biographical materials; extensive correspondence with family, friends, and fellow artists, such as John F. Carlson, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, and Ward Lockwood; writings by Dasburg, Johnson, and others; scattered legal, financial, and business records; clippings; exhibition materials; numerous photographs of Johnson and Dasburg, friends, family, and artwork; and original artwork, including two sketchbooks by Johnson.

Scope and Content Note:

The papers of painter Andrew Dasburg and sculptor Grace Mott Johnson date from 1833 to 1980, with the bulk of the materials dating from 1900 to 1980, and measure 8.8 linear feet. The collection is divided into the papers of Andrew Dasburg (6 linear feet) and the papers of Grace Mott Johnson (2.8 linear feet), and documents each artist's career and personal lives, including their brief marriage, and friendships with many notable artists in New Mexico and New York art colonies during the early twentieth century. Found are scattered biographical, legal, and financial materials. Extensive correspondence (particularly in Dasburg's papers) is with family, friends, and fellow artists, such as John F. Carlson, Florence Ballin Cramer, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, Vera Spier Kuhn, and Ward Lockwood. Dasburg's papers also include letters to Johnson and his two later wives.

Johnson's correspondence is also with numerous artist friends and others, including John F. and Margaret Carlson, Florence Ballin Cramer, Jo Davidson, Florence Lucius, Walter Frankl, Lila Wheelock Howard, Henry Lee McFee, Mary Riley, Lee Simonson, Lindsey Morris Sterling, Alice Morgan Wright, Mabel Dodge Luhan, and Vera Spier Kuhn. Letters to her son Alfred are quite detailed and revealing. Writings are by Dasburg, Johnson, and others. Johnson's writings include a very brief diary and her poetry. Writings by others are about the Taos and New Mexico art communities. Printed materials about both artists include clippings and exhibition catalogs. There are numerous photographs of Dasburg and Johnson, individually and together, and with friends and family. Of note are a group photograph of Birge Harrison's art class in Woodstock, New York, which includes Johnson and Dasburg, and a photograph of Dasburg with friends Konrad Cramer and John Reed. Dasburg's papers also include snapshots of Florence Lucius, Konrad and Florence Ballin Cramer, Frieda and D. H. Lawrence, and Mabel Dodge Luhan. Original artwork by the two artists include two sketchbooks by Johnson and three prints and two drawings by Dasburg.

Arrangement:

The collection is arranged into 2 series of each artist's papers:

Missing Title

Series 1: Andrew Dasburg Papers, circa 1900-1980 (Box 1-7; 6.0 linear feet)

Series 2: Grace Mott Johnson Papers, 1833-1963 (Box 7-10; 2.8 linear feet)

Biographical Note:

Andrew Michael Dasburg (1887-1979) was born in Paris, France, to German parents. After his father died and when he was five, Dasburg and his mother moved to New York City. In 1902 Dasburg started attending classes at the Art Students' League and studied with Kenyon Cox and Frank Du Mond. He also took night classes with Robert Henri. In 1907 he received a scholarship to the Art Students' League summer school in Woodstock, New York and spent three summers studying there in Birge Harrison's painting class. While in school he became friends with many young artists, including Morgan Russell and his future wife, Grace Mott Johnson.

Grace Mott Johnson (1882-1967) was born in New York City. She began drawing when she was four years old, and when the family moved to a farm in 1900 she enjoyed sketching horses and other farm animals. At the age of 22 she left home to study at the Art Students' League with sculptors Gutzon Borglum and James Earle Fraser, and also attended Birge Harrison's painting class in Woodstock. Throughout her career she would sculpt animals from memory, and would often attend circuses and farms for inspiration.

In 1909 Johnson and Dasburg went to Paris and joined the modernist circle of artists living there, including Morgan Russell, Jo Davidson, and Arthur Lee. During a trip to London that same year they were married. Johnson returned to the United States early the next year, but Dasburg stayed in Paris where he met Henri Matisse, Gertrude and Leo Stein, and became influenced by the paintings of Cezanne and Cubism. He returned to Woodstock, New York in August and he and Johnson became active members of the artist community. In 1911 their son Alfred was born. Both Dasburg and Johnson showed several works at the legendary Armory Show in 1913, and Dasburg also showed at the MacDowell Club in New York City, where he met the journalist and activist John Reed who later introduced him to Mabel Dodge (Luhan), a wealthy art patron and lifelong friend. In 1914 Dasburg met Alfred Stieglitz and became part of his avant-garde circle. Using what he had seen in Paris, Dasburg became one of the earliest American cubist artists, and also experimented with abstraction in his paintings.

Dasburg and Johnson lived apart for most of their marriage. By 1917 they had separated and Dasburg began teaching painting in Woodstock and in New York City. In 1918 he was invited to Taos, New Mexico by Mabel Dodge, and returning in 1919, Johnson joined him there for a period of time. Also in 1919, Dasburg was one of the founding members of the Woodstock Artists Association with John F. Carlson, Frank Swift Chase, Carl Eric Lindin, and Henry Lee McFee. In 1922 Dasburg and Johnson divorced, and also at that time he began living most of the year in Santa Fe with Ida Rauh, spending the rest of the year in Woodstock and New York City. Dasburg became an active member of the Santa Fe and the Taos art colonies, befriending many artists and writers living in these communities, and remaining close friends with Mabel Dodge Luhan. Here he moved away from abstraction, and used the southwestern landscape as the inspiration for his paintings.

In 1928 he married Nancy Lane. When that marriage ended in 1932, he moved permanently to Taos, and with his third wife, Marina Wister, built a home and studio there. Dasburg periodically taught art privately and at the University of New Mexico. In 1937 he was diagnosed with Addison's disease, which left him unable to paint again until 1946. In 1945 he and his wife Marina separated. Dasburg was recognized for his career as an artist in a circulating retrospective organized by the American Federation of Arts in 1959. He also had retrospectives in Taos in 1966 and 1978. His artwork influence several generations of artists, especially in the southwest, and he continued creating art until his death in 1979 at the age of 92.

Grace Mott Johnson lived in the Johnson family home in Yonkers, New York during the 1920s and later moved to Pleasantville, New York. In 1924 she went to Egypt to study ancient Egyptian sculpture. During the 1930s she became a civil rights activist. She produced very little art during the last twenty years of her life.

