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
Papers of Miner Kellogg collected by Martha Ferguson Butler and Butler's papers documenting her research on Miner Kellogg. Also included are 3 published volumes written by Elizabeth R. Kellogg, niece of Miner Kellogg.
Kellogg's papers consist of 3 journals, 1840, ca. 1861, and 1879, including "Journal of Departure from Washington for Europe in 1840, also stay in Lisbon Portugal, arrival in Florence and first work there in and expenses of living such as it was"; writings, consisting of 5 published and 2 unpublished volumes, 1848-1870 and n.d., one includes a page of notes describing his visit to the Hermitage, 1868; exhibition catalogs for Kellogg, 1865, and his collection, 1857 (in French), 1858, and 1885-1886; clippings, 1857; and photographs of travels and of works of art, annotated by Kellogg.
Butler's research material (1944-1983) includes correspondence with museums, historical societies, art dealers, Kellogg's niece Elizabeth R. Kellogg and others; notes; clippings and exhibition catalogs; and photographs and slides of Kellogg's works of art. Also included are published writings by Elizabeth R. Kellogg, 1945, 1961 and 1962.
Arrangement:
I. Miner Kilbourne Kellogg papers, 1840-1886. II. Martha Ferguson Butler research material on Kellogg, 1944-1983. III. Elizabeth R. Kellogg writings.
Biographical / Historical:
Butler: collector of Kellogg's art work, St. Louis, Mo. Kellogg: portrait painter, miniature painter, and orientalist, New York, N.Y. and Cincinnati, Ohio.
Related Materials:
Additional Miner K. Kellogg papers also located at: Indiana Historical Society, Indianapolis, Indiana.
Provenance:
Transferred 1993 from the National Museum of American Art, which received them with Butler's gift of Kellogg's drawings and watercolors in 1990. Butler purchased Kellogg's papers from various sources and planned on writing a book about him.
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.
Correspondence, 1832-1890, including letters commending Dodge's paintings of Andrew Jackson, Henry Clay, and George Washington, an autobiographical letter written by Dodge, and letters from Henry Clay, Mrs. Jefferson Davis, William H. Seward, and others.
In addition, there are: a book of recommendations, 1838-1842, written by Andrew Jackson, M[artin] Van Buren, artists William Dunlap, F. E. Prudhomme, and Charles C. Ingham, and many others; an account book of miniatures; clippings, 1838-1865; a hand-written biography of Dodge by James H. McNeilly; and miscellany.
Biographical / Historical:
Born in New York City, Dodge was a miniaturist and a dioramist, who was an Associate of the National Academy.
Provenance:
The lenders are descendants of Dodge.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The Buehr family papers date from 1880-1984 and measure 0.7 linear feet. The collection documents the lives and careers of a prominent Chicago family of artists, which included Karl Albert Buehr, his wife Mary Hess Buehr, their children Kathleen Buehr Granger and George F. Buehr, and Karl Buehr's brother-in-law, Will Hess. Found among the papers are biographical accounts, family histories, Karl Buehr's personal and professional correspondence, love letters between Karl and Mary Hess, writing by various family members, printed materials, artwork in the form of drawings by Kathleen Buehr Granger, and family and travel photographs, including two photo albums.
Scope and Content Note:
The Buehr family papers date from 1880-1984 and measure 0.7 linear feet. The collection documents the lives and careers of a prominent Chicago family of artists, which included Karl Albert Buehr, his wife Mary Hess Buehr, their children Kathleen Buehr Granger and George F. Buehr, and Karl Buehr's brother-in-law, Will Hess. Found among the papers are biographical accounts, family histories, Karl Buehr's personal and professional correspondence, love letters between Karl and Mary Hess, writing by various family members, printed materials, artwork in the form of drawings by Kathleen Buehr Granger, and family and travel photographs, including two photo albums.
Arrangement:
The collection is arranged as six series.
Missing Title
Series 1: Biographical Material, 1880-1976 (5 folders; Box 1)
Series 2: Correspondence, 1898-1980 (8 folders; Box 1)
Series 3: Writings, circa 1915-1970 (4 folders; Box 1)
Series 4: Printed Material, circa 1899-1984 (12 folders; Box 1-2, OV 3)
Series 5: Artwork, circa 1940-circa 1975 (6 folders; Box 2)
Series 6: Photographs, circa 1886-1947 (0.2 linear feet; Box 2)
Biographical Note:
The Buehr family was a prominent Chicago family of artists, which included Karl Albert Buehr, his wife Mary Hess Buehr, their children Kathleen Buehr Granger and George F. Buehr, and Karl Buehr's brother-in-law, Will Hess.
