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Edmund Greacen papers, 1987-1972, bulk 1905-1949

Creator:
Greacen, Edmund W., 1876-1949  Search this
Greacen, Edmund W., 1876-1949  Search this
Subject:
National Academy of Design (U.S.)  Search this
National Arts Club  Search this
Type:
Drawings
Etchings
Photographs
Sketches
Topic:
Art, American  Search this
Art -- Study and teaching  Search this
Drawing  Search this
Impressionism (Art)  Search this
Landscape painting  Search this
Painters -- New York (State) -- New York  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)8252
(DSI-AAA_SIRISBib)210423
AAA_collcode_greaedmu
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210423
Online Media:

Ivan Olinsky papers, 1900-1962

Creator:
Olinsky, Ivan G. (Ivan Gregorewitch), 1878-1962  Search this
Olinsky, Ivan G. (Ivan Gregorewitch), 1878-1962  Search this
Subject:
La Farge, John  Search this
Sterne, Maurice  Search this
Waern, Cecilia.  Search this
Blashfield, Edwin Howland  Search this
Church, Frederick S. (Frederick Stuart)  Search this
Karfiol, Bernard  Search this
Kroll, Leon  Search this
Clancy, Francis Scott  Search this
Art Students League (New York, N.Y.)  Search this
Topic:
Painting, American  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)9224
(DSI-AAA_SIRISBib)211419
AAA_collcode_olinivan
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211419

October Morning

Artist:
Frank A. Bicknell, born Augusta, ME 1866-died Essex, CT 1943  Search this
Medium:
oil on canvas
Dimensions:
32 1/8 x 39 3/8 in. (81.5 x 99.9 cm.)
Type:
Painting
Date:
ca. 1910
Topic:
Landscape\time\morning  Search this
Landscape\season\autumn  Search this
Credit Line:
Smithsonian American Art Museum, Gift of William T. Evans
Object number:
1910.9.15
Restrictions & Rights:
CC0
See more items in:
Smithsonian American Art Museum Collection
Department:
Painting and Sculpture
On View:
Smithsonian American Art Museum, Luce Foundation Center, 3rd Floor, 13B
Smithsonian American Art Museum, Luce Foundation Center
Smithsonian American Art Museum, Luce Foundation Center, 3rd Floor
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk79dedea3d-b418-47dc-bdea-6d901728db9d
EDAN-URL:
edanmdm:saam_1910.9.15

