Search Results

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2020-04-20T13:59:25.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_D-p96np-Pw4

Collection Creator:

Peale, Rembrandt, 1778-1860  Search this

Peale, Harriet Cany, ca. 1800-1869  Search this

Extent:

(pages 16 and 17 are scanned twice as they appear out of numerical sequence in the original document)

Container:

Box 1, Folder 7

Type:

Archival materials

Date:

circa 1857

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

Rembrandt and Harriet Peale collection, circa 1820-1932. 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

See more items in:

Rembrandt and Harriet Peale collection

Rembrandt and Harriet Peale collection / Series 1: Rembrandt and Harriet Peale Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98ff3fead-4ff9-4bb5-80a1-5118618b3348

EDAN-URL:

ead_component:sova-aaa-pealremb-ref26

Creator:

Pennsylvania Railroad.  Search this

Architect:

McKim, Mead & White  Search this

Collector:

National Museum of American History (U.S.). Division of History of Technology  Search this

National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this

National Museum of American History (U.S.). Division of Work and Industry  Search this

Names:

Pennsylvania Station  Search this

Photographer:

Dreyer, Louis H.  Search this

Extent:

10.5 Cubic feet (23 boxes)

Type:

Collection descriptions

Archival materials

Glass plate negatives

Photographs

Stereographs

Date:

1904-1910

Summary:

Collection documents the construction of Penn Station and the Pennsylvania Railroad's work in New York City, including the Station foundations and the East and Hudson River tunnels.

Scope and Contents:

Photographs, stereographs, and glass plate negatives documenting the construction progress of the Pennsylvania Terminal, including the Pennsylvania Station Site, from pre-existing structures through the foundation construction ; construction of Sunnyside Yard; Construction of Sunnyside Yard Power House; and all aspects of the construction of the East River tunnels. The photographs depict machinery, equipment, techniques, and the men working on the site. The collection is also strong in depicting streets, buildings and the clothes worn by people at that time.

Arrangement:

The collection is arannged into three series.

Series 1: Photographs, 1904-1909

Series 2: Steregraph Cards, 1904-1909

Series 3: Glass Plate Negatives, 1908-1910

Series 4: Contract Material Vouchers, 1907-1908

Historical:

Pennsylvania Station, also known as Penn Station, is a railroad station located in New York City between Seventh and Eighth Avenues and 31st and 33rd Streets. It was named for the Pennsylvania Railroad (PRR), and the project was initiated and lead by Alexander Johnston Cassatt (1839-1906), the seventh president of the PRR. Cassat's vision was to contruct tunnels under the Hudson River, bringing the PRR's line into New York City which enabled Pennsylvania Railroad trains to enter from New Jersey for the first time.

"Beginning with a double-track line across New Jersey's marshy Hackensack Meadows, they would dig two tunnels through Bergen Cliffs, continue down under the mile-wide Hudson, emerging deep underneath a great terminal. From there two tunnels, each with two tracks, would continue under and through Manhattan, becoming four separate tunnels under the East River. Two would be for the LIRR (Long Island Railroad), and would thus create a through ride all the way from the mainland to Long Island. The two other tunnels would serve the PRR, whose empty trains would terminate in Sunnyside, Queens." (Jonnes, page 84)

Construction of the tunnels began in 1904 and opened for service in 1910. The architects of the station building were McKim, Mead & White. The station building was demolished (1963-1966) and Madison Square Gardens was built above the station, opening in 1968.

Sources

"Completion of the Pennsylvania Railroad Tunnels and Terminal Station," Scientific American, Vol. 102, No. 20 (MAY 14, 1910), pp. 398-401.

Historic American Buildings Survey, Engineering Record, Landscapes Survey, (HABS) No. NY-5471, "Pennsylvania Station," 1968.

Jonnes, Jill. Conquering Gotham A Gilded Age Epic: The Construction of Penn Station and Its Tunnels. New York: Viking Penguin Group, 2007.

Related Materials:

Materials at Other Organizations

New York Historical Society

McKim Mead & White Architectural Records Collection, circa 1875-1950

Columbia University, Avery Architectural and Fine Arts Library

McKim Mead & White architectural records and drawings, 1879-1958

Progress photographs taken by L. H. Dreyer and others during the construction of the Pennsylvania Terminal, New York City, 1907-1910

Hagley Museum and Library

Pennsylvania Railroad Company records, 1813-1968

Provenance:

The photographs and stereograph cards were purchased from Charles Lloyd, III, a dealer, in 1980.

Restrictions:

Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Railroads  Search this

Railroads -- 20th century  Search this

Railroad stations  Search this

Tunnels -- New York  Search this

Genre/Form:

Glass plate negatives

Photographs -- Black-and-white negatives -- 20th century

Photographs -- 20th century

Stereographs -- 1900-1910

Citation:

Penn Station, New York, Photographs, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1048

See more items in:

Penn Station, New York, Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8087277d0-5bf6-463e-abfe-b77174e97db9

EDAN-URL:

ead_collection:sova-nmah-ac-1048

Creator:

Wagstaff, Samuel J.  Search this

Names:

Basen, Dan, 1939-  Search this

Brecht, George  Search this

Byars, James Lee  Search this

De Maria, Walter, 1935-2013  Search this

Di Suvero, Mark, 1933-  Search this

Fine, Albert M.  Search this

Flavin, Dan, 1933-  Search this

Halprin, Anna  Search this

Hartigan, Grace  Search this

James, Charles, d. 1978  Search this

Johnson, Philip, 1906-2005  Search this

Johnson, Ray, 1927-  Search this

Manning, Doreen  Search this

Manning, Robert  Search this

Martin, Agnes, 1912-2004  Search this

Newton, Gordon, 1948-  Search this

Oldenburg, Claes, 1929-  Search this

Reinhardt, Ad, 1913-1967  Search this

Roth, Dieter, 1930-1998  Search this

Saret, Alan, 1944-  Search this

Tuttle, Richard, 1941-  Search this

Warhol, Andy, 1928-  Search this

Wilson, Mary F.  Search this

Extent:

6.4 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Drawings

Date:

circa 1932-1985

Summary:

The Samuel J. Wagstaff papers, circa 1932-1985 comprise 6.4 linear feet of correspondence, writings, miscellaneous records, printed material, and photographs documenting Wagstaff's professional and personal relationships with artists and photographers, his career as an art curator, and his position as an important collector of paintings and photographs. Correspondence with artists and others such as curators, arts organizations, galleries, and museums, reflects the diversity of contemporary American art and includes individuals associated with the abstract expressionist, Fluxus, pop, earth, conceptual, and minimalist art movements.

Scope and Content Note:

The Samuel J. Wagstaff papers, circa 1932-1985, comprise 6.4 linear feet of correspondence, writings, miscellaneous records, printed material, and photographs documenting Wagstaff's professional and personal relationships with artists and photographers, his career as an art curator, and his position as an important collector of paintings and photographs.

Correspondence with artists and others such as curators, arts organizations, galleries, and museums reflects the diversity of contemporary American art and includes individuals associated with the abstract expressionist, Fluxus, pop, earth, conceptual, and minimalist art movements. Wagstaff's importance as a collector and curator and his generosity to and interest in artists is evident from the large number of invitations to view and critique work, requests for fellowship and grant recommendations, and thank you notes from artists to whom he extended financial or moral support. Among the most prolific correspondents found here are: Dan Basen, George Brecht, James Lee Byars, Walter de Maria, Mark Di Suvero, Albert Fine, Dan Flavin, Ann Halprin, Grace Hartigan, Charles James, Philip Johnson, Ray Johnson, Doreen and Robert Manning, Agnes Martin, Gordon Newton, Claes Oldenburg, Ad Reinhardt, Dieter Rot, Alan Saret, Richard Tuttle, May Wilson, and Andy Warhol.

Writings by Wagstaff consist of "Looking at Modern Art" prepared for the Trinity College Reading Program, and an untitled, undated piece about multiplicity in art. Among the writings by other authors are Bruce Bennard's "The Photographer Rediscovered," "Pop Art" by Henry Geldzahler, and "Collecting Photographs" by Bonnie Barrett Stretch.

Miscellaneous records are drawings by Bruce Kleinsmith, a print by Harold Paris and artists' resumes. Also included is a costume consisting of a stuffed devil's tail and two red silk caps connected by a long sash, all in a matching red silk bag.

Among the printed material are books, exhibition catalogs and prospectuses, periodicals, press releases, reproductions, and a variety of other printed items relating to photography and art.

Photographs consist largely of copy prints and a small number of original prints. Also included are a few images of exhibition installations and other miscellaneous subjects. There are no portraits of Samuel J. Wagstaff among the photographs of people. Identified individuals include: Bella Abzug, Peter Allen, Michael Collins, Angela Davis, Candy Darling, Wendell Ford, Joseph Hirshhorn, W. A. Huffman, David Love, Marc Miller, Bettie Ringma, and Andy Warhol.

Arrangement:

The collection is arranged into 5 series.

Missing Title

Series 1: Correspondence, 1932-1986 (Boxes 1-3, 8, OV 9-10; 2.5 linear ft.)

Series 2: Writings, 1961-1983 (Box 3; 0.2 linear ft.)

Series 3: Miscellaneous Papers and Artifacts, 1970s-1980s (Box 3; 0.2 linear ft.)

Series 4: Printed Material, circa 1914-1988 (Boxes 3-8, OV 11; 3.2 linear ft.)

Series 5: Photographs, 1975-1982 (Boxes 7-8; 0.1 linear ft.)

Biographical Note:

Samuel J. Wagstaff, Jr. (1921-1987), the son of a lawyer from an old New York family and fashion artist Olga Piorkowska, was born in New York City. A graduate of Yale University, he was an ensign in the Navy and took part in the D-day landing at Omaha Beach.

Following World War II, Wagstaff studied Renaissance art at the Institute of Fine Arts, New York University. A David E. Finley art history fellowship took him to the National Gallery of Art, Washington, D. C. in 1959. He served as curator of contemporary art at the Wadsworth Atheneum, Hartford, Conn., from 1961 to 1968, where he coordinated sculptor Tony Smith's first museum show in 1966. In 1971, during Wagstaff's tenure as curator at the Detroit Institute of Arts (1968-1971), he presented Michael Heizer's installation Dragged Mass Geometric on the grounds of the museum.

In addition to his curatorial work, Samuel J. Wagstaff was a noted collector. Originally, he was a fairly influential collector of avant-garde paintings. After seeing the exhibition "The Painterly Photograph" and meeting photographer Robert Mapplethorpe, Wagstaff became convinced that photographs were the most unrecognized and, possibly, the most valuable works of art. He moved to New York and began selling his collection of paintings, using the proceeds to begin his photography collection and concentrating on 19th century American, British, and French examples. Then, influenced by his lover, photographer Mapplethorpe, Wagstaff's taste veered toward the daring, and he began to depart from established names in search of new talent. His collection was soon recognized as one of the finest private holdings in the United States. An exhibition of his photographs was organized by the Corcoran Gallery of Art, Washington, D. C., in 1978, and A Book of Photographs from the Sam Wagstaff Collection was published to accompany the show that toured the country.

The photograph collection was sold to the J. Paul Getty Museum, Malibu, Calif., in 1984, for a reported $5 million. Wagstaff then focused his attention on collecting 19th century American silver, and a selection from that collection was exhibited at the New York Historical Society in 1987.

