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Russell, Xanthus, and Mary Smith family papers

Creator:
Smith family (Philadelphia, Pa.)  Search this
Names:
Smith, Mary Priscilla, 1819-1874  Search this
Smith, Mary Russell, 1842-1878  Search this
Smith, Russell, 1812-1896  Search this
Smith, Xanthus, 1839-1929  Search this
Extent:
5.12 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Writings
Scrapbooks
Tintypes
Drawings
Daguerreotypes
Ambrotypes
Photographs
Sketches
Date:
1793-1977
bulk 1826-1977
Summary:
The Russell, Xanthus, and Mary Smith family papers comprise 5.12 linear feet and are dated 1793-1977, bulk 1826-1977. Correspondence, writings, artwork, financial records, printed material, miscellaneous items and photographs provide documentation of the lives and works of painter, illustrator and poet, Russell Smith, and his son, painter Xanthus Smith, and scattered documentation of the lives of his wife, painter and educator Mary Priscilla Smith, and daughter and painter Mary Russell Smith.
Scope and Content Note:
The Russell, Xanthus, and Mary Smith family papers comprise 5.12 linear feet and are dated 1793-1977, bulk 1826-1977. Correspondence, writings, artwork, financial records, printed material, miscellaneous items and photographs provide documentation of the lives and works of painter, illustrator and poet, Russell Smith, and his son, painter Xanthus Smith, and scattered documentation of the lives of his wife, painter and educator Mary Priscilla Smith, and daughter and painter Mary Russell Smith.

Family papers include correspondence, writings, printed material, and miscellaneous items. Correspondence, the bulk of which is comprised of letters to and from Russell and Xanthus Smith, covers both personal and professional matters. Among the correspondents are family, friends, colleagues, and arts organizations. Writings, printed material, and miscellaneous items in this series refer either to the entire Smith family or multiple individuals. Miscellaneous items also concern Horace Binder, father-in-law of Xanthus Smith.

The Russell Smith papers are comprised of biographical information, writings, artwork, and financial records. Biographical information includes some personal documents such as passports and marriage certificates. Among Russell Smith's writings are an autobiography, transcripts of correspondence, and notes. Artwork consists of loose pages and sketch books containing sketches and drawings in pencil, ink, and watercolor. His financial records are cash books recording professional and personal expenses, and receipts and memorabilia from the family's 1851-1852 travels in Europe. The printed material consists of loose clippings and a scrapbook of clippings from Philadelphia newspapers, as well as a small number of exhibition catalogs.

The Xanthus Smith papers consist of biographical information, artwork, financial records, and printed material. Among the writings are his unpublished autobiography, biographies of his father and sister, impressions of the Centennial art exhibition, journals, notes, and poems. Artwork consists of loose sketches in pencil and ink, and sketchbooks containing sketches and finished drawings in pencil and ink, some colored with gouache or watercolor washes. Financial records are cash books recording personal and professional expenses. Printed material includes clippings and a scrapbook.

The Mary Smith papers consist of writings, sketches, and printed material. The papers of her mother, Mary Priscilla Smith, are comprised of writings and printed material.

Photographs are of people, artwork, and miscellaneous subjects. People represented are Russell and Mary Priscilla Smith, their children Xanthus and Mary Smith, and several other relatives including Xanthus's wife and Russell's sister, granddaughter, and uncle. Photographs include ambrotypes, daguerreotypes, and tintypes, along with glass negatives and a small number of original prints. Copy prints have been produced from the glass negatives and other cased photographs. Photographs of artwork are of paintings by Russell Smith, Xanthus Smith, and other artists.
Arrangement:
The collection is arranged as 6 series:

Missing Title

Series 1: Smith Family Papers, 1793-1977 (Box 1; 0.9 linear ft.)

Series 2: Russell Smith Papers, 1805-1954 (Boxes 1-2; 1.2 linear ft.)

Series 3: Xanthus Smith Papers, 1850-1953 (Boxes 3-4; 1.9 linear ft.)

Series 4: Mary Smith Papers, 1852-1877 (Box 5; 4 folders)

Series 5: Mary Priscilla Smith Papers, 1839-1874 (21 folders)

Series 6: Photographs, circa 1845-1934 (Box 6-7, MGP 3, Black Cabinet; 0.9 linear ft.)