Lyme Historical Society records

Creator:
Lyme Historical Society  Search this
Names:
Lyme Art Association (Old Lyme, Conn.)  Search this
Cole, Alphaeus Philemon, 1876-1988  Search this
Dessar, Louis Paul, 1867-1952  Search this
DuMond, Frank Vincent, 1865-1951  Search this
Foote, Will Howe, 1874-1965  Search this
Goodman, William O., 1849-1936  Search this
Griswold, Florence, 1850-1937  Search this
Hassam, Childe, 1859-1935  Search this
Heming, Arthur, 1871-1940  Search this
Hoffman, Harry L., 1874-1966  Search this
Howe, William Henry, 1846-1929  Search this
Metcalf, Willard Leroy, 1858-1925  Search this
Poore, Henry Rankin, 1859-1940  Search this
Ranger, Henry Ward, 1858-1916  Search this
Talcott, Allen Butler, 1867-1908  Search this
Vezin, Charles, 1858-1942  Search this
Vonnoh, Robert William, 1858-1933  Search this
Voorhees, Clark G. (Clark Greenwood), 1871-1933  Search this
Weiland, James, b. 1872  Search this
Wilson, Ellen Axson  Search this
Wilson, Woodrow, 1856-1924  Search this
Extent:
4 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Interviews
Scrapbooks
Sketchbooks
Date:
[undated] and 1882-1986
Scope and Contents:
Selected material from the Lyme Historical Society's Lyme Art Colony Archives relating primarily to the activities of the Lyme Art Association and Lyme Art Colony (4.0 ft.) and including Florence Griswold's personal papers (0.4 ft.)
REELS 4678-4680: Included are: constitution, by-laws, minutes of the "Lyme Exhibition," 1911-1914, and the Lyme Art Association and Artists' Committee; account books containing treasurer's reports, minutes of annual and artists' committee meetings, expenses, sales, cash assets, and other information; letters from members; files, chiefly on artists, containing letters, a few photographs, writings on the Griswold House, exhibition catalogs, and summaries of conversations and interviews about Griswold and the art colony, conducted in 1954 by a Society staff member;
photographs of artists, the Florence Griswold House, and an exhibition; 4 scrapbooks of clippings, 1933-1940, and a scrapbook about William Henry Howe, ca.1880-1930; notebook of James Weiland chiefly on painting technique; diaries of Clark Voorhees, 1890-1905; a Robert Vonnoh sketchbook; specifications for the Lyme Art Association Gallery; list of locations of artists' work; directions for gilding by Griswold; "Wilson's Return," an account of President Woodrow Wilson's return visit to Lyme; an album containing information on Alphaeus P. Cole's career compiled in 1986; an autograph book, "Ghosts of My Friends," 1909-1914 containing signatures;
exhibition catalogs, announcements and posters; and articles, 1902-1966, regarding the Lyme Art Colony and artists Childe Hassam, Henry Ward Ranger and Louis Dessar.
Also, spliced to end of reel 4680 are additional photographs of artists, exhibition installations, and a photograph album. Included are: Childe Hassam, Willard Metcalf, Charles Vezin, Harry Hoffman, William Henry Howe, Henry Ward Ranger, Will Howe Foote, Frank Vincent DuMond, William O. Goodman and his wife at a ceremony marking his retirement as President of the Association, Florence Griswold, and others; interior and exterior views of the Griswold House; art works; the first exhibition of the Association in the "new" gallery, summer, 1921, and an exhibition in 1926; and an album, "Illustrated Lecture on Wild Animals of New England," containing photos of Howe, Foote, Metcalf, Allen Talcott, Arthur Heming, and others, and the Griswold House.
Artists represented in the artists' files include Thomas Ball, Martin Borgord, William Chadwick, Bruce Crane, Charles H. Davis, Elizabeth Ebert, Will Howe Foote, Harry L. Hoffman, Richard F. Maynard, Henry Rankin Poore, Gregory Smith, Nelson White, and Margaret H. Wright (contains letters from W.Bicknell and Chauncey Ryder).
REEL 4599: Material (0.2 ft.) from the Florence Griswold papers, 1896-1938, includes a biographical note; a posthumous certificate from the American Artists Professional League honoring Griswold; correspondence with artists and others; estate documents and a copy of her will; "The Saga of Florence Griswold's Harp" by Clarence T. Hubbard, an account of the formation of the Colony; postcards showing Griswold and art work in the house by Childe Hassam, William Henry Howe and Henry R. Poore; and obituaries.
Correspondents included in Griswold's papers are George Ainslie, Frank Bicknell, Charles Bittinger, William Chadwick, E.H. Clement, Lewis Cohen, Frank DuMond, Schumacker Duncan, Charles Ebert, Will Howe Foote, Frank B. Gay, Charles L. Goodwin, Walter Griffin, Childe Hassam, Arthur Heming, Harry L. Hoffman, William Henry Howe, William H. Hyde, Lydia Longacre, Willard Metcalf, Curtis Moyer, Henry R. Poore, William S. Robinson, Edith and Edward Rook, Allen B. Talcott, Charles Vezin, Robert and Bessie Vonnoh, Everett Warner, and Ellen and Woodrow Wilson.
Biographical / Historical:
The Lyme Art Association was established in 1914 as an outgrowth of the Lyme Art Colony, in Old Lyme, Conn. In 1921, a summer art gallery was built to house its exhibitions. Henry Ward Ranger is the artist credited with discovering Old Lyme as a painters' haven in 1899, encouraging a few artists to come the following summer. Florence Griswold's summer boarding house became a center for artists who came to Lyme over the years; Griswold even acted as an agent for some of the artists. Gradually membership expanded and the number of exhibitions increased. Ranger and some of his colleagues painted in the Barbizon style, but Impressionism also gained favor there partially due to Childe Hassam's presence in Old Lyme from 1903 onwards.
Other Title:
Lyme Art Colony Archives
Provenance:
Lent for microfilming 1992 and 1993 by the Lyme Historical Society, Florence Griswold Museum. Records are maintained as the Lyme Art Colony Archives. Arrangement of the photographs was devised by the lender and has been maintained.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- Connecticut -- Old Lyme  Search this
Topic:
Painting, American  Search this
Impressionism (Art)  Search this
Function:
Artist colonies -- Connecticut
Genre/Form:
Interviews
Scrapbooks
Sketchbooks
Identifier:
AAA.lymehist
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lymehist