Samuel J. Wagstaff died in New York City on January 14, 1987, from pneumonia, a complication of HIV infection.

Provenance:

Samuel J. Wagstaff donated his papers between 1976 and 1986.

Restrictions:

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

Rights:

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

Topic:

Art dealers -- New York (State) -- New York  Search this

Photography  Search this

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

Artists -- United States  Search this

Photographs -- Collectors and collecting -- United States  Search this

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

Art, Modern  Search this

Fluxus (Group of artists)  Search this

Genre/Form:

Photographs

Drawings

Citation:

Samuel J. Wagstaff papers, circa 1932-1985. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.wagssamu

See more items in:

Samuel J. Wagstaff papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw978d21d32-6db4-4e4a-a3f2-17fde336ef7b

EDAN-URL:

ead_collection:sova-aaa-wagssamu

Creator:

Calver, William L.  Search this

Extent:

129 Negatives (photographic) (black and white, 4.5 x 6.5 inches.)

22 Lantern slides (black and white, color.)

19 Albumen prints

129 Acetate negatives (Duplicates, black and white, 5 x 7 inches.)

Type:

Collection descriptions

Archival materials

Negatives (photographic)

Lantern slides

Albumen prints

Acetate negatives

Photographs

Black-and-white negatives

Place:

New Jersey

Inwood (New York, N.Y.)

New York (N.Y.)

Date:

1895-1936

Summary:

This collection contains 22 lantern slides in black and white and color, 129 black-and-white glass negatives and 19 albumen prints taken by William L. Calver between 1895-1936. The images primarily depict archaeological excavation sites in Inwood, New York City, and the broader New York City area. Also present are 129 duplicate acetate negatives.

Arrangement note:

Slides: organized in individual sleeves; arranged by image number.

Glass negatives: organized in individual sleeves; arranged by image number.

Acetate negatives: organized in individual sleeves; arranged by image number.

Prints: organized in folders; arranged by image number.

Biographical/Historical note:

William L. Calver was an engineer living in New York with a strong interest in preserving local history. As an amateur historian and archaeologist, he conducted excavations with Reginald Pelham Bolton to document Native and colonial sites. Along with Bolton, he was a member of the Field Exploration Committee of the New York Historical Society.

Restrictions:

Access is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment.

Rights:

Restricted: cultural sensitivity and copyright. Please contact the archivist for further information.

Topic:

Indians of North America -- New York (State)  Search this

Excavations (Archaeology) -- New Jersey  Search this

Indians of North America -- New Jersey  Search this

Excavations (Archaeology) -- New York (State)  Search this

Genre/Form:

Photographs

Black-and-white negatives

Albumen prints

Lantern slides

Citation:

William L. Calver slides, negatives and prints, National Museum of the American Indian Archives, Smithsonian Institution (slide, negative or catalog number).

Identifier:

NMAI.AC.042

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv4b4310968-8a87-4f5c-b354-06b940a66aaf

EDAN-URL:

ead_collection:sova-nmai-ac-042

Creator:

Lay, Oliver Ingraham, 1845-1890  Search this

Lay, Charles Downing, 1877-1956  Search this

Names:

Bridges, Fidelia, 1834-1923  Search this

Lay, Laura Gill  Search this

Lay, Marian Wait  Search this

Extent:

10.54 Linear feet

Type:

Collection descriptions

Archival materials

Landscape drawings

Diaries

Scrapbooks

Sketchbooks

Sketches

Date:

1789-2000

bulk 1870-1996

Summary:

The Oliver Ingraham Lay, Charles Downing Lay, and Lay Family Papers measure 10.54 linear feet and date from 1789 through 2000, with the bulk of the material dating from circa 1870-1996. The collection presents an overview of the personal lives and careers of painter, Oliver Ingraham Lay and his son, landscape architect, Charles Downing Lay. In addition, there are the papers of Lay family members and friends, including those of the Marian Wait Lay family (wife of Oliver Ingraham Lay) and of the Laura Gill Lay family (wife of Charles Downing Lay). Also found are the papers of the landscape and nature painter Fidelia Bridges. The collection consists of biographical material, correspondence, diaries, writings and notes, scrapbooks, family business records, exhibition files, printed material, as well as original artwork, sketches, a sketchbook, landscape designs, and photographs.

Scope and Contents:

The Oliver Ingraham Lay, Charles Downing Lay, and Lay Family Papers measure 10.54 linear feet and date from 1789 through 2000, with the bulk of the material dating from circa 1870-1996. The collection presents an overview of the personal lives and careers of painter, Oliver Ingraham Lay and his son, landscape architect, Charles Downing Lay. In addition, there are the papers of Lay family members and friends, including those of the Marian Wait Lay family (wife of Oliver Ingraham Lay) and of the Laura Gill Lay family (wife of Charles Downing Lay). Also found are the papers of the landscape and nature painter Fidelia Bridges. The collection consists of biographical material, correspondence, diaries, writings and notes, scrapbooks, family business records, exhibition files, printed material, as well as original artwork, sketches, a sketchbook, landscape designs, and photographs.

The extensive correspondence files illustrate the interaction between the Lays' and their extended circle of family members and friends, offering a view of the social and cultural milieu of a cross section of New England and New York gentry, from the mid-nineteenth through the early twentieth centuries. The papers also provide a resource to study the work of Oliver Ingraham Lay and of Charles Downing Lay through original drawings, sketches, and landscape designs.

Arrangement:

The collection is arranged as 3 series.