Born in 1866 in Germany, Karl Albert Buehr was a painter of genre scenes, portraits, and Impressionist landscapes. He studied at the Art Institute of Chicago, the Julian Academy in France and the London School of Art. From 1899 to 1902 he lived in Holland, and then spent the first decade of the twentieth century at Giverny, France. A member of the Giverny artists, Buehr exhibited widely in Europe. Buehr became a U.S. citizen and served in the U.S. Cavalry during the Spanish-American War. In Chicago he became a highly respected teacher at the School of the Art Institute of Chicago and one of the city's most popular painters. Buehr died in Chicago in 1952.
Karl's wife, Mary Hess Buehr, was born in Chicago in 1871. She was a painter who studied in Holland and France, and held three exhibitions at the Paris Salon. Mary specialized in miniatures and decorative paintings. She was also a lithographer, lecturer, and teacher active in Chicago. She died in Orwell, Vermont, in 1962.
Their children, Kathleen and George F. Buehr, were both artists as well. George, known for his watercolors and collages, was director of museum education and a lecturer at the Art Institute of Chicago. He died in Chicago in 1983 at age 78. Kathleen was born in Chicago in 1902. A graduate of the Art Institute of Chicago, Kathleen was painter and author. Several of her articles are found in the papers, including "My Most Unforgettable Character," published in 1969 in The Reader's Digest.
Provenance:
George Buehr's wife, Margo Hoff, donated the family papers in April, 1986, as part of the Archives' Chicago survey project. George Granger, son of Kathleen Buehr Granger, donated the remaining material in June, 1986.
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.
Biographical material, writings, scrapbooks, correspondence, photographs, artwork, printed material and miscellany relating to William and Thomas Birch.
Biographical material includes research material on the Birch coat of arms; notes, including two scrapbooks, concerning the Birch family genealogy compiled by David Walter Harry and Thaddeus Harry, ancestors of William and Thomas Birch. Writings include thesis notes by Doris Jean Creer on William and Thomas Birch. Photographs are of Birch family members and works of art by William and Thomas Birch.
Artwork includes lithographs of oil paintngs by William and Thomas Birch, including Girard's Bank (1800), Second Street (1799), and If that Fellow Wants to Fight, We Won't Disappoint Him (1812); one black and white engraving and one aquatint of Bethlehem, Pa (circa 1820) by artist William Strickland based on an oil painting by Thomas Birch, and two black and white engravings and one aquatint of View of the Water Gap and Columbia Glass Works, River Delaware (circa 1820) by William Strickland based on an oil painting by Thomas Birch.
Printed material include exhibition catalogs and books, newspaper clippings and magazine articles. Also included is documentation of a donation of William Birch's paint box to the Historical Society of Pennsylvania.
Biographical / Historical:
Enamel painters, miniaturists, engravers, etchers, publishers; Philadelphia, Pa. William Russell Birch (1755-1834) is best known for his miniature and enamel portraits and this series of Views of Philadelphia which he worked on with his son Thomas Birch (1779-1851) and published in 1799-1800.
Provenance:
Donated in 2008 by Cindy Keene, daughter of David Walter Harry.
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:
Engravers -- Pennsylvania -- Philadelphia Search this
Miniature painters -- Pennsylvania -- Philadelphia Search this
Painters -- Pennsylvania -- Philadelphia Search this
Account book recording Brown's commissions, sales of work, and expenses, while in Rome, and including transactions with a banking company, and a record of money given to his wife, Louise, for her expenses. Some entries are in French. Miscellaneous notes are written on the inside of the front cover, including several about the activities of "Madame Brossard" and a note about a commission for a tableau. Two calling cards are also attached. The first page is inscribed "George L. Brown, Rome 1851," and contains handwritten notations and a paragraph, dated May 12, 1854, about the "modus operandi" of M. Pendleton's picture of the aquaducts.
Biographical / Historical:
Landscape, portrait and miniature painter, lithographer, etcher and wood engraver. Married for the second time to Louise Bressard, 1848. Studied in Rome from 1853-1855, and did a series of etchings of views of Rome in 1860.
Provenance:
Lent for microfilming 1993 by the William Morris Hunt Library of the Museum of Fine Arts, Boston.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Correspondence, biographical and genealogical information, poems, notes, diaries, artwork, sketchbooks, photographs, business papers and printed material relating to the Longacre family, especially James Barton Longacre and Andrew Longacre.