Ivan Olinsky papers

Creator:
Olinsky, Ivan G. (Ivan Gregorewitch), 1878-1962  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Blashfield, Edwin Howland, 1848-1936  Search this
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Karfiol, Bernard, 1886-1952  Search this
Kroll, Leon, 1884-1974  Search this
La Farge, John, 1835-1910  Search this
Sterne, Maurice, 1878-1957  Search this
Waern, Cecilia.  Search this
Photographer:
Clancy, Francis Scott  Search this
Extent:
1.8 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1900-1962
Scope and Contents:
Correspondence; photographs; sketches; writings; and printed material.
REEL D116: Business correspondence; photographs; catalogs and clippings. Included are personal notes from Edwin H. Blashfield, Frederick S. Church, Leon Kroll, and Maurice Sterne and a long early series of letters from John La Farge concerning the work Olinsky did with La Farge in Boston prior to 1910.
REEL 1007: 309 photographs, including 254 of Olinsky's works, and 55 personal photos, some of Art Students League group and a few photos of other artists. Included is one of Olinsky taken by Francis Scott Clancy, 1915.
UNMICROFILMED: Five sketches of Olinsky by artist friends, including Bernard Karfiol, 1900; 11 letters, 1962-1963, to Olinsky's daughter, Leonore Miller, mostly letters of condolence; an undated list of his works; a recipe for egg colors; a page of anatomy notes; a copy of JOHN LA FARGE; ARTIST AND WRITER by Cecilia Waern (New York: Macmillan and Co.) 1896; and miscellaneous exhibition catalogs and articles on Olinsky.
Biographical / Historical:
Painter; Old Lyme, Connecticut. Born in Russia.
Provenance:
Material on reel D116 lent for microfilming 1963, and donated in part in 1974, along with unfilmed material, by Leonore O. Miller, daughter of Olinsky.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- Connecticut  Search this
Topic:
Painting, American  Search this
Identifier:
AAA.olinivan
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-olinivan

Wilson Henry Irvine papers

Creator:
Irvine, Wilson Henry, 1869-1936  Search this
Extent:
0.2 Linear feet (Gift)
0.2 Linear feet (Loan: 1 v. (on one microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1869-1942
Scope and Contents:
Reel 3564: Diary, February through November 1923, chronicling Irvine's and his wife Lydia's journey across the Atlantic Ocean to England; their daily routine while living in a small English harbor town including painting expeditions and encounters with town folk; and his and Lydia's trip to France and Italy with notes on galleries and exhibitions they visited.
Reel 1233: Correspondence, biographical information; two photographs of work; one photograph of Irvine painting outdoors; copies of work by Irvine; exhibition catalogs and announcements; newspaper and magazine articles.
Biographical / Historical:
Landscape painter; Old Lyme, Conn. Born in Illinois and trained at the Art Institute of Chicago. In the 1930's, he painted THE MACHINE AND ITS PRODUCT, a painting that represents the period's fear of increased machinization as the potential cause of increased unemployment. Irvine also developed a watercolor technique, called aquaprint, that was based on Japanese techniques for marblizing paper.
Provenance:
The donor, Lois Irvine Simpson, is Wilson Henry Irvine's daughter. The relationship to of the lender of the diary, Mrs. Jan Irvine, to Irvine is unknown.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- Connecticut -- Old Lyme  Search this
Identifier:
AAA.irviwils
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-irviwils

