The papers of the prominent New York and Connecticut Weir family of artists measure 0.8 linear feet and date from 1809-circa 1961, with the bulk of the material dating from 1830-1920. The papers are a collection of correspondence and photographs that constitute a small but vivid record of the influence and relationships of this family of Hudson River School, landscape, and miniature painters. Correspondence consists primarily of letters to painter John Ferguson Weir when he was director of the Yale School of Fine Arts, with scattered letters to his daughter Edith Weir (Perry), and a small amount of correspondence of Robert Weir, his daughter Carrie M. Mansfield, son-in-law Lewis William Mansfield, and Julia Bayard. Letters to John F. Weir are from many late-19th century artists, as well as actors, poets, lawyers, scholars, and clergymen, often concerning arrangements for visiting lectures at the school. Photographs are of Robert Walter Weir, Susan Bayard Weir, Julian Alden Weir, and artwork.
Scope and Contents:
The papers of the prominent New York and Connecticut Weir family of artists measure 0.8 linear feet and date from 1809-circa 1961, with the bulk of the material dating from 1830-1920. The papers are a collection of correspondence and photographs that constitute a small but vivid record of the influence and relationships of this family of Hudson River School, landscape, and miniature painters. Correspondence consists primarily of letters to painter John Ferguson Weir when he was director of the Yale School of Fine Arts, with scattered letters to his daughter Edith Weir (Perry), and a small amount of correspondence of Robert Weir, his daughter Carrie M. Mansfield, son-in-law Lewis William Mansfield, and Julia Bayard. Letters to John F. Weir are from many late-19th century artists, as well as actors, poets, lawyers, scholars, and clergymen, often concerning arrangements for visiting lectures at the school. Photographs are of Robert Walter Weir, Susan Bayard Weir, Julian Alden Weir, and artwork.
There are approximately 275 letters to John Ferguson Weir, some of which enclose sketches, photographs, and printed writings. The letters of Hudson River School artists including Frederic Edwin Church, Thomas Cole, Sanford Robinson Gifford, Jervis McEntee, and Worthington Whittredge, capture a sense of the intense ties those artists felt to the landscape and to each other. Often the correspondents mention their fellow artists in their letters in personal as well as professional terms, writing of family, friendships, visits to each other's homes, practical arrangements for delivering, retrieving, and exhibiting artwork, and their shared artistic aspirations, successes, and disappointments.
Many of the letters are responses from lawyers, scholars, clergymen, writers, and educators in reply to Weir's requests to speak at the Yale School of Fine Arts. Taken together the letters, which often go beyond routine matters to extend to more personal affairs, reveal the warm esteem in which Weir was held, not only in his capacity as director of the school but as an artist and a friend. The letters, such as those from Laura Hills, Lucia Fairchild Fuller, Adele Herter, and Candace and Dora Wheeler, also document the Weir family's friendships with and encouragement of women artists, at a time of limited support for women in the arts. Also of note are letters from actors Edwin Booth and Joseph Jefferson, who were both friends of John F. Weir.
Letters of Robert Weir and extended Bayard and Mansfield family members relate primarily to family affairs.
Photographs of Julian Alden Weir, Robert W. Weir, and Susan Bayard Weir include professional portraits and candid family shots, as well as photographs of two sketches of Julian Alden Weir and two miscellaneous photos of artwork.
Arrangement:
Due to the small size of the collection, the Weir family papers are arranged as one series.
Biographical / Historical:
The New York and Connecticut Weir family of artists included painter and West Point professor Robert Walter Weir (1803-1889), his sons John Ferguson Weir (1841-1926) and Julian Alden Weir (1852-1919), and granddaughter Edith Weir (Perry) (1875-1955).
Julian Alden Weir was a renowned American Impressionist painter and a founding member of "The Ten," a loosely allied group of American artists dissatisfied with some of the established professional art organizations of the time who exhibited their work as a unified group. He also taught at the Women's Art School of the Cooper Union in New York.
John Ferguson Weir became acquainted with many of the rising young artists of his day when he took a room in the Tenth Street Studio in his early twenties and developed proficiency in landscape and still life painting. Like his brother, he then studied art abroad and returned to become director and later dean of the School of Fine Arts at Yale University from 1869-1913.
John Ferguson Weir married Mary Hannah French in 1866. Their daughter, Edith Weir Perry, was a noted miniature painter who studied under Lucy Fairchild Fuller.