Missing Title

Series 1: Oliver Ingraham Lay and Marian Wait Lay Papers, 1789-1955 (4.2 linear ft.; Boxes 1-5, OV 11)

Series 2: Charles Downing Lay and Laura Gill Lay Papers, 1864-1993 (4.2 linear ft.; Boxes 5-9, OV 12-13)

Series 3: Fidelia Bridges Papers, 1857-2000 (1.4 linear ft.; Boxes 9-10)

Biographical / Historical:

Oliver Ingraham Lay (1845-1890) was a painter of portraits and genre scenes. Charles Downing Lay (1898-1956) was a landscape planner, architect, and painter.

Born in 1845 in New York City, Oliver Ingraham Lay studied under the painter Thomas Hicks (1823-1890) and attended the Cooper Institute and the National Academy of Design. Best-known for his portraiture, Lay's subjects included socially and politically prominent individuals, as well as artists, actors, and friends, such as Fidelia Bridges and Edwin Booth, among others. In 1876, Lay was elected to membership to the National Academy of Design and the Artists' Fund Society; in 1887 he became a member of the Century Association. Lay was married to Marian Wait, the niece of the pre-eminent pomologist, Charles Downing (1802-1885) and landscape gardener and rural architect, Andrew Jackson Downing (1815-1852).

Oliver's son, Charles Downing Lay was born in Newburgh, New York in 1898. He attended the School of Architecture at Columbia University from 1896-1900 and earned a Bachelor of Science from Harvard University's School of Landscape Architecture in 1902. That same year, Lay established a landscape practice in New York City; he also served as Landscape Architect for the City of New York from 1911-1912. In 1904, he married Laura Brown Gill.

In addition to his public work projects, he received numerous commissions for private homes and estates in Connecticut, New Jersey, New York, and Pennsylvania. Lay, along with Henry V. Hubbard and Robert Wheelwright founded the professional magazine, Landscape Architecture where he served as publisher, editor, and contributor. He was a consulting architect to the 1939 New York World's Fair. In 1948, he established the Housatonic Valley Planning Association.

Oliver and Charles's lifelong friend, Fidelia Bridges (1834-1923) was born in Salem, Massachusetts in 1834. Orphaned in her youth, she supported herself as a mother's helper in the Quaker household of the Salem merchant, William A. Brown. In the mid-1850s, after Brown had moved to Brooklyn, New York, Fidelia Bridges joined the family, where she took on the role of governess to Brown's daughters. Around this time, she met Oliver Ingraham Lay.

In the 1860s, Bridges studied art at the studio of William Trost Richards (1833-1905) in Philadelphia, Pennsylvania. In 1867, Bridges, along with a group of young women artists that included Anne Whitney (1821-1915) left for Rome to pursue her artistic training. Upon her return, Bridges set up a studio in New York City. In the early 1890s, Fidelia settled permanently in Canaan, Connecticut.

Bridges, influenced by the Pre-Raphaelite school, depicted landscapes and nature scenes with detailed renderings of birds, meadows, and wildflowers. In addition, Bridges sold her artwork commercially; in the mid-1870s, Louis Prang and Company produced her chromolithographic designs on greeting cards and calendars. Bridges also illustrated magazines and books.

Related Materials:

A small collection of Oliver Ingraham Lay papers were loaned for microfilming and are available on reel 801. The originals are at the New-York Historical Society. The bulk of Charles Downing Lay's papers, 1898-1956 reside in the Division of Rare and Manuscript Collections, Cornell University Library.

Provenance:

George C. Lay, grandson of portrait painter Oliver Lay and the son of Charles Downing Lay donated the Oliver Ingraham Lay, Charles Downing Lay, and Lay Family Papers to the Archives of American Art in 2002.

Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.

Rights:

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

Occupation:

Landscape painters  Search this

Painters -- Connecticut  Search this

Topic:

Landscape architects  Search this

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

Photographs  Search this

Genre/Form:

Landscape drawings

Diaries

Scrapbooks

Sketchbooks

Sketches

Citation:

Oliver Ingraham Lay, Charles Downing Lay, and Lay Family Papers, 1789-2000, bulk 1870-1996. Archives of American Art, Smithsonian Institution.

Sponsor:

Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.layoliv

See more items in:

Oliver Ingraham Lay, Charles Downing Lay, and Lay Family papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9780ed009-4555-40ed-af1c-252ed725d5aa

EDAN-URL:

ead_collection:sova-aaa-layoliv

Creator:

Scheeline, Lanette, 1910-  Search this

Names:

Bailey & Griffen  Search this

Bloomcraft (Firm)  Search this

Katzenbach & Warren  Search this

Liz Sander Designs  Search this

Meinhard Greeff and Co. (New York, N.Y.)  Search this

Philip Graf Wallpapers, Inc.  Search this

Rudolph Schaeffer School of Design  Search this

Sheraton Hotel (Honolulu, Hawaii)  Search this

W. & J. Sloane  Search this

York Wallpaper Company  Search this

Bowen, Louis W.  Search this

Draper, Dorothy, 1889-1969  Search this

Hart, Helen  Search this

Scheeline, Lanette, 1910-  Search this

Extent:

7 Boxes

Type:

Collection descriptions

Archival materials

Photocopies

Business records

Press releases

Correspondence

Drawings

Slides (photographs)

Designs

Exhibition catalogs

Scrapbooks

Transparencies

Sketches

Financial records

Articles

Photographs

Watercolors

Date:

1945-1970

Summary:

This collection documents Scheeline's work as a textile designer from 1945-1970.The archive material consists of brochures, photographs, sketches, correspondence, scrapbooks, client records, and other related items that document Ms. Scheeline's career from the 1930s to the 1980s (briefly covers 1990s). A majority of the items deal specifically with the projects for textiles and wallcoverings, research on forms in nature, and notes on her travels.