Microfilm reel numbers and frames are referenced at folder headings in parenthesis when known. Glass plate negatives are housed separately and closed to researchers.
Biographical Note:
Russell Smith (1812-1896) was a native of Glasgow, Scotland whose family came to the United States in 1819 and settled near Pittsburgh. The Smith children were educated at home, and Russell showed an early interest in art. His first formal training in portraiture and landscape painting was in Pittsburgh under James Reid Lambdin. Around 1827, Smith began painting backdrops for theaters and within 6 years had achieved a national reputation for his theatrical painting. In 1835 he moved to Philadelphia to paint for the Walnut Street Theater, and soon received commissions to paint for theaters in Boston and Washington. Around this time, he also began writing poetry. Even while engaged in theatrical work, Smith continued to paint landscapes which were exhibited at the Pennsylvania Academy of the Fine Arts and the Artists' Fund Society of Philadelphia as early as 1834.

Russell Smith married Mary Priscilla Wilson, a flower painter and teacher of French and drawing, in 1838. By the 1840s, in addition to painting landscapes and theatrical backdrops, Smith was advertising his services as an "illustrator for lectures on various branches of natural science painted in distemper." He accompanied the scientific expeditions of geologists William Barton Rogers and Henry Darwin Rogers to Virginia and the Susquehanna and Juniata River valleys of Pennsylvania in 1844 and 1845 as an illustrator. During this period, Smith also traveled extensively in New Hampshire and upstate New York for summer painting expeditions. The Smiths traveled to Europe with their two children in 1851-1852, touring Wales, Scotland, Switzerland, Italy, the Netherlands, London, and Paris. Smith visited major museums and private collections, as well as architectural attractions, making sketches and keeping detailed notes of the trip.

Smith continued painting landscapes well into old age, even though his long out of fashion works were rejected with increasing frequency by the juries of the Pennsylvania Academy of the Fine Arts. He died in 1896.

Born in Milestown, Pennsylvania in 1819, Mary Priscilla Smith (1819-1874) studied at a female seminary in Germantown, Pennsylvania operated by noted educator William Russell (Russell Smith's uncle) in Germantown, Pennsylvania, and at Charles Picot's school in Philadelphia. She eventually became a teacher of French, drawing, and painting at the Picot school, and later taught at a school established by William Russell in Philadelphia.

At her husband's urging, Mary Priscilla Smith, already an accomplished flower painter, began painting figures and landscapes, and participated in exhibitions of the Artists' Fund Society exhibitions. After becoming a mother, she painted very little but taught her children, Xanthus and Mary, to draw and paint. Mary Priscilla Smith died in 1874.

Xanthus Smith (1839-1929) was born in Philadelphia and was educated at home. During the family's European tour of 1851-1852 he saw a wide variety of art and, upon returning home, began painting with enthusiasm. Around 1858 he enrolled in a cast drawing class at the Pennsylvania Academy of the Fine Arts.

At the start of the Civil War Xanthus Smith enlisted in the Navy, where he served as clerk to the commander of a flagship guarding Port Royal, South Carolina. He began producing detailed drawings of the ships both for official purposes and his own enjoyment. After the war, he continued painting ships and exhibited many of these paintings at the Pennsylvania Academy of the Fine Arts. Further commissions of Civil War subjects followed, and Xanthus Smith was soon recognized as the foremost painter of Civil War naval battle scenes.

In the 1880s, Xanthus Smith began painting European landscapes, probably based on his father's sketches made during their 1851-1852 tour of Europe. By the 1900s, he was concentrating on portraiture and figure subjects, and continued painting well into old age. His final years were spent in an unsuccessful attempt to publish his autobiography, "An Unvarnished Tale." Xanthus Smith died in 1929.

Mary Russell Smith (1842-1878) was born near Jenkintown, Pennsylvania. Her mother provided her with instruction in flower painting and she sketched animals and insects independently. At age fourteen Mary Smith completed her first oil painting and by 1858 had begun compiling a list of her completed pictures. She was encouraged by her parents to pursue a career as a professional artist. From 1859-1869, and in 1876 and 1878, Mary Smith exhibited at the Pennsylvania Academy of the Fine Arts. She also participated in exhibitions at the National Academy of Design in New York, and in the 1876 Centennial Exhibition held in Philadelphia.

From early childhood, Mary Smith enjoyed raising poultry, and chickens became her favorite painting subject. Her paintings of chickens were popular with Philadelphia art collectors, and sought after in England.