Related Materials:
The Archives of American Art also holds the microfilm (Reels 70-71, 125-126, 577) for the Julian Alden Weir papers, 1869-1966, including correspondence (mostly typed transcripts); scrapbooks; photographs; sketches; notebooks and scrapbooks and clippings compiled by Dorothy Weir Young in preparation for her book, The Life and Letters of J. Alden Weir (1960, Yale University Press).
Additional Weir family records are held by the Yale University Archives. The records form part of the material previously lent to the Archives of American Art for microfilming by Reverend DeWolf Perry, and described above as separated materials.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming by Reverend DeWolf Perry. Included on reels 529-531 are correspondence of John Ferguson Weir, much of it with his brother Julian Alden Weir, with his future wife which he wrote while serving in the Civil War, and with artists; 77 letters, 1823-1881, of Robert W. Weir with members of the Congress and War Dept. regarding commissions, and with artists and others, including Horatio Greenough, William Page, Thomas Cole, William Cullen Bryant, and George P. Morris; a pocket diary of John F. Weir, 1860, with occasional poems and sketches; 2 sketchbooks, and 71 drawings, watercolors, and oils by John F. Weir; 3 sketchbooks and 165 original drawings, lithographs, watercolors and oils by Robert Weir; 4 portraits of John F. by others; sheet music with words and lithograph on the cover by Robert; 81 photographs of John and Robert, family, and work; exhibition material of Robert; a list of John F. Weir's paintings with prices; drafts of Robert W. Weir, Artist by Irene Weir (1947); and a typescript of a biography of John F. Weir by his daughter, Edith Weir (Perry); genealogical material; and clippings. Reel 533 includes a typescript of "The Story of My Life: The Inner Life of a Human Soul," by Mary French Weir, ca. 1920 (94 p.), and a typescript of a biography of her mother, Clara Miller-French, ca. 1920 (28 p.). Reel 565 contains family correspondence, 1866-1927, of Mary French Weir; an excerpt from the French family genealogy; and an obituary of Mary French Weir written by her daughter Edith Weir Perry. Reel 936 contains a sketchbook, 1826, by Robert Weir, of figures, statues, and buildings in Rome done while a student. The drawings are in pencil, ink wash, and pen and ink. (111 p.); reel 949 contains three sketchbooks, 1869-1902, by John F. Weir, done in watercolor, pencil and ink wash. (69 p.), of landscapes, figures, and heads of individuals in Italy, Switzerland, Dordricht, Holland, and France.
Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Photographs were given to the Archives of American Art in 2019 by Mary and John McGuigan, Jr. Letters to John Ferguson Weir were donated by Harold O. Love in 1961. Material on reels 529-531, 533, 565, 936 and 949 was lent for microfilming 1973-1975 by Rev. DeWolf Perry, grandson of John F. Weir. He also donated two photographs in 1975. The donor and date of acquisition of the manuscript draft of Julian Alden Weir's biography are unknown.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Landscape painters -- New York (State) -- New York Search this
Miniature painters -- New York (State) -- New York Search this
The papers of Impressionist painter Frederick Carl Frieseke measure 0.3 and date from circa 1870s-1943, 1982, and 1996. This small collection contains scattered documentation of Frieseke's life through several biographical items, printed material, photographs of Frieseke and his family, and miscellany.
Scope and Contents:
The papers of Impressionist painter Frederick Carl Frieseke measure 0.3 and date from circa 1870s-1943, 1982, and 1996. This small collection contains scattered documentation of Frieseke's life through several biographical items, printed material, photographs of Frieseke and his family, and miscellany.
Arrangement:
Due to the small size of the collection the Frederick Carl Frieseke papers are arranged as one series.
Biographical / Historical:
Impressionist painter Frederick Carl Frieseke (1874-1939) lived in New York and Paris before becoming a leading figure of the second generation of Americans at Giverny, France. Frieseke studied at the Art Institute of Chicago and the Art Students League, New York City. He moved to France in 1898 where he lived until his death in 1939.
Separated Materials:
The Archives of American Art also holds microfilm (reels N737 and 2885) of a notebook kept by Frieseke containing a pencil sketch, addresses, expenses, and price lists of paintings; a transcript of the notebook made by his grandson, Nicholas Kilmer; writings and reminiscences decorated with sketches by Frieseke; and price lists. Loaned materials were returned to the donor after microfilming and are not described in the collection container inventory.
