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Girl in Blue

Artist:
Maurice Prendergast, American, b. St. John's, Newfoundland, Canada, 1858–1924  Search this
Medium:
Oil on canvas
Dimensions:
13 3/8 X 11 1/4 IN. (33.8 X 28.5 CM.)
Type:
Painting
Date:
(1912-1914)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
Accession Number:
66.4127
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
American Impressionism
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2e2a078ab-4256-411d-b482-ecde2b238a91
EDAN-URL:
edanmdm:hmsg_66.4127

Election Night Times Square

Artist:
George Wesley Bellows, American, b. Columbus, Ohio, 1882–1925  Search this
Medium:
Charcoal, lithographic crayon, conte crayon, and ink on paper
Dimensions:
18 3/16 x 26 in. (46.1 x 66 cm)
Type:
Drawing
Date:
1906
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
Accession Number:
66.438
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
American Realism (Ashcan School)
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2d38d5836-24ed-4fa9-98f1-b7a4a1c5c73b
EDAN-URL:
edanmdm:hmsg_66.438

Pagosa Springs

Artist:
Frank Stella, American, b. Malden, Massachusetts, 1936  Search this
Medium:
Copper paint and pencil on canvas
Dimensions:
99 3/8 x 99 1/4 in. (252.3 x 252.1 cm)
Type:
Painting
Date:
(1960)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1972
Accession Number:
72.277
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Formalist Abstraction
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2484bd1bc-0364-4e61-88b2-4e25864fc314
EDAN-URL:
edanmdm:hmsg_72.277

Tropes de Teens

Artist:
Stuart Davis, American, b. Philadelphia, Pennsylvania, 1892–1964  Search this
Medium:
Oil on canvas
Dimensions:
45 1/4 X 60 1/4 IN. (114.8 X 153.0 CM.)
Type:
Painting
Date:
(1956)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1966
Accession Number:
66.1164
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
American Abstraction (Mid-Century)
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2ddedc8b7-345f-4b23-96d2-77ce205b4c51
EDAN-URL:
edanmdm:hmsg_66.1164

A Ute Indian, (painting)

Painter:
Holmes, William Henry 1846-1933  Search this
Medium:
Watercolor on paper
Culture:
Indian  Search this
Type:
Paintings
Owner/Location:
Harvard University Peabody Museum of Archaeology and Ethnology 11 Divinity Avenue Cambridge Massachusetts 02138 Accession Number: 41-72-10/333e
Date:
1874
Topic:
Figure male  Search this
Ethnic--Ute  Search this
Control number:
IAP 20860026
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_340390

Rant-che-wai-me (Female Flying Pigeon), (painting)

Painter:
Inman, Henry 1801-1846  Search this
Subject:
Rant-che-wai-me  Search this
Medium:
Oil
Culture:
Indian  Search this
Type:
Paintings
Owner/Location:
Harvard University Peabody Museum of Archaeology and Ethnology 11 Divinity Avenue Cambridge Massachusetts 02138 Accession Number: 82-51-10/57030
Topic:
Portrait female  Search this
Ethnic--Iowa  Search this
Control number:
IAP 20860052
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_340416

Detail: Devata, after stone relief at Angkor Wat, (painting)

Title:
Apsara (After Stone Relief), (painting)
Painter:
Smith, Joseph Lindon 1863-1950  Search this
Medium:
Oil on canvas
Type:
Paintings-Copy
Paintings
Owner/Location:
Harvard University Fogg Museum 32 Quincy Street Cambridge Massachusetts 02138 Accession Number: 1924.106
Topic:
Mythology--Asian  Search this
Control number:
IAP 20780867
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_267218

Detail of Apsara, After Stone Relief in Angkor Wat, (painting)

Painter:
Smith, Rebecca Taylor  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Harvard University Fogg Museum 32 Quincy Street Cambridge Massachusetts 02138 Accession Number: 1924.107
Topic:
Mythology--Asian  Search this
Control number:
IAP 20780915
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_267266

In the Cornfield, (painting)

