Murray, Henry -- Art of painting and drawing in coloured crayons Search this
Extent:
0.54 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Drawings
Works of art
Sketchbooks
Sketches
Date:
1875-circa 1973
bulk circa 1890-circa 1910
Summary:
The papers of Massachusetts and New Hampshire painter and printmaker Charles Henry Turner, measure 0.54 linear feet and date from 1875-circa 1973, with the bulk of the material dating from circa 1890-circa 1910. The collection includes an auction catalog and a price list of Turner's paintings, biographical material, five letters, artwork, miscellaneous printed material, photographs of Turner, his studio, European travel, and artwork, and two glass plate negatives.
Scope and Contents:
The papers of Massachusetts and New Hampshire painter and printmaker Charles Henry Turner, measure 0.54 linear feet and date from 1875-circa 1973, with the bulk of the material dating from circa 1890-circa 1910. The collection includes an auction catalog and a price list of Turner's paintings, biographical material, five letters, artwork, miscellaneous printed material, photographs of Turner, his studio, European travel, and artwork, and two glass plate negatives.
Arrangement:
The collection is arranged as one series.
Series 1: Charles Henry Turner Papers, 1875-circa 1973 (0.5 linear feet; Box 1, OV 2, MGP 1-2)
Biographical / Historical:
Massachusetts and New Hampshire painter and printmaker Charles Henry Turner (1848-1908) was known for his landscapes, portraits, illustrations, and genre scenes. Born in Newburyport, Massachusetts, Turner studied under Otto Grundmann at the Boston Museum of Fine Arts School in the late 1870s. He studied in Europe in the 1880s, before returning to Boston, where he had a studio above his home on Mount Vernon Street.
Turner established a summer home in the White Mountains of New Hampshire and built a studio resembling a Swiss chalet on a hillside in Jackson, where he and his family spent many summers.
Turner was a member of the Unity Art Club and served as president of the Boston Art Club, where his work was exhibited many times. His work was also exhibited at the Pennsylvania Academy of Fine Arts.
Separated Materials:
Also in the Archives of American Art is material lent for microfilming (reel 4781) including drawings, a watercolor by Turner, and two charcoal landscapes by Edmund H. Garrett and [Emil?] Carlsen. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The collection was donated to the Archives of American Art by G. Frances Souther, granddaughter of Turner, in 1973 and 1979. The artworks on reel 4781 were lent for microfilming in 1993 by Robert and Connie Rosen, antiques dealers, who purchased the material at auction. The drawings may have come from Miss Souther's estate.
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.
This collection of papers measures 0.2 linear feet, dates from circa 1820-1932, and provides scattered documentation of the lives of painter Rembrandt Peale and his wife Harriet. There are seven letters from Peale which discuss his Patriae Pater portrait of George Washington and his subsequent attempts to gain a commission from Congress for his equestrian portrait of the first president, as well as illuminating his opinion on patronage for the arts. The collection also contains a copy of Peale's lecture on "Washington and his Portraits," a page with drawings of Roman coins by Peale, two codicils to Harriet Peale's will, printed material including a pamphlet for Peale's The Court of Death and a catalog of sale for Harriet Peale's estate, and photographs of Rembrandt and Harriet Peale.
Scope and Content Note:
This collection of papers measures 0.2 linear feet, dates from circa 1820-1932, and provides scattered documentation of the lives of painter Rembrandt Peale and his wife Harriet. The papers contain seven letters from Peale to various individuals, including Massachusetts senator Elijah Hunt Mills, that document his attempts to seek recognition and recompense from Congress for his portraits of George Washington and illuminate his opinions on patronage of the arts. Also found here is a copy of Peale's lecture on "Washington and his Portraits," and legal papers consisting of two codicils to Harriet Peale's will which list the disposition of Rembrandt Peale paintings in her possession. There is a page with drawings of Roman coins by Peale, printed material including a pamphlet for Peale's popular allegorical painting The Court of Death, and a catalog of sale for Harriet Peale's estate. Photographs picture Rembrandt and Harriet Peale respectively, circa 1850.
Arrangement:
The collection is arranged as one series.