Provenance:
The papers were donated in 2019 by Mary K. McGuigan and John F. McGuigan Jr., art historians and collectors in Milford, Pennsylvania. Material on reels N737 and 2885 were lent for microfilming in 1968 and 1983 by Mrs. Kenton Kilmer (Frances Friseke) and her son Nicholas Kilmer, Frieseke's daughter and grandson.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
The papers of sculptor, author, and poet, William Ordway Partridge, who was active in New York City and Washington, D.C., measure 0.2 linear feet and date from 1879-1920, and 1957. This small collection consists primarily of letters to Partridge from artists, political figures, art historians, and authors; drafts and typescripts of Partridge's poems; and two clippings about Partridge's sculpture.
Scope and Contents:
The papers of sculptor, author, and poet, William Ordway Partridge, who was active in New York City and Washington, D.C., measure 0.2 linear feet and date from 1879-1920, and 1957. This small collection consists primarily of letters to Partridge from artists, political figures, art historians, and authors; drafts and typescripts of Partridge's poems; and two clippings about Partridge's sculpture.
Arrangement:
Due to the small size of the collection the papers are arranged as one series.
Biographical / Historical:
Parisian-born sculptor, author, and poet, William Ordway Partridge (1861-1930) was known for his sculptures of famous writers, artists, political figures, and poets.
Partridge attended Adelphi Academy and Columbia College in New York and then traveled abroad to study in Florence, Rome, and Paris. He exhibited at the Paris Salon in his early twenties before returning to New York to focus on sculpture, lecturing, poetry reading, and writing and publishing his own poetry and articles on art. In addition to busts of writers and artists and many distinguished New York figures, he executed a large bronze of Alexander Hamilton in Prospect Park, Brooklyn.
Provenance:
The collection was donated in 1965 by Mrs. Jacob B. Shohan, and in 2019 by Mary K. McGuigan and John F. McGuigan Jr., art historians and collectors in Milford, Pennsylvania.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- New York Search this
Authors -- New York (State) -- New York Search this
Weinman, Adolph A. (Adolph Alexander), 1870-1952 Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1892-circa 1915
Summary:
The photographs and papers of sculptor Karl Francis Theodore Bitter and his pupil and colleague Gustave Gerlach measure 0.8 linear feet and date from circa 1892-circa 1915. The collection documents the work and studio practice of Bitter and Gerlach primarily through photographs and a photograph album, in addition to paper records including a proposal and lists of work completed for two international expositions, news clippings, and two drawings by Bitter on his personal stationary.
Scope and Contents:
The photographs and papers of sculptor Karl Francis Theodore Bitter and his pupil and colleague Gustave Gerlach measure 0.8 linear feet and date from circa 1892-circa 1915. The collection documents the work and studio practice of Bitter and Gerlach primarily through photographs and a photograph album, in addition to paper records including a proposal and lists of work completed for two international expositions, news clippings, and two drawings by Bitter on his personal stationary.
Papers include lists of artwork for the 1901 Pan-American Exposition in Buffalo, New York, and the 1904 Louisiana Purchase Exposition, in St. Louis, Missouri.
Photographs number approximately 250 and document the studio practice and work of Karl Bitter and Gustave Gerlach during Gerlach's tenure in Bitter's studio. Photos include images of Bitter, Gerlach, Isidore Konti, Joseph Sibbel, and other sculptors and studio assistants, and depict important works in progress such as Bitter's Alexander Hamilton and monumental sculpture for the 1901, 1904, and 1915 expositions, including Bitter's Standard Bearer (1901) and Adolph Weinman's Destiny of the Red Man (1904).
As a child Gerlach's daughter, Margarett, evidently spent time watching her father at work. She compiled this collection of photographs and papers and provided historical context in notes on the versos of some of the items.
Arrangement:
The collection is arranged as two series.
Series 1: Papers, circa 1892-circa 1915 (7 folders; Box 1)
Series 2: Photographs, circa 1895-circa 1915 (0.7 linear feet Boxes 1-2, OVs 3-4)
Biographical / Historical:
Austrian born sculptor Karl Bitter (1867-1915) was active in New York City, New York. He exhibited his works at worldwide expositions and examples of his sculpture and memorials can be found throughout the United States. Sculptor Gustave Gerlach (b. 1866) was a pupil and colleague of Bitter's and was also active in New York City.