Painter:
Clonney, James Goodwyn 1812-1867  Search this
Medium:
Oil on canvas
Culture:
African American  Search this
Type:
Paintings
Owner/Location:
Museum of Fine Arts 465 Huntington Avenue Boston Massachusetts 02115 Accession Number: 47.1263
Date:
1844
Topic:
Landscape--Farm  Search this
Figure group--Male  Search this
Occupation--Farm--Farmer  Search this
Ethnic  Search this
Equestrian  Search this
Occupation--Farm--Sowing  Search this
Object--Tool--Plow  Search this
Control number:
IAP 20490227
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_264018

Three Sisters of the Coplan Family, (painting)

Painter:
Prior, William Matthew 1806-1873  Search this
Subject:
Coplan  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Museum of Fine Arts 465 Huntington Avenue Boston Massachusetts 02115 Accession Number: 48.467
Date:
Sept. 1854
Topic:
Portrait group--Family--Siblings  Search this
Portrait female--Child  Search this
Primitive  Search this
Architecture interior--Domestic--House  Search this
Architecture interior--Detail--Window  Search this
Object--Written Matter--Book  Search this
Object--Flower  Search this
Object--Toy  Search this
Control number:
IAP 20490720
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_264509

John Adams (1735-1826), (painting)

Painter:
Trumbull, John 1756-1843  Search this
Subject:
Adams, John  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Harvard University Harvard University Portrait Collection Cambridge Massachusetts 02138 Accession Number: H 73
Date:
Before 1794
Topic:
Portrait male--Bust  Search this
Occupation--Political--President  Search this
Control number:
IAP 20780006
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_266366

View of Athens

Painter:
Barker, Henry Aston  Search this
Burford, Robert  Search this
Artist attribution:
Pomardi  Search this
Cockerell, Robert  Search this
Printer:
Metcalf, Keith & Nichols  Search this
Measurements:
plate: 28 cm x 44.5 cm; 11 in x 17 1/2 in
overall: 19.5 cm x 12.5 cm; 7 11/16 in x 4 15/16 in
Object Name:
Pamphlet
Object Type:
Etching
Letterpress
Place made:
United States: Massachusetts, Cambridge
Date made:
1842
ID Number:
2007.0109.02
Accession number:
2007.0109
Catalog number:
2007.0109.02
See more items in:
Work and Industry: Graphic Arts
Communications
Art
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-2558-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1330392

Photographs of Mark Tobey

Creator:
Gardner, Robert, 1925-2014  Search this
Names:
Fulton, Robert, 1939-2002  Search this
Gardner, Robert, 1925-2014  Search this
Tobey, Mark  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1971-1972
Scope and Contents:
Slides and photographs made from slides of Mark Tobey, Robert G. Gardner, and others, and works of art by Tobey taken by Robert Fulton and Robert G. Gardner on the occasion of Gardner filming Tobey in Basel, Switzerland, for his documentary "Mark Tobey Abroad," 1973.
Included are twenty-four 2x3 color photographs and thirty-three 35mm slides of Tobey and others taken by Fulton; ten slides of Tobey taken by Robert G. Gardner; and fourteen 5x7 color photographs of Tobey and others.
Biographical / Historical:
Robert G. Gardner (1925- 2014) was a documentary filmmaker in Cambridge, Massachusetts.
Provenance:
Donated 2017 by Adele Pressman, Robert G. Gardner's widow.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Painters -- Washington (State) -- Seattle  Search this
Identifier:
AAA.gardrobe
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96817903d-7d71-4663-a66e-69d93d5d937b
EDAN-URL:
ead_collection:sova-aaa-gardrobe