Related Material:

Also found in the Archives of American Art are two oral history interviews with Andrew Dasburg, July 2, 1964 and March 6, 1974. Additional related collections at other repositories include the Andrew and Marina Wister Dasburg Papers at the New Mexico State Archives, the Andrew Dasburg Papers at Syracuse University Library, and the Grace Mott Johnson Papers at the Beinecke Rare Book and Manuscript Library, Yale University.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming. Reel 2803 contains photocopies of ten Morgan Russell letters to Dasburg. Reels 4276-4278 include biographical material, subject files, photographs, correspondence, writings, and exhibition material. The photocopies on reel 2803 were discarded after microfilming, and the items on 4276-4278 were returned to the lender. This material is not described in the collection container inventory.

Provenance:

The Andrew Dasburg and Grace Mott Johnson papers were donated by their son, Alfred Dasburg, in 1980. Syracuse Univresity lent materials for microfilming in 1978 and 1989.

Restrictions:

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

Rights:

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

Occupation:

Painters -- New Mexico  Search this

Painters -- New York (State)  Search this

Topic:

Works of art  Search this

Sculptors -- New York (State)  Search this

Function:

Artist colonies -- New York (State)

Artist colonies -- New Mexico

Genre/Form:

Poetry

Diaries

Sketchbooks

Photographs

Citation:

Andrew Dasburg and Grace Mott Johnson papers, 1833-1980 (bulk 1900-1980). 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.dasbandr

See more items in:

Andrew Dasburg and Grace Mott Johnson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c161f331-506a-40a4-b904-cdd21bf7f1b8

EDAN-URL:

ead_collection:sova-aaa-dasbandr

Artist:

L. Raymond Jones  Search this

Sitter:

Frederick T. Larson, 9 Apr 1868 - 2 Nov 1944  Search this

Medium:

Watercolor on paper

Dimensions:

44.6cm x 31.9cm (17 9/16" x 12 9/16"), Accurate

Type:

Painting

Date:

1938

Topic:

Frederick T. Larson: Male  Search this

Frederick T. Larson: Visual Arts\Artist\Painter\Landscape painter  Search this

Frederick T. Larson: Visual Arts\Art Instructor  Search this

Frederick T. Larson: Visual Arts\Artist\Printmaker\Engraver\Wood engraver  Search this

Portrait  Search this

Credit Line:

Owner: Vesterheim, Norwegian-American Museum

Object number:

82.27.5.DUP1

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4d78e5a74-df16-48d4-895a-925eaed74c42

EDAN-URL:

edanmdm:npg_82.27.5.DUP1

Artist:

Thomas Hicks, 18 Oct 1823 - 8 Oct 1890  Search this

Sitter:

Edward Hicks, 4 Apr 1780 - 23 Aug 1849  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 91.4 x 73.7 x 3.8cm (36 x 29 x 1 1/2")

Frame: 114.3 x 96.5 x 7.6cm (45 x 38 x 3")

Type:

Painting

Date:

1839

Topic:

Printed Material\Book  Search this

Costume\Dress Accessory\Eyeglasses  Search this

Interior\Studio\Art  Search this

Artist's Effects\Palette  Search this

Artist's Effects\Paintbrush  Search this

Artist's Effects\Canvas  Search this

Artist's Effects\Easel  Search this

Edward Hicks: Male  Search this

Edward Hicks: Visual Arts\Artist\Painter\Landscape painter  Search this

Edward Hicks: Visual Arts\Art Instructor  Search this

Edward Hicks: Visual Arts\Artist\Religious artist  Search this

Edward Hicks: Visual Arts\Artist\Painter\History painter  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.88.53

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4e9b7376d-6a37-466f-ab2b-5263f0443efa

EDAN-URL:

edanmdm:npg_NPG.88.53

Publisher:

San Francisco Bulletin Co.  Search this

Maker:

E. Bosqui & Co.  Search this

Artist:

Harring, William  Search this

Measurements:

image: 21 1/4 in x 29 1/4 in; 53.975 cm x 74.295 cm

Object Name:

lithograph

Place made:

United States: California, San Francisco

Date made:

1880

Credit Line:

Harry T. Peters "America on Stone" Lithography Collection

ID Number:

DL.60.3542

Catalog number:

60.3542

See more items in:

Cultural and Community Life: Domestic Life

Domestic Furnishings

Art

Horses

Peters Prints

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b5-0b01-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_745273

Author:

Condell, Caitlin  Search this

Object Type:

Smithsonian staff publication

Electronic document

Year:

2019

Topic:

Design  Search this

Data source:

Smithsonian Libraries

EDAN-URL:

edanmdm:SILSRO_153209

Artist:

Zhao Yong 趙雍 (1291-1361)  Search this

Medium:

Ink and color on paper

Dimensions:

H x W (image): 31.5 x 73.5 cm (12 3/8 x 28 15/16 in)

Type:

Painting

Origin:

China

Date:

1347

Period:

Yuan dynasty

Topic:

horse  Search this

Yuan dynasty (1279 - 1368)  Search this

copy  Search this

China  Search this

Chinese Art  Search this

WWII-era provenance  Search this

Credit Line:

Purchase — Charles Lang Freer Endowment

Accession Number:

F1945.32

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

Song and Yuan Dynasty Painting and Calligraphy

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3ba3257e0-240b-4c59-beaa-96090ee75375

EDAN-URL:

edanmdm:fsg_F1945.32

Creator:

Metcalf, Willard Leroy, 1858-1925  Search this

Names:

Freer, Charles Lang, 1856-1919  Search this

Griswold, Florence, 1850-1937  Search this

Extent:

150 Items ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Sketchbooks

Date:

1876-1925

Scope and Contents:

23 letters between Metcalf and Charles L. Freer, 1917-1919, discussing prospective purchases of Metcalf's work for the Freer Collection, and 2 personal letters to Florence Griswold, 1905-06. Also included are a diary for 1876, recording the progress of some of his paintings, detailing sketching trips around Boston and Vermont, and noting daily expenses; sketchbooks, 1885, 1905, 1913-14; photographs of his murals and paintings; snapshots of his friends and himself; and a scrapbook of clippings, 1905-1925.

Biographical / Historical:

Landscape painter, illustrator; New York City. One of The Ten American Painters. Worked in Southwest U.S. painting Zuni Indians 1881-1883; associated with artists' colonies in Old Lyme, Conn., and Cornish, N.H.

Provenance:

Lent for microfilming by Addison Metcalf, 1969.