Karl Theodore Francis Bitter was born in Vienna, Austria, where he trained as a sculptor. While serving in the Austrian military in 1889, Bitter immigrated to the United States and applied for citizenship. Ultimately, Bitter settled in New York City and worked as an assistant in a home decorating firm while establishing his reputation as a sculptor. After working as a sculptor at the World's Columbian Exposition in Chicago in 1893 and as director at the Pan-American Exposition in Buffalo, New York, in 1901, Bitter was named head of the sculpture programs at both the 1904 Louisiana Purchase Exposition in St. Louis, Missouri, and the 1915 Panama-Pacific Exposition in San Francisco, California. Bitter was awarded the silver medal of the Paris Exposition, 1900; the gold medal of the Pan-American Exposition, 1901; and the gold medal at the Louisiana Purchase Exposition, 1904.
Bitter offered work to sculptor Gustave Gerlach after seeing some of his sculpture. Gerlach subsequently assisted Bitter at the 1901 Pan-American Exposition as superintendent of sculpture, and at the 1904 and 1915 expositions. Following Bitter's sudden death in 1915, Gerlach proposed the execution of a memorial fountain for him in Weehawken, New Jersey, based on an original design by Bitter. However, due to anti-German sentiment in the United States at that time, Gerlach was unable to proceed with the memorial and ultimately returned the money he had raised for the fountain.
Bitter and Gerlach worked with many prominent sculptors of the day, including Isidore Konti, Adolph Weinman, and Alexander Stirling Calder who was named acting-chief of the 1915 Panama-Pacific Exposition. Bitter and Calder both employed the services of renowned model Audrey Munson.
Related Materials:
The Archives of American Art also holds the Karl Theodore Francis Bitter Papers, 1887-circa 1977.
Provenance:
The papers were donated in 2019 by Mary K. McGuigan and John F. McGuigan Jr., art historians and collectors in Milford, Pennsylvania, who purchased the collection at auction. The collection was originally complied by Gustave's daughter, Margarett.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Citation:
Photographs of Karl Francis Theodore Bitter and Gustave Gerlach, circa 1892-circa 1915. 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.
John Singleton Copley, 29 December 1794, to the collector, engraver, and print-seller Sir John Thane (1748-1818), London, regarding written in the third person, Copley requests portraits of Sir Henry Slingsby, Sir Benjamin Rudyard, Sir Henry Deering, and Francis Rowse for his historical picture of -- Charles I Demanding in the House of Commons the Five Impeached Members -- , 1782-1795 (National Portrait Gallery, London).
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:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
Count Luigi Palma di Cesnola, Director of the Metropolitan Museum of Art, New York, 25 March 1885, on museum letterhead, to Hayden W. Wheeler (1827-1904), founder of a prestigious jewelry firm in Manhattan. Regarding an invitation to join the Museum board. Includes an engraved portrait of Cesnola.
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:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
Daniel Chester French, New York, 22 December 1898, to James Large, Philadelphia, regarding a letter of introduction from French, who had been selected by the will of the late Richard Smith (1821-1894) to erect a statue of General George Gordon Meade (1815-1872) for the Smith Memorial Arch in Philadelphia, in order to meet with family members to gain background and images for his work. Envelope addressed to Mrs. John B. Large, Philadelphia and postmarked 11 January 1899. Also included is a letter of introduction from John B. Gest (1824-1907), President of The Fidelity Insurance Trust and Safe Deposit Company, Philadelphia, 22 December 1898, to James Large, on behalf of French.
Daniel Chester French, New York, 11 January 1899, to Sarah Wise Meade Large, Philadelphia, regarding a visit on Saturday, 14 January 1899, to Philadelphia to secure details for his statue of General George Gordon Meade (1815-1872) for the Smith Memorial Arch in Philadelphia; also hopes to take in the PAFA Exhibition.
Daniel Chester French, New York, 24 January 1899, to Sarah Wise Meade Large, regarding acknowledgement of receipt of letters and photographs of General Meade, as well as a print by Thomas Hicks, and informs he has begun to sculpt the statue in clay. Also included are two letters to Mrs. Large, one from her mother (undated), and the other from her son's teacher Robert Anderson of The Episcopal Academy, Lansdowne, Pennsylvania (1911).
Daniel Chester French, sixty-three typed letters signed on French's own imprinted stationery and two autograph letters signed. New York City, 12 February 1923- 28 March 1931. Written to Charles Dupuy, the caretaker of French's summer home in Massachusetts.
New York, 8 February 1909, to Henry Wolf (1852-1916, wood engraver, artist, illustrator), New York. French writes that he has given no photographs of the Melvin Memorial (1908, Sleepy Hollow Cemetery, Concord, Massachusetts) for reproduction to anyone except -- Monumental News -- , a technical magazine, and thanks Wolf for his appreciation of his work.