Gardner Cox papers

Creator:
Cox, Gardner, 1906-1988  Search this
Massachusetts Art Commission  Search this
Portraits (Firm: New York, N.Y.)  Search this
Putnam & Cox (Boston, Mass.)  Search this
Saint Botolph Club (Boston, Mass.)  Search this
Museum of Fine Arts, Boston. School  Search this
American Academy in Rome  Search this
Names:
Boston Arts Festival  Search this
Forbes, Edward Waldo, 1873-1969  Search this
Morison, Samuel Eliot, 1887-1976  Search this
Saint-Gaudens, Augustus, 1848-1907  Search this
Shaw, Robert Gould, 1837-1863  Search this
Stevens, Austin  Search this
Interviewer:
Driver, Phoebe Barnes, 1908-  Search this
Extent:
7.8 Linear feet ((on 9 microfilm reels))
12 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Interviews
Sketchbooks
Sound recordings
Date:
1920-1995
Scope and Contents:
Biographical material, correspondence, business records, extensive portrait files, sketches and drawings, notes and writings, art works, subject files, printed materials, photographs, audio-visual material and palette samples relate chiefly to Cox's career as a portrait painter.
Included are: short biographical sketches, a résumé, and membership cards; correspondence, primarily with the gallery Portraits, Inc. and with sitters; early letters of recommendation and letters from Austin Stevens, who painted Cox's portrait; contracts, insurance records, leases, frame invoices, and extensive income tax records; ten cassette tapes and transcript of an interview conducted by Phoebe Barnes Driver; notebooks, notes and writings, including a biographical sketch of Edward W. Forbes, a transcription of a portrait dedication, invitation lists; notebooks; appointment calendars; sketchbooks and loose sketches.
Also included are extensive portrait files of sitters containing correspondence, invoices; some contain photographs. Sitters include Dean Acheson, Judge Bailey Aldrich, Hamilton Fish Armstrong, Dean George Baker, Ann Banks, Talcot M. Banks, Barry Bingham, Sr., Eleanor Bowman, Justice William Joseph Brennan, Jr., Kingman Brewster, Jr., John Nicholas Brown, Orville H. Bullitt, William A.M. Burden and sons, J. B. CanantHammond E. Chaffetz, Secretary William T. Coleman, Abram T. Collier, Mary Crocker, Nathan Cummings, Justice R. Ammi Cutter, Dr. Francis de Marneffe, Dr. Derek Denny-Brown, Douglas Dillon, Gov. Michael S. Dukakis, Frederick M. Eaton, Daughter of Frederick M. Eaton, Dr. Frank Elliott, John Franklin Enders, Justice Felix Frankfurter, Robert Frost, Richard Glenn Gettell, Justice Arthur Goldberg, Honorable and Mrs. Gordon Gray, General Wallace M. Greene, Burton Grey, Najeeb E. Halaby, Justice John M. Harlan, Averell and Pamela Harriman, Judge William Hastie, Francis W. Hatch, Hatcher, Paul V. Hayden, Alfred Hayes, Ralph Helverson, Christian Herter, Hopkinson, V.P.H. Humphrey, R. Keith Kane, John F. Kennedy, Robert Kennedy, Rev. Kinsolving, Secretary Henry Kissinger, Henry Laughlin, Martina Lawrence, Lessing, Edward H. Levi, Wilmarth Sheldon Lewis, Lippman, Stacy Lloyd, Professor Louis Loss, Robert Lovett
Professor Edward Mason, Jean Mayer, Secretary Robert S. McNamara, Professor Donald H. Menzel, Hary Myers, Dr. Francis D. Moore, Maurice Needham, William Oates, John Lord O'Brian, Daniel H. O'Leary, Howard C. Peterson, Edwin H.B. Pratt, Norman S. Raab, R. Stewart Rauch, Herbert Read, Dr. Duncan Reid, Resor, Arthur Ross, Eugene V. Rostow, Dean Rusk, Dean Albert M. Sacks, Arthur and Elizabeth Schlesinger, Sally Scott, George C. Seybolt, Dr. Howard Sprague, Justice Potter Stewart, J. Statton, Lewis Toepfer, Marian Vaillant, Margaret Vaughan, Chief Justice Earl Warren, James Webb, Fred Weed, E. A. Weeks, Professor Fred L. Whipple, Justice Byron White, George M. White, Judge Raymond Wilkins, Michael Wiseman, Professor Arnold Wolfers, and Judge Charles Wyansky.
Also found are institution files relating to activities with the American Academy in Rome, Boston Arts Festival and its revival in 1985, Massachusetts Art Commission, St. Botolph Club, School of the Museum of Fine Arts, Boston and memorials to Samuel Morison, Augustus Saint-Gaudens, and Robert Gould Shaw; exhibition files, containing correspondence, catalogs and announcements; and files relating to Cox's home and studio and the publication of LAWYERS PAINTED BY GARDNER COX. Also, clippings, invitations, announcements and printed material from clubs and other organizations; and photographs of Cox, his family, a bust of Cox, and many of his portraits.
ADDITION (UNMICROFILMED; ca. 12 ft.): Biographical material; correspondence; writings; notebooks; sketches and drawings; financial papers; photographs of portrait and non-portrait work; printed material; exhibition announcements; lists of work; posthumous inventory with photographs of selected work. The strength of this group lies in the abundance of studies for portraits, ranging from quick sketches in notebooks to studies of aspects of sitters to preliminary drawings, to photographs of his work, predominantly portraits but also including his paintings of forms abstracted from nature.
Biographical / Historical:
Portrait painter; Cambridge, Mass. Died 1988. Cox was a friend or acquaintance of many leading cultural figures in Boston and Cambridge, painted the portraits of many of them, and often developed friendly relations with his eminent sitters.
Provenance:
Papers on reels 4486-4494 were donated 1982-1985 by Gardner Cox and by his widow, Phyllis Byrnes Cox, 1989-1990. Additional papers received in 1998 from Cox's sons, James and Benjamin, and his daughter, Phyllis Koch.
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:
Lawyers -- Portraits  Search this
Portrait painters -- Massachusetts  Search this
Topic:
Portrait painting -- 20th century -- Massachusetts  Search this
Politicians -- Portraits  Search this
Function:
Art festivals
Genre/Form:
Interviews
Sketchbooks
Sound recordings
Identifier:
AAA.coxgard
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93ecb2ba6-bc77-41a0-94f4-c35cfc342652
EDAN-URL:
ead_collection:sova-aaa-coxgard