Edmund Greacen papers

Creator:
Greacen, Edmund W., 1876-1949  Search this
Names:
National Academy of Design (U.S.)  Search this
National Arts Club  Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Etchings
Photographs
Sketches
Date:
1987-1972
bulk 1905-1949
Summary:
The papers of American Impressionist painter Edmund Greacen measure 1.2 linear feet and date from 1897-1972, bulk 1905-1949. The collection consists of biographical information and correspondence both personal and professional in nature, pertaining to his career as well as Greacen's various affiliations including the National Academy of Design, the National Arts Club, the Manhattan School of Art, and the Grand Central School of Art. Writings by Greacen, including an essay, "The Origins of Landscape Painting," and an unpublished book titled "Logic in Drawing" elucidate his perspective on art traditions and art education. There are works of art including pencil drawings and drypoint etchings, as well as photographs depicting portraits of the artist, group portraits documenting Greacen's various academic and professional affiliations, and reproductions of works of art. Also included exhibition catalogs, brochures, and other printed material.
Scope and Contents:
The papers of American Impressionist painter Edmund Greacen measure 1.2 linear feet and date from 1897-1972, bulk 1905-1949. The collection consists of biographical information and correspondence both personal and professional in nature, pertaining to his career as well as Greacen's various affiliations including the National Academy of Design, the National Arts Club, the Manhattan School of Art, and the Grand Central School of Art. Writings by Greacen, including an essay, "The Origins of Landscape Painting," and an unpublished book titled "Logic in Drawing" elucidate his perspective on art traditions and art education. There are works of art including pencil drawings and drypoint etchings, as well as photographs depicting portraits of the artist, group portraits documenting Greacen's various academic and professional affiliations, and reproductions of works of art. Also included exhibition catalogs, brochures, and other printed material.
Arrangement:
The collection is arranged in five series:

Series 1: Biographical and Professional (Box 1, Box 3) Series 2: Correspondence (Boxes 1-2) Series 3: Writings (Box 2) Series 4: Photographs (Boxes 2-3) Series 5: Artwork (Box 3, OV 4)
Biographical / Historical:
Edmund William Greacen (1876-1949) was an American Impressionist painter born in New York City. Greacen traveled extensively throughout Europe early in his career, which afforded him the opportunity to exhibit his work in Paris, and participate in the international art scene both abroad and in New York City. He is particularly known for his oil paintings on canvas and board depicting both human subjects and landscapes. In 1922 he was awarded the Samuel T. Shaw Prize from the Salmagundi Club following his solo show at the Macbeth Gallery. During his career, he was an active member of the Salmagundi Club, the National Academy of Design, and the National Arts Club where he served as Arts Committee Chair. He helped found the Manhattan School of Art as well as the Grand Central School of Art in 1923, and he served as director of both. He was also a member of the Old Lyme Art Colony of American Impressionists at Old Lyme, Connecticut.
Provenance:
The Edmund Greacen papers were donated to the Archives of American Art in 1971 by Mrs. Edmund Greacen, Jr., daughter-in-law of Edmund Greacen, and in 2017 by Elizabeth G. Knudsen, granddaughter of Edmund Greacen.
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:
Art teachers -- New York (State) -- New York  Search this
Topic:
Art, American  Search this
Art -- Study and teaching  Search this
Drawing  Search this
Impressionism (Art)  Search this
Landscape painting  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Etchings
Photographs
Sketches
Citation:
Edmund Greacen papers, 1897-1972, bulk 1905-1949. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.greaedmu
See more items in:
Edmund Greacen papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-greaedmu

Henry Ward Ranger Estate papers

Creator:
Ranger, Henry Ward, 1858-1916  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Date:
1888-circa 1999
bulk 1904-1954
Summary:
The estate papers of New York tonalist painter Henry Ward Ranger, measure one linear foot and date from 1888-circa 1999, with the bulk of the material dating from 1904-1954.The collection primarily documents the settlement of Ranger's contested will and the administration of his estate, but also provides scattered biographical information on Ranger's life, provenance information about his work, and documentation of the significance of his estate gift to the National Academy of Design. Records include appraisal information including an estate ledger, correspondence and memoranda including two letters from Ranger, court documents, financial and real estate records, news clippings, and two photographs and eight negatives of Ranger.
Scope and Contents:
The estate papers of New York tonalist painter Henry Ward Ranger, measure one linear foot and date from 1888-circa 1999, with the bulk of the material dating from 1904-1954.The collection primarily documents the settlement of Ranger's contested will and the administration of his estate, but also provides scattered biographical information on Ranger's life, provenance information about his work, and the significance of his estate gift to the National Academy of Design. Records include appraisal information including an estate ledger, correspondence and memoranda including two letters from Ranger, court documents, financial and real estate records, news clippings, and two photographs and six negatives of Ranger.

