Search Results

Creator:

Hime, H. L. (Humphrey Lloyd), d. 1903  Search this

Names:

Assinniboine & Saskatchewan Exploring Expedition  Search this

Hudson's Bay Company  Search this

Hind, Henry Youle, 1823-1908  Search this

Selkirk, Thomas Douglas, Earl of, 1771-1820  Search this

Extent:

1.5 Linear feet

34 Photographic prints (albumen, mounted on paper)

Culture:

Indians of North America -- Northeast  Search this

Anishinaabe (Chippewa/Ojibwa)  Search this

Indians of North America -- Great Plains  Search this

Indians of North America -- Subarctic  Search this

Type:

Collection descriptions

Archival materials

Photographic prints

Photographs

Place:

Manitoba

Saskatchewan

Red River Settlement

Fort Garry (Man.)

Date:

1858

Summary:

Photographs made by Humphrey Lloyd Hime for the Assiniboine and Saskatchewan Exploring Expedition of 1858. Photographs show the Red River and prairie, settlements, farms, churches, watercraft, Cree and Ojibwa communities and individuals, and graves. The collection contains images of human remains.

Scope and Contents note:

Photographs made by Humphrey Lloyd Hime during the Assiniboine and Saskatchewan Exploring Expedition of 1858, depicting Lord Selkirk's Settlement on the Red River of the North. They include images of Cree and Ojibwa people, settlements, dwellings, camps, churches, watercraft, and graves.

Arrangement note:

Photographs are numbered and arranged in sections accordance with their order in Henry Youle Hind's 1860 folio, Photographs take at Lord Selkirk's Settlement of the Red River of the North. Section titles are also from folio.

Biographical Note:

Humphrey Lloyd Hime (1833-1903) was a photographer and surveyor with the firm "Armstrong, Beere, and Hime, Civil Engineers, Draughtsmen and Photographists" in Toronto, Ontario. In 1958 Hime was hired as the photographer for Henry Youle Hind's Assiniboine and Saskatchewan Exploring Expedition.

Historical Note:

The Assiniboine and Saskatchewan Exploring Expedition of 1858 was commissioned by the Canadian Government to establish a reliable trade route between Lake Superior and the Red River. The Hudson's Bay Company's permit to trade exclusively in the Canadian interior was set to expire in 1859. To procure an extension, a thorough investigation of the area to document its topography, vegetation, native life, and settlement potential was required. Under the charge of Professor Henry Youle Hind, a geologist and naturalist at Trinity College in Toronto, the explorers were instructed to obtain comprehensive geographic information that would help to create maps illustrating the natural and cultural features of the land between the Saskatchewan and Assiniboine rivers.

Note on Description:

Collection and image descriptions provided in this finding aid were compiled using the best available sources of information. Such sources include the creator's annotations or descriptions, collection accession files, primary and secondary source material (i.e. documents, publications, and websites), and subject matter experts. While every effort is made to provide accurate information, it is understood that errors may reveal themselves following review by other subject experts, and new information is welcome.

Restrictions:

Collection is open to the public.

The collection contains images of human remains.

Rights:

Contact the repository for terms of use.

Topic:

Cree Indians  Search this

Genre/Form:

Photographs

Citation:

Photo Lot 4285, Humphrey Lloyd Hime Photographs of the Assiniboine and Saskatchewan Exploring Expedition, National Anthropological Archives, Smithsonian Institution.

Identifier:

NAA.PhotoLot.4285

See more items in:

Humphrey Lloyd Hime Photographs of the Assiniboine and Saskatchewan Exploring Expedition

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-photolot-4285

Collector:

[Not Stated]  Search this

Prep Count:

1

Preparation:

Pinned

Type Citation:

1953. Great Basin Naturalist. 13: 96.

Type Status:

Holotype

Place:

Cape Province, [Not Stated], South Africa

Collection Date:

[Not Stated]

Taxonomy:

Animalia, Arthropoda, Insecta, Hemiptera, Heteroptera, Tingidae

Published Name:

Dulinius congruus Drake, 1953

Barcode:

USNMENT00866223

USNM Number:

USNMENT866223

See more items in:

Entomology Types

Data Source:

NMNH - Entomology Dept.

GUID:

http://n2t.net/ark:/65665/33f19a7d0-4112-4610-814f-b08389e85047

EDAN-URL:

edanmdm:nmnhentomology_12541957

Collector:

[Not Stated]  Search this

Prep Count:

1

Preparation:

Pinned

Type Citation:

1954. Great Basin Naturalist. 14: 7.

Type Status:

Holotype

Place:

[Not Stated], KwaZulu-Natal, South Africa

Collection Date:

[Not Stated]

Taxonomy:

Animalia, Arthropoda, Insecta, Hemiptera, Heteroptera, Tingidae

Published Name:

Leptopharsa quadrata Drake, 1954

Barcode:

USNMENT00866435

USNM Number:

USNMENT866435

See more items in:

Entomology Types

Data Source:

NMNH - Entomology Dept.

GUID:

http://n2t.net/ark:/65665/3438e3962-066c-4ce8-b18e-a187822dbb65

EDAN-URL:

edanmdm:nmnhentomology_12542019

Collection Creator:

Junkin, Hattie Meyers, 1896-1985  Search this

Container:

Box 3, Folder 25

Type:

Archival materials

Text

Date:

1930

Collection Restrictions:

No restrictions on access

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

See more items in:

Hattie Meyers Junkin Papers

Hattie Meyers Junkin Papers / Series 2: Soaring and Gliding

Archival Repository:

National Air and Space Museum Archives

EDAN-URL:

ead_component:sova-nasm-xxxx-0171-ref102

Collection Creator:

Junkin, Hattie Meyers, 1896-1985  Search this

Container:

Box 5, Folder 10

Type:

Archival materials

Collection Restrictions:

No restrictions on access

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

See more items in:

Hattie Meyers Junkin Papers

Hattie Meyers Junkin Papers / Series 3: General materials of Hattie Meyers Junkin

Archival Repository:

National Air and Space Museum Archives

EDAN-URL:

ead_component:sova-nasm-xxxx-0171-ref146

Collector:

Pond Bureau  Search this

Names:

Baumann, Cyril von  Search this

Salisbury, Edward A.  Search this

Stirling, Matthew Williams, 1896-1975  Search this

Photographer:

Johnson, Irving  Search this

Extent:

14 Prints (silver gelatin)

37 Copy prints

Culture:

Kumas (New Guinean people)  Search this

Mbowamb (New Guinean people)  Search this

Micronesians  Search this

Gururumba (New Guinean people)  Search this

Type:

Collection descriptions

Archival materials

Prints

Copy prints

Photographs

Place:

New Guinea

Micronesia

Oceania

Date:

circa 1920-1950

Scope and Contents note:

Photographs mostly made on Matthew Williams Stirlingʹs New Guinea expedition, Edward A. Salisburyʹs expedition to Micronesia, as well as trips made by Irving Johnson, Ray Jewell, and Cyril von Baumann. They include images of expedition members, scenic views, and indigenous peoples of New Guinea, Micronesia, and other Oceanic islands.

Biographical/Historical note:

The Pond Bureau was a lecture bureau in New York City which probably collected these photographs from its lecturers. Irving Johnson was a Massachusetts-based professional sailor, author, lecturer, and adventurer who mostly traveled around the South Pacific, Southeast Asia, and the Cape of Good Hope. Matthew Williams Stirling was a Smithsonian ethnologist and archeologist who spent the early part of his career conducting research in New Guinea and Ecuador. Edward A. Salisbury was a wealthy filmmaker who sailed around the South Pacific for documentary footage in the 1920s. And Cyril von Baumann was an explorer, naturalist, and archeologist.

Local Call Number(s):

NAA Photo Lot 82-12

Reproduction Note:

Copy prints made by Smithsonian Institution, circa 1985.

Copy negatives probably made by Pacific Prints, a dealer in Waliuku, Hawaii, circa 1981.

Location of Other Archival Materials:

Additional photographs by Stirling can be found in the National Anthropological Archives in Photo Lot 24 and the Matthew Williams Stirling papers.

Mystic Seaport: The Museum of America and the Sea holds the Irving and Electa Johnson Collection.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Copy prints and negatives in this collection have been obtained for reference purposes only. Contact the repository for terms of use and access.