Robert and Jonatha Ceely papers relating to Maud Morgan

Collector:
Ceely, Robert  Search this
Ceely, Jonatha  Search this
Names:
Morgan, Maud, 1903-1999  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1976-2000
Scope and Contents:
Scrapbook compiled by the Ceely's containing letters to Robert and Jonatha Ceely from Maud Morgan, printed material regarding Morgan's career as a painter and a black and white photograph of Morgan.
Biographical / Historical:
Painter; Cambridge, Mass. d. 1999.
Provenance:
Donated 2005 by Robert and Jonatha Ceely, friends of Morgan.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Collagists -- Massachusetts  Search this
Topic:
Women artists  Search this
Women painters  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.ceelrobe
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw901c5e1aa-8b71-4e9c-9352-07fa9017fdee
EDAN-URL:
ead_collection:sova-aaa-ceelrobe

Ernst Halberstadt monologue

Creator:
Halberstadt, Ernst, 1910-1987  Search this
Names:
Rockefeller Center  Search this
Winter, Ezra, 1886-1949  Search this
Extent:
14 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Date:
1985 Mar. 18
Scope and Contents:
Monologue by Ernst Halberstadt. Halberstadt relates his memories of working in New York for Ezra Winter on the Radio City Music Hall murals, describing his contributions to the paintings and his working methods.
Biographical / Historical:
Painter, mural painter (Cambridge, Mass.)
Provenance:
Donated 1985 by Ernst Halberstadt.
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.
Topic:
Painters -- Massachusetts -- Interviews  Search this
Muralists -- Massachusetts -- Interviews  Search this
Identifier:
AAA.halberns
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f7cfb49f-79f5-42a9-994f-1e2b6fce60d5
EDAN-URL:
ead_collection:sova-aaa-halberns

Charles Hopkinson papers

Creator:
Hopkinson, Charles, 1869-1962  Search this
Names:
Shurcliff, Joan Hopkinson  Search this
Shurcliff, William A.  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Sketchbooks
Photographs
Date:
1892-1993
Summary:
The papers of Massachusetts portait painter and watercolorist Charles Hopkinson date from 1892 to 1993 and measure 1.4 linear feet. The papers are comprised primarily of 17 sketchbooks and loose sketches. Also found are printed materials and three photographs of Hopkinson, as well as writings about Hopkinson written by his daughter Joan Hopkinson Shurcliff and her husband William Shurcliff.
Also found at the Archives is a small miscellaneous manuscript collection of five letters to Chauncey Stillman from Charles Hopkinson.
Scope and Contents:
The papers of Massachusetts portrait painter and watercolorist Charles Hopkinson date from 1892 to 1993 and measure 1.4 linear feet. The papers are comprised primarily of 17 sketchbooks and loose sketches. Also found are printed materials and three photographs of Hopkinson, as well as writings about Hopkinson written by his daughter Joan Hopkinson Shurcliff and her husband William Shurcliff.
Arrangement:
The collection is arranged as 4 series.