Arrangement note:

Materials are arranged in seven boxes as follows: I. design scrapbooks; sketches of textiles and wallpapers; II. Press (photos, articles and releases); exhibition brochures; financial and legal records; client records; misc. correspondence; III. client designs and records; IV. Cooper-Hewitt correspondence; travel sketchbooks; personal photos and correspondence; box of photos and slides (textiles and papers); V. design scrapbook; drawings and sketches; photocopies; William Katzenbach, Practical Book of American Wallpaper; VI. blocking materials; handblocks scrapbook; and VII. large drawings and design records.

Biographical/Historical note:

American artist and textile designer Lanette Scheeline (1910- ) specializes in textile and wallpaper designs, and does custom block-printing for decorators. Scheeline is a Sausalito native, University of California graduate and former student at the Rudolph Schaeffer School of Design. She spent years working in other phases of textile or wallpaper design and all contributed to the background of technique, marketing, public taste and business judgment she needed in her own enterprises. She first gained recognition at the Golden Gate International Exposition (1940). Since then her work has been on view at the de Young Museum, Marin Art & Garden Fair, the Contemporary Gallery in Sausalito, the Merchandise Mart in Chicago, the Mill Valley Outdoor Art Club, the New-York Historical Society, and the Pacific Coast Textile Exhibition (1949, 1950) in the company of Trude Guermonprez and Jack Lenor Larsen among others.

Location of Other Archival Materials Note:

Materials are also available in the Cooper-Hewitt, National Design Musuem, Drawings and Prints Department.

Provenance:

All materials were donated to the museum by Lanette Scheeline in 1998.

Restrictions:

Unprocessed; access is limited; Permission of Library Director required. Policy.

Occupation:

Textile designers -- United States  Search this

Wallpaper designers -- United States  Search this

Topic:

Textile design -- United States -- History -- 20th century -- Sources  Search this

Wallpaper -- United States -- History -- 20th century -- Sources  Search this

Genre/Form:

Photocopies

Business records

Press releases

Correspondence

Drawings

Slides (photographs)

Designs

Exhibition catalogs

Scrapbooks

Transparencies

Sketches

Financial records

Articles

Photographs

Watercolors

Identifier:

SIL-CH.1998-29-1

Archival Repository:

Smithsonian Libraries

GUID:

https://n2t.net/ark:/65665/sc26201560d-1e45-4044-90af-0ae606e8dfa6

EDAN-URL:

ead_collection:sova-sil-ch-1998-29-1

Collection Creator:

Sanford, Marion  Search this

Container:

Box 2, Folder 4

Type:

Archival materials

Date:

1931-1965

Collection 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.

Collection Rights:

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

Collection Citation:

Marion Sanford and Cornelia Chapin papers, 1929-1988. 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. Funding for the preservation of the Cornelia Chapin Home Movies was provided by the National Film Preservation Foundation.

See more items in:

Marion Sanford and Cornelia Chapin papers

Marion Sanford and Cornelia Chapin papers / Series 2: Printed Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c42a69e6-a6e0-4897-b4b8-67b6fda80dca

EDAN-URL:

ead_component:sova-aaa-sanfmari-ref28

Collection Creator:

Sanford, Marion  Search this

Container:

Box 3, Folder 6-7

Type:

Archival materials

Date:

1937-1948

Collection 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.

Collection Rights:

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

Collection Citation:

Marion Sanford and Cornelia Chapin papers, 1929-1988. 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. Funding for the preservation of the Cornelia Chapin Home Movies was provided by the National Film Preservation Foundation.

See more items in:

Marion Sanford and Cornelia Chapin papers

Marion Sanford and Cornelia Chapin papers / Series 4: Scrapbooks

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9200e5be4-a56e-4247-afe3-2a6cb7385f14

EDAN-URL:

ead_component:sova-aaa-sanfmari-ref45

Creator:

Wendell, Evert, 1681-1750  Search this

Extent:

5 Copy negatives (acetate)

5 Copy prints

Culture:

Seneca  Search this

Indians of North America -- Northeast  Search this

Miami  Search this

Cayuga  Search this

Type:

Collection descriptions

Archival materials

Copy negatives

Copy prints

Photographs

Drawings

Date:

circa 1700-1709

Scope and Contents note:

Photographs of pages from Evert Wendell's record book of his transactions with American Indians. The photographs highlight Wendell's drawings of Cayuga, Seneca, Miami, and Souveno Indians with whom he worked, including identifying markings such as tattoos, ear ornaments, and hairdressing. The collection also includes catalog cards prepared by William Curtis Sturtevant to describe drawings, with transcriptions and translations by T. J. Brasser.

Biographical/Historical note:

Evert Wendell (1681-1750) was born in Albany, New York, shortly after the Dutch surrendered the area to British colonists. In 1695, Wendell began trading with American Indians and settlers. Between the years 1695 and 1726, Wendell recorded over 2,000 transactions in his account books, including names and credit.

Local Call Number(s):

NAA Photo Lot R81R

Reproduction Note:

Copy prints made by Smithsonian Institution from NYHS copy negatives, 1966.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

This copy collection has been obtained for reference purposes only. Copies may be obtained from the New York Historical Society.

Topic:

Account books  Search this

Genre/Form:

Photographs

Drawings

Citation:

Photo lot 81R, Photographs of Evert Wendell account book pages with sketches, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.PhotoLot.R81R

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3b8132dec-905b-4fed-b1cf-4648362e1816

EDAN-URL:

ead_collection:sova-naa-photolot-r81r

Creator:

Karp, Ivan C., 1926-2012  Search this

O.K. Harris Gallery (New York, N.Y.)  Search this

Subject:

Wesselmann, Tom  Search this

Rohm, Robert  Search this

Salt, John  Search this

Kacere, John C.  Search this

McLean, Richard Thorpe  Search this

Goings, Ralph  Search this

Grinder, Robert  Search this

Hanson, Duane  Search this

Karp, Marilynn Gelfman  Search this

Baeder, John  Search this

Butterfield, Deborah  Search this

Castanis, Muriel  Search this

Celender, Don  Search this

Clarke, John Clem  Search this

De Andrea, John  Search this

Dufresne, Leonard  Search this

Type:

Photographs

Prints

Diaries

Citation:

Ivan C. Karp papers and OK Harris Works of Art gallery records, 1960-2014. Archives of American Art, Smithsonian Institution.