Genre/Form:

Photographs

Citation:

Photo lot 82-11, Pond Bureau photograph collection relating to Oceania, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.PhotoLot.82-12

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-photolot-82-12

Creator:

Dale, Dianne  Search this

P.H. Polk, 1898-1984  Search this

Names:

Barry, Marion, 1936-2014  Search this

Dale, Almore M., 1911-1984  Search this

Dale, Dianne  Search this

Dale, John Henry, Jr., 1888-1973  Search this

Dale, Lucille Emma Patterson, 1889-1973  Search this

Dale, Marie Howard, 1914-2011  Search this

Dale, Norman Edward, 1908-1991  Search this

Garner, Araminta Dale, 1913-1987  Search this

Patterson, Frederick D. (Frederick Douglass), 1901-1988  Search this

Patterson, Wilhelmina Bessie, 1888-1962  Search this

Extent:

6 Linear feet (9 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Programs

Clippings

Correspondence

Ephemera

Postcards

Place:

Anacostia (Washington, D.C.)

Date:

1866 - 1990.

Summary:

The Dale-Patterson family papers, which date from 1866 to 2010 and measure 6 linear feet, document the personal and professional lives of the Dale-Patterson family who came to live in Hillsdale, Anacostia, area of Washington, D.C., in 1892.

Scope and Contents note:

The Dale-Patterson family papers, which date from 1866 to 1990 and measure 6 linear feet, document the personal and professional lives of the Dale-Patterson family who came to live in Hillsdale, Anacostia, area of Washington, D.C., in 1892. The collection is comprised of correspondence, photographs, clippings, and ephemera.

Arrangement note:

The collection is arranged in four series:

Series 1: Dale-Patterson Family papers Series 2: Charles Qualls papers Series 3: Community Organizations Series 4: Subject Files

Biographical/Historical note:

The Dale family came to Washington, DC in 1886 when John Henry Dale, Sr., a gifted self-taught man, obtained a position as clerk in the newly contracted Pension Bureau building at 5th and G Streets, NW. First they lived near 13th Street and Florida Avenue, NW, then moved to Howard Road in Anacostia. Dale built a house at 2619 Nichols Avenue, now Martin Luther King, Jr. Avenue, drawing the plans and supervising the construction. The Dales and only one other family lived in this solidly built house for 100 years before it was sold to a church group and demolished.

General Note:

Finding Aid Note: This finding aid is associated with a MARC collection-level record.361883

Provenance:

The Dale-Patterson Family collection was donated to the Anacostia Community Museum on April 07, 2013.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.

Rights:

The Dale-Patterson Family collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.

Topic:

African Americans  Search this

African American families  Search this

Genre/Form:

Photographs

Programs

Clippings

Correspondence

Ephemera

Postcards

Citation:

Dale-Patterson Family collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Dianne Dale.

Identifier:

ACMA.06-074

See more items in:

Dale-Patterson Family collection

Archival Repository:

Anacostia Community Museum Archives

EDAN-URL:

ead_collection:sova-acma-06-074

Creator:

White, Henry Cooke, 1861-1952  Search this

White, Nelson C.  Search this

Names:

Tryon Art Gallery  Search this

Barnard, George Grey, 1863-1938  Search this

Benson, Frank Weston, 1862-1951  Search this

Brush, George de Forest, 1855-1941  Search this

Churchill, Alfred Vance, 1864-1949  Search this

Cortissoz, Royal, 1869-1948  Search this

Currier, Elizabeth  Search this

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

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

Dewing, Thomas Wilmer, 1851-1938  Search this

Fantin-Latour, Henri, 1836-1904  Search this

Freer, Charles Lang, 1856-1919  Search this

Fuertes, Louis Agassiz, 1874-1927  Search this

James McNeill Whistler, 1834-1903  Search this

Kaup, Elizabeth Dewing, b. 1885  Search this

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

Roosevelt, Theodore, 1858-1919  Search this

Saint-Gaudens, Augustus, 1848-1907  Search this

Sargent, John Singer, 1856-1925  Search this

Taber, E. M.  Search this

Thayer, Abbott Handerson, 1849-1921  Search this

Thayer, Emma B., 1850-1924  Search this

Thayer, Gladys, 1886 or 7-1945  Search this

Thayer, Kate Bloede  Search this

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

Tryon, Dwight William, 1849-1925  Search this

Williams, George Alfred, 1875-  Search this

Extent:

4.5 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Photographs

Sketches

Date:

circa 1851-1961

Summary:

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

Scope and Contents:

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

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

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

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

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

Arrangement:

The collection is arranged as 4 series.

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

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

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

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

Biographical / Historical:

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

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

Related Materials:

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

Separated Materials:

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

Provenance:

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

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

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

Occupation:

Painters -- Connecticut  Search this

Art historians -- Connecticut  Search this

Topic:

Art -- Collectors and collecting -- Connecticut  Search this

Art -- Philosophy  Search this

Art, American  Search this

Protective coloration (Biology)  Search this

Artists' studios -- Photographs  Search this

Wildlife conservation  Search this

Genre/Form:

Diaries

Photographs

Sketches

Citation:

Nelson and Henry C. White research material, circa 1851-1961. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.whitnels

See more items in:

Nelson and Henry C. White research material

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-whitnels

Creator:

Dwight, Edward H., 1919-1981  Search this

Names:

American Museum of Natural History  Search this

Cincinnati Historical Society  Search this

Louisiana State Museum  Search this

Mohammed Center for Restricted Communications  Search this

National Audubon Society  Search this

R. Havell & Son  Search this

Peale family  Search this

Audubon, John James, 1785-1851  Search this

Audubon, Maria R. (Maria Rebecca), 1843-1925  Search this

Audubon, Victor Gifford, 1809-1860  Search this

Bachman, John  Search this

Bakewell, Benjamin  Search this

Bell, John G.  Search this

Coffin, Annie R.  Search this

Corwine, Aaron H.  Search this

Duncanson, Robert S., 1821-1872  Search this

Fries, Waldemar H., 1889-  Search this

Gifford, George Edmund  Search this

Held, John, 1947-  Search this

Laning, Paul F.  Search this

Lichtner, Ruth  Search this

Lichtner, Schomer, 1905-2006  Search this

Martin, Maria  Search this

McDermott, John Francis, 1902-  Search this

Peale, Charles Willson, 1741-1827  Search this

Peale, James, 1749-1831  Search this

Peale, James, 1789-1876  Search this

Peale, Raphaelle, 1774-1825  Search this

Peale, Rembrandt, 1778-1860  Search this

Tyler, Morris F.  Search this

Extent:

18.6 Linear feet

Type:

Collection descriptions

Archival materials

Business records

Typescripts

Photographs

Scrapbooks

Sketches

Date:

1821-2001

bulk 1950-1979

Summary:

The papers of Cincinnati art historian, museum director, and Audubon and Peale scholar, Edward H. Dwight (1919-1981), measure 18.6 linear feet and date from 1821-2001, with the bulk of the material dating from 1950-1979. Dwight's papers include biographical material, writings by Dwight, and research files on John James Audubon, Raphaelle Peale, and others, documenting Dwight's extensive contribution to the study of American painting, particularly naturalist, portrait, and still-life painting.

Scope and Contents:

The papers of Cincinnati art historian, museum director, and Audubon and Peale scholar, Edward H. Dwight (1919-1981), measure 18.6 linear feet and date from 1821-2001, with the bulk of the material dating from 1950-1979. Dwight's papers include biographical material, writings by Dwight, and research files on John James Audubon, Raphaelle Peale, and others, documenting Dwight's extensive contribution to the study of American painting, particularly naturalist, portrait, and still life painting.

Dwight's biographical material includes two address books, a calendar, a small amount of personal correspondence including letters and postcards from Schomer and Ruth Lichtner, and printed material documenting his work as a museum curator and director.

Writings and notes include correspondence about Dwight's writings, drafts and typescripts of articles on Audubon and other artists, and lecture notes.

The bulk of the collection comprises Dwight's research material on Audubon and includes correspondence related to his research with scholars, collectors, publications, museums, and libraries, including: the American Museum of Natural History, the Audubon Society, the Cincinnati Historical Society, the Louisiana State Museum, Annie R. coffin, Waldemar H. Fries, John Francis McDermott, and the collections of G. Edmund Gifford, Jr., Paul F. Laning, and Morris Tyler.