Missing Title

Series 1: Writings and Notes, 1987-1993 (0.2 linear feet; Box 1)

Series 2: Printed Material, 1988-1991 (2 folders; Box 1)

Series 3: Photographs, 1938-1961 (1 folder; Box 1)

Series 4: Sketchbooks and Artwork, 1892-1957 (1.2 linear feet; Box 1-3)
Biographical / Historical:
Portrait and watercolor painter Charles Hopkinson (1869-1962) was active in Cambridge, Massachusetts.

Charles Hopkinson was born in Cambridge, Massachusetts to Mary Watson and John Prentiss Hopkinson. He attended his father's school, Hopkinson School and later Harvard University. As a result of summers spent sailing and sketching boats in Northeast Harbor, Maine, he developed a love of art. After drawing cartoons for the Harvard Lampoon, Hopkinson decided to pursue a career as an artist. He studied at the Art Student's League and Académie Julian. Charles Hopkinson was noted for his oil portraits but showed his watercolors with the "Boston Five." He exhibited his works in Boston and New York City.

Hopkinson married fellow art student Angelica Rathbone in 1893. The pair divorced by 1899 while living in France. Afterwards, Hopkinson travelled to Roscoff, Brittany where he produced many watercolor and oil paintings. He returned to Massachusetts and married Elinor Curtis in 1903. Together, they had five daughters, Harriot (Mrs. Alfred Rive), Mary (Mrs. John Heysham Gibbon, Jr. later Mrs. Lovell Thompson), Isabella (Mrs. James Addison Halsted), Elinor (Mrs. James Henderson Barr), and Joan (Mrs. William Asahel Shurcliff).
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels N-68-106, 482, 486, 515, 634-639) including biographical material, family correspondence, writings, business records, printed materials, and 96 sketchbooks. While six of the sketchbooks were later donated, all other loaned materials was returned to the lender and are not described in the collection container inventory.
Provenance:
Portions of the collection were loaned for microfilming between 1969-1973. Charles Hopkinson's daughters and granddaughters, Joan Hopkinson Shurcliff, Harriot Rive, Elinor Barr, Mrs. John M. Clarke and Mrs. James Masek, donated additional material in 1973 and 1992.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Please 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:
Watercolorists -- Massachusetts  Search this
Portrait painters -- Massachusetts  Search this
Painters -- Massachusetts  Search this
Genre/Form:
Sketches
Sketchbooks
Photographs
Citation:
Charles Hopkinson and Hopkinson family papers, 1892-1993. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hopkchar
See more items in:
Charles Hopkinson papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f8d1b418-4911-4740-ac5e-ac40d57e7151
EDAN-URL:
ead_collection:sova-aaa-hopkchar

Winslow Homer letters to M. Knoedler and Company

Creator:
Homer, Winslow, 1836-1910  Search this
Names:
M. Knoedler & Co.  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1900-1904
Summary:
This small collection of twenty-two letters written by painter and illustrator Winslow Homer to his art dealer, M. Knoedler and Company, date from 1900 to 1904. These letters to the New York gallerist concern the logistics of selling his paintings and also reference agents, collectors, and art institutions where his work was being exhibited.
Scope and Contents:
This small collection of twenty-two letters written by painter and illustrator Winslow Homer to his art dealer, M. Knoedler and Company, date from 1900 to 1904. These letters to the New York gallerist concern the logistics of selling his paintings and also reference agents, collectors, and art institutions where his work was being exhibited.
Arrangement:
The collection is arranged as 1 series:

Missing Title

Series 1: Correspondence, 1900-1904 (0.2 linear feet; Box 1)
Biographical / Historical:
Winslow Homer was born in Boston, Massachusetts, in 1836. He was raised in Cambridge, where he developed a love of art and the outdoors. At the age of 19 he began his career as an illustrator, apprenticing at the J.H. Bufford lithographic firm in Boston. He then decided to become a freelance illustrator. In 1859 Homer moved to New York to work for Harper's Weekly, serving as artist-correspondent for the magazine during the Civil War. After taking some art classes at the National Academy of Design, he decided to focus on oil painting. He quickly gained international recognition as a painter, and in 1866 made his first trip to Europe. In 1873 he decided to work in watercolor and found great success in his experimentation with light and color in this medium. In the mid-1880s Homer moved permanently to Prout's Neck, Maine, an isolated area where he built a studio and focused his paintings on man's struggle with nature. Also during the 1880s he worked on a series of etchings based on his paintings. Homer continued to paint for the next twenty years, vacationing summers in places such as the Adirondacks and the Bahamas to capture varied landscapes, until his death in 1910.