REEL P1-P2: Correspondence and papers of James Barton Longacre, 1819-1857, mostly concerned with his position as engraver of the U.S. Mint, Philadelphia, and his publication THE NATIONAL PORTRAIT GALLERY OF DISTINGUISHED AMERICANS. Letters include correspondence with Asher B. Durand, James Herring, John Neagle, Thomas Sully and George Catlin. Additional material includes diaries, sketches and designs for coinage, a biography, autobiographical notes, and printed material.
REEL 986: Five sketchbooks, ca.1861-1894, of Reverend Andrew Longacre. Sketches depict landscapes, interiors, and monogram designs made in the United States, Europe, North Africa and the Near East. In addition there is a memoranda book kept by Longacre, ca. 1890.
REELS 1046-1048: Letters, including: correspondence between James and his wife; between James and Andrew during the Civil War; and Lydia Longacre's letters from Europe, 1899-1900; and letters from Theodore Bolton to Mrs. James M. Longacre about including James in his book, EARLY AMERICAN PORTRAIT DRAUGHTSMEN IN CRAYONS. Also included are biographical notes on James; an autobiography of Andrew; poetry and writings by James; accounts of a trip to Egypt by Andrew; financial documents relating to James; artwork; designs for coins and sketchbooks by James, Andrew and Lydia and material relating to an engraving of Charles Carroll by James.
REELS 1083 & 1050: Genealogical information on the Stiles and Longacre families; letters from Andrew to his father, James Barton Longacre, and his sister, Sallie, and other family members and friends; a copy of James Barton's 1825 diary; poems and compositions by Andrew; financial and business papers, 1898-1918; 28 photographs depicting portraits of James and Andrew, Lydia E. Longacre and her miniature paintings.
REEL 3091: Two engravings by James after paintings by Benjamin West and a letter from Augusta M. Longacre to Bolton regarding Bolton's biography of James.
Biographical / Historical:
Artists; Philadelphia and New York. James Barton Longacre was an engraver and portrait painter. Chief engraver at the U.S. Mint, Philadelphia, from 1844-1869. His engravings and portraits illustrate several books including THE NATIONAL PORTRAIT GALLERY OF DISTINGUISHED AMERICANS, and BIOGRAPHY OF THE SIGNERS OF THE DECLARATION OF INDEPENDENCE. His son, Andrew Longacre was an engraver, watercolorist, and Methodist minister. His daughter, Lydia Longacre was a miniature painter, pupil of the Art Students League of New York, under Chase and Mowbray, and under Whistler in Paris.
Provenance:
Material on reels P1-P2 lent for microfilming by the Library Company of Philadelphia; Material on reel 986 lent 1975 by Fred Longacre; material on reels 1050 and 1083 lent 1975-1976 by Mrs. Andrew Longacre who also donated the material on reels 1046-1048 in 1982; material on reel 3091 donated 1981 by the NMAA-PG Library.
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.
Writings, notes; drawings of ships, submarines, and parts of sailing vessels; a rough draft of an essay on the Steamship Slipper, and an incomplete essay addressed to the Consular Agency of the U. States of America...Belgium.
Biographical / Historical:
Portrait painter and miniaturist, ethnographer, best known for his paintings of the American Indian. Born in Wilkes-Barre, Pennsylvania.
Provenance:
Donated 1976 by Judith Catlin, relationship to George Catlin is not known.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
A letter to W.C. Crane sending him a copy of a sonnet written by Stockton Bates after having seen Sartain's "Irene," and a copy of the sonnet; and to H.G. Jones about a portrait engraving which Sartain is preparing of the Rev. Dr. Jones about whom Jones is writing a book.
Donated 1955-1962 by Charles E. Feinberg, an active donor and friend of AAA.
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:
Engravers -- Pennsylvania -- Philadelphia Search this
Primarily photographs; also clippings and writings concerning artists, mostly around the turn-of-the century. The items were gathered by Don Becker's mother, Fanny Granger-Dow, a student of William Merritt Chase and close friend to Edwin Blashfield and other artists of the period. In addition to Chase and Blashfield, other artists represented include Paul Wayland Bartlett, William Merritt Chase, F. Luis Mora, Auguste Rodin, Augustus Saint-Gaudens, and Paul Swan.
Photographs are of Paul Wayland Bartlett in his studio (signed by Bartlett, 1908); a work of art by Edwin Howland Blashfield; a painting by Douglas Volk annotated to Blashfield "compliments of Samuel Shaw" and signed by 18 artists, including Daniel Chester French and John LaFarge, 1899; William Merritt Chase instructing a class at his New York art school and one of students in Chase's portrait class; works by F. Luis Mora; works by Auguste Rodin (one is annotated "A mon ami Monsieur Brownelle" and signed by Rodin); the Farragut Monument (signed by Augustus Saint-Gaudens); and three of Paul Swan in his studio.