Always sickly, Mary Smith died of gastric fever in 1878. At her request, Russell Smith established the Mary Smith Prize, awarded annually by the Pennsylvania Academy of the Fine Arts, for the best painting exhibited by a woman resident of Philadelphia.
Provenance:
The Smith family papers were donated to the Archives of American Art in 1978 and 1979 by Franklin R. Smith, a family descendent.
Restrictions:
The collection is partially microfilmed. Use of material not microfilmed 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:
Educators -- Pennsylvania  Search this
Painters -- Pennsylvania  Search this
Illustrators -- Pennsylvania  Search this
Poets -- Pennsylvania  Search this
Topic:
Works of art  Search this
Painting, Modern -- 19th century -- Pensylvania  Search this
Landscape painting  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Sketchbooks
Writings
Scrapbooks
Tintypes
Drawings
Daguerreotypes
Ambrotypes
Photographs
Sketches
Citation:
Smith family papers, 1793-1977, bulk 1826-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.smitfami
See more items in:
Russell, Xanthus, and Mary Smith family papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b2e5c68c-39d1-4cbc-afb7-9d2eff30ac80
EDAN-URL:
ead_collection:sova-aaa-smitfami
Online Media:

James Suydam

Artist:
John Carlin, born Philadelphia, PA 1813-died New York City 1891  Search this
Sitter:
James Suydam  Search this
Medium:
watercolor on ivory
Dimensions:
4 3/8 x 3 5/8 in. (11.1 x 9.2 cm) oval
Type:
Painting-Miniature
Date:
1859
Topic:
Occupation\art\painter  Search this
Portrait male\bust  Search this
Credit Line:
Smithsonian American Art Museum, Museum purchase
Object number:
1974.13.1
Restrictions & Rights:
CC0
See more items in:
Smithsonian American Art Museum Collection
Department:
Painting and Sculpture
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk7c0df0e8c-c623-4573-bca3-02859dfc729c
EDAN-URL:
edanmdm:saam_1974.13.1

Lake Winnepesaukee, (painting)

Title:
Lake Winnipesaukee, New Hampshire, (painting)
Painter:
Cole, Thomas 1801-1848  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Albany Institute of History and Art 125 Washington Avenue Albany New York 12210 Accession Number: 1949.1.4
Date:
1827 or 1828
Topic:
Landscape--Lake--Lake Winnipesaukee  Search this
Landscape--New Hampshire  Search this
Figure group  Search this
Equestrian  Search this
Control number:
IAP 81580019
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_214368

Emily and Jean Paul Selinger papers, 1882-1918

Creator:
Selinger, Emily Harris Mcgary, 1848-1927  Search this
Selinger, Jean Paul, 1850-1909  Search this
Place:
White Mountains (N.H. and Me.) -- Art
Citation:
Emily and Jean Paul Selinger papers, 1882-1918. Archives of American Art, Smithsonian Institution.
Topic:
Landscape painting -- New Hampshire  Search this
Greeting cards  Search this
Women artists  Search this
Women painters  Search this
Theme:
Women  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)7044
(DSI-AAA_SIRISBib)209177
AAA_collcode_seliemil
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209177

Catherine H. Campbell papers, 1856-1989, bulk 1973-1989

Creator:
Campbell, Catherine H., 1916-1989  Search this
Subject:
Bemis, Samuel A.  Search this
Bierstadt, Albert  Search this
Champney, Benjamin  Search this
Derrick, William Rowell  Search this
Gifford, Sanford Robinson  Search this
Hill, Edward Rufus  Search this
Kensett, John Frederick  Search this
Shapleigh, Frank H.  Search this
Stone, Benjamin  Search this
Shattuck, Aaron Draper  Search this
Hopper, Jo N. (Josephine Nivison)  Search this
Hopper, Edward  Search this
Place:
White Mountains (N.H. and Me.)
Citation:
Catherine H. Campbell papers, 1856-1989, bulk 1973-1989. Archives of American Art, Smithsonian Institution.
Topic:
Landscape painting  Search this
Engravers  Search this
Women artists  Search this
Women painters  Search this
Women art historians  Search this
Theme:
Art Movements and Schools  Search this
Communities, Organizations, Museums  Search this
Lives of American Artists  Search this
Photography  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)7302
(DSI-AAA_SIRISBib)209455
AAA_collcode_campcath
Theme:
Art Movements and Schools
Communities, Organizations, Museums
Lives of American Artists
Photography
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209455