M. Knoedler and Co. was a New York art dealership and gallery that managed the sales and logistics involved in shipping or lending artworks to various collectors, museums, organizations, and institutions.
Related Materials:
The Archives of American Art also holds the Winslow Homer collection; a microfilm copy on reels 2932-2933 of the Winslow Homer and Homer family papers from the Bowdain College; and a video recording, Winslow Homer in Maine.
Provenance:
The Winslow Homer letters to M. Knoedler and Company were purchased at auction and donated by Martha J. Fleischman in memory of her father, Lawrence A. Fleischman, in 2010.
Restrictions:
Use of original papers requires an appointment.
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 dealers -- Illinois -- Chicago  Search this
Illustrators -- Maine  Search this
Painters -- Maine -- Prout's Neck  Search this
Topic:
Art -- Economic aspects  Search this
Citation:
Winslow Homer letters to M. Knoedler and Company, 1900-1904. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mknoeco
See more items in:
Winslow Homer letters to M. Knoedler and Company
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw910acdafe-2969-4844-8408-30416ac56240
EDAN-URL:
ead_collection:sova-aaa-mknoeco
Online Media:

Frank Duveneck and Elizabeth Boott Duveneck papers

Creator:
Duveneck, Frank, 1848-1919  Search this
Names:
Couper, William, 1853-1942  Search this
Duveneck, Elizabeth Boott, 1846-1888  Search this
Duveneck, Josephine W. (Josephine Whitney), 1891-1978  Search this
French, Daniel Chester, 1850-1931  Search this
Wessel, Bessie Hoover, 1889-1973  Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketches
Sketchbooks
Photographs
Date:
1851-1972
bulk 1851-1919
Summary:
The papers of painter and teacher Frank Duveneck and his wife and painter Elizabeth Boott Duveneck measure 1.2 linear feet and date from 1851-1972, bulk 1851-1919. Aspects of the lives and work of the artists are documented in correspondence, creative writings, research notes, scrapbooks, newspaper clippings, magazine articles, ephemera, sketches and sketchbooks, and vintage photographs.
Scope and Content Note:
The papers of painter and teacher Frank Duveneck and his wife, painter Elizabeth Boott Duveneck measure 1.2 linear feet and date from 1851-1972, bulk 1851-1919. Aspects of the lives and work of the artists are documented in correspondence, creative writings, research notes, scrapbooks, newspaper clippings, magazine articles, ephemera, sketches and sketchbooks, and vintage photographs.

The limited amount of correspondence in this collection includes separate letters from Frank Duveneck and Elizabeth Duveneck, primarily to family members, which describe studies and travel abroad, works in progress, exhibitions, and after their marriage, reports on family life. Frank Duveneck's correspondence also includes a letter from sculptor William Couper concerning the marble for a memorial to Elizabeth Boott Duveneck. There is also a folder of letters to and from Mr. and Mrs. Francis B. Duvencek, the son and daughter-in-law of the artist couple, that include reminiscences about Frank Duveneck from former student Bessie Wessel and a letter to Francis Duveneck from Daniel Chester French requesting permission to make a bronze from the plaster cast of the Duveneck's effigy of Elizabeth at the Metropolitan Museum of Art.

Writings include Elizabeth Boott Duveneck's diary, a typescript of a speech attributed to Frank Duveneck, and research notes compiled by daughter-in-law Josephine Duveneck in preparation for her biography of her father-in-law.

Printed materials consist primarily of newspaper clippings and magazine articles on Frank Duveneck, but also include his Munich Royal Academy card and copy certificate from the Ministry of Florence, Italy. Newspaper clippings may also be found in the Scrapbook series, including Elizabeth Boott Duveneck's scrapbook of exhibition reviews of her paintings, and two folders of clippings pertaining to Frank Duveneck compiled by Josephine Duveneck. Frank Duveneck's scrapbook contains printed illustrations compiled by the artist while he was studying art in Munich.