Also found are a 1949 recital announcement; two clippings about Chase (1916); an obituary and a nine-page manuscript about Mora by Fanny Granger-Dow entitled "Character Sketches of Some of Our Younger Artists"; three magazine clippings with cartoons about artists; and a 1904 exhibition catalog for the Fifth Annual Exhibition of the American Society of Miniature Painters.
Provenance:
The collection was originally assembled by Fanny Granger-Dow, the mother of donor Don Becker. She was a student of William Merritt Chase and the family knew many artists of the period.
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.
Letters to Howard Hildebrandt's parents written by Hildebrandt and his wife Cornelia Ellis Hildebrandt, from New York and Paris, 1890-1911; photographs, apparently of the Hildebrandts and friends, with photos of one Hildebrandt portrait and a portrait signed and inscribed by Amadeo Roca; clippings on Hildebrandt's marriage and his work; a scrapbook, 1896-1919 on Pittsburgh art activities and containing photos of Hildebrandt's work and an untitled oil portrait of a man.
Biographical / Historical:
Hildebrandt was a portraitist working in Pittsburgh and New York, and his wife, Cornelia Ellis Hildebrandt, was a miniature painter.
Provenance:
Donated 1969 by Mr. Francis Christy, relationship to Hildebrandt is not clear.
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.
Pamphlets, speeches, transactions, reviews, auction and exhibition catalogs, and other printed materials relating to art and art organizations mainly in the Philadelphia area, but also including New York, Boston, Baltimore, Louisianna, Europe and elsewhere. Among the societies represented are the National Academy of Design, National Art Association, Artists' Fund Society, Philadelphia Museum Company, Northern Society of Painters in Watercolor, American Art Union, Apollo Association, Columbian Society of Artists and the Pennsylvania Academy of the Fine Arts; correspondence between committees of the Artists Fund Society, headed by John Sartain, and the Pennsylvania Academy of the Fine Arts; and charters and by-laws of the Artists Fund Society.
Biographical / Historical:
Portrait and miniature painter. Born in Pittsburgh, Pa. and studied art in Philadelphia under Edward Miles and Thomas Sully. Upon his return to Pittsburgh, he was a proprietor of a museum and oversaw his own art gallery. He later spent many years as an officer of the Pennsylvania Academy of the Fine Arts before his death in Philadelphia.
Provenance:
This collection was compiled by Lambdin and housed at the Pennsylvania Academy of the Fine Arts. Lent for microfilming, 1955, by the PAFA.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, American -- Pennsylvania -- Philadelphia Search this
Letters from Mr. C. V. Matheson regarding a miniature Stottlemeyer painted of Mrs. Matheson; and the first two pages of an incomplete recording of events of April 25, 1925, and their relationship to horoscope readings for that day.
Biographical / Historical:
Miniature painter; Beaver Creek, Md.
Provenance:
Donated 1972 by Sylvia Levey, a former Washington area resident, whose relationship to Stottlemeyer is unknown.
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:
Miniature painters -- Maryland -- Beaver Creek Search this
Two commonplace books or albums kept by Deborah Goldsmith prior to her marriage to George Addison Throop containing drawings; poems, verses, passages written by Goldsmith, and by her friends; and some later annotations by descendants.
A commonplace book titled "Deborah Goldsmith Album, 1826 to 1830, No. 1," which includes a summary preface by Olive Cole Smith, the granddaughter of Goldsmith, genealogical notations written by James A. Throop, the son of Goldsmith, in 1892; and sentiments, poems and verses by Goldsmith, and by her friends as a remembrance.
A commonplace book, October 19, 1829 through December 27, 1832, which contains fifteen drawings by Goldsmith (the first, "Oliver Goldsmith," according to Jean Lipman, is drawn after a Joshua Reynolds painting), one drawing possibly by George Addison Throop, and the later inclusion of a childhood drawing, circa 1837, by Goldsmith's daughter, Cordelia; sonnets, poems, and prose inscribed by Goldsmith and by her friends, including a lengthy theme by future husband George Addison Throop, "A Thought on Death and the Grave," 1832; and a genealogical outline entered by son James A. Throop, 1894, and intermittant annotations by granddaughter Olive Cole Smith, 1933 and undated. In addition, there is clipping concerning Olive Cole Smith's civic activities, and a brief letter from Jean Lipman (who had consulted Goldsmith's diaries in the course of research for an article) relaying her finding concerning the Oliver Goldsmith portrait in the diary.