Restrictions:

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

Occupation:

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

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

Topic:

Painting, American  Search this

Indians of North America  Search this

Art -- Collectors and collecting  Search this

Genre/Form:

Sketchbooks

Identifier:

AAA.metcwill2

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90c9d9256-6bcf-4633-a39b-208e5e86cc8d

EDAN-URL:

ead_collection:sova-aaa-metcwill2

Creator:

Shurtleff, Roswell Morse, 1838-1915  Search this

Names:

Freer, Charles Lang, 1856-1919  Search this

Extent:

14 Items ((on 2 partial microfilm reels))

Type:

Collection descriptions

Archival materials

Date:

1862-1871 and [undated]

Scope and Contents:

Art works, letter, and photographs.

REEL 3472: A letter from Shurtleff to Charles Lang Freer, March 2, [n.y.], thanking him "for the check and the kind words of commendation of my work. I shall hope to be represented in your future exhibitions...." Also included is a snapshot of a painting by Shurtleff owned by George Russel, Detroit, Michigan.

REEL 1872: Six sketchbooks; three watercolors; two pencil sketches; and a photograph of a painting by Shurtleff.

Biographical / Historical:

Landscape painter; New York City and Adirondacks, N.Y.

Provenance:

Material on reel 3472 donated 1978 by George Russel, an American ar collector. Material on reel 1872 donated 1980 by George R. Teale, who inherited the material from his family.

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 -- New York (State)  Search this

Topic:

Landscape painting -- 19th century  Search this

Identifier:

AAA.shurrosw

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98b95b4d1-e82e-4fb6-8390-74afb2881e8f

EDAN-URL:

ead_collection:sova-aaa-shurrosw

Creator:

Thayer, Abbott Handerson, 1849-1921  Search this

Names:

Clemens, Samuel Langhorne, 1835-1910  Search this

Colman, Samuel, 1832-1920  Search this

Cortissoz, Royal, 1869-1948  Search this

Dow, Thomas Millie  Search this

Emerson, Edward Waldo, 1844-1930  Search this

Emerson, Ralph Waldo, 1803-1882  Search this

Faulkner, Barry, 1881-1966  Search this

Foster, Ben, 1852-1926  Search this

Freer, Charles Lang, 1856-1919  Search this

French, Daniel Chester, 1850-1931  Search this

Fuertes, Louis Agassiz, 1874-1927  Search this

Gellatly, John, 1853-1931  Search this

Kent, Rockwell, 1882-1971  Search this

Meryman, Richard Sumner, 1881-1963  Search this

Plunket, Jean Reasoner  Search this

Reasoner, David  Search this

Roosevelt, Theodore, 1858-1919  Search this

Sainsbury, Everton  Search this

Taber, E. M.  Search this

Thayer, Emma B., 1850-1924  Search this

Thayer, Gerald Handerson, 1883-1939  Search this

Thayer, Gladys, 1886 or 7-1945  Search this

Thayer, Kate Bloede  Search this

Thayer, Mary  Search this

White, Stanford, 1853-1906  Search this

Extent:

5.12 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Scrapbooks

Date:

1851-1999

bulk 1881-1950

Summary:

The papers of painter and naturalist, Abbott Handerson Thayer, and the Thayer family date from 1851 to 1999, with the bulk of the material dating from 1881 to 1950, and measure 5.12 linear feet. Thayer's painting career, interest in concealing coloration (camouflage) in nature, and relationships with artists, patrons, family, and friends are documented through correspondence, writings, scattered legal and financial records, printed materials, and a scrapbook. Photographs are of Thayer, his family, studio, and friends, including artists. The collection also contains family papers created by his second wife, Emma Beach Thayer, his son Gerald, his daughters Mary and Gladys, and Gladys' husband David Reasoner, who managed Thayer's estate after his death.

Scope and Content Note:

The papers of painter and naturalist, Abbott Handerson Thayer, and the Thayer family date from 1851 to 1999, with the bulk of the material dating from 1881 to 1950, and measure 5.12 linear feet. Thayer's painting career, interest in concealing coloration in nature, and relationships with artists, patrons, family, and friends are documented through correspondence, writings, scattered legal and financial records, printed materials, and a scrapbook. Photographs are of Thayer, his family, studio, and friends, including artists. The collection also contains family papers created by his second wife, Emma Beach Thayer, his son Gerald, his daughters Mary and Gladys, and Gladys' husband David Reasoner, who managed Thayer's estate after his death.

Scattered Biographical Material includes a brief autobiographical statement and chronology by Abbott Thayer, lists of artworks by Abbott Thayer and Gladys Thayer Reasoner, and biographical information about Thayer's granddaughter, Jean Reasoner Plunket. Two linear feet of family correspondence includes Abott Thayer's correspondence with patrons Charles L. Freer and John Gellatly; with many artists, several of whom were close friends, including Samuel Colman, Thomas Millie Dow, Daniel Chester French, Richard Meryman, Everton Sainsbury, Louis Agassiz Fuertes, and E. M. Taber; and former students, such as Ben Foster and Barry Faulkner; and with other friends, many of them prominent members of society, such as Samuel Clemens, Royal Cortissoz, Edward Waldo Emerson, and Stanford White. Also found is Thayer's correspondence with scientists and naturalists discussing his theories on protective coloration in nature. Correspondence of his second wife Emma Beach Thayer, his first wife, Kate Bloede Thayer, his daughter, Gladys Thayer Reasoner, her husband and executor of Thayer's estate, David Reasoner, and other family members are also included in the papers.

Writings and notes by Thayer record his thoughts on concealing coloration, nature, restoration of artwork, and other topics. Writings by others include those by Emma Beach Thayer, daughters Mary and Gladys, and Thayer scholars. The collection also contains correspondence of David Reasoner and other family members, as well as financial and legal documents regarding the estate of Abbott Handerson Thayer and Emma Beach Thayer. Additional financial and legal material includes ledgers, accounts statements, bills, a patent granted to Thayer and Gerome Brush, legal agreements, property deeds, and a map of Thayer's property.

Printed material include books, including one written by Theodore Roosevelt in response to Thayer's book on concealing coloration. Also found are newspaper and magazine clippings, and exhibition announcements and catalogs. Photographs are of Abbott Thayer, his wife Emma; his studio and home in Dublin, New Hampshire; friends, including Rockwell Kent and Ralph Waldo Emerson; and of unidentified people. Artwork includes a few drawings by Thayer, drawings and paintings by his children, and sketchbooks belonging to David Reasoner and Jean Reasoner Plunket. The collection also includes one large scrapbook kept by David Reasoner documenting Abbott Thayer's artwork.