Sketchbooks and sketches consist of four sketchbooks by Elizabeth Boott Duvenck and three by Frank Duveneck that document their growth as artists as they span several decades (particularly in the case of Elizabeth) of their respective careers. There are also two folders of loose, mostly early, portrait sketches by Elizabeth Boott Duveneck.

Vintage photographs depict Frank Duveneck alone, with family and friends, Elizabeth Boott Duveneck, Francis Boott with his daughter, John Twachtman, art classes including one of Wilhelm von Diez's classes in Munich, and a group photograph of the jury of the 1915 Panama-Pacific exposition. There is only one photograph that includes both Frank and Elizabeth Duveneck together along with her father Francis Boott and nurse Ann Shenston.
Arrangement:
The collection is arranged into 6 series:

Missing Title

Series 1: Correspondence, 1856-1971 (Box 1; 4 folders)

Series 2: Writings and Notes, circa 1873-1970 (Box 1; 4 folders)

Series 3: Printed Material, 1871-1972 (Box 1; 6 folders)

Series 4: Scrapbooks, 1871-1962 (Box 1; 4 folders)

Series 5: Sketchbooks and Sketches, circa 1857-1886 (Box 1; 0.3 linear feet)

Series 6: Photographs, circa 1851-1970 (Boxes 1-2; 0.4 linear feet)
Biographical Note:
Painter, etcher, and one of the most influential American art instructors of the nineteenth century, Frank Duveneck was born Frank Decker to German immigrants Bernard and Katherine Decker on October 9, 1848 in Covington, Kentucky. He acquired the name Duveneck from his stepfather after his father's death and mother's remarriage. Family and friends recognized his artistic talents early on and he was apprenticed to local German artisans who decorated churches through most of the 1860s. In 1870 he traveled to Munich to study at the prestigious Konigliche Akademie (Royal Academy), where he was quickly promoted to life classes and the painting class of Wilhelm von Diez. He quickly earned a reputation as the leading American artist in the Academy. Duveneck was only 24 in 1872 when painted one of his most well-known paintings, Whistling Boy.

Due to dwindling funds and a cholera epidemic in Europe, Duveneck returned to the United States in 1873 and began teaching at the Ohio Mechanics Institute in Cincinnati the following year, where John H. Twachtman was among his students. An 1875 exhibition of his paintings at the Boston Art Club met with critical and public acclaim. He also attracted the attention of William Morris Hunt, novelist Henry James, and his future wife, Elizabeth Boott, who was one among those who deeply admired his work, although the pair were not to meet for another three years. After his return to Munich later that year, he became part of a tightly knit group of other American artists including Frank Currier, William Merritt Chase, and Walter Shirlaw. All four artists exhibited their work in the United States in such venues as the National Academy of Design's annual exhibition of 1877, and the first exhibition of the Society of American Artists in 1878, which may have contributed to the increased popularity of the Royal Academy in Munich as a destination for young American artists. As enrollment rose, classes became overcrowded and Duveneck began teaching in Munich. A group of younger students, including John Alexander, and John H. Twachtman, who had followed the artist from Cincinnati to Munich, became known as the "Duveneck Boys." He also had acquired a private female student, Elizabeth Boott, who had traveled to Munich to study with him.

The painter Elizabeth Boott, known primarily as "Lizzie," was born in Cambridge, Massachusetts on April 13, 1846 and was raised by her widowed father, the prominent Bostonian Francis Boott. The pair moved to Florence, Italy, when Lizzie was just a year old, after the death of her mother and brother from tuberculosis. Similar to Duveneck, Lizzie Boott's talent for drawing was recognized and encouraged at an early age. Early drawings preserved by her father consist of portraits of their well-known Anglo-American friends including Robert Browning, Nathanial Hawthorne, and Henry Higginson, founder of the Boston Symphony Orchestra. The Bootts briefly returned to Boston in 1865, at which time Lizzie met the novelist Henry James, who became a close life-long friend of both her and her father. Through James, she learned of the artist William Morris Hunt, and entered his class in Boston for women artists. She established close friendships with several of the women whom she met through Hunt's class, and they traveled together through Italy and Spain, took classes with the French artist Thomas Couture, and studied at the Académie Julian in Paris. They also made up the group of female students that formed a class of women artists taught by Duveneck, whom Lizzie had persuaded to teach in Florence in 1879. Duveneck, along with a band of "Duveneck Boys" embarked upon a two year stay in Florence and Venice.