Biographical Note:
Rembrandt Peale (1778-1860) was born in Bucks County, Pennsylvania, and was the second son of painter Charles Willson Peale. He was known primarily for his historical paintings and portraits, particularly those of George Washington. Peale painted his first Washington portrait in 1795 at the age of 17, in a sitting arranged by his father. From 1795-1800 he traveled in Maryland and the South painting portraits, and from 1801-1803 studied with Benjamin West in London.
Peale returned to Europe from l808 to l8l0, and spent most of his time in Paris where he was inspired to take up historical painting. From 1813-1822 he lived in Baltimore where, in 1814, he established a museum for paintings and natural history that later became known as the Peale Museum. Peale's most famous allegorical painting, Court of Death, was completed in 1820 and was one of the most popular paintings of the decade.
In 1822 Peale moved to New York City where he embarked on an attempt to paint what he hoped would become the "Standard likeness" of Washington. In the process he reviewed portraits by other artists including John Trumbull, Gilbert Stuart and his father, as well as his own 1795 picture which had never truly satisfied him. His resulting Patriae Pater, completed in 1824, depicts Washington through an oval window, and is considered by many to be second only to Gilbert Stuart's iconic Athenaeum painting of the first president. Peale subsequently attempted to capitalise on the success of what quickly became known as his "Porthole" picture, collecting tesimonials praising the portrait from people who had known the president, and lobbying Congress, in vain, for a commission to paint an equestrian portrait of Washington. Despite his failure to gain such a commission, "Patriae Pater" was purchased by Congress in 1832 and still hangs in the U.S. Capitol.
Peale subsequently produced over 70 replicas of the "porthole" picture and in the late 1850s delivered a series of lecture entitled "Washington and his Portraits" along the East coast. He was also an accomplished writer and lecturer on natural history, and was among the founders of the Pennsylvania Academy of the Fine Arts, a president of the American Academy, and a founder of the National Academy.
Related Material:
Also found in the Archives of American Art are the following collections relating to Rembrandt Peale: the Albert Duveen collection of artists' letters and ephemera, 1808-1910, includes an 1855 September 8 letter from Rembrandt Peale to an unidentifed person, available on 35 mm microfilm reel D9 (frames 848-850); Printed material relating to Rembrandt Peale, 1830-1862, lent for microfilming by the Historical Society of Pennsylvania in 1855, is available on microfilm reel P29; and the Charles Henry Hart autograph collection, 1731-1912, contains a lithograph by Peale available on 35mm microfilm reel D5 (frame 103).
Provenance:
In 1960, Lawrence A. Fleischman donated one letter. Six items were donated by Charles E. Feinberg in 1962. An additional 35 items were transferred from the National Collection of Fine Arts Library to the Archives in 1979.
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.
Occupation:
Portrait painters -- Pennsylvania -- Philadelphia Search this
Bouguereau, William Adolphe, 1825-1905 Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1853-1977
Summary:
The papers of painter Elizabeth Gardner Bouguereau measure 0.4 linear feet and date from 1853 to 1977, with the bulk of the material dating from 1864 to 1920. Found within the papers are correspondence written to Bouguereau's immediate family; clippings and miscellaneous printed material; and photographs of Bouguereau and her husband Adolphe.
Also in the Archives are papers lent for microfilming on reel 3135 and returned to Bouguereau's grandniece, Miriam Dunnan. These papers are not described in the container listing of this finding aid and are available only on microfilm. Included are photographs of Elizabeth and Adolphe Bouguereau and Imogene Robinson Morrell.
Scope and Contents:
The papers of painter Elizabeth Gardner Bouguereau measure 0.4 linear feet and date from 1853 to 1977, with the bulk of the material dating from 1864 to 1920. Found within the papers are correspondence written to Bouguereau's immediate family; clippings and miscellaneous printed material; and photographs of Bouguereau and her husband Adolphe.
Arrangement:
The collection is arranged as 1 series.