Series 1 documents the appraisal, administration, and distribution of Ranger's estate by the National Academy of Design. The bulk of the material comprises appraisal records, including an appraisal of Ranger's Noank studio by William Macbeth; correspondence and agreements with museums and other art institutions that received artwork purchased by the Ranger fund, including the Brooks Memorial Art Gallery, Des Moines Association of Fine Arts, Fine Arts Society of San Diego, Museum of Fine Arts , Houston, Oberlin College, and others; and financial records documenting assets and liabilities, including cancelled checks, receipts, investment and tax records, and records documenting real estate investments that contributed to the estate. Also found is a folder of personal papers, including two letters from Ranger, and a photograph and six negatives of Ranger, and a folder of nine letters from Ranger family members.

Series 2 primarily comprises court documents and legal counsel notes and correspondence related to the litigation of Ranger's will, and the process of proving the the legitimacy of Ranger's original will and the fraudulence of the will presented by Edith Ranger's lawyers.
Arrangement:
The collection is arranged as two series.

Series 1: Henry Ward Ranger Estate, 1888-circa 1999 (0.95 linear feet; Boxes 1, 4)

Series 2: Settlement of Will, 1907-1920 (1.05 linear feet; Boxes 1-3)
Biographical / Historical:
Tonalist landscape and marine painter, Henry Ward Ranger (1858-1916), became a full academician of the National Academy of Design in 1906 and bequeathed his entire residuary estate to the academy. The investment of this substantial gift of nearly $400,000, known as the Ranger fund, would provide for the purchase of paintings by living American artists, which were distributed or accessioned by the Smithsonian Institution's then National Collection of Fine Arts.

Ranger was born in western New York State and attended Syracuse University for two years before opening a studio in New York City in the mid-1880s. He traveled to Europe and lived in the Netherlands for several years, where he was influenced by the Dutch watercolorists and the Barbizon masters. Ranger was known for his experiments with pigments and colors, his interiors of forests, and marine views of the shoreline in Connecticut, where he spent summers and helped to establish the artist colony in Old Lyme. He further divided his time between a country studio in Noank, Connecticut, his studio in the city, and trips to Puerto Rico and Jamaica in the winter months.

Following his death in 1916, Ranger's will was probated and involved in costly litigation for two years due to the presentation of another will asserting Ranger's sister, Edith, as the beneficiary. The second will was proven to be false and the Ranger fund went on to make a significant contribution to the Smithsonian's collection of American art, allowing the institution to ultimately claim sixty-six of the paintings purchased by the fund and amass a collection which represented popular academic tastes in American art over more than half a century.
Provenance:
The papers were donated to the Archives of American Art by the National Academy of Design in 2018.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Citation:
Henry Ward Ranger estate papers, 1888-circa 1999, bulk 1904-1954. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ranghenr
See more items in:
Henry Ward Ranger Estate papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ranghenr
Online Media:

Peter A. Juley & Son collection

Photographer:
Ward, De Witt  Search this
Peter A. Juley & Son  Search this
Juley, Peter A., 1862-1937  Search this
Juley, Paul, 1890-1975  Search this
Extent:
700 Linear feet ((approx. 127,000 negatives, with black-and-white study prints))
Type:
Collection descriptions
Archival materials
Photographs
Negatives
Date:
circa 1896-1975
Summary:
The Peter A. Juley & Son Collection is comprised of approximately 127,000 photographic negatives documenting the work of more than 11,000 American artists. Included in the collection are 4,700 photographic portraits of artists.
Scope and Contents:
This collection is comprised of 127,000 negatives from the Peter A. Juley & Son firm documenting the American art scene from 1896 up until 1975.

The Juleys photographed the work of turn-of-the-century painters such as Childe Hassam, Thomas Eakins, and Albert Pinkham Ryder; ash can school artists such as Robert Henri and John Sloan; the avant-garde group associated with Alfred Stieglitz; regionalists of the 1930 and 1940s such as Thomas Hart Benton and Grant Wood; abstract expressionists such as Hans Hoffman and Robert Motherwell; and sculptors such as Daniel Chester French and William Zorach.