During this period in Italy, Duveneck experimented with with hard ground etchings, creating Venetian scenes similar to those produced by James McNeil Whistler. His painting changed as he focused more on landscapes executed in a ligher, more highly keyed palette, perhaps influenced by Lizzie Boott, who painted vibrant watercolor Italian landscapes during this period and with whom he began an extended courtship in 1880. Although Francis Boott admired Duveneck's work and had acquired one his portraits during the artist's successful 1875 exhibition at the Boston Arts Club, neither he nor family friends approved of the bohemian artist as a husband for his accomplished patrician daughter. However the pair eventually married in March 1886, and had a son, Francis Boott Duveneck that December. Tragically, Lizzie Boott died of pneumonia on March 22, 1888. Although he was not a sculptor, one of Duvenecks' most admired works is the effigy that he created with the help of sculptor Clement J. Barnhorn, for his wife's tomb in Florence, casts of which may be viewed at the Museum of Fine Arts and the Metropolitan Museum of Art.

After his wife's death Duveneck returned to America, spending most of his time in his Cincinnati studio and teaching painting classes at the Cincinnati Art Museum. At the 1915 Panama-Pacific International Exposition, two galleries at the San Francisco Palace of Fine Arts, were allotted to Duveneck for a retrospective of his work. The jury awarded him a gold medal of honor to commemorate his contributions to American Art. Frank Duveneck died in Cincinnati on January 3, 1919.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 792 includes a group of eighty-four pencil sketches and caricatures of his students by Frank Duveneck and four black and white photographic reproductions of works of art. Reel 1097 contains correspondence, 1845-1919, of Duveneck and his wife, Elizabeth Boott Duveneck. Included are two letters from Duveneck to Theodore Wores and seven letters from Julius Rolshoven. Other correspondents include John W. Beatty, William Couper, Daniel Chester French, Mrs. Walter Shirlaw, and Thad Welch. Many of the letters from Elizabeth Boott were written from Europe, including 11 to William Morris Hunt's painting class (1876-1880), and a lengthy account of her travels written to her father (1881). Reel 1151 contains exhibition catalogs that were donated to the Archives of American Art with the Frank Duveneck and Elizabeth Boott Duveneck papers. While this material was transferred to the Smithsonian American Art Museum and National Gallery Library in 1976, all other materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
The papers of Frank Duveneck and Elizabeth Boott Duveneck were donated by Mr. and Mrs. Francis B. Duveneck, the son and daughter-in-law of Frank and Elizabeth Duveneck in 1974 with additional material lent for microfilming. In 1974, the Cincinnati Historical Society donated photocopies of original letters that were microfilmed and discarded. A portrait photograph of Frank Duveneck was donated in 1985 by Freda Schutze.
Restrictions:
Use of original papers requires an appointment.
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 -- Ohio -- Cincinnati  Search this
Painters -- United States  Search this
Painters -- Germany  Search this
Art teachers -- Germany  Search this
Topic:
Munich school of painting -- Influence  Search this
Painting, American  Search this
Painting, Modern -- 19th century -- United States  Search this
Genre/Form:
Scrapbooks
Sketches
Sketchbooks
Photographs
Citation:
Frank Duveneck and Elizabeth Boott Duveneck papers, 1851-1972. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.duvefran
See more items in:
Frank Duveneck and Elizabeth Boott Duveneck papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9824896e3-6521-4091-9d8b-87cf698c8302
EDAN-URL:
ead_collection:sova-aaa-duvefran
Online Media:

Topaz War Relocation Authority

Collection Creator:
Obata, Chiura  Search this
Container:
Box 1, Folder 52
Type:
Archival materials
Date:
1943-1945
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Chiura Obata papers, circa 1891-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Chiura Obata papers
Chiura Obata papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-obatchiu-ref167
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