Copies of Audubon's correspondence, including letters from Audubon's father-in-law, Benjamin Bakewell, son Victor G. Audubon, and grandchildren, form a substantial portion of Dwight's research files. Notes and card files reflecting Dwight's research by categories such as life event, activity, geographical area, and subject of study, further illuminate his research and provide cross references to the Audubon letters and other material.

Data compiled and supplemented with reproductions of Audubon's artwork forms another substantial portion of Dwight's research, and provides detailed information about individual Audubon works and works attributed to him.

Dwight's subject files on Audubon house collated research on individuals, subjects, and events that intersected with Audubon's life and work, as well as Audubon research from other sources and scholars. They include copies of documents, such as the journal of Audubon collaborator John G Bell, and a scrapbook of granddaughter, Maria Audubon; documents relating to Audubon collaborators such as John Bachman and Maria Martin; material related to collections of Audubon's work; and information concerning editions of his prints, such as the Havell Edition, engraved and hand-colored by the firm of Robert Havell Sr. and Jr. in the 1830s.

Printed material used by Dwight in his research includes original American newspapers, from states including New England, New York, and Pennsylvania, dating from 1821 to the 1870s, which include articles on Audubon, as well as later magazines, journals, catalogs, and news clippings on Audubon. A small number of photographs, slide transparencies, and negatives of Audubon's artwork can be found at the end of the series.

Dwight's research material on Raphaelle Peale, Charles Willson Peale, Rembrandt Peale, James Peale, and other Peale family members, includes correspondence requesting and responding to requests for information; material collated by subject on Peale collectors, family history, miniatures, portraits, silhouettes, still lifes, and other subjects; and photographs of artwork.

Other research files document Dwight's interest in other artists such as Aaron H. Corwine, Robert S. Duncanson, and artists from the Cincinnati area in general. They include catalogs of data compiled on individual works of art, subject files, notes and index card files, printed material, and photographs of artwork. Of special note are eleven issues of John Held, Jr.'s, mail art correspondence sent to Dwight by the Mohammed Center for Restricted Communications.

Arrangement:

This collection is arranged as five series.

Series 1: Biographical Material, 1944-1980 (8 folders; Box 1, OV 20)

Series 2: Writings and Notes, 1954-circa 1979 (0.9 linear feet; Box 1)

Series 3: Audubon Research Material, 1821-circa 1979 (13 linear feet; Boxes 1-14, OVs 20-23)

Series 4: Peale Research Material, circa 1930-2001 (1.9 linear feet; Boxes 14-16)

Series 5: Other Research, 1881-1980 (2.7 linear feet; Boxes 16-19)

Biographical / Historical:

Cincinnati art historian and museum director, Edward H. Dwight (1919-1981), conducted extensive research on American painting, in particular the works of John James Audubon, Charles Willson Peale, and Raphaelle Peale. He was also credited with rediscovering the Cincinnati artist, Aaron H. Corwine.

Dwight attended Yale and Cornell Universities, and studied art at the Cincinnati Art Academy and the School of Fine Arts of Washington University, St. Louis. From 1946 he held posts, including curator of American Art, at the Cincinnati Art Museum, until becoming director of the Milwaukee Art Center in 1955. In 1962 he left Milwaukee to direct the Munson-Williams-Proctor Art Institute Museum of Art, where he remained until the end of his career. He was the author of numerous articles for publications including Antiques, Audubon, Art in America, The Art Gallery, The Art Quarterly, and Canadian Art, and lectured widely on contemporary art, Spanish painting, and American painting.

In 1955 Dwight published the article "Aaron Houghton Corwine: Cincinnati Artist" in Antiques magazine. With this, and the exhibition, Rediscoveries in American Painting (1955), which he launched at the Cincinnati Art Museum, Dwight revived interest in this all but forgotten painter.

Dwight wrote many scholarly articles on Audubon's life and work throughout his career, in addition to writing catalogs for, and curating, exhibitions of Audubon's work. In 1960 he was awarded a $7,500 fellowship from the Ford foundation to pursue a reevaluation of Audubon, and to reexamine some long-held assumptions and exagerrations about Audubon's life and personality. He focused primarily on the artist-naturalist's original drawings and paintings, especially portraits and pictures of birds, animal life, and insects. Dwight was awarded an additional fellowship by the National Endowment for the Arts in 1973, to continue his research on Audubon.

Dwight's scholarly interest also extended to Raphaelle Peale and the Peale family of artists. In the 1960s and 1970s he wrote and published several articles about Raphaelle Peale, his father, Charles Willson Peale, and his brothers, Rembrandt and James. Dwight was working on a book about the family, and a catalog raisonné of Raphaelle Peale, when he died.

Dwight was an accomplished photographer and his work was included in at least eight exhibitions from 1951 to 1972, including two one-man exhibitions at Louisiana State University (1952), and Weyhe Gallery (1972).

Provenance:

The Audubon materials were donated to the Archives of American Art by Dwight's widow, Ruth R. White, in 1982-1983. The Peale material was donated in 2002 by the Barra Foundation, Inc., which had received them from Ruth R. Dwight as they relate to the Foundation's mission to support scholarship in cultural history in the Philadelphia area. In 1983, the Barra Foundation loaned the documents to Dr. William H. Gerdts, an art historian, who was to continue Dwight's work on a catalog raisonné of Raphaelle Peale. Dr. Gerdts made limited use of the materials and the Barra Foundation then transferred them to the Archives of American Art in 2002.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information

Rights:

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

Occupation:

Museum curators -- Ohio -- Cincinnati  Search this

Artists -- Ohio -- Cincinnati  Search this

Art historians -- Ohio -- Cincinnati  Search this

Painters  Search this

Museum directors -- Ohio -- Cincinnati  Search this

Topic:

Still-life painting  Search this

Mail art  Search this

Art, American  Search this

Painting, American  Search this

Portrait painting  Search this

Genre/Form:

Business records

Typescripts

Photographs

Scrapbooks

Sketches

Citation:

Edward H. Dwight papers, 1821-2001, bulk 1950-1979. Archives of American Art, Smithsonian Institution.

Sponsor:

This collection was processed with funding from the Smithsonian Institution's Collections Care and Preservation Fund.

Identifier:

AAA.dwigedwa

See more items in:

Edward H. Dwight Papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-dwigedwa

Creator:

Thayer, Abbott Handerson, 1849-1921  Search this

Names:

Clemens, Samuel Langhorne, 1835-1910  Search this

Colman, Samuel, 1832-1920  Search this

Cortissoz, Royal, 1869-1948  Search this

Dow, Thomas Millie  Search this

Emerson, Edward Waldo, 1844-1930  Search this

Emerson, Ralph Waldo, 1803-1882  Search this

Faulkner, Barry, 1881-1966  Search this

Foster, Ben, 1852-1926  Search this

Freer, Charles Lang, 1856-1919  Search this

French, Daniel Chester, 1850-1931  Search this

Fuertes, Louis Agassiz, 1874-1927  Search this

Gellatly, John, 1853-1931  Search this

Kent, Rockwell, 1882-1971  Search this

Meryman, Richard Sumner, 1881-1963  Search this

Plunket, Jean Reasoner  Search this

Reasoner, David  Search this

Roosevelt, Theodore, 1858-1919  Search this

Sainsbury, Everton  Search this

Taber, E. M.  Search this

Thayer, Emma B., 1850-1924  Search this

Thayer, Gerald Handerson, 1883-1939  Search this

Thayer, Gladys, 1886 or 7-1945  Search this

Thayer, Kate Bloede  Search this

Thayer, Mary  Search this

White, Stanford, 1853-1906  Search this

Extent:

5.12 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Scrapbooks

Date:

1851-1999

bulk 1881-1950

Summary:

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

Scope and Content Note:

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

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

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

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

Arrangement:

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

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

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

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

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

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

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

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

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

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

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

Biographical Note:

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

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

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

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

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

Related Material:

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

Separated Material:

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

Provenance:

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

Restrictions:

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

Rights:

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

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

Occupation:

Painters -- New Hampshire -- Dublin  Search this

Topic:

Naturalism  Search this

Camouflage (Biology)  Search this

Art and camouflage  Search this

Genre/Form:

Photographs

Scrapbooks

Citation:

Abbott Handerson Thayer and Thayer Family papers, 1851-1999 (bulk 1881-1950). Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.thayabbo

See more items in:

Abbott Handerson Thayer and Thayer Family papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-thayabbo

Interviewee:

Bruno, Phillip A.  Search this

Creator:

McElhinney, James Lancel, 1952-  Search this

Widgeon Point Charitable Foundation  Search this

Names:

Barnes Foundation  Search this

Columbia University -- Students  Search this

Exposition universelle et internationale (1958 : Brussels, Belgium)  Search this

Grace Borgenicht Gallery  Search this

La Napoule Art Foundation, Henry Clews Memorial  Search this

Marlborough Gallery  Search this

Weyhe Gallery  Search this

Widgeon Point Charitable Foundation  Search this

World House Galleries  Search this

Avery, Milton, 1885-1965  Search this

Bacon, Francis, 1909-1992  Search this

Baskin, Leonard, 1922-2000  Search this

Bertoia, Harry  Search this

Bravo, Claudio, 1936-2011  Search this

Brown, Joan, 1938-1990  Search this

Calder, Alexander, 1898-1976  Search this

Clews, Henry, 1876-1937  Search this

Crawford, Ralston, 1906-1978  Search this

Cuevas, José Luis, 1934-  Search this

Ernst, Max, 1891-1976  Search this

Estes, Richard, 1932-  Search this

Giacometti, Alberto, 1901-1966  Search this

Hefner, Hugh M. (Hugh Marston), 1926-  Search this

Hirshhorn, Joseph H.  Search this

Katz, Alex, 1927-  Search this

Koenig, Fritz, 1924-  Search this

Kubach, Wolfgang, 1936-  Search this

Kubach-Wilmsen, Anna Maria, 1937-  Search this

Matisse, Henri, 1869-1954  Search this

Morgan, Randall, 1920-  Search this

Nagare, Masayuki, 1923-  Search this

Neuberger, Roy R.  Search this

Nevelson, Louise, 1899-1988  Search this

Park, David, 1911-1960  Search this

Peterdi, Gabor  Search this

Rothko, Mark, 1903-1970  Search this

Schapiro, Meyer, 1904-  Search this

Staempfli, George W.  Search this

Willard, Charlotte  Search this

Extent:

46 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2009 January 13-21

Scope and Contents:

An interview of Phillip A. Bruno conducted 2009 January 13-21, by James McElhinney, for the Archives of American Art, at the Archives of American Art, in New York, New York.

Bruno speaks of some his earliest impressions of art while growing up in New York and Paris; attending Columbia University, where he majored in the history of painting and architecture and studied under Meyer Schapiro; his first job at the Weyhe Gallery as a gallery assistant; helping create the Grace Borgenicht Gallery, where he served as director for five years; traveling to Mexico, meeting Jose Cuevas and exhibiting his work at the Edward Loeb Gallery in Paris; traveling to Brazil and meeting a family of naturalist painters who emphasized the importance of painting outdoors, unlike many painters from the New York school; working with Henry Clews and the La Napoule Art Foundation; selling a piece of Salvador Dali jewelry made by Carlos Alamanni to Hugh Hefner, founder of Playboy Magazine; working as director of The World House Gallery and selling works by Fancis Bacon and Max Ernst to clients such as Joseph Hirshhorn and Roy Neuberger; organizing a exhibition of artists shown at the Brussels World Fair in 1958 at World House and meeting George Staempfli through the artist Joan Brown; moving from World House to the Staempfli Gallery in 1960 to work as co-director; the Staempfli Gallery's role in the international art world; an original drawing by Leonard Baskin inscribed to Phillip in 1954; selling the work of artists such as Harry Bertoia, Fritz Koening, and David Park; meeting Henri Matisse in Paris at the age of 21; visiting the studios of Alexander Calder and Mark Rothko; the difference between galleries that can spot new talent and galleries that sell certain artists well; the art market becoming less idealistic and more commercial; the rising importance of auction houses and the possibility of their taking the place of traditional art galleries; the move of the Staempfli Gallery to the SoHo neighborhood and soon after, leaving Staempfli for Marlborough, where he was one of the New York directors for 18 years; his appreciation for the creativity of others, retirement and current plans to write his memoirs. Bruno also recalls Milton Avery, Gabor Peterdi, Hans Muller, Ralston Crawford, Randall Morgan, Charlotte Willard, Dorthy Satterlee, Masayuki Nagare, Claude Bemardin, Kubach-Wilmsen, Louise Nevelson, Cladio Bravo, Lopez Garcia, Alberto Giacometti, The Barnes Foundation, Richard Estes, Alex Katz, and Neil Wlliver.

Biographical / Historical:

Phillip A. Bruno (1930- ) is an art collector and director of Marlborough Gallery, New York, New York.

General:

Originally recorded on 2 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr., 45 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Occupation:

Gallery directors -- New York (State) -- New York  Search this

Topic:

Collectors and collecting -- New York (State) -- New York  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Widgeon Point Charitable Foundation.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.bruno09

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-bruno09

Creator:

Morton, Samuel George, 1799-1851  Search this

Audubon, Victor Gifford, 1809-1860  Search this

Names:

Audubon, John James, 1785-1851  Search this

Extent:

1 Microfilm reel (16 items on partial microfilm reel)

Type:

Collection descriptions

Archival materials

Microfilm reels

Date:

1836-1840

Scope and Contents:

This microfilm collection consists of letters to Samuel G. Morton from Victor and John James Audubon.

Biographical / Historical:

Samuel G. Morton (1799-1851) was a physician, anatomy professor, naturalist, and physical anthropologist in Philadelphia, Pennsylvania. He is most known for his work, Crania Americana, which was widely accepted and endorsed by pro-slavery advocates.

John James Audubon (1785-1851) was an ornithologist, naturalist, painter, and illustrator. His work, The Birds of America was originally published as a four-volume elephant folio with 435 hand-colored plates of life-size depictions of individual bird species. The accompanying text was published separately in five volumes as Ornithological Biography.

Victor Audubon (1809-1862) was John James Audubon's son. Along with his brother, John Woodhouse Audubon, he assisted his father with the production and sale of The Birds of America and The Viviparous Quadrupeds of North America. Audubon continued to manage the business aspects of his father's work after John James Audubon's death.

Related Materials:

The Archives of American Art also holds the microfilmed Victor Audubon letters to John L. Le Conte, 1852, and the microfilmed John James Audubon and Audubon family letters, circa 1783-1845. The American Philosophical Society holds the Samuel George Morton papers, 1819-1850.

Provenance:

Lent for microfilming 1955 by the American Philosophical Society.

Restrictions:

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

Occupation:

Painters -- United States  Search this

Identifier:

AAA.mortsamu

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-mortsamu

Artist:

John James Audubon, 26 Apr 1785 - 27 Jan 1851  Search this

Sitter:

John James Audubon, 26 Apr 1785 - 27 Jan 1851  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 31.8 x 25.4cm (12 1/2 x 10")

Frame: 43.2 x 36.8cm (17 x 14 1/2")

Type:

Painting

Date:

c. 1822

Topic:

John James Audubon: Visual Arts\Artist  Search this

John James Audubon: Male  Search this

John James Audubon: Science and Technology\Scientist\Biologist\Zoologist\Ornithologist  Search this

John James Audubon: Science and Technology\Scientist\Naturalist  Search this

John James Audubon: Literature\Writer\Nature writer  Search this

Portrait  Search this

Credit Line:

Owner: Private collection

Object number:

L/NPG.1.2012

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4ebf4d53a-dc4f-425a-bafa-21e002d9f01f

EDAN-URL:

edanmdm:npg_L_NPG.1.2012

Artist:

Charles Willson Peale, 15 Apr 1741 - 22 Feb 1827  Search this

Sitter:

Charles Willson Peale, 15 Apr 1741 - 22 Feb 1827  Search this

Medium:

Oil on canvas

Dimensions:

Frame: 84.8 x 72.1 x 7.3cm (33 3/8 x 28 3/8 x 2 7/8")