Arrangement:

The collection is arranged into 10 series. Glass plate negative is housed separately and closed to researchers.

Missing Title

Series 1: Biographical Material, 1878 - circa 1966 (Box 1; 7 folders)

Series 2: Correspondence, 1867-1987 (Box 1-3; 2.0 linear feet)

Series 3: Writings, 1888-1945 (Box 3; 0.8 linear feet)

Series 4: Estate Papers, 1921-1954 (Box 3-4; 0.5 linear feet)

Series 5: Other Financial Records, 1889-1957 (Box 4; 7 folders)

Series 6: Legal Records, 1891-1927 (Box 4; 4 folders)

Series 7: Printed Material, 1851, 1896-1999 (Box 4-5; 0.4 linear feet)

Series 8: Photographs, circa 1861-1933 (Box 5, MGP 2; 0.2 linear feet)

Series 9: Artwork, 1887 - circa 1940s (Box 5-6, 8; 8 folders)

Series 10: Scrapbook, circa 1910-1920 (Box 7; 0.3 linear feet)

Biographical Note:

Abbott Handerson Thayer (1849-1921) was born in Boston to Dr. William Henry Thayer and Ellen Handerson Thayer. After his birth his family moved to Woodstock, Vermont, and in 1855 settled in Keene, New Hampshire. As a child Thayer developed a love of nature that was encouraged by his close family, which included three sisters, Ellen, Margaret, and Susan. At the age of fifteen he was sent to the Chauncy Hall School in Boston, and while there he met Henry D. Morse, an amateur animal painter. Under Morse's instruction Abbott developed his skill in painting birds and other wildlife and began painting animal portraits on commission. In 1867 he moved to Brooklyn, New York and attended the Brooklyn Academy of Design where he studied under J. B. Whittaker for two years. In 1868 he began showing his work at the National Academy of Design and enrolled there in 1870, studying under Lemuel Wilmarth. He met many emerging artists during this period, including his future first wife, Kate Bloede and his close friend, Daniel Chester French. Thayer became part of progressive art circles, showing his work at the newly formed Society of American Artists, while continuing to develop his skill as an animal and landscape painter.

Thayer and Kate Bloede were married in 1875. They moved to Paris and he studied at the École des Beaux-Arts, first under Henri Lehmann, and then with Jean-Léon Gérome. While in Europe he befriended fellow artists Everton Sainsbury, Thomas Millie Dow, George de Forest Brush, and Dwight Tryon. His daughter Mary was born in 1876 and his son William Henry in 1878. The family returned to America in 1879 and settled in his parent's home in Brooklyn, where he changed his focus to portraits. After the tragic deaths of William Henry in 1880 and of their second son, Ralph Waldo, in 1881, the family led a migratory existence living in various parts of New England. In 1881 while living in Nantucket they met Emmeline (Emma) Beach (1850-1924) who would become close friends with Abbott and Kate and would be known as "Addie" to the family. In 1883 their son Gerald was born and in 1886 their daughter Gladys was born. In 1887 Thayer settled his family in Keene, New Hampshire, and began teaching a small group of students. Around this time his wife began suffering from severe depression and went to a sanatorium in 1888. She died in 1891 and that fall Thayer married Emma Beach who had helped to care for him and his children during his wife's illness.

Despite family tragedies, Thayer became a leader in the New York art world during the 1880s and 1890s. He was a successful portraitist and painted allegorical figures of angels, women, and children, which were popular among collectors of this period, including his patrons Charles Lang Freer and John Gellatly. He often used his children as models, especially his eldest daughter, Mary.

In the late 1880s one of Thayer's students, Mary Amory Greene, built a house and studio for the Thayer family on her land in Dublin, New Hampshire, and in 1901 the family settled there permanently. Many of Thayer's artist friends lived nearby, such as Richard Meryman and George de Forest Brush, and the Thayer family frequently entertained prominent visitors such as Edward Waldo Emerson and Samuel Clemens. Abbott Thayer taught painting to his children, and Gerald and Gladys both became artists and art educators. Gladys married David Reasoner, a student of Abbott Thayer who later became his assistant. Other students of Thayer included Rockwell Kent, Ben Foster, Barry Faulkner, and Louis Agassiz Fuertes.

Greatly influenced by transcendentalism and the spirituality of nature, Thayer again began to paint landscapes, especially of nearby Mount Monadnock. He was very interested in the study of protective coloration in the wild, and was an advocate for nature conservation and bird sanctuaries. He published the book Concealing Coloration in the Animal Kingdom in 1909 with his son Gerald, but encountered much resistance to his theories. Thayer also wrote about how his camouflage theories could be applied to military warships and uniforms. These theories failed to gain widespread government interest and after suffering from nervous exhaustion, he spent the rest of his life painting landscapes at his home in Dublin, until his death in 1921.

Related Material:

The Archives of American Art holds several collections related to Abbott Handerson Thayer. These include research material on Abbott Handerson Thayer and other artists, 1895-1990, donated by Thomas B. Brumbaugh; the Abbott Handerson Thayer letter and drawings to Caroline Peddle Ball, circa 1890-1893; "The Drawings of Abbott Thayer", by Elizabeth Robins Pennell, circa 1921; and the Nelson and Henry C. White research material, 1898-1978, which includes many letters, photographs, and other material originally belonging to the Thayer family.

Separated Material:

The Archives of American Art also holds material lent for microfilming (reels 48 and 3417) including a diary kept by Thayer, a "Family Record" written by William Henry Thayer, correspondence, printed material, photographs, and original artwork by Abbott Handerson Thayer. Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Anne Whiting, a niece of Abbott Handerson Thayer, loaned the Archives of American Art material for microfilming in 1971 and Jean Reasoner Plunket, Thayer's granddaughter, loaned original artwork for microfilming in 1985. The rest of the Abbott Handerson Thayer and Thayer Family papers were donated in 1999 by Abbott Thayer's great-grandson, John Plunket, who received the papers from his mother Jean Reasoner Plunket. In 2005 Bruce Gimelson donated additional material purchased from the relatives of Emma Beach Thayer.

Restrictions:

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

Rights:

Reel 3417 (art works): Authorization to publish, quote or reproduce requires written permission from Jean Reasoner Plunket. Contact Reference Services for more information.

