Search Results

Creator:

Richardson, Edgar Preston, 1902-1985  Search this

Richardson, Constance Coleman, 1905-2002  Search this

Subject:

Rutledge, Anna Wells  Search this

Simper, Fred  Search this

McDermott, John Francis  Search this

Speck, Walter  Search this

Stevens, William B.  Search this

Fredericks, Marshall M.  Search this

Castano, Giovanni  Search this

Soria, Regina  Search this

Lynes, Russell  Search this

Frankenstein, Alfred V. (Alfred Victor)  Search this

Hardy, Jeremiah Pearson  Search this

Pleasants, J. Hall (Jacob Hall)  Search this

Garrison, Eve Josephson  Search this

Bishop, Isabel  Search this

Allston, Washington  Search this

Woolfenden, William E. (William Edward)  Search this

Ripley, Sidney Dillon  Search this

Morse, John D.  Search this

Watkins, Franklin Chenault  Search this

Lewis, W. S. (Wilmarth Sheldon)  Search this

Marsh, Reginald  Search this

Sheeler, Charles  Search this

Kuniyoshi, Yasuo  Search this

Bostick, William A.  Search this

Jungwirth, Irene G. (Irene Gayas)  Search this

Oliver, Andrew  Search this

Simpson, Corelli C. W.  Search this

Andrews, Wayne  Search this

Valentiner, Wilhelm Reinhold  Search this

Middeldorf, Ulrich Alexander  Search this

Spark, Victor D. (Victor David)  Search this

Fleischman, Lawrence A. (Lawrence Arthur)  Search this

Sellers, Charles Coleman  Search this

Heil, Walter  Search this

Lee-Smith, Hughie  Search this

Bouché, Louis  Search this

Moser, Liselotte  Search this

Flexner, James Thomas  Search this

Vose, Robert C. (Robert Churchill)  Search this

Cohn, Harold  Search this

Aram, Siegfried F.  Search this

Mast, Gerald  Search this

Krentzin, Earl  Search this

Groce, George C.  Search this

Peale, Charles Willson  Search this

Culver, Charles B. (Charles Beach)  Search this

Wedda, John  Search this

Boyd, Julian P. (Julian Parks)  Search this

O'Keeffe, Georgia  Search this

Wyeth, Andrew  Search this

Hopper, Edward  Search this

Rockefeller, Nelson A. (Nelson Aldrich)  Search this

Rockefeller, John D.  Search this

Copeland, Lammot du Pont  Search this

Freeman, Michael W.  Search this

Allen, Joseph  Search this

Peale family  Search this

Castano Galleries  Search this

Historical Society of Pennsylvania  Search this

Macbeth Gallery  Search this

Archives of American Art  Search this

Philadelphia Museum of Art  Search this

National Collection of Fine Arts (U.S.)  Search this

National Portrait Gallery (Smithsonian Institution)  Search this

Pennsylvania Academy of the Fine Arts  Search this

White House (Washington, D.C.)  Search this

Detroit Institute of Arts  Search this

Henry Francis du Pont Winterthur Museum  Search this

Type:

Photographs

Manuscripts

Interviews

Diaries

Transcripts

Sketches

Lectures

Place:

Detroit (Mich.)

Topic:

Art -- Collectors and collecting  Search this

Painting, American  Search this

Art, American  Search this

Romanticism in art  Search this

Art -- History -- Study and teaching  Search this

Art historians -- United States  Search this

Record number:

(DSI-AAA_CollID)10104

(DSI-AAA_SIRISBib)212990

AAA_collcode_richedga

Theme:

Diaries

Art Theory and Historiography

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_212990

Creator:

Alexander, John White, 1856-1915  Search this

Names:

MacDowell Club of New York  Search this

Abbey, Edwin Austin, 1852-1911  Search this

Alexander, Elizabeth A., d. 1947  Search this

Carnegie, Andrew, 1835-1919  Search this

Chase, William Merritt, 1849-1916  Search this

Gibson, Charles Dana, 1867-1944  Search this

James McNeill Whistler, 1834-1903  Search this

James, Henry, 1843-1916  Search this

La Farge, John, 1835-1910  Search this

Levy, Florence N. (Florence