The Juley collection also holds some 4,700 photographic portraits of artists. These images capture some of the best-known artists of the twentieth century, including Thomas Hart Benton, Alexander Calder, Stuart Davis, Edward Hopper, Frida Kahlo, Jacob Lawrence, Barnett Newman, Diego Rivera, and Grant Wood. Many of the portraits depict artists at work in their studios or at home with their families and offer glimpses into the artistic and social climate of the period.

Group photography by the Juley firm records the histories of the National Academy of Design and Art Students League and documents important summer art colonies at Provincetown, Massachusetts; Woodstock, New York; Old Lyme, Connecticut; and Ogunquit, Maine.

In addition to the negatives produced by the Juley's, the firm also acquired valuable negatives from other fine arts photographers, including Myra Albert, A. B. Bogart, George C. Cox, Walter Russell, A. E. Sproul, and De Witt Ward, to broaden its holdings.
Arrangement:
The collection is arranged in two series:

Series I: Photographs of art works, arranged alphabetically by artist, then by assigned negative number (673 linear feet)

Series II: Photographical portraits, arranged alphabetically by sitter name (26 linear feet)
Biographical / Historical:
Peter A. Juley (1862-1937) came to the United States in 1888 from the small German town of Alf, on the Mosel, where he was a telegrapher for the post office. How he first became interested in photography and fine arts is not known, but around 1896 he opened a small portrait studio in Cold Spring, New York, where he also worked as a staff news photographer for Harper's Weekly between 1901 and 1906. His assignments included photographing the funeral of President William McKinley and President Theodore Roosevelt's national tours. Around 1907 Juley moved the business to New York, where his son Paul P. Juley (1890-1975) joined him. A few years later they hired an assistant, Carlton Thorpe, who remained for the life of the firm.

Throughout the firm's long history from 1896 to 1975, Peter A. Juley and Son became the largest and most respected fine-art photography studio in New York, serving museums, galleries, art dealers, private collectors, corporations, conservators and many prominent artists. As members of New York's Salmagundi Club of artists, the Juleys served as official photographers for the National Academy of Design, the New York Public Library, and the Society of American Artists. In the summers, when many artists left the city to teach at colonies in Woodstock, New York, Old Lyme and Mystic, Connecticut, and Gloucester, Massachusetts, the Juleys joined them to take photographs. Combining business with pleasure, they even traveled to the West Coast, where they recorded Diego Rivera completing the murals of the San Francisco Stock Exchange, and on one of their trips they photographed artists of New Mexico's Taos and Santa Fe colonies.

When Peter died in 1937, Paul moved the studio to 225 West 57th Street, a few doors down from the Art Students League and across the street from Carnegie Hall, where many artists had studios. Throughout the 1950s and 1960s, Paul continued photographing the works of art associated with the Art Students League and the National Academy of Design. He retired in 1975, at the age of eighty-five.
Provenance:
Purchased from Paul Juley, 1966.
Restrictions:
Researchers may use study prints on file in the Photograph Archives, Smithsonian American Art Museum. Advance appointments are required. Original negatives are stored off-site in cold storage and are not accessible to the public.
Rights:
Copyright to photographs from the Juley Collection is held by the Smithsonian American Art Museum. Requests for permission to reproduce photographs from the collection must be submitted in writing to the Photograph Archives. Certain works of art, as well as photographs of those works of art, may be protected by copyright, trademark, privacy or publicity rights, or other interests not owned by the Smithsonian American Art Museum. It is the applicant's responsibility to ascertain whether any such rights exist, and to obtain any other permission necessary to reproduce and publish the image.
Topic:
Artists -- United States -- Portraits  Search this
Portrait photography  Search this
Art, American -- Photographs  Search this
Genre/Form:
Photographs
Negatives
Citation:
Peter A. Juley & Son Collection, Smithsonian American Art Museum.
Identifier:
SAAM.Photo.JUL
Archival Repository:
Smithsonian American Art Museum, Research and Scholars Center
EDAN-URL:
ead_collection:sova-saam-photo-jul
Online Media:

Huntington Oaks, (painting)

Painter:
Cohen, Lewis 1857-1915  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Florence Griswold Museum 96 Lyme Street Old Lyme Connecticut 06371 Accession Number: 1975.2
Date:
Ca. 1915
Topic:
Landscape--Connecticut  Search this
Landscape--Road  Search this
Figure group  Search this
Control number:
IAP 07490244
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_417607