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

Occupation:

Painters -- New Hampshire -- Dublin  Search this

Topic:

Naturalism  Search this

Camouflage (Biology)  Search this

Art and camouflage  Search this

Genre/Form:

Photographs

Scrapbooks

Citation:

Abbott Handerson Thayer and Thayer Family papers, 1851-1999 (bulk 1881-1950). 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. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.thayabbo

See more items in:

Abbott Handerson Thayer and Thayer Family papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw909f5d5a9-1c3f-410d-b973-eaa839d8c887

EDAN-URL:

ead_collection:sova-aaa-thayabbo

Creator:

White, Henry Cooke, 1861-1952  Search this

White, Nelson C.  Search this

Names:

Tryon Art Gallery  Search this

Barnard, George Grey, 1863-1938  Search this

Benson, Frank Weston, 1862-1951  Search this

Brush, George de Forest, 1855-1941  Search this

Churchill, Alfred Vance, 1864-1949  Search this

Cortissoz, Royal, 1869-1948  Search this

Currier, Elizabeth  Search this

Currier, J. Frank (Joseph Frank), 1843-1909  Search this

Dewing, M. O. (Maria Oakey), 1855-1927  Search this

Dewing, Thomas Wilmer, 1851-1938  Search this

Fantin-Latour, Henri, 1836-1904  Search this

Freer, Charles Lang, 1856-1919  Search this

Fuertes, Louis Agassiz, 1874-1927  Search this

Kaup, Elizabeth Dewing, b. 1885  Search this

Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this

Roosevelt, Theodore, 1858-1919  Search this

Saint-Gaudens, Augustus, 1848-1907  Search this

Sargent, John Singer, 1856-1925  Search this

Taber, E. M.  Search this

Thayer, Abbott Handerson, 1849-1921  Search this

Thayer, Emma B., 1850-1924  Search this

Thayer, Gladys, 1886 or 7-1945  Search this

Thayer, Kate Bloede  Search this

Thayer, Wm. Henry (William Henry), 1822-1897  Search this

Tryon, Dwight William, 1849-1925  Search this

Whistler, James McNeill, 1834-1903  Search this

Williams, George Alfred, 1875-  Search this

Extent:

4.5 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Photographs

Sketches

Date:

circa 1851-1961

Summary:

The research material of Connecticut artists and authors Nelson and Henry C. White, measures 4.5 linear feet and dates from circa 1851-1961. The bulk of the collection consists of Nelson C. White's correspondence, writings, and research, primarily related to J. Frank Currier and Abbott Handerson Thayer, and referencing Thomas Wilmer Dewing. Also found are the correspondence, writings, and research files of Nelson's father, Henry C. White, primarily relating to Dwight W. Tryon. Research files include artist correspondence, writings and notes, printed material, photographs of the artists, and photographs of artwork and exhibition installations.

Scope and Contents:

The research material of Connecticut artists and authors Nelson and Henry C. White, measures 4.5 linear feet and dates from circa 1851-1961. The bulk of the collection consists of Nelson C. White's correspondence, writings, and research, primarily related to J. Frank Currier and Abbott Handerson Thayer, and referencing Thomas Wilmer Dewing. Also found are the correspondence, writings, and research files of Nelson's father, Henry C. White, primarily relating to Dwight W. Tryon. Research files include artist correspondence, writings and notes, printed material, photographs of the artists, and photographs of artwork and exhibition installations.

Nelson C. White's correspondence is with Elizabeth Currier, gallery owners, and other individuals in possession of artwork by Currier, conducted during his research on J. Frank Currier, as well as with Elizabeth Dewing Kaup and others concerning his research on Thomas Wilmer Dewing. Miscellaneous material includes reviews of White's autobiography on Abbott Handerson Thayer, and White's ink sketches for a holiday card.

Nelson C. White's writings and notes consist of annotated drafts of Abbott H. Thayer: Painter and Naturalist, The Life and Art of J. Frank Currier, and articles including "Cremona," and "The Art of Thomas W. Dewing."

White's research files form the bulk of the collection. 9 folders of research material on J. Frank Currier consist primarily of photos of artwork and of an installation at Lyman Allyn Museum, but also include a transcript of Currier's 1870 diary, and 3 photographs (copy prints) of Currier. White's research material on Abbott Handerson Thayer is substantial and includes: biographical material on Thayer, such as family reminiscences by Thayer's daughter, Gladys Thayer, and his father, William Henry Thayer; copies and originals of Thayer's letters to his first wife, Kate Thayer, and his second wife, Emma Beach Thayer, and correspondence with William Henry Thayer; typescript copies and originals of Thayer's correspondence with artists, politicians, naturalists and others including George Grey Barnard, Frank Weston Benson, George de Forest Brush, Royal Cortissoz, Maria Oakey Dewing, Thomas Wilmer Dewing , Charles Lang Freer, Louis Agassiz Fuertes, Franklin D. Roosevelt, Theodore Roosevelt, Augustus Saint-Gaudens, John Singer Sargent, Edward Martin Taber, and George Alfred Williams; annotated drafts of Thayer's writings and notes on art, philosophy, and nature including his theories on concealing coloration and wildlife preservation; printed material including 2 Thayer exhibition catalogs and news clippings of Thayer's letters to editors; and photographs of Thayer, his family and friends, his home and studio, and his artwork.

Henry C. White's papers include a folder of White's correspondence relating to the publication of his book, The Life and Art of Dwight William Tryon and including a letter from Elizabeth Currier; drafts of his biography of Tryon, including revisions by Mrs. Bender, Alfred Vance Churchill, and Mr. Rossiter; research material on Tryon including transcripts of letters from Tryon to George Alfred Williams, from Charles Lang Freer to Tryon, and from James McNeill Whistler to Henri Fantin-Latour; a typescript of autobiographical "notes and recollections" by Tryon; and photographs of Tryon, his home and studio, his artwork, and the Tryon Art Gallery at Smith College.

Arrangement:

The collection is arranged as 4 series.

Missing Title

Series 1: Nelson C. White Correspondence and Miscellaneous Material, 1921-1953 (Box 1; 0.25 linear feet)

Series 2: Nelson C. White's Writings and Notes, circa 1929-circa 1951 (Box 1, OV 6; 0.5 linear feet)

Series 3: Nelson C. White's Research Files, circa 1851-1961 (Boxes 1-4, OV 6; 2.65 linear feet)

Series 4: Henry C. White Papers, circa 1860-1954 (Boxes 4-5; 1.1 linear feet)

Biographical / Historical:

Connecticut painter, art historian, and collector, Nelson C. White (1900-1989) was born in Waterford, Connecticut, to artist Henry C. White. He studied at the National Academy of Design and Yale University and established himself as a landscape painter whilst also pursuing a literary career. He was the author of two biographies: The Life and Art of J. Frank Currier (1936), and Abbott H. Thayer: Painter and Naturalist (1951). White also penned an article on his friend, Thomas Wilmer Dewing ("The Art of Thomas Wilmer Dewing"), which was published in 1929.