Topic:

Photo-realism  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)16157

(DSI-AAA_SIRISBib)366202

AAA_collcode_okharr

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_366202

Creator:

Karp, Ivan C., 1926-2012  Search this

O.K. Harris Gallery (New York, N.Y.)  Search this

Names:

Baeder, John  Search this

Butterfield, Deborah, 1949-  Search this

Castanis, Muriel, 1926-2006  Search this

Celender, Don, 1931-2005  Search this

Clarke, John Clem, 1937-  Search this

De Andrea, John, 1941-  Search this

Dufresne, Leonard, 1941-  Search this

Goings, Ralph  Search this

Grinder, Robert  Search this

Hanson, Duane  Search this

Kacere, John C., 1920-1999  Search this

Karp, Marilynn Gelfman  Search this

McLean, Richard Thorpe, 1934-  Search this

Rohm, Robert  Search this

Salt, John, 1937-  Search this

Wesselmann, Tom, 1931-2004  Search this

Extent:

80.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Prints

Diaries

Date:

1960-2014

Summary:

The Ivan C. Karp papers and OK Harris Works of Art gallery records measure 80.3 linear feet and are dated 1960-2014. The collection documents the operation and activities of the contemporary art gallery founded by Ivan C. Karp in the SoHo area of Manhattan. Exhibition files, artist files, printed material and photographic materials reveal the wide range of artists represented by OK Harris and the gallery's role in introducing Photo-realism to the public. Aso included are administrative files, prints by OK Harris artists, business and personal correspondence, 39 journals by Karp spanning a period of 62 years, and other personal papers. Material pre-dating the 1969 establishment of OK Harris Works of Art consists of printed items and a few letters.

Scope and Contents:

The Ivan C. Karp papers and OK Harris Works of Art gallery records measure 80.3 linear feet and are dated 1960-2014. The collection documents the operation and activities of the contemporary art gallery founded by Ivan C. Karp in the SoHo area of Manhattan. Exhibition files, artists' files, printed material, and photographic materials reveal the wide range of artists represented by OK Harris and the gallery's role in introducing Photo-realism to the public. Also included are administrative files, prints by OK Harris artists, business and personal correspondence, 39 journals by Karp spanning a period of 62 years, and other personal papers. Material pre-dating the 1969 establishment of OK Harris Works of Art consists of printed items and a few letters.

Correspondence, both professional and personal, is with museums, galleries, art dealers, art collectors, and graduate students. Artists John Baeder, Deborah Butterfield, John Clem Clarke, John DeAndrea, Jim Dine, Leonard Dufresne, Robert Ginder, Ralph Goings, Duane Hanson, Richard McLean and Tom Wesselmann are among the correspondents.

Admininstrative files concern the daily operation of OK Harris Works of Art. Included are instructions regarding administrative functions and forms for routine activities to enable employees to conduct business in Ivan Karp's absence. Along with files about other items occasionally sold at the gallery, there are files about projects of interest to the Karps, sample announcements, invitations, and advertisements.

Exhibition files document group shows, collectibles and antique exhibitions, summer invitationals, and special event exhibitions at OK Harris Works of Art. The files include photographs and slides, schedules, lists of titles and prices, artists' resumes, installation layouts, reviews and publicity materials, and other items.

Artist files constitute the largest series in the collection at 34 linear feet, and document the gallery's relationships with artists throughout its 45 year history. Files are comprised of biographical information, correspondence, notes, publicity and other printed material (including a few items pre-dating the gallery). Among the many transactions recorded are arrangements for and documentation of solo exhibitions at OK Harris. There are photographs, slides and color transparencies of individual works, and some views of exhibition installations. John Baeder, Muriel Castanis, Don Celender, Ralph Goings, John Kacere, Richard McLean, Robert Rohm and John Salt are among the most extensively documented artists.

Printed material produced by OK Harris Works of Art includes exhibition catalogs, exhibition announcements, invitations, checklists, price lists posters, and notices of gallery sponsored events and activities. Printed material from other sources consists of exhibition reviews, articles about Ivan and Marilynn Karp, OK Harris Works of Art, and the gallery's artists. These appeared in art and mainstream periodicals, newspapers, exhibition catalogs, and books. Also found are posters, reproductions of artwork, and miscellaneous printed items. Artwork consists of 40 prints by artists affiliated with OK Harris. Most are signed; 2 are black and white prints, the remainder are color lithographs. Included is Radical Realism I, a set of 6 prints issued by Mother Lode Editions, 1972.

Thirty-two linear feet of photographs, negatives, slides, transparencies and digital images are of artwork by OK Harris artists, exhibition installation views, and miscellaneous subjects. Photographs of artwork by 59 OK Harris artists are found in binders called "Artists' Photo Books." Installation views of exhibitions held at OK Harris Works of Art during its 45 year history fill 61 binders. Miscellaneous subjects include OK Harris office space, galleries and staff. Also found are photographs of group shows, art fairs, and gallery artists' exhibitions at other venues.

The Ivan C. Karp personal papers include obituaries from print and internet sources along with other biographical information, published versions of brief interviews conducted for various purposes, writings, a few materials relating to business and academic activities, and some personal photographs. Journals, 1950-2012 (bulk 1991-2012) record travel, daily activities, and reflections.