Biographical / Historical:
Deborah Goldsmith (1808-1836) was an itinerant portrait and miniature painter in oils from New York state. After her marriage on December 27, 1832 to George Addison Throop (1810-1849), of the artistic Throop family of central New York, she gave up her profession; thus, maiden name Goldsmith appears on the artist's professional work.
Provenance:
The albums were passed down through the Throop family to Mrs. Olive Cole Smith, the granddaughter of Deborah Goldsmith Throop and George Addison Throop - she, in turn, gave it to her son Dan Throop Smith (the great-grandson of Deborah Goldsmith Throop), who has lent it to the Archives of American Art.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Letters received; sketchbook; diaries; miniatures; photographs; clippings; and a manuscript draft.
REEL 3504: Letters from John W. Ames, W.C. Brownell of Charles Scribner's Sons, Katherine & Molly Childers, Frederick S. Church, John W. Cunliffe, Dr. Charles L. Dana, Jefferson B. Fletcher, Andrew Green, Gertrude Hall, Grace Hall, Leland Hall, Norman Hapgood, Theo Hawley, Laura Hills, Muriel "Pilla" Howells, Jeannette Meyers Hoyt, Ernest Lawson, Philip Littell, Mrs. J.W. McCarty, Gavin and Marie Mathison, Maxfield "Fred" Parrish, Elsie Pattel, Samuel H. Ranck, Edward Robinson, George Rublee, George Santayana, Edward Fred "Simmy" Simmons, Elizabeth Kendall Underwood, Janet Van Hise, Mary Viele, John F. Weir, Madeline Y. Wynne, and Cecilia Mary Young. Six of the 12 letters from F.S. Church are illustrated with drawings. Letters concern her health, her love affair with Simmons, her art, and financial concerns.
REEL 3825: Biographical material (1967, 1976); diaries (1890-1891, 1903); correspondence, including letters to her husband, Henry B. Fuller (1892-1922) and from John Singer Sargent and H. Siddons Mowbray (1890-1892); a sketchbook; miniatures; photographs (including a portfolio of photographs of miniature paintings); clippings (1910-1924); and a draft of THE MINIATURE AS AN HEIRLOOM by Lucia Fairchild Fuller.
Biographical / Historical:
Miniature painter; Cornish, N.H. Studied under Henry Siddons Mowbray and William Merritt Chase at the Art Students League in NYC. Married Henry B. Fuller in 1893. In 1899, she was one of the founders of the American Society of Miniature Painters. Was stricken with multiple sclerosis. Summered at the art colony in Cornish, N.H.
Provenance:
Lent by Lucia Taylor Miller, Fuller's granddaughter.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
1 Reel (ca. 500 items (on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Reels
Date:
1840-1860
Scope and Contents:
Letters from Catlin to Sir Thomas Phillipps, 1840-1860, and 2 letters from Phillipps to Catlin; writings by Catlin; material on Catlin's Indian Gallery, including clippings, catalogs, handbills, invitations, Indian drawings, and printed material; a watercolor sketchbook; a list of paintings; Indian portrait sketches; and miscellany.
Biographical / Historical:
Portrait painter, miniature painter, ethnographer; Pennsylvania Best known for his paintings of the American Indian. Born in Wilkes-Barre, Pennsylvania.
Provenance:
Microfilmed 1984 along with other selected art related papers from the Gilcrease Institute.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
A journal including an account of Venable's travels through Virginia and Maryland seeking work as a miniaturist portrait painter, penciled drafts of three letters, a list of Latin and French phrases translated into English, and poetry. Three newspaper clippings are also included.
Biographical / Historical:
Miniaturist.
Provenance:
Lent for microfilming 1978 by Marchand's Antiques, Evansville, Ind., through Kenneth P. McCutchan.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Keller, K. T. (Kaufman Thuma), 1885-1966 Search this
Extent:
7 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1956-1959
Scope and Contents:
Six letters and a postcard to Keller from Eulabee Dix. Dix writes of her move from New York to Lisbon, her health, her current work, her experiences as an artist, attempts to sell her work and her relationship with Robert Samuels. With one letter she encloses a watercolor drawing.
Biographical / Historical:
Dix was a miniature painter; Keller, Chariman of the Board of Chrysler and President from 1950-1953. He retired in 1956 and died in 1966.
Provenance:
Relationship between Keller and Dix is unknown.
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:
Portrait painters -- New York (State) -- New York Search this
Miniature painters -- New York (State) -- New York Search this