Type:

Painting

Date:

c. 1791

Topic:

Self-portrait  Search this

Charles Willson Peale: Male  Search this

Charles Willson Peale: Literature\Writer  Search this

Charles Willson Peale: Visual Arts\Artist\Painter\Portraitist  Search this

Charles Willson Peale: Visual Arts\Founder\Art Museum  Search this

Charles Willson Peale: Military\Militia\Officer  Search this

Charles Willson Peale: Science and Technology\Scientist\Naturalist  Search this

Charles Willson Peale: Politics and Government\State Legislator\Pennsylvania  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; Frame conserved with funds from the Smithsonian Women's Committee

Object number:

NPG.89.205

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4805f7945-a189-48c3-9148-f5a6fc335c94

EDAN-URL:

edanmdm:npg_NPG.89.205

Artist:

John Wesley Jarvis, 1780 - 14 Jan 1840  Search this

Sitter:

DeWitt Clinton, 2 Mar 1769 - 11 Feb 1828  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 122.9 x 92.7 x 2.5cm (48 3/8 x 36 1/2 x 1")

Frame: 147 x 116.2 x 11.4cm (57 7/8 x 45 3/4 x 4 1/2")

Type:

Painting

Date:

c. 1816

Topic:

Interior  Search this

Printed Material\Book  Search this

Printed Material\Document  Search this

Home Furnishings\Furniture\Seating\Chair\Armchair  Search this

Printed Material\Papers  Search this

DeWitt Clinton: Male  Search this

DeWitt Clinton: Politics and Government\State Legislator\New York  Search this

DeWitt Clinton: Politics and Government\US Senator\New York  Search this

DeWitt Clinton: Politics and Government\Governor\New York  Search this

DeWitt Clinton: Politics and Government\State Senator\New York  Search this

DeWitt Clinton: Science and Technology\Scientist\Naturalist  Search this

DeWitt Clinton: Politics and Government\Public Official\Mayor\New York, NY  Search this

DeWitt Clinton: Politics and Government\Lieutenant Governor\New York  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; transfer from the National Gallery of Art; gift of the A.W. Mellon Educational and Charitable Trust, 1942

Object number:

NPG.65.53

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm436f6ee83-be25-4c22-9075-35527d2a355e

EDAN-URL:

edanmdm:npg_NPG.65.53

Artist:

Edward Bowers, 1822 - 1870  Search this

Sitter:

Samuel Washington Woodhouse, 27 Jun 1821 - 23 Oct 1904  Search this

Medium:

Oil on canvas

Dimensions:

61cm x 51cm (24" x 20 1/16"), Accurate

Type:

Painting

Date:

1857

Topic:

Weapon\Gun\Rifle  Search this

Exterior\Landscape  Search this

Personal Attribute\Facial Hair\Mustache  Search this

Costume\Headgear\Hat\Cowboy hat  Search this

Personal Attribute\Facial Hair\Beard  Search this

Weapon\Knife  Search this

Samuel Washington Woodhouse: Male  Search this

Samuel Washington Woodhouse: Health and Medicine\Physician  Search this

Samuel Washington Woodhouse: Science and Technology\Scientist\Biologist\Zoologist\Ornithologist  Search this

Samuel Washington Woodhouse: Science and Technology\Scientist\Naturalist  Search this

Samuel Washington Woodhouse: Natural Resources\Explorer\American West  Search this

Samuel Washington Woodhouse: Health and Medicine\Physician\Army  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.72.28

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4588ad957-49b5-42da-9c71-8714e4fc2b76

EDAN-URL:

edanmdm:npg_NPG.72.28

Creator:

Lipchitz, Jacques, 1891-1973  Search this

Names:

Buchholz Gallery (New York, N.Y.)  Search this

Curt Valentin Gallery (New York, N.Y.)  Search this

Bassett, Bruce W.  Search this

Cortois, Jenny  Search this

Frank, Mary, 1933-  Search this

Fry, Annette  Search this

Fry, Varian, 1907-1967  Search this

Gaspard, Leon, 1882-1964  Search this

Hay, Gyorgy  Search this

Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this

Landau, Gregorio  Search this

Larrea, Juan  Search this

Larrea, Marianne  Search this

Lipchitz, Yulla, 1911-  Search this

Modigliani, Amedeo, 1884-1920  Search this

Rapoport, Nathan, 1911-  Search this

Soula, Camille, 1888-  Search this

Starrels, Celeste  Search this

Starrels, Joel  Search this

Wilkinson, Alan G., 1941-  Search this

Zorach, William, 1887-1966  Search this

Extent:

52.8 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Scrapbooks

Sketches

Designs

Date:

circa 1910-2001

bulk 1941-2001

Summary:

The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, and biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

Scope and Contents note:

The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, along with biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

The Jacques Lipchitz biographical material includes an address book, biographical notes, membership cards, rent receipts and a lease, and a survey of Lipchitz's property in Hastings-on-Hudson, NY.

Correspondence is both professional and personal in nature. Approximately 20 percent is in foreign languages. French predominates, followed by Russian; German, Dutch, Italian, Spanish, Latvian, Hebrew, and Yiddish are also represented.

Professional correspondence documents business transactions with architects, potential clients, museum officials, art dealers, and others concerning commissions, exhibition plans, loans of artwork, jury service, etc. Art groups, Jewish organizations and charities wrote to solicit donations of artwork for fundraising events and issued invitations to speak or be a guest of honor. Scholars contacted Lipchitz about their research and requested information about specific works by him, items in his collection, and his opinions on a variety of subjects. Also found are fan letters from aspiring artists seeking advice, and from the general public asking for the opportunity to meet Lipchitz and visit his studio. After the 1952 studio fire, many friends and strangers sent letters of condolence and encouragement.

Correspondence with wife Yulla, nephew Gyorgy Hay, and close friends recounts personal and family news, activities, and sometimes touches on future plans. Among these correspondents are: Jenny Courtois, Varian and Annette Fry, Leo Gaspard, R. Sturgis Ingersoll, Gregorio Landau, Juan and Marianne Larrea, Camille Soula, and Joel and Celeste Starrels.

Eleven small pocket diaries, 1940-1965, contain brief, often sporadic entries noting appointments, events, addresses and phone numbers, notes of expenses, and include some sketches. Among the other writings by Lipchitz are: a notebook containing random notes on sculpture; a list of sculptures destroyed in the 1952 studio fire; short pieces and fragments of writings about sculptors Mary Frank, Natan Rapoport, Auguste Rodin, and William Zorach; a memoir of Amedeo Modigliani; and articles and reflections on contemporary art and the church.

Catalogue raisonné records concern the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson, sponsored by Marlborough Gallery, Inc.

Among the financial records are statements of the sculptor's accounts with Buchholz Gallery and Curt Valentin Gallery, and receipts for Lipchitz Collection purchases. Also found are insurance and tax records, as well as receipts for routine professional expenses and miscellaneous personal expenses.

Artwork consists of a few rough sketches by Lipchitz and several geometric designs by an unidentified artist. Two scrapbooks, 1945-1946, consist of newspaper clippings and a few items from other periodicals that mention Lipchitz or contain reproductions of his work. Volume 2 includes typescripts of an interview and remarks delivered by Lipchitz, both very brief.

Printed material consists of exhibition catalogs and announcements, articles, press releases, books, programs, and reproductions concerning Lipchitz's exhibitions, sculpture, commissions, and events honoring him. Of particular interest are architectural prints showing sites and project details of several commissions. Also found are a variety of printed items about general art topics.

Photographs document people, artwork, project sites and models, exhibition installations, events, and places. People include Jacques Lipchitz, family members, and other individuals. Artwork represented is by Lipchitz and other artists. Views of Lipchitz exhibition installations mainly document solo shows. Photographs of events record a variety of occasions, among them: the opening of Lipchitz's studio in Hastings-on-Hudson, NY; a dedication ceremony for Philip Johnson's Roofless Church in New Harmony, IN, with ornamental gates and a sculpture by Lipchitz; and Lipchitz addressing an anatomy class at Albert Einstein Medical College. Among the pictures of places are Lipchitz's studios in Hastings-on-Hudson, NY, and Pietrasanta, Italy, and a view of Picasso's Paris studio.