Glendale, Massachusetts, 22 September 1911, to Henry Wolf (1852-1916, wood engraver, artist, illustrator), New York. In response to Wolfs request to reproduce French's statue of Lincoln for -- Harper's Magazine -- , the sculptor regrets that he has promised it to Mr. Johnson of the -- Century Magazine -- , who saw it in his studio before it was finished. French suggests that Wolf instead reproduce his equestrian statue of General Draper, photographs of which he can show him once he returns to New York.
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:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
Autograph letter to Karl Gerhardt, signed "Larkin G[oldsmith] Mead." Florence, Italy, 11 June 1883.
Typed letter to Karl Gerhardt, signed "Abram S. Hewitt." New York, 8 October 1888. On letterhead of Cooper, Hewitt & Co., to Karl Gerhardt, in care of S. L. Clemens, Hartford.
Autograph note to Mrs. Karl Gerhardt, signed "Mrs. Mackay." Paris, 14 January 1885.
Typed letter to William Wilson Corcoran, signed by "Franklin P. Gowen." Philadelphia, 29 January, 1885.
Autograph letter to Karl Gerhardt, signed by "Brander Matthews." New York, 4 January 1886.
Typed letter to Karl Gerhardt, signed by "[Senator] Wm. E. Chandler." Washington, DC, 25 June 1888. On United States Senate letterhead.
Autograph letter to Karl Gerhardt, signed by "[Senator] Jos. R. Hawley." Washington, DC, 10 July 1888. On Senate Chamber letterhead.
Autograph letter to Karl Gerhardt, signed by "J. R. Hawley." Washington, DC, 8 December 1891.
Autograph letter to Karl Gerhardt, signed by "Laurence Hutton." Princeton, New Jersey, 21 March 1899.
Autograph letter to Mrs. Karl Gerhardt, signed by "I. E. Mackay." No location or date given.
Autograph letter to W. S. Chapman, signed by "Karl Gerhardt." No location or date given.
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:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
Autograph letter signed "Horatio Greenough." Two pages (including integral address leaf). [Washington], not dated. Addressed to Benjamin B. French, Commissioner of Public Buildings in Washington, DC.
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:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
Louis Ashton Knight (1873-1938), press photograph by Bonney, "'Pont Louis Ashton Knight'…Bridge named after well-known American painter." Shows Knight painting on the bridge.
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:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
Autograph letter to Fred. M. Hopkins, signed "John Sartain." Philadelphia, 31 August 1897. Includes sketch for title page of Sartain's book -- Reminiscences of a Very Old Man -- .
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:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
Autograph note signed "William Sartain." New York, 7 January 1914.
New York, 4 October 1883 to S. Louise Phelps (1843/4-after 1920, painter and teacher born Ohio), East Orange, New Jersey. Sartain informs Phelps when his classes will begin, the costs associated, and mentions that his student Miss Cardozo will arrive soon.
New York, 3 May 1884 to S. Louise Phelps, East Orange, New Jersey. Sartain quotes Lord Byron, from a letter written in Venice, 14 April 1817.
New York, 23 February 1885 to S. Louise Phelps, East Orange, New Jersey. Sartain wishes Phelps to submit his name for non-resident membership in the Orange Art Association; her friend Mrs. Narland [?] is now working in Sartain's studio and wishes to be remembered.
New York, 26 March 1885 to S. Louise Phelps, East Orange, New Jersey. Sartain regrets that he cannot instruct her class this summer but suggests she approach Hugh Bolton Jones (1848-1927) or his brother Francis Coates Jones (1857-1932).
New York, undated photograph of a female portrait inscribed to S. Louise Phelps: "with Christian regards of I William Sartain." [This is possibly a portrait of Phelps.]
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:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
Felix Octavius Carr Darley, New York, 24 December 1864, to the publishers Messrs. Ticknor & Fields, Boston, regarding postponing his illustrations for -- The Vision of Sir Launfal -- by James Russell Lowell (1819-1891), in order to join the Army of the Potomac for the purpose of making studies for Civil War pictures.
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:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
[Clark Mills] Bank Check for $600 from the National Lincoln Monument Association, Washington, DC, 30 March 1870, paid to "self" and signed by sculptor Clark Mills (1810-1883).
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:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
Elizabeth Robins Pennell (1855-1936), Philadelphia, 22 December 1920, to Violet Oakley (1874-1961). Re: Pennell accepts Oakley's invitation for her and her husband Joseph Pennell (1957-1926) to spend Christmas Eve together.
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:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