Arrangement:

This collection is arranged in 8 series:

Missing Title

Series 1: Correspondence, 1960-2013 (Boxes 1-2B; 2.4 linear feet)

Series 2: Administrative Files, 1969-2014 (Box 3; 0.7 linear feet)

Series 3: Exhibition Files, 1969-2014 (Boxes 3-4; 1.2 linear feet)

Series 4: Artist Files, 1967-2014 (Boxes 4-38, 80; 34 linear feet)

Series 5: Printed Material, 1963-2014 (Boxes 38-44, 80, OV 88 - OV 90; 5.2 linear feet)

Series 6: Artwork, 1970s-circa 1980 (Box 44, OV 81-OV 87; 0.8 linear feet)

Series 7: Photographic Materials, 1960s-2014, bulk 1969-1999 (Boxes 44-76; 32 linear feet)

Series 8: Ivan C. Karp Personal Papers, 1961-2012 (Boxes 76-79; 4 linear feet)

Historical note:

OK Harris Works of Art specialized in a wide range of contemporary art and was known for its early support of Photo-realism. When it opened in 1969, the gallery was one of the first to operate in the SoHo area of Manhattan and its presence helped shape the neighborhood's development into a vibrant arts district.

Ivan C. Karp (1926-2012), the founder of OK Harris Works of Art, established a reputation in the art world while co-director of Leo Castelli Gallery from 1959-1969. He is credited with launching the careers of Pop artists such as Andy Warhol, Roy Lichtenstein, Robert Rauschenberg, John Chamberlain, Tom Wesselmann, and Claes Oldenburg. Karp wrote, published, and lectured extensively on art and the art business. He was the author of a romantic novel about New York life, Doobie Doo (published in 1965, front cover by Roy Lichtenstein, back cover by Andy Warhol) and his short stories were published in literary reviews. Karp was actively involved in architectural preservation efforts in New York City. As President of the Anonymous Arts Recovery Society, he rescued and stored cornices, capitals, portals, columns and other architectural fragments of historical and aesthetic interest from demolition sites. Many are displayed in his Anonymous Arts Museum, Charlotteville, NY and some became part of a sculpture garden that Karp donated to the Brooklyn Museum of Art.

While Leo Castelli Gallery was closed for summer vacations in 1963 and 1964, Karp ran his own contemporary art gallery in Provincetown. He named it OK Harris, a name he thought suggestive of a colorful, very American character. A few years later, Karp opened OK Harris Works of Art in SoHo where a portrait of a bearded man titled "Oscar Klondike Harris" hung in his office. "Mr. Harris" frequently assumed blame for delays, rejections and other unwelcome news or decisions. OK Harris Works of Art (first at 469 West Broadway and later at 383 West Broadway) was a 10,000 square foot ground-floor space where as many as six concurrent solo exhibitions were presented every six weeks. The goal was "to exhibit the broadest spectrum of the most adventuresome art being offered" and the focus was on emerging artists, many of them unknown. In addition to being at the forefront of the Photo-realist movement in 1969, OK Harris Works of Art was the first gallery to exhibit the work of Duane Hanson, Deborah Butterfield, Manny Farber, Richard Pettibone, Robert Cottingham, Robert Bechtle, Marilyn Levine, Nancy Rubins, Malcolm Morley, Luis Jiminez, Jake Berthot, Jack Goldstein, Porfirio DiDonna, and Al Souza.

An approachable, friendly man who enjoyed sharing his knowledge, Karp usually sat at the gallery's front desk and was available to all. Unlike many dealers, he was willing to look at and discuss artists' slides, offered encouragement, and often followed up with studio visits.

At his request, Marilynn Gelfman Karp became gallery director after her husband's death in 2012. She ran the business with gallery staff including Ivan's oldest son, Ethan. Following Ivan's guidelines, OK Harris Works of Art closed with a gala celebration 2014 for all the gallery's artists, collectors and friends.

Related Materials:

Also found in the Archives of American Art are oral history interviews with Ivan C. Karp conducted by Richard Brown Baker, 1963 October 18; by Paul Cummings, 1969 March 12; and by Ronny Cohen, 1986 April 17-1988 October 18. The Marilynn Gelfman Karp Collection of Ephemera owned by the New-York Historical Society includes OK Harris printed material, prints, and posters.

Provenance:

Marilynn Karp, wife of Ivan C. Karp, donated scattered papers in 2011 and 2013, and the bulk of the collection in 2014.

Restrictions:

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

Photo-realism  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Photographs

Prints

Diaries

Citation:

Ivan C. Karp papers and OK Harris Works of Art gallery records, 1960-2014. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.okharr

See more items in:

Ivan C. Karp papers and OK Harris Works of Art gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96a2748a9-b34e-44ba-9c6f-c4586b7960c9

EDAN-URL:

ead_collection:sova-aaa-okharr

Artist:

Unidentified Artist  Search this

Sitter:

Emma Hayden Eames, 1865 - 1952?  Search this

Medium:

Watercolor on ivory

Dimensions:

8.6 x 5.4cm (3 3/8 x 2 1/8")

Type:

Painting

Date:

c. 1895

Topic:

Miniature  Search this

Emma Hayden Eames: Female  Search this

Emma Hayden Eames: Performing Arts\Performer\Musician\Singer\Opera singer  Search this

Portrait  Search this

Credit Line:

Owner: New-York Historical Society

Object number:

1905.240 NYHS

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/sm40662ec28-7a14-4104-9c72-deb0d18ab82c

EDAN-URL:

edanmdm:npg_1905.240_NYHS

Artist:

Unidentified Artist  Search this

Sitter:

Jenny Lind, 6 Oct 1821 - 2 Nov 1887  Search this

Medium:

Watercolor on ivory

Dimensions:

6.4 x 5.1cm (2 1/2 x 2")

Type:

Painting

Date:

mid 19th-mid 20th century

Topic:

Miniature  Search this

Jenny Lind: Female  Search this

Jenny Lind: Performing Arts\Performer\Musician\Singer\Opera singer  Search this

Jenny Lind: Society and Social Change\Philanthropist  Search this

Jenny Lind: Performing Arts\Performer\Musician\Singer\Soprano  Search this

Portrait  Search this

Credit Line:

Owner: New-York Historical Society

Object number:

1937.14 NYHS

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/sm45c32648c-decd-4645-a079-920a767353b1

EDAN-URL:

edanmdm:npg_1937.14_NYHS

Artist:

Frank Eugene, 1865 - 1936  Search this

Sitter:

Emma Calve, 1853 - 1942  Search this

Medium:

Oil on canvas

Dimensions:

116.9 x 78.7cm (46 x 31")

Type:

Painting

Date:

c. 1895 - 1900

Topic:

Emma Calve: Female  Search this

Emma Calve: Performing Arts\Performer\Musician\Singer\Opera singer  Search this

Portrait  Search this

Credit Line:

Owner: New-York Historical Society

Object number:

1941.315 NYHS

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/sm4b9e1afd1-1c89-435f-a125-9f7f22b9c3a5

EDAN-URL:

edanmdm:npg_1941.315_NYHS

Artist:

F. J. Wilson  Search this

Sitter:

Jenny Lind, 6 Oct 1821 - 2 Nov 1887  Search this

Medium:

Pencil on paper

Dimensions:

28 x 20.3cm (11 x 8")

Type:

Drawing

Date:

1850

Topic:

Jenny Lind: Female  Search this

Jenny Lind: Performing Arts\Performer\Musician\Singer\Opera singer  Search this

Jenny Lind: Society and Social Change\Philanthropist  Search this

Jenny Lind: Performing Arts\Performer\Musician\Singer\Soprano  Search this

Portrait  Search this

Credit Line:

Owner: New-York Historical Society

Object number:

1945.583 NYHS

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/sm447aaf48e-df1a-4a86-9998-f68ad9cae6d6

EDAN-URL:

edanmdm:npg_1945.583_NYHS

Artist:

Alfred Bryan, 1852 - 1899  Search this

Sitter:

Jenny Lind, 6 Oct 1821 - 2 Nov 1887  Search this

Medium:

Watercolor on paper

Dimensions:

29.3 x 23.5cm (11 9/16 x 9 1/4")

Type:

Painting

Date:

late 19th century

Topic:

Jenny Lind: Female  Search this

Jenny Lind: Performing Arts\Performer\Musician\Singer\Opera singer  Search this

Jenny Lind: Society and Social Change\Philanthropist  Search this

Jenny Lind: Performing Arts\Performer\Musician\Singer\Soprano  Search this

Portrait  Search this

Credit Line:

Owner: New-York Historical Society

Object number:

1945.584 NYHS

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/sm4b617cc14-8b36-4002-9e87-90d633b0109f

EDAN-URL:

edanmdm:npg_1945.584_NYHS

Attribution:

H. Walker  Search this

Sitter:

Jenny Lind, 6 Oct 1821 - 2 Nov 1887  Search this

Medium:

Watercolor on paper, mounted on cardboard

Dimensions:

36.8 x 26.1cm (14 1/2 x 10 1/4")

Type:

Painting

Date:

mid 19th-mid 20th century

Topic:

Jenny Lind: Female  Search this

Jenny Lind: Performing Arts\Performer\Musician\Singer\Opera singer  Search this

Jenny Lind: Society and Social Change\Philanthropist  Search this

Jenny Lind: Performing Arts\Performer\Musician\Singer\Soprano  Search this

Portrait  Search this

Credit Line:

Owner: New-York Historical Society

Object number:

1945.585 NYHS

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/sm453fe9585-d5d4-4d85-86ff-27a372200541

EDAN-URL:

edanmdm:npg_1945.585_NYHS

Artist:

Robert Brandard, 1805 - 1862  Search this

Sitter:

Jenny Lind, 6 Oct 1821 - 2 Nov 1887  Search this

Medium:

Watercolor on paper

Dimensions:

34.3 x 25.4cm (13 1/2 x 10")

Type:

Painting

Date:

mid 19th century

Topic:

Jenny Lind: Female  Search this

Jenny Lind: Performing Arts\Performer\Musician\Singer\Opera singer  Search this

Jenny Lind: Society and Social Change\Philanthropist  Search this

Jenny Lind: Performing Arts\Performer\Musician\Singer\Soprano  Search this

Portrait  Search this

Credit Line:

Owner: New-York Historical Society

Object number:

1945.586 NYHS

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/sm498a41beb-504a-4ab9-b255-fa6a9e560b58

EDAN-URL:

edanmdm:npg_1945.586_NYHS

Artist:

Thomas Ball, 3 Jun 1819 - 11 Dec 1911  Search this

Sitter:

Jenny Lind, 6 Oct 1821 - 2 Nov 1887  Search this

Medium:

Plaster

Dimensions:

29.2cm (11 1/2")

Type:

Sculpture

Date:

1851

Topic:

Jenny Lind: Female  Search this

Jenny Lind: Performing Arts\Performer\Musician\Singer\Opera singer  Search this

Jenny Lind: Society and Social Change\Philanthropist  Search this

Jenny Lind: Performing Arts\Performer\Musician\Singer\Soprano  Search this

Portrait  Search this

Credit Line:

Owner: New-York Historical Society

Object number:

1946.27 NYHS

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/sm49cdb2b9c-7239-4070-ac13-06f761ebcf81

EDAN-URL:

edanmdm:npg_1946.27_NYHS