The Bruce Bassett papers relating to Jacques Lipchitz contain mostly audiovisual materials from sound and film documentation projects conducted by Bassett with Lipchitz. Found are original sound recordings and photographs from Deborah Stott's 200 hour oral history with Jacques Lipchitz, as well as detailed, typewritten summaries of its content. Records from Bassett's film projects about Lipchitz include original film and sound recordings from Bassett's 40 hours of interviews with Lipchitz from 1971, and film documentation of the posthumous installations of Lipchitz's large-scale sculptures in Philadelphia, New York, and Israel in the late 1970s. In addition to the raw footage from these projects, which is incomplete, the collection contains workprint and final, edited works Bassett created in multiple versions and formats, and paper records documenting the film projects' creation, production, and later use.

Among the papers related to the film projects are scripts, an index to original footage, programming notes, film lab records, exhibition materials, an extensive collection of questions about Lipchitz gathered from the public for the interactive project, and other production records. Other papers include letters from Lipchitz and his wife, business correspondence, financial records, contracts, project files, and printed materials. Other projects by Bassett, unrelated to Lipchitz, are documented in video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

Arrangement note:

The collection is arranged as 2 series:

Series 1: Jacques Lipchitz papers, circa 1910-1999, bulk 1941-1999 (Boxes 1-10, OV 11-12; 9.5 linear feet)

Series 2: Bruce Bassett papers concerning Jacques Lipchitz, 1961-2001 (Boxes 13-67, OV 68-69; 43.3 linear feet)

Biographical/Historical note:

Jacques Lipchitz (1891-1973), an internationally known and influential Cubist sculptor, studied in Paris and established his career there. He fled Paris just before the German occupation, arrived in New York City in 1941, and eventually settled in Hastings-on-Hudson, NY.

Chaim Jacob Lipchitz was born in Druskieniki, Lithuania, then part of the Russian empire. His father, a building contractor from a well-to-do Jewish banking family, expected his son to study engineering as preparation for joining the business. Lipchitz, however, aspired to become a sculptor. With financial help from his mother, and determined to pursue his dream, he left for Paris after graduating from high school in 1909. Once there, Chaim Jacob soon became Jacques, the name he used throughout his life.

He first enrolled at the École des Beaux-Arts as a "free pupil." After his father agreed to provide an allowance, Lipchitz transferred to the Académie Julian to study with sculptor Raoul Verlet. He also attended evening drawing classes at the Académie Colarossi. By 1911 he was working in his own studio. Two years later, Lipchitz's entry in the Salon d'Automne received favorable recognition.

In Paris, his circle of friends and acquaintances grew to include Dr. Albert C. Barnes, Constantin Brancusi, Coco Chanel, Jean Cocteau, André Derain, Ernest Hemingway, Max Jacob, Charles-Édouard Jenneret (Le Corbusier), James Joyce, Fernand Léger, André Lhote, Jean Metzinger, Amédée Ozenfant, Pablo Picasso, Diego Rivera, Chaim Soutine, Gertrude Stein, and Virgil Tompson. Juan Gris and Amedeo Modigliani were his closest friends.

Lipchitz's earliest work was traditional. Exposure to Picasso and other avant-garde artists influenced his style, and by 1915 he was producing purely Cubist sculptures. In 1916, dealer Léonce Rosenberg offered Lipchitz a contract with a monthly stipend. Able to afford assistants, Lipchitz began much larger projects. Over time, as he came to feel that angular forms were devoid of humanity, his style gradually changed. In the 1920s, he began experimenting with "transparencies" - delicate abstract forms with large open spaces for which he developed casting techniques that influenced sculpture for a generation. In the 1950s, he began creating "semi-automatics." These were cast in bronze from forms made by submerging hot wax in water, which sometimes incorporated found objects. Much of Lipchitz's later work was massive, dynamic, and incorporated more naturalistic forms.

In the early 1920s, Lipchitz received multiple commissions from Coco Chanel and Dr. Albert C. Barnes. He became a French citizen in 1924, the year he married poet Berthe Kitrosser, with whom he had lived since 1915. (Their double portrait by Modigliani that Lipchitz commissioned in 1916, now titled The Sculptor Jacques Lipchitz and His Wife Berthe Lipchitz, is in the permanent collection of the Art Institute of Chicago). The following year they moved to a suburban home and studio designed by Le Corbusier.

Léonce Rosenberg's Galerie de l'Effort Moderne presented Lipchitz's first solo exhibition in 1930, and the first important Lipchitz exhibition in the United States was held in 1935 at Brummer Gallery, New York. As the sculptor's reputation grew throughout the 1930s, his work was very much in demand.

As World War II approached, Lipchitz sensed the impending horror of the Nazi regime but was extremely reluctant to leave Paris. With time running out, he finally was persuaded that it was too dangerous to stay. Jacques and Berthe Lipchitz departed for the free zone of Toulouse, and with help from American friends sought asylum in the United States. In June of 1941, they arrived in New York City with some clothing, a portfolio of drawings, and very little money.

Lipchitz, a mature artist with an international reputation, soon attracted invitations to teach. Although finances were tight, the offers were rejected because he understood that any commitment would impede his artistic output. In search of a gallery, he contacted Brummer Gallery, the site of his first American show six years earlier. Although Joseph Brummer had shifted his focus to antiques, he provided an introduction to art dealer Curt Valentin of Buchholz Gallery (later Curt Valentin Gallery), who was sincerely interested in modern sculpture. Valentin went on to represent Lipchitz for well over a decade. Curt Valentin Gallery closed in 1955, a year after the owner's death. Lipchitz then became affiliated with Fine Arts Associates and its many successors (Otto Gerson Gallery, Inc., and Marlborough-Gerson Gallery, Inc.), which represented him for the remainder of his life. Marlborough Gallery, Inc. handled Lipchitz's estate.

Berthe longed to go home after the war, and in 1946 the couple returned to France. But because he and France had changed, Lipchitz soon realized that his future lay in America. He returned to New York after seven months; Berthe remained, and a divorce soon followed.

Within the year, Jacques Lipchitz married Yulla Halberstadt, a fellow refugee who was also a sculptor. Their only child, Loyla Rachel, was born in 1948. The family moved to Hastings-on-Hudson, NY in 1949, and he continued to work at his studio on East 23rd Street in New York City. After a major studio fire in early 1952 destroyed commissions in progress and many other pieces, the sculptor set up a temporary work space at Modern Art Foundry, Long Island City, NY. Several museums, collectors, and friends, quickly raised funds for a new studio, which became a loan at Lipchitz's insistence. A new studio designed by Milton Lowenfish and located within walking distance of Lipchitz's Hastings-on-Hudson home opened in 1953.

During the course of his career, Lipchitz was honored with a large number of solo and retrospective exhibitions at major museums and galleries in Europe, North and South America, and Israel. His work is represented in the permanent collections of world renowned museums and is owned by a wide range of private collectors and institutions.

Lipchitz was an avid art collector. An exhibition of Scythian art at the Hermitage Museum, seen while on a brief trip home in 1912, greatly impressed and inspired him. The result was an intense interest in non-European art, especially African art. He began to collect appealing objects from other cultures, and soon developed a life-long habit of visiting flea markets, antique shops, and galleries on a regular basis in search of items for his growing collection. In addition to ethnographic and ancient art, Lipchitz also bought old masters and 19th century art, and developed a special interest in Géricault. The original collection was abandoned when he left Paris; once settled in the United States, he resumed collecting. A substantial portion of the Lipchitz Collection, with an accompanying scholarly catalogue, was exhibited in 1960 at The Museum of Primitive Art, New York City.

Lipchitz's family was observant and he attended Jewish schools that stressed religious education, but he showed little interest in his faith during his early adult life. However, the establishment of Israel affected him profoundly and, over time, religious themes emerged in Lipchitz's work. He began making arrangements for gifts of sculpture to the Bezalel National Museum and the Israel Museum, developed a friendship with Jerusalem's outspoken Zionist mayor, Theodore Kollek, and in 1963 made his first of many visits to Israel.

He was a Chevalier de la Légion d'Honneur, was elected a member of the American Academy of Arts and Letters, and received awards for artistic achievement from the American Institute of Architects, Boston University, and Brandeis University. The Jewish Theological Seminary, New York, presented him an Honorary Doctorate of Laws degree.