Series 1: Elizabeth Gardner Bouguereau papers, 1853-1977 (0.4 linear feet; Box 1)
Biographical / Historical:
Painter Elizabeth Gardner Bouguereau (1837-1922) lived and worked in Paris, France. Bouguereau was born in Exeter, New Hampshire, graduated from the Lasell Female Seminary in Auburndale, Massachusetts, in 1856, and taught French at the Worcester School of Design and Fine Arts. In the summer of 1864, she travelled to Paris with a former art instructor, Imogene Robinson, with the intention of furthering her art studies. Upon arrival, they copied paintings at the Luxembourg Museum and Bouguereau studied in a number of studios, including the studio of Jean-Baptiste Tissier, a cooperative women's studio, and the École Jardin des Plantes. In 1868, she gained entry to the Paris Salon, one of only six women invited to participate before 1870.
The Archives of American Art also holds microfilm of material lent for microfilming (reel 3135) including photographs. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The Elizabeth Gardner Bouguereau papers were donated between 1983 and 1986 by Bouguereau's grandniece, Miriam Gardner Dunnan. She also lent photographs for microfilming in 1984.
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.
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:
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.
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.
REELS 940-942: Several loose sketches and 26 sketchbooks, mostly in pencil and watercolor and done in the U.S., Italy, France, England, North Africa, Switzerland, Germany, Spain, and Morocco; biographical material; two letters to John F. Weir, one from Weir's father Robert, both referring to the Civil War; 2 awards; a booklet "Pre-Raphaelitism," 1851; exhibition material, 1974; and a folio of watercolors by Gariel Corelli.
REEL 1007: 44 copy prints made from slides of watercolors by Seymour; and one slide of a color chart by him (not microfilmed).
REEL 1038: 7 sketchbooks, 1880-1885, executed while traveling in Italy, Spain, and Germany and often dated and identified. Most of the sketches are in pencil. Included among them are 13 watercolors and a color wheel.
Biographical / Historical:
Painter and watercolorist; Massachusetts.
Provenance:
Material on reels 940-942 and 1007 lent 1975 by DeWolf Perry, Seymour's grandnephew. Material on reel 1038 lent 1976 by DeWolf's brother, John Weir Perry. 44 copy prints on reel 1007 were made from slides lent by DeWolf Perry.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Correspondence, 1898-1965, including letters from Daniel Chester French and Norman Rockwell; scrapbooks of reviews, 1901-1911; printed material, 1901-1984, including exhibition catalogs and clippings; a ledger of sales and inventory of paintings, 1897-1934; photographs, 1896-? of Johansen, MacLane and their work; and 12 unsigned sketches.
Biographical / Historical:
Painters; New York, N.Y. and Massachusetts.
Provenance:
Donated 1986 by Margaret Johansen Worthington, Johansen and MacLane's daughter.
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.
Family papers include letters to Giles Martin from William Hebert and others concerning the Martin's plans to emigrate from England to America, and ca. 50 letters, 1828-1860, to Giles and Angelique Martin in Marietta and at Trumbull Phalanx by reformers active in Ohio and Massachusetts temperance, antislavery, labor and/or Association movements, among them Sarah G. Bagley, Maria M. Eastman, Mary Moody Emerson, Frances D.B. Gage, Anna Q.T. Parsons, Caroline M. S. Severance, Adeline T. Swift, and others less known but very active. Also included are 3 letters from Spencer, 1842 Mar. 31 and June 10, and 1847 July 10 to her parents.
The Campus Martius Museum records consist of correspondence with owners of Spencer's prints, paintings and and papers; clippings, articles, and reproductions of Spencer's work.
Biographical / Historical:
Spencer was a portrait and genre painter; New York, N.Y. and Ohio. She was born Angelique Marie Martin November 26, 1822, in England to French parents, Giles and Angelique Martin, followers of the French social critic, Charles Fourier. Upon emigrating to the U.S. in 1830, and moving to Marietta, Ohio in 1833, the Martins, along with others active in the cooperative movement organized a communal association, Trumbull Phalanx, near Braceville, Ohio in 1845, and became active in women's rights and other reform movements. Spencer chose to concentrate on painting, first in Cincinatti and then in New York in 1848 with her husband Benjamin Rush Spencer, a cloth merchant. She maintained a successful painting career while raising seven children and moving several times, to Cincinnati and Columbus, Ohio, Newark, N.J., and Highlands and Poughkeepsie, N.Y. Spencer died May 22, 1902.