Long Point Marsh, (painting)

Title:
Groton Long Point, (painting)
Painter:
Ranger, Henry Ward 1858-1916  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Florence Griswold Museum 96 Lyme Street Old Lyme Connecticut 06371 Accession Number: 1976.5
Date:
1910
Topic:
Landscape--Connecticut--Groton  Search this
Landscape--Marsh  Search this
Architecture--Boat--Rowboat  Search this
Control number:
IAP 07490375
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_417881

Autumn, Lyme, (painting)

Painter:
Talcott, Allen Butler 1867-1908  Search this
Medium:
Oil on panel
Type:
Paintings
Owner/Location:
Florence Griswold Museum 96 Lyme Street Old Lyme Connecticut 06371 Accession Number: 1954.13
Date:
Ca. 1903
Topic:
Landscape--Season--Autumn  Search this
Landscape--Connecticut--Lyme  Search this
Control number:
IAP 07490409
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_418043

Lambs at Pasture, (painting)

Painter:
Wiggins, Carleton 1848-1932  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Florence Griswold Museum 96 Lyme Street Old Lyme Connecticut 06371 Accession Number: 1972.6
Topic:
Landscape--Tree  Search this
Animal--Sheep  Search this
Control number:
IAP 07490931
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_441489

Dutch Harbor, (painting)

Painter:
Hoffman, Harry L. 1871-1964  Search this
Ranger, Henry Ward 1858-1916  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Florence Griswold Museum 96 Lyme Street Old Lyme Connecticut 06371 Accession Number: 1970.4
Date:
Ca. 1890
Topic:
Landscape--Netherlands  Search this
Waterscape--Harbor  Search this
Architecture exterior--Commercial  Search this
Architecture--Boat--Sailing Ship  Search this
Control number:
IAP 07490334
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_417822

Strawberries, (painting)

Painter:
Porter, Charles Ethan 1847-1923  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Florence Griswold Museum 96 Lyme Street Old Lyme Connecticut 06371 Accession Number: 2002.1.109
Date:
1888
Topic:
Still Life--Fruit--Strawberry  Search this
Still Life--Other--Basket  Search this
Control number:
IAP 65210053
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_312314

Still Life, (painting)

Title:
Still Life: Crock, Kettle and Onions, (painting)
Painter:
Porter, Charles Ethan 1847-1923  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Florence Griswold Museum 96 Lyme Street Old Lyme Connecticut 06371 Accession Number: 2002.1.108
Topic:
Still Life--Other--Container  Search this
Still Life--Other--Cookware  Search this
Still Life--Vegetable--Onion  Search this
Control number:
IAP 89110048
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_371499

Peonies in a Vase, (painting)

Painter:
Porter, Charles Ethan 1847-1923  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Florence Griswold Museum 96 Lyme Street Old Lyme Connecticut 06371 Accession Number: 2002.1.107
Topic:
Still Life--Flower--Peony  Search this
Control number:
IAP 07490862
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_441410

Unknown: Old Lyme, Connecticut Featuring River, (painting)

Painter:
Lawson, Ernest 1873-1939  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
St. Olaf College Flaten Art Museum 1520 St. Olaf Avenue Northfield Minnesota 55057 Accession Number: 2014.197
Date:
Ca. 1915
Topic:
Landscape--Connecticut--Old Lyme  Search this
Landscape--River  Search this
Architecture--Bridge  Search this
Control number:
IAP 26130267
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_473646

Mason's Island, (painting)

Painter:
Ranger, Henry Ward 1858-1916  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Florence Griswold Museum 96 Lyme Street Old Lyme Connecticut 06371 Accession Number: 2002.1.113
Date:
1905
Topic:
Landscape--Forest  Search this
Landscape--Connecticut--Mason's Island  Search this
Landscape--Connecticut--Stonington  Search this
Control number:
IAP 83830051
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_211676

Autumn Woodlands, (painting)

Painter:
Ranger, Henry Ward 1858-1916  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Florence Griswold Museum 96 Lyme Street Old Lyme Connecticut 06371 Accession Number: 1961.2
Date:
1902
Topic:
Landscape--Season--Autumn  Search this
Landscape--Forest  Search this
Control number:
IAP 07490372
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_417878

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