Jacques Lipchitz died in Capri, Italy, May 16, 1973, and is buried in Israel. At his death, several large-scale sculpture commissions were left unfinished, and his wife Yulla took over the projects and saw that the installations were accomplished as planned. These posthumous installations include Government for the People, installed in Philadelphia in 1976, Bellerophon Taming Pegasus, installed at the Columbia University School of Law in New York City in 1977, and Our Tree of Life, installed in Jersusalem in 1978.

Bruce Bassett (1925-2009), a television and film producer, worked for NBC in New York for over 20 years. Bassett met the sculptor Jacques Lipchitz (1891-1973) when they were both living in Hastings-on-Hudson, NY. In 1968, Bassett initiated an extensive oral history project when he realized that Lipchitz, as an English speaker and participant in the birth of modernism in Europe, was the only living artist who could provide an oral record of the beginnings of modern art for an English audience.

From 1968, until his death in 2009, Bassett carried out extensive documentation projects regarding Lipchitz, often in his spare time, under the auspices of two organizations he founded: the Jacques Lipchitz Art Foundation (1968-1975) and Histor Systems (circa 1991-2001). In 1968 Bassett raised funds to enable Deborah Stott to travel to Italy and conduct roughly 200 hours of audio interview with Lipchitz, interviews which cover not only his own history, but also include a complete record of the origins of his extensive collection of primitive art, numbering almost 3000 objects at the time. Bassett himself traveled to Italy and filmed nearly 40 hours of additional interviews with Lipchitz in 1971.

Drawing from these filmed interviews, Bassett created a pioneering interactive program which allowed museum-goers to pose questions to Lipchitz and moments later receive answers in the form of video segments of Lipchitz speaking. He used the same footage to write, produce, and direct a one hour documentary, "Portrait of an Artist: Jacques Lipchitz." Both projects were originally presented to the public in tandem with a retrospective exhibition of Lipchitz's sculpture at the Metropolitan Museum in New York in 1972, and were later revised and updated several times for subsequent distribution and presentation. The last presentation of the interactive project documented in Bassett's papers was held at the Krannert Art Museum of the University of Illinois at Urbana-Champaign in 2001. The interactive project is now online at the Israel Museum website entitled "Ask Jacques Lipchitz a Question," a project Bassett had been working on with Hanno Mott at his death. Bassett had visited the Museum several years earlier to demonstrate the video.

Bassett died in 2009 in New York, NY.

Related Archival Materials note:

Interviews with Lipchitz are represented among the following Archives of American Art collections: Brooklyn Museum interviews of artists; KPFK "Art Scene," interviews by Marian L. Gore; Interviews of artists by Brian O'Doherty; and Interviews relating to American Abstract Artists by Ruth Bowman.

The Tate Archive houses the Jacques Lipchitz collection presented by Rubin Lipchitz, with materials dating from the 1910s-1970s and measuring 9.8 linear feet.

The Israel Museum hosts a website entitled "Ask Jacques Lipchitz a Question," which presents Bruce Bassett's entire interactive project of Lipchitz, described here in series 2.5.2, as a web-accessible video project.

Provenance:

Donated in 2010 by Hanno D. Mott, step-son of Jacques Lipchitz, and also on behalf of Loyla R. Lipchitz and Frank L. Mott.

Restrictions:

Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.

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:

Artists' studios -- Photographs  Search this

Genre/Form:

Diaries

Scrapbooks

Sketches

Designs

Citation:

Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by The Jacques and Yulla Lipchitz Foundation, Inc.

Identifier:

AAA.lipcjacq2

See more items in:

Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-lipcjacq2

Creator:

Audubon, Victor Gifford, 1809-1860  Search this

Names:

Audubon, John James, 1785-1851  Search this

LeConte, John L. (John Lawrence), 1825-1883  Search this

Extent:

1 Microfilm reel (3 items on partial microfilm reel)

Type:

Collection descriptions

Archival materials

Microfilm reels

Date:

1852

Scope and Contents:

This microfilm collection contains letters from Victor Audobon to John Lawrence LeConte concerning Audubon's father, John James Audubon.

Biographical / Historical:

Victor Audubon (1809-1862) was a painter and the son of illustrator and naturalist John James Audubon. Along with his brother, John Woodhouse Audubon, he assisted his father with the production and sale of The Birds of America and The Viviparous Quadrupeds of North America. Audubon continued to manage the business aspects of his father's work after John James Audubon's death.

John L. LeConte (1825-1883) was an entomologist, an active member of the American Philosophical Society, and a founding member of the American Entomological Society.

Related Materials:

The Archives of American Art also holds the microfilmed letters to Samuel G. Morton from Victor and John James Audubon, 1836-1840, and the microfilmed John James Audubon and Audubon family letters, [circa 1783-1845]. Yale University Beinecke Rare Book & Manuscript Library holds the Victor Gifford Audubon collection, 1845-1859. The American Philosophical Society holds the John James Audubon Papers, 1821-1845; the John L. (John Lawrence) LeConte papers, 1812-1897; and the LeConte family papers, 1827-1901.

Provenance:

Lent for microfilming by the American Philosophical Society for the Archives of American Art, 1955. Selected from ASP's John Lawrence LeConte papers.

Restrictions:

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

Occupation:

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

Topic:

Illustrators  Search this

Identifier:

AAA.auduvict

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-auduvict

Creator:

Train, Russell E., 1920-2012  Search this

Russell E. Train Africana Collection (Smithsonian. Libraries)  Search this

Names:

Emin Pasha Relief Expedition (1887-1889)  Search this

Akeley, Carl Ethan, 1864-1926  Search this

Baines, Thomas, 1820-1875  Search this

Baker, Samuel White, Sir, 1821-1893  Search this

Burton, Richard Francis, Sir, 1821-1890  Search this

Du Chaillu, Paul B. (Paul Belloni), 1835-1903  Search this

Dugmore, A. Radclyffe (Arthur Radclyffe), 1870-1955  Search this

Glave, E. J. (Edward James)  Search this

Heller, Edmund, 1875-1939  Search this

Livingstone, David, 1813-1873.  Search this

Nelson, Robert Henry, 1853-1892  Search this

Roosevelt, Theodore, 1858-1919  Search this

Selous, Frederick Courteney, 1851-1917  Search this

Stanley, Henry M. (Henry Morton), 1841-1904.  Search this

Train, Russell E., 1920-2012  Search this

Windsor, Edward, Duke of, 1894-1972  Search this

Extent:

6,500 Items (estimated)

Type:

Collection descriptions

Archival materials

Place:

Africa -- Maps

Africa -- description and travel

Africa -- Discovery and exploration

Africa -- In art

Date:

1663-2004

Summary:

Manuscript and printed textual material, photographic prints and negatives, slides, audio tapes, film, original and reproduction artwork, maps, scrapbooks, and historical and natural artifacts related to the history of African exploration and natural history, dating primarily from the nineteenth and twentieth centuries. Includes correspondence, drafts of publications, diaries, account books, ephemera, posters, newsclippings, biographies, memoirs, portraits, and the former personal property of selected explorers, big game hunters, missionaries, pioneers, and naturalists in Africa.

Scope and Contents note:

Manuscript and printed textual material, photographic prints and negatives, slides, audio tapes, film, original and reproduction artwork, maps, scrapbooks, and historical and natural artifacts related to the history of African exploration and natural history, dating primarily from the nineteenth and twentieth centuries. Includes correspondence, drafts of publications, diaries, account books, ephemera, posters, newsclippings, biographies, memoirs, portraits, and the former personal property of selected explorers, big game hunters, missionaries, pioneers, and naturalists in Africa. The Train Collection is particularly strong in archival materials on the following topics: the search for the source of the Nile and the progress of other exploring expeditions in Africa; the collecting of specimens of African animals, plants, and ethnological materials for zoos and museums (including a significant body of correspondence and photographs from the Smithsonian African Expedition in 1909-1910, led by President Theodore Roosevelt); and the growth of the African wildlife conservation movement. Besides Roosevelt, the major persons represented in the Collection include the journalist and explorer Henry Morton Stanley and members of his Emin Pasha Relief Expedition (Thomas Heazle Parke, Robert H. Nelson, James S. Jameson, John Rose Troup, William Bonny, William G. Stairs, Edmund Barttelot, and Arthur J. M. Jephson); the medical missionary Dr. David Livingstone and his father-in-law Robert Moffat; taxidermist Carl Akeley; zoologist Edmund Heller; hunter Frederick Courtenay Selous; artist and adventure writer A. Radclyffe Dugmore; explorers Samuel White Baker, Thomas Baines, Richard Francis Burton and E.J. Glave; anthropologist Paul Belloni du Chaillu; and royal traveler Edward VIII (later Duke of Windsor). Consult the finding aid for more specific information on materials relating to these persons and other people and organizations represented in the Collection.