Provenance:
Lent for filming 1971 by Campus Martius Museum, Ohio Historical Society.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Biographical and critical studies of Fuller; family correspondence; letters to Fuller from Sanford Gifford, William H. Ames, Edward T. Billings, Henry K. Brown, Linus Yale, Jr., William Dean Howells, and Henry G. Marquand; diaries, journals and essays by Fuller; a biographical study, "George Fuller, His Life and Work"; photographs; sketchbooks; exhibition material; and printed material.
Biographical / Historical:
Portrait, landscape and figure painter; Deerfield, Mass. His half-brother, Augustus Fuller, was a portrait painter, also.
Provenance:
Lent for microfilming 1973 by Elizabeth Fuller, Fuller's grandaughter and cannot be scanned.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Gifford, Charles H. (Charles Henry), 1839-1904 Search this
Extent:
31 Items ((on 3 microfilm reels))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1870-1935
Scope and Contents:
Letters, sketchbooks, sketches, a diary, photographs, a biographical account and poems.
REEL 438: Typescript (81 pages) of AUTOBIOGRAPHY OF HENRY GIFFORD, ARTIST written by Henry's daughter, Helen Gifford James in 1935.
REEL 482: A diary, 1870, with notations of expenses and appointments; 4 letters from Gifford to his daughter; 4 sketches; a poem about Gifford by Mary Hathaway and a sonnet by Gifford; 4 photographs; notes and a manuscript of the autobiography by Helen Gifford James.
REEL 2523: A sketchbook and 8 sketches; and a calling card, ca. 1873.
Biographical / Historical:
Painter; Fairhaven, Mass.
Provenance:
Material on reel 438 donated by Mrs. Elton E. Gray, Gifford's granddaughter, November 1972. Material on reel 482 lent for microfilming by Isabel E. H. Gray, Gifford's granddaughter, February 1973. Material on reel 2523 lent for microfilming by Mrs. Edward W. Harbick, March 1982.
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 -- Massachusetts -- Fairhaven Search this
Topic:
Painting, Modern -- 19th century -- Massachusetts Search this
0.2 Linear feet ((1 v. on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1887-1916
Scope and Contents:
Administrative record book of the Water Color Club including minutes of meetings, constitution and by-laws, sales records containing artists' names and prices, treasurers' reports, members' lists, an exhibition invitation, and blank season exhibition tickets.
Biographical / Historical:
Art society. Formed in Boston, 1887, by a group of women artists for the purpose of holding annual exhibitions and sales of their works. Among the leading women artists represented were: Elizabeth Boott Duveneck, Lilian Westcott Hale, Laura Coombs Hills, and Sarah Wyman Whitman. Men were admitted in 1896, including Maurice Prendergast, John LaFarge, Edmund Tarbell, Frank Benson and Charles Woodbury. This volume is the only exisitng record of the Club for that period. The organization continues today as the New England Watercolor Society.
Provenance:
Record book was purchased from Peterborough Used Books and Prints, Peterborough, New Hampshire.
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.
Topic:
Art -- Societies, etc. -- Massachusetts -- Boston Search this
Painting, Modern -- 19th century -- Massachusetts Search this
Painting, Modern -- 20th century -- Massachusetts Search this
Watercolor painting -- Massachusetts -- Boston Search this
Women painters -- Massachusetts -- Boston Search this
The Controversial century, 1850-1950 : paintings from the collection of Walter P. Chrysler, Jr. : Chrysler Art Museum, Provincetown, Massachusetts, the National Gallery of Canada, Ottawa
The controversial century: 1850-1950; paintings from the collection of Walter P. Chrysler, Jr. Chrysler Art Museum of Provincetown, Massachusetts; the National Gallery of Canada, Ottawa
Author:
Chrysler, Walter P (Walter Percy) 1909-1988 Search this
Chrysler Art Museum, Provincetown, Mass Search this