White's father, Henry C. White (1861-1952), was an artist known primarily for his landscapes and seascapes of his native Connecticut. Born in Hartford, White began his career in 1875, studying with Dwight W. Tryon. In the 1880s he enrolled in the Art Students League in New York, while continuing to study with Tryon and other artists, including Kenyon Cox and George de Forest Brush. In the 1890s he traveled in Europe and then returned to Hartford where he taught drawing at the Hartford Public School, and co-founded the Connecticut Academy of Fine Arts in 1910. Like his son, White had literary aspirations, and in 1930 published a biography of his life-long friend and teacher entitled The Life and Art of Dwight W. Tryon. Two years after his death in 1952, the Lyman Allyn Museum held a memorial exhibition for White, curated primarily by Nelson C. White.

Related Materials:

The Archives of American Art holds several collections related to the Nelson and Henry C. White research material on Abbott Handerson Thayer and Dwight William Tryon. These include research material on Abbott Handerson Thayer and other artists, 1895-1990, donated by Thomas B. Brumbaugh; the Abbott Handerson Thayer letter and drawings to Caroline Peddle Ball, circa 1890-1893; and the Dwight William Tryon papers, 1872-1930.

Separated Materials:

The Archives of American Art also holds material lent for microfilming (reels 1330 and 2807) including autobiographical notes by Tryon, letters to Nelson C. White and Henry C. white, photographs of artwork, and an article. Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

The Archives of American Art purchased two linear feet of material from Nelson C. White in 1956. White also lent material and donated papers in 1978 and 1983.

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.

Rights:

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

Occupation:

Painters -- Connecticut  Search this

Art historians -- Connecticut  Search this

Topic:

Art -- Collectors and collecting -- Connecticut  Search this

Art -- Philosophy  Search this

Protective coloration (Biology)  Search this

Artists' studios -- Photographs  Search this

Wildlife conservation  Search this

Women artists  Search this

Genre/Form:

Diaries

Photographs

Sketches

Citation:

Nelson and Henry C. White research material, circa 1851-1961. 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.whitnels

See more items in:

Nelson and Henry C. White research material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw903aa9e0c-8609-49fa-aaea-8c72f7fe8e77

EDAN-URL:

ead_collection:sova-aaa-whitnels

Creator:

Tryon, Dwight William, 1849-1925  Search this

Names:

Freer, Charles Lang, 1856-1919  Search this

Extent:

4 Linear feet

Type:

Collection descriptions

Archival materials

Clippings

Cartes-de-visite

Photographs

Letters

Sketchbooks

Place:

New York

Hartford (Conn.)

South Dartmouth (Mass.)

Japan

Date:

1872-1930

Summary:

Dwight William Tryon (1849-1925) was a noted American landscape painter whose painting style is associated with American tonalism. His paintings gained international recognition from the 1880s through the 1920s. Charles Lang Freer was his primary patron. Tryon taught art at Smith College and became head of the Art Department. The Tryon papers, dating from circa 1872 to 1930, document Tryon's professional and personal life and include correspondence, photographs, a sketchbook, and newspaper clippings.

Scope and Contents:

The Dwight William Tryon papers span circa 1872 to 1930 and measure .5 linear feet. The collection contains: nineteen photographs, a sketchbook, a letter, and five newspaper clippings.

Arrangement:

The collection is arranged into 4 series: Series 1: Photographs, circa 1872 - 1915, no date, Series 2: Sketchbook, 1887-1888, no date, Series 3: Correspondence, June 17, 1895, Series 4: Newspaper Clippings, 1923, 1925, 1930, no date

Biographical / Historical:

American landscape painter Dwight William Tryon was born in Hartford, CT on August 13, 1849. When Tryon was about 2 years old, his father Anson Tryon was killed in a hunting accident and he was raised at his maternal grandparents' home. At the age of fourteen, Tryon began work as a machinist at Colt's Firearms Factory in Hartford to support his mother and himself. He enrolled in evening classes at Hannum's Business School and developed calligraphic skills which supplemented his income.

In 1864 Tryon became a bookkeeper and clerk at Brown and Gross, the finest booksellers in Hartford and a gathering place for local literary people such as Harriet Beecher Stowe and Mark Twain. During his ten-year appointment there, Tryon self-studied art using the bookstore's large stock in art books and made weekend sketching trips to the Connecticut River. In 1872 Tryon was appointed Secretary of the Hartford Art Association and began exhibiting his works. In 1873 he exhibited at the National Academy of Design in New York. In that year he married Alice Hepzibah Belden whom he had met in the bookstore.

In December, 1876, the Tryon family moved to Paris, France to pursue art with financial support from the Cheney family, wealthy silk manufacturers in South Manchester, CT. Tryon received formal training under Jacquesson de la Chevreuse, a Barbizon painter Charles-Francois Daubigny, and others. He also attended the École des Beaux-Arts.

On returning to the United States in 1881, Tryon took a studio in New York and taught for several years. In the following year, he became a member of the Society of American Artists. Throughout the 1880s when the Barbizon paintings were highly regarded, Tryon's French-inspired American landscape paintings received international as well as national acclaim, winning him numerous medals and awards. In 1899, Tryon was awarded the Webb prize by the Society of American Artists for The First Leaves, a recognition given annually to the best landscape painting by a young American artist. In the same year, Tryon sold his first painting to Charles Lang Freer (1854-1919), a Detroit industrialist and collector, who became Tryon's principal patron.

From 1886 to 1923, Tryon taught at Smith College, MA, as Professor of Art and took charge of the Art Department. He advised on the college's art collection and acted as the department's representative in the New York art world. Tryon resigned from the College in May 1923, and in June of the same year he received an honorary Master of Arts degree from Smith College.

In 1887, the Tryon family built a house ("The Cottage") in Padanaram, a coastal village in South Dartmouth, MA, where they would spend every year from spring to autumn until his death. In Padanaram, Tryon made sketches which he developed into paintings in his New York apartment during the winter months. Tryon also took immense pleasure in fishing and sailing in Padanaram.