University of California, Berkeley

Collection Creator:
Obata, Chiura  Search this
Container:
Box 1, Folder 54
Type:
Archival materials
Date:
1941-1950
Collection 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.
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:
Chiura Obata papers, circa 1891-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Chiura Obata papers
Chiura Obata papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-obatchiu-ref25
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Albert Bierstadt letter collection

Creator:
Bierstadt, Albert, 1830-1902  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Place:
Yosemite National Park (Calif.)
Date:
1860-1900
Summary:
This small collection measures 0.2 linear feet and comprises 13 letters written by renowned Hudson River School landscape painter Albert Bierstadt between 1860 and 1900. The majority of the letters were penned in the last two decades of his life and discuss his painting, the inspiration he found in nature, his studio, and concerns relating to commissions and finances.
Scope and Content Note:
This small collection measures 0.2 linear feet and comprises 13 letters written by renowned Hudson River School landscape painter Albert Bierstadt between 1860 and 1900. The majority of the letters were penned in the last two decades of his life.

Bierstadt writes specifically of his work in several of the letters and refers to two paintings, Laramie Peak and The Jungfrau. In one letter he writes of the inspiration he finds in nature through his love of the mountains. Bierstadt invites friends to his studio in New York City, mentions a trip to Yosemite in the 1870s and writes letters of introduction on behalf of friends. Two of the letters concern commissions and discuss financial matters.
Arrangement:
Due to the small size of this collection, items are arranged as one chronological series.

Missing Title

Series 1: Albert Bierstadt Letters, 1860-1900 (Box 1; 13 items)
Biographical Note:
Albert Bierstadt was born in Solingen, Germany, in January 1830. His family emigrated to the United States when he was two years of age and settled in Bedford, Massachusetts.

In 1853 Bierstadt traveled to Germany to study painting at the Düsseldorf Art Academy. In 1858, following his return to the United States, he gained national attention for organizing a large exhibition of paintings including fifteen of his own works. Bierstadt drew inspiration from the painters of the Hudson River School, and regularly visited the White Mountains of New Hampshire to make sketches for his landscape paintings.

In 1859 Bierstadt traveled to the Colorado and Wyoming territories sketching landscapes in the company of a United States government survey expedition. On his return he took studio space at the new Tenth Street Studio Building in New York City and began a series of large-scale western landscape paintings, including Yosemite Valley and Thunderstorm in the Rocky Mountains. These paintings, known for their theatrical and romantic depiction of the grandeur and drama of the American West, brought Bierstadt great popularity during the 1860s.

Bierstadt's paintings were widely exhibited in the United States and abroad and commanded some of the highest prices in American art at the time, although his reputation began to decline somewhat in the 1880s in the face of changing public tastes.

Bierstadt was a member of the Century Association from 1862-1902 and a member of the National Academy of Design from 1860 until his death in 1902.
Related Material:
Also found at the Archives of American Art are the Robert Neuhaus papers concerning Clyfford Still and Albert Bierstadt, 1884-1984 (bulk 1941-1984). A circa 1875 photograph of Bierstadt by Bierstadt Brothers given to the Archives by an unknown donor is available in the Archives of American Art's Photographs of Artists Collection I and online.
Provenance:
The collection was acquired by the Archives of American Art in a series of accessions between 1955 and 2001. Six letters were donated by Charles Feinberg in 1955-1957; one letter was donated by Letitia Howe in 1976; one letter was donated by Mrs. Miles Reber, grandaughter-in-law of General Nelson in 1976; two letters were purchased from Charles Hamilton Autographs in 1956; one letter was purchased from Steele in 1956; and one letter was purchased from Scott J. Winslow Associates in 2001.
Restrictions:
The collection has been digitized and is available online via the Archives of American Art 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.
Topic:
Art -- Economic aspects  Search this
Hudson River school of landscape painting  Search this
Landscape painters -- New York (State) -- New York  Search this
Function:
Artists' studios -- New York (State)
Citation:
Albert Bierstadt letter collection, 1860-1900. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bieralbe
See more items in:
Albert Bierstadt letter collection
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw903cf81d4-1aef-4bbf-9058-19a91b067cb9
EDAN-URL:
ead_collection:sova-aaa-bieralbe
Online Media:

Sanford Robinson Gifford papers

Creator:
Gifford, Sanford Robinson, 1823-1880  Search this
Names:
Bierstadt, Albert, 1830-1902  Search this
Whittredge, Worthington, 1820-1910  Search this
Extent:
0.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Sketchbooks
Place:
Europe -- description and travel
Egypt -- description and travel
United States -- History -- Civil War, 1861-1865
Date:
1840s-1900
circa 1960s-1970s
Summary:
The papers of landscape painter Sanford Robinson Gifford, date from the 1840s through 1900, and circa 1960s-1970s. The bulk of the papers fall between 1855-1881; material from the circa 1960s-1970s consists of photographic copy prints for which the Archives does not have the originals. The small collection measures 0.9 linear feet of scattered documentation of Gifford's life, primarily extensive biographical accounts of his travels in the mid 1850s and late 1860s in the form of bound letters to his father. These serve as detailed journals of his impressions of Europe and the Middle East, the development of his painting, and his relationships with other artists such as Albert Bierstadt and Worthington Whittredge. The collection also contains sketches by Gifford, printed material including catalogs of Gifford's paintings, and photographs of Gifford and others.
Scope and Content Note:
The collection dates from the 1840s through 1900, and circa 1960s-1970s with the bulk of the material falling between 1855-1881. Material from circa 1960s-1970s consists of photographic copy prints of original photographs from the mid to late 1800s for which the Archives does not own the originals. The papers measure 0.9 linear feet and provide detailed documentation of the life of Hudson River School landscape painter, Sanford Robinson Gifford, during the mid 1850s and late 1860s. The papers contain extensive accounts of Gifford's travels in 3 bound volumes of typewritten letters from Gifford to his father. These letters serve as travel journals and provide extensive and vivid descriptions of Gifford's work and experiences in Europe and the Middle East, and document his relationships with a variety of other artists, including Alfred Bierstadt and Worthington Whittredge, during this period.

Additional records provide scattered documenation of other periods of Gifford's life. Letters refer to his travels in the American west and his Civil War service and its effect on his painting. Printed material includes clippings and exhibition catalogs, and includes a catalogue of his paintings published by the Metropolitan Museum of Art in 1881. Artwork by Gifford includes sketches by the artist and prints, engravings and paintings by various others. Original photographs date from 1856-1900 and include images of Gifford during the Civil War. Copyprints for which the Archives does not own the originals date from the circa 1960s-1970s and include two images of a family home in Hudson, New York, where Gifford had a studio in the mid 1860s, a portrait photograph of Gifford, and an image of Gifford on the Hayden expedition.
Arrangement:
The collection is arranged as 4 series:

Missing Title

Series 1: Letters, 1855-1874 (Box 1; 3 volumes, 1 folder)

Series 2: Printed Material, circa 1850s-1881 (Box 2; 4 folders)

Series 3: Artwork, circa 1840s-circa 1870s (Box 2, OV 3; 4 folders)

Series 4: Photographs and Copy Prints, 1856-circa 1900, circa 1960s-1970s (Box 2, 5, OV 4; 11 folders)
Biographical Note:
Sanford Robinson Gifford was born in Greenfield, New York, in 1823. He attended Brown University from 1842-1844 and moved to New York City in 1845 where he studied drawing, perspective and anatomy under the direction of the British watercolorist and drawing-master, John R. Smith. He also studied the human figure in anatomy classes at the Crosby Street Medical college and took drawing classes at the National Academy of Design. In 1846 he visited the Berkshire Hills and the Catskill Mountains, sketching from nature. "These studies," he wrote to O. B. Frothingham in 1874, "together with the great admiration I felt for the works of Cole developed a strong interest in landscape art, and opened my eyes to a keener perception and more intelligent enjoyment of nature. Having once enjoyed the absolute freedom of the landscape painters life I was unable to return to portrait painting."

The American Art Union bought and showed some of Gifford's first pictures in 1847. In 1851 he was elected an associate, and in 1854 an academician, of the National Academy of Design.

Gifford traveled widely to sketch landscapes for future paintings, recording his experiences in letters to his father which he intended would "serve the double purpose of letter and journal, and be an economy of time." He requested that his father number the letters sequentially and keep them together.

In the summer of 1855 Gifford visited England, Scotland and Paris, where he spent the winter of 1855 transforming his English and Scottish sketches into paintings. In the fall of 1856 he rented a studio in Rome and, over the course of the winter, painted pictures that reportedly pleased him "pretty well," including Lake Nemi. During the spring of 1857, Gifford spent time with fellow artists Worthington Whittredge, William H. Beard and Albert Bierstadt before leaving Rome in May with Bierstadt for a walking tour of southern Italy, where they planned to reconnect with Whittredge and Beard. Gifford ended his European tour with a visits to Innsbruck, Munich, Vienna, Prague, Dresden, Berlin and Paris, before returning to the United States at the end of the summer.