Arrangement note:

Organized into ten series, primarily based on format or creator: I. Artifacts, 1663-1999; II. Works of Art, 1663-1999; III. Books, 1900-1986; IV. Edmund Heller personal papers, 1875-1939; V. Manuscripts, 1663-1992; VI. Maps, 1878; VII. Newspapers, 1888-1987; VIII. Robert Henry Nelson personal papers, 1795-1912; VIII. Photographs, 1874-1963; IX. Posters and broadsides, 1814-1955; X. Russell E. Train personal papers, 1956-2004.

Separated Materials note:

In addition to these archival and non-book materials, the Smithsonian Institution Libraries acquired more than 1500 printed books as part of the Russell E. Train Collection; these books are listed individually in the SIRIS (Smithsonian Institution Research Information System) online catalog.

Provenance:

Originally assembled by the Honorable Russell E. Train, a former judge, top administrator of the Environmental Protection Agency, and a past president of the World Wildlife Fund, this collection was acquired by the Smithsonian Institution Libraries in 2004.

Rights:

The collection is housed in the Joseph F. Cullman 3rd Library of Natural History, which is open to researchers Monday through Friday in the afternoons, from 1:30 to 5:00 p.m.; morning visits are by appointment only. Please call (202) 633-1184 or email AskaLibrarian@si.edu for an appointment.

Topic:

Zoological specimens -- Collection and preservation -- Africa  Search this

Wildlife conservation -- Africa  Search this

Natural history -- Technique  Search this

Natural history -- Africa  Search this

Hunting -- Africa  Search this

Explorers -- Africa  Search this

Identifier:

SIL-CL.XXXX-0014

See more items in:

Russell E. Train Africana collection

Archival Repository:

Smithsonian Libraries

EDAN-URL:

ead_collection:sova-sil-cl-xxxx-0014

Collector:

Rumsey, Mary Harriman, 1881-1934.  Search this

Names:

Harriman Alaska Expedition (1899)  Search this

Photographer:

Averell, William H.  Search this

Coe, Wesley R. (Wesley Roswell), 1869-1960  Search this

Cole, Leon J. (Leon Jacob), 1877-1948  Search this

Curtis, Edward S., 1868-1952  Search this

Devereux, W. B.  Search this

Gilbert, Grove Karl, 1843-1918  Search this

Harriman, Edward Henry, 1848-1909  Search this

Keen, Dora, 1871-  Search this

Merriam, C. Hart (Clinton Hart), 1855-1942  Search this

Pillsbury, Arthur C. (Arthur Clarence)  Search this

Ridgway, Robert, 1850-1929  Search this

Artist:

Schreyvogel, Charles, 1861-1912  Search this

Extent:

396 Lantern slides

286 Photographic prints

1 Map

Culture:

Suquamish  Search this

Hopi Pueblo  Search this

Pikuni Blackfeet (Piegan)  Search this

Yakutat Tlingit  Search this

A:shiwi (Zuni)  Search this

Apache  Search this

Yuit (Siberian Yup'ik)  Search this

Tlingit  Search this

Alaskan Eskimo  Search this

Unangan (Aleut)  Search this

Type:

Collection descriptions

Archival materials

Lantern slides

Photographic prints

Maps

Place:

British Columbia

Siberia (Russia)

Alaska

Date:

1898-1900

1903

1914

bulk 1899-1899

Summary:

The Mary Harriman Rumsey collection largely consists of photographic prints and lantern slides documenting the Harriman Expedition to Alaska in summer 1899. These depict members of the expedition and Alaskan scenery and people. The collection also includes scenic photographs of Alaska taken by Dora Keen in 1914 and photographs of Blackfeet, Hopi, Apache, and Suquamish Indians made by Edward Curtis in 1900 and 1903.

Scope and Contents:

The bulk of the collection comprises photographic prints, lantern slides, and one map documenting the Harriman Alaska Expedition from May to July of 1899. These photographs were made by members of the expedition, most prominently its official photographer Edward S. Curtis, funder Edward Henry Harriman, and lead scientist C. Hart Merriam. They depict Alaskan scenery, members of the expedition, and Native people and settlements that they encountered. Mary Harriman Rumsey's collection also includes later platinum prints of American Indians made and signed by Curtis (1900, 1903), photographs of glaciers in Alaska by Dora Keen (1914), a photograph of a painting by Charles Schreyvogel (1903), and a photograph of White Pass by Arthur Clarence Pillsbury (1898).

Arrangement:

The collection is arranged in three series: photographs relating to the Harriman Expedition; photographs of Alaska that were not made on the Harriman Expedition; and other photographs relating to American Indians. The Harriman series is arranged in a rough chronological order.

Biographical / Historical:

Mary Harriman Rumsey (1881-1934) was an important American philanthropist and the oldest child of railroad tycoon Edward Henry Harriman. In 1901, while studying at Barnard College, she co-founded the Junior League for the Promotion of Settlement Movements (later named the Junior League of the City of New York), which facilitated charitable work by privileged women among New York's impoverished groups. Rumsey's efforts lead to the establishment of the Association of Junior Leagues International Inc. in 1921. Additionally, Rumsey co-founded Today magazine with her brother Averell Harriman and others, and in 1933 she chaired the Consumer Advisory Board of the National Recovery Administration.

In 1899, Mary Harriman was among the Harriman family members who accompanied the Harriman Alaska Expedition. Originally planned as a bear-hunting trip for the family, the expedition, was funded by Edward Henry Harriman and organized with the help of ethnographer and naturalist Clinton Hart Merriam. The party of accomplished scientists, naturalists, photographers, artists, and writers cruised from British Columbia to Siberia and back on a private ship, the SS George W. Elder, in June and July of 1899. The scientists' findings were published in the thirteen-volume Harriman Alaska Series, and Harriman also paid the expedition's official photographer, Edward S. Curtis, to compile souvenir albums from the over 5,000 photographs made during the course of the expedition.

Related Materials:

The Smithsonian Institution Archives, University of Washington Special Collections, and Library of Congress have photo albums relating to the Harriman Alaska Expedition. The SI Archives also holds the Harriman Alaska Expedition Collection and photogravure plates from the Harriman Alaska Series.

NMAI holds photogravure plates and proofs made from Edward Curtis's later photographs and Frederick Dellenbaugh's expedition notes in the Museum of the American Indian, Heye Foundation records. The National Anthropological Archives also holds Curtis photographs and papers.

Separated Materials:

The following materials were also part of Mary Harriman Rumsey's estate, gifted to the Museum of the American Indian, Heye Foundation, in 1934. Where possible, their current locations have been noted.

33 artifacts, most of which were likely collected in Alaska by the Harriman Alaska Expedition, are now housed in the NMAI object collection (catalog numbers 18/6460 - 18/6494)

A set of Harriman Alaska Expedition books, probably now in the Cornell University Libraries

4 phonograph records

A bundle of botanical specimens

Provenance:

This collection was donated as part of the estate of Mary Harriman Rumsey to the Museum of the American Indian, Heye Foundation, in May 1934.

Restrictions:

Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).

Rights:

Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited users to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changed, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian.

Topic:

Scientific expeditions  Search this

Citation:

Identification of specific item; Date (if known); Mary Harriman Rumsey Collection of Harriman Alaska Expedition Photographs, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.

Sponsor:

This collection was processed with funding from the Smithsonian Women's Committee.

Identifier:

NMAI.AC.053

See more items in:

Mary Harriman Rumsey collection of Harriman Alaska Expedition photographs

Archival Repository:

National Museum of the American Indian

EDAN-URL:

ead_collection:sova-nmai-ac-053