In 1904, the Montross Gallery in New York held a one-man show on Tryon's painting, and in 1913 they launched Tryon's Retrospective Exhibition. In 1923, the Freer Gallery of Art opened in Washington, D. C., including a permanent collection of Tryon's paintings.

Tryon died of cancer at his summer house on July 1, 1925, at the age of 75. Upon his death, Tryon bequeathed a large number of his works to Smith College. In September of the following year, the Tryon Gallery at Smith College opened.

1849, August 1st -- Born, Hartford, CT. Son of Anson Tryon and Delia O. Roberts Tryon

[1851-1852] -- Anson Tryon is killed in a hunting accident

1863 -- Machinist at Colt's Firearms Factory, Hartford

1864 -- Begins work as a bookkeeper and clerk at Brown and Gross, Hartford

1872 -- Appointed Secretary of the Hartford Art Association

1873 -- Exhibits at the National Academy of Design

1873 -- Marries Alice Hepzibah Belden

1876-1881 -- Studies art in Paris with Jacquesson de la Chevreuse, Charles-Francois Daubigny, and at the École des Beaux-Arts

1881 -- Returns to the United States and settles in New York

1882 -- Becomes a Member of the Society of American Artists

1886-1923 -- Professor of art at Smith College, Northampton, MA

1889 -- Awarded the Webb Prize for The First Trees by the Society of American Artists

1889 -- Sells his first painting to Charles Lang Freer

1891 -- Elected Associate of the National Academy of Design

1913 -- Retrospective Exhibition

1923 -- Freer Gallery of Art opens, including a permanent collection of Tryon's paintings

1923 -- Retires from Smith College and is conferred an Honorary degree of M.A.

1925, July 1st -- Dies at his summer house in South Dartmouth, MA

1926 -- The Tryon Gallery at Smith College opens

Related Material:

Charles Lang Freer papers housed in the Freer Gallery of Art and the Arthur M. Sackler Gallery Archives include Tryon's correspondence.

Nelson and Henry C. White research material housed in the Archives of American Art include Tryon's correspondence, notes, and photographs.

Alfred Vance Churchill Papers housed in Smith College Archives include Tryon's correspondence.

The Freer Gallery of Art and Smith College Museum of Art are major repositories that house Tryon's work.

Provenance:

An anonymous donor and Linda Merrill donated Tryon's papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1989.

Restrictions:

Collection is open for research.

Rights:

Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.

Topic:

Art, American  Search this

Landscape painting  Search this

Genre/Form:

Clippings

Cartes-de-visite

Photographs

Letters

Sketchbooks

Citation:

Dwight William Tryon papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of an anonymous donor and Linda Merrill, 1989.

Identifier:

FSA.A1989.02

See more items in:

Dwight William Tryon Papers

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc338443f81-d1f5-4f95-b36b-005fd5ad7d1c

EDAN-URL:

ead_collection:sova-fsa-a1989-02

Creator:

Tryon, Dwight William, 1849-1925  Search this

Names:

Freer, Charles Lang, 1856-1919  Search this

Tryon, Dwight William, 1849-1925  Search this

Collection Creator:

Tryon, Dwight William, 1849-1925  Search this

Extent:

0.5 Linear feet

Type:

Archival materials

Sketchbooks

Drawings

Place:

Hartford (Conn.)

Date:

1887-1888, undated

1887-1888

Scope and Contents note:

This series comprises a sketchbook and a sketch on a separate sheet of paper.

Scope and Contents:

Leather covered, bound. Inscribed: "D W Tryon Hartford" 44 leaves (gathered matter components) ; Graphite on paper ; 12.3 cm x 19.0 cm x 1.3 cm. The sketchbook contains marginal notes and mnemonic notations for colors in Tryon's hand. Depicted: nature, farms, villages, harbors, ships, and boats. Also include a loose sketch of ships at harbor Graphite on paper 11.5 cm x 17.5 cm. The back side of the sketch shows a fragmentary image of seashore in watercolor

Sketchbook

Arrangement:

The collection is arranged into 4 series: Series 1: Photographs, circa 1872 - 1915, no date, Series 2: Sketchbook, 1887-1888, no date, Series 3: Correspondence, June 17, 1895, Series 4: Newspaper Clippings, 1923, 1925, 1930, no date

Biographical / Historical:

American landscape painter Dwight William Tryon was born in Hartford, CT on August 13, 1849. When Tryon was about 2 years old, his father Anson Tryon was killed in a hunting accident and he was raised at his maternal grandparents' home. At the age of fourteen, Tryon began work as a machinist at Colt's Firearms Factory in Hartford to support his mother and himself. He enrolled in evening classes at Hannum's Business School and developed calligraphic skills which supplemented his income.

Local Numbers:

FSA A1989.02 2

Collection Restrictions:

Collection is open for research.

Collection Rights:

Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.

Topic:

Art, American  Search this

Landscape painting  Search this

Genre/Form:

Sketchbooks

Drawings

Collection Citation:

Dwight William Tryon papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of an anonymous donor and Linda Merrill, 1989.

Identifier:

FSA.A1989.02, Series 2

See more items in:

Dwight William Tryon Papers

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3f921acb1-1dac-45ef-ba3e-9f8bedd81dde

EDAN-URL:

ead_component:sova-fsa-a1989-02-ref176

Creator:

Daniell, Thomas, 1749-1840  Search this

Extent:

1 Item (1 vol., ill., 77 x 59 cm.)

1 Item (pencil and ink wash on paper (73 x 46 cm.))

Container:

Item 1

Item 2

Item 3

Type:

Collection descriptions

Archival materials

Aquatints

Drawings

Place:

India

Ellora Caves (India)

India -- Maharashtra -- Ellora Caves

Date:

1803

Scope and Contents:

Collection consists of two items: 1. "Oriental Scenery, Vol. 5. Hindoo Excavations in the Mountain of Ellora, near Aurungabad, in the Decan." Atlas folio, 77 x 59 cm., bound in contemporary quarter roan over marbled boards, with 24 hand-colored aquatints by James Wales under the direction of Thomas Daniell and an engraved aquatint title page. Self-published by Daniell in London, 1808. Depicts images of the rock-cut architecture at the Ellora Caves near Aurangabad. 2. Original pencil and wash sketch by Thomas Daniell, depicting a waterfront scene populated by a group of small figures, some holding umbrellas. Unsigned, undated, 73 x 46 cm, backed with thicker paper.