On his return Gifford rented studio Number 19 in the Tenth Street Studio Building in New York City, which he retained until his death. Over the next few years he also made frequent summer trips to various northeastern locales including the Catskills, the Adirondacks, the Green Mountains in Vermont, the White Mountains in New Hampshire, Maine and Nova Scotia.

Gifford served in New York's Seventh Regiment when it marched to the defense of Washington in April 1861, and again in 1862 and 1863. Several paintings resulted from this experience, including Sunday Morning at Camp Cameron (1861), Bivouac of the Seventh Regiment at Arlington Heights, Virginia (1861) and Camp of the Seventh Regiment, near Frederick, Maryland, in July 1863 (1864).

In 1868 Gifford returned to Europe, again visiting London and Paris, where he met with friends Jervis McEntee and his wife. He then spent the summer visiting the Alps and Sicily before wintering in Rome. In 1869 he traveled to Egypt where he and a small party hired a boat to take them on a two-month voyage from Cairo down the Nile River. Subsequently, Gifford traveled to the Middle East with Alfred Craven via the Suez Canal, where his itinerary included Syria, Jerusalem, Samaria, Damascus, Greece and Turkey. Gifford arrived in Venice in June 1869 and sailed for the United States at the beginning of September.

In 1870 Gifford visited Colorado with Worthington Whittredge and John Frederick Kensett, and accompanied a United States Geological party under Dr. Hayden in the exploration of Wyoming, Utah, and the Colorado Territories. In the summer of 1873 he visited California, Oregon, British Columbia and Alaska.

Gifford married in 1877 but in 1880 became ill and died of malarial fever and pneumonia at the age of 58. That same year he was honored with the Metropolitan Museum of Art's first monographic retrospective and a memorial catalogue of his known pictures.
Related Material:
Five sketchbooks were loaned by Vassar College in 1966 and the originals were returned to the donor after microfilming on reel D254.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels D254 and 688) including twenty-one sketchbooks, photographs, passports and certificates, an 1888 European travel diary of Mary Louise Willard, wife of Gifford's nephew, Harold, and a 1966 letter. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Edith Wilkinson first donated the Sanford Robinson Gifford papers in 1955 and 1957. James C. Gifford donated copy prints of photographs in 1964. Five sketchbooks were lent for microfilming by the Vassar College Art Library in 1966 and George and Frances Gifford Cummings donated additional material in 1973. In 1974, sixteen sketchbooks, photographs, and other materials were lent for microfilming by Dr. Sanford Gifford, Gifford's great-nephew.
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.
Topic:
Works of art  Search this
Landscape painters -- New York (State)  Search this
Hudson River school of landscape painting  Search this
Landscape painting -- 19th century -- New York (State)  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Citation:
Sanford Robinson Gifford papers, 1840s-1900, circa 1960s-1970s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.giffsanf
See more items in:
Sanford Robinson Gifford papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw948af2acf-99f6-4446-9709-5a8ed7654688
EDAN-URL:
ead_collection:sova-aaa-giffsanf
Online Media:

New Hampshire Landscape, (painting)

Painter:
Durand, Asher B. 1796-1886  Search this
Medium:
Oil
Type:
Paintings
Owner/Location:
Barridoff Galleries 242 Middle Street Portland Maine 04101
Topic:
Landscape--New Hampshire  Search this
Control number:
IAP 80045781
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_178994