Arrangement:

2 folders, 3 linear feet

Biographical / Historical:

Thomas Daniell was an English landscape painter who spent eight years in India visiting historic sites and creating numerous images of what he saw.  He was born in 1749 in Kingston-upon-Thames in England and was educated as a landscape painter. He struggled to find work in that medium and ended up finding employment as an engraver for the East India Company in India, with his fifteen-year-old nephew William acting as his assistant. He and William took three trips across India, creating numerous drawings of Muslim and Hindu cultural and historic sites to be sent back to Europe. Once they returned to England, they published their drawings between 1795 and 1808 in a six-volume work titled Oriental Scenery. Coming at a time when there was increased interest in the customs, culture and architecture of distant lands, Daniell's work offered a new vision of India that would influence both decorative artists and architects. Thomas Daniell spent the rest of his life in England, becoming a Royal Academician and a fellow at the Asiatic Society, the Royal Society, and the Society of Antiquaries. He died on March 19, 1840 in his home in Kensington, London. 

On one of his trips across India he visited the caves at Ellora, an ancient religious site with thirty-five temples cut into the mountainside between 600-1000 CE. The shrines are excavated directly into the mountain and honor a mixture of Hindu, Buddhist, and Jain figures. Many of the walls are covered in stone carving of religious and mythological figures. The most famous temple is the Kailasa temple, which is 165 feet long and 96 feet high and covered in extensive Hindu carvings. The temple complex is located approximately 19 miles away from the city of Aurangabad in Maharashtra.

Local Numbers:

FSA A2001.04

Related Materials:

Daniell Collections, 1785-1833. Archives and Manuscripts, the British Library.

Papers relating to the painters Thomas and William Daniell, collected by Sir Evan Cotton for a projected book, 1928-1939. Archives and Manuscripts, the British Library.

The journals of William Daniell, 1788-1792. Archives and Manuscripts, The British Library.

Restrictions:

Collection is open for research.

Rights:

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

Topic:

Rock-cut architecture -- India  Search this

Genre/Form:

Aquatints

Drawings

Identifier:

FSA.A2001.04

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc320b47108-c4a2-42f6-9cbc-97963a577f2f

EDAN-URL:

ead_collection:sova-fsa-a2001-04

Creator:

Hodges, William, 1744-1797  Search this

Extent:

1 Book (bound in brown Morocco leather with considerable repairs, 57 x 85 cm)

Container:

Item 1

Type:

Collection descriptions

Archival materials

Books

Place:

India

Bengal (India)

Bihar (India)

Date:

1787

Scope and Contents:

One book by William Hodges published in 1787.

Arrangement:

One folio in a map drawer.

Biographical / Historical:

In his youth, William Hodges was apprenticed, for seven years, to the leading landscape painter, Richard Wilson. Hodges became well known for the sketches and paintings he produced as James Cook's appointed draughtsman during his second expedition to the Pacific Ocean (1772-1775). Form 1778 to 1783 he visited India as a professional painter under the protection of Warren Hastings, The Governor General of the East Indian Company. The most productive period of his Indian sojourn was between 1781 to 1783, when he toured the regions of Bengal and Bihar producing mostly landscape paintings for leading British figures. Hodges Disseration, published in 1787 and dedicated to Hastings, originates from material collected during his Indian tour. The painter's work gives shape and color to landscapes of the non-European world, creating a visual and explicit connection between these unfamiliar territories and the British audience.

Local Numbers:

FSA A2012.06

Restrictions:

Collection is open for research.

Rights:

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

Identifier:

FSA.A2012.06

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc383acc39c-6916-450b-b703-615fdf718eb7

EDAN-URL:

ead_collection:sova-fsa-a2012-06

Creator:

Murphy, Nelly Littlehale  Search this

Names:

Murphy, Hermann Dudley, 1867-1945  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1846-1945

Scope and Contents:

Clippings, exhibition catalogs, and photographs documenting Murphy's work as a painter and illustrator in the Massachusetts area. The clippings are comprised of reviews for Nelly Murphy and her husband, painter Hermann Dudley Murphy, and his 1945 obituary. The exhibtion catalogs, many of them illustrated, range from 1846 (National Academy of Design catalog inscribed to Murphy) to 1942 (her memorial exhibition). Photographs depict paintings and Murphy and her husband. Other materials consist of an original pencil sketch, 4 reproductions, a 4 page inventory of her paintings, a 1941 letter inventorying her work, and a short original essay entitled "The Land That Never Was".

Biographical / Historical:

Born 1867, died ca. 1942. Painter, illustrator, and etcher, noted for her watercolor paintings of landscapes and flowers. Lived and exhibited in the Massachusetts area. Nellie Littlehale married Herman Daniel Umbstaetter in 1893. In 1916, she married again, to painter Hermann Dudley Murphy.

Provenance:

The donors, Alexander B. Samoiloff and Dudley D. B. Samoiloff, are the sons of Nelly Littlehale Murphy's stepdaughter, Caroline Bowles Murphy Samoiloff.

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.

Occupation:

Watercolorists  Search this

Landscape painters -- Massachusetts  Search this

Topic:

Watercolor painting -- Massachusetts  Search this

Women artists  Search this

Women painters  Search this

Women illustrators  Search this

Identifier:

AAA.murpnell

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e53bad4e-b2d1-4b6f-ab3e-09b4478efa6d

EDAN-URL:

ead_collection:sova-aaa-murpnell

Artist:

George Caleb Bingham, 20 Mar 1811 - 7 Jul 1879  Search this

Sitter:

George Caleb Bingham, 20 Mar 1811 - 7 Jul 1879  Search this

Medium:

Oil on canvas

Dimensions:

68.6cm x 55.9cm (27" x 22"), Accurate

Framed: 37 3/4 × 32 5/8 × 4 1/4 in. (95.9 × 82.9 × 10.8 cm)

Type:

Painting

Place:

United States\Missouri\Jackson\Kansas City

Date:

c. 1877

Topic:

Printed Material\Book\Notebook  Search this

Artist's Effects\Paintbrush  Search this

Self-portrait  Search this

George Caleb Bingham: Male  Search this

George Caleb Bingham: Visual Arts\Artist\Portraitist  Search this

George Caleb Bingham: Visual Arts\Artist\Painter\Genre painter  Search this

George Caleb Bingham: Visual Arts\Artist\Painter\Landscape painter  Search this

Portrait  Search this

Credit Line:

Owner: Kansas City Public Library

Object number:

1-1995

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm40bcf382e-2fd7-4549-a946-f86298a860a2

EDAN-URL:

edanmdm:npg_1-1995