Emily and Jean Paul Selinger papers

Creator:
Selinger, Emily, 1848-1927  Search this
Selinger, Jean Paul, 1850-1909  Search this
Extent:
0.2 Linear feet ((partially microfilmed on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Place:
White Mountains (N.H. and Me.) -- Art
Date:
1882-1918
Scope and Contents:
Correspondence, photographs, hand-made greeting cards, and printed material.
Reel 3768: Jean Paul and Emily Selinger's business card; their wedding announcement; 2 letters from Emily and Mrs. Remington; 6 original greeting cards painted and signed by Emily Selinger; 8 clippings regarding Jean Paul, Emily, and Emily's mother, Mrs. Elizabeth Payne McGary; and 1 photograph of Emily's studio on Boylston Street, Boston, Massachusetts.
Reel 3814: A photograph of Jean Paul Selinger and his niece, Marie Selinger (Warren). [microfilm title, Elizabeth Field photograph]
Unmicrofilmed material: correspondence of Jean Paul and Emily with niece Marie Selinger Warren; sister-in-law Mary McGary; cousin Joseph Selinger; and Mr. and Mrs. Merrill (proprietors of Crawford House); a poem by Emily; photographs of Jean Paul and of Williams and Everett Galleries; and a St. Botolph's Club membership booklet.
Biographical / Historical:
Emily: still life and floral painter, writer, poet; Jean Paul: landscape and portrait painter; Boston, Mass. and New Hampshire. Emily was originally from Wilmington, N.C. and was instrumental in establishing the Normal Art School, Louisville, Ky. Both worked in Providence, R.I. and Boston. Toured Europe 1882-1885. Opened summer studio in Glen House, in the White Mountains of New Hampshire in mid 1880s. From 1894 occupied Crawford House in White Mountains as summer studio.
Other Title:
Elizabeth Field photograph [reel 3814, microfilm title]
Provenance:
Unmicrofilmed papers donated 1982 by Charles and Gloria Vogel when acquired through research on White Mountain artists. Materials on reel 3768 donated 1982 by Marion C. Keaney, through her grandparents, the D. H. Remingtons, who were neighbors of Emily Selinger's mother, Mrs. McGary.
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 -- New Hampshire  Search this
Painters -- Massachusetts -- Boston  Search this
Topic:
Landscape painting -- New Hampshire  Search this
Greeting cards  Search this
Women artists  Search this
Women painters  Search this
Function:
Artists' studios -- Massachusetts
Identifier:
AAA.seliemil
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9703c0f9e-6b9f-470a-a3d0-dfb9c979beb8
EDAN-URL:
ead_collection:sova-aaa-seliemil

Catherine H. Campbell papers

Creator:
Campbell, Catherine H.  Search this
Names:
Bemis, Samuel A.  Search this
Bierstadt, Albert, 1830-1902  Search this
Champney, Benjamin, 1817-1907  Search this
Derrick, William Rowell, 1857-1941  Search this
Gifford, Sanford Robinson, 1823-1880  Search this
Hill, Edward Rufus, 1852-1908  Search this
Hopper, Edward, 1882-1967  Search this
Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this
Kensett, John Frederick, 1816-1872  Search this
Shapleigh, Frank H., 1842?-1906  Search this
Shattuck, Aaron Draper, 1832-1928  Search this
Stone, Benjamin, 1829-1906  Search this
Extent:
2 Items (Reel 3134)
3 Linear feet (Unmicrofilmed)
Type:
Collection descriptions
Archival materials
Place:
White Mountains (N.H. and Me.)
Date:
1856-1989
bulk 1973-1989
Scope and Contents:
Primarily research material on 19th century artists, engravers and photographers of New Hampshire views.
UNMICROFILMED: Correspondence related to Campbell's research, undated and 1972-1983; manuscripts for Campbell's book, CRAWFORD NOTCH (Chapters I -VII); articles and lecture notes on White Mountain (N.H. and Me.) artists and early photography in N.H.; research files for the 1980 exhibition and catalog "The White Mountains: Place and Perceptions"; research and card files on N.H. sites and on 19th and 20th century artists who lived in or painted scenes of the White Mountains, including Samuel Bemis, Albert Bierstadt, James Buckley, Benjamin Champney, Thomas Cole, William Derrick, Sanford Gifford, Edward Hill, John Kensett, Henry Pratt, F.H. Shapleigh, Aaron Shattuck, Benjamin Stone and others. Also included are exhibition catalogs and announcements for New Hampshire artists.
REEL 3134: A Christmas card with a short personal note from Edward and Jo Hopper, 1944, and a letter to the Crawford J. Campbell family, June 7, 1946, from Jo Hopper. She responds to news of the Campbell family in Chicago, comments on the possibility that Hopper's Washington Square studio may be annexed by New York University, and on their trip to Mexico.
Biographical / Historical:
Artist, art historian, summer resident at Center Harbor, N.H. Born 1916. Died 1989.
Provenance:
Material on reel 3134 donated 1971 and 1978 by Campbell. Unmicrofilmed material donated 1990 by Joanna Campbell Dellenbaugh, Campbell's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Artists -- New Hampshire  Search this
Painters -- New Hampshire  Search this
Art historians -- New Hampshire  Search this
Topic:
Landscape painting  Search this
Engravers  Search this
Women artists  Search this
Women painters  Search this
Women art historians  Search this
Identifier:
AAA.campcath
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cdc387ca-62d2-4605-8041-cb48ebbd1122
EDAN-URL:
ead_collection:sova-aaa-campcath

Consuming views : art & tourism in the White Mountains, 1850-1900

Title:
Consuming views : art and tourism in the White Mountains, 1850-1900
Author:
New Hampshire Historical Society  Search this
Physical description:
119 p. : col. ill., maps ; 29 cm
Type:
Exhibitions
In art
Place:
White Mountains (N.H. and Me.)
Date:
2006
C2006
19th century
Topic:
Landscape painting, American  Search this
Call number:
ND1460.W47 N4 2006
ND1351.5 .C655 2006
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_833514

Mountain Lake, A, N.H., (painting)

Artist:
Sonntag, William L.  Search this
Type:
Paintings
Exhibition Catalogs
Date:
1876
Topic:
Landscape--Mountain  Search this
Landscape--Lake  Search this
Landscape--New Hampshire  Search this
Control number:
AECI 03850376
Data Source:
Pre-1877 Art Exhibition Catalogue Index
EDAN-URL:
edanmdm:siris_aeci_78639

Landscape, (painting)

Artist:
Boese  Search this
Type:
Paintings
Exhibition Catalogs
Date:
1876
Topic:
Landscape--Mountain--White Mountains  Search this
Landscape--New Hampshire  Search this
Control number:
AECI 02430205
Data Source:
Pre-1877 Art Exhibition Catalogue Index
EDAN-URL:
edanmdm:siris_aeci_48627

"A Sweet foretaste of heaven" : Artists in the White Mountains 1830-1930 : Hood Museum of Art, Dartmouth College, September 10-October 30, 1988 / with essays by Robert L. McGrath and Barbara J. MacAdam

Author:
McGrath, Robert L. 1935-  Search this
MacAdam, Barbara J. 1954-  Search this
Hood Museum of Art  Search this
Physical description:
99 p. : ill. (some col.) ; 23 x 31 cm.
Type:
Books
Place:
White Mountains (N.H. and Me.)
Date:
1988
C1988
19th century
20th century
Topic:
Landscape painting, American--Exhibitions  Search this
Landscape painting--Exhibitions  Search this
In art  Search this
Exhibitions  Search this
Call number:
ND1351.5.S84 1988X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_361898

New Hampshire Landscape, (painting)

Painter:
Bricher, Alfred Thompson 1837-1908  Search this
Medium:
Oil
Type:
Paintings
Topic:
Landscape--New Hampshire  Search this
Landscape--River  Search this
Control number:
IAP 62160552
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_104697

New Hampshire Landscape, (painting)

Painter:
Wheeler, William Ruthven 1832-1893  Search this
Type:
Paintings
Owner/Location:
Dana E. Tillou 417 Franklin Street Buffalo New York 14202
Date:
1866
Topic:
Landscape--New Hampshire  Search this
Control number:
IAP 80040156
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_173802

French Landscape, (painting)

Painter:
Boit, Edward Darley 1840-1915  Search this
Medium:
Oil
Type:
Paintings
Owner/Location:
Steven Straw Co Lafayette Road Seabrook New Hampshire 03874
Date:
1908
Topic:
Landscape--France  Search this
Control number:
IAP 80040689
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_174289

New Hampshire Mountain View, (painting)

Title:
New Hampshire, (painting)
White mountain Landscape, (painting)
Painter:
Gignoux, Regis Francois 1814-1882  Search this
Type:
Paintings
Owner/Location:
Dartmouth College Hood Museum of Art Hanover New Hampshire 03755
Date:
Ca. 1864
Topic:
Landscape--New Hampshire  Search this
Landscape--Mountain--White Mountains  Search this
Control number:
IAP 80043381
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_176859

Untitled (Landscape), (painting)

1909-2008:
Solman, Joseph painter  Search this
Medium:
Oil on pressed board
Type:
Paintings
Owner/Location:
Dartmouth College Hood Museum of Art Hanover New Hampshire 03755 Accession Number: P983.21.1
Topic:
Landscape  Search this
Control number:
IAP 30661882
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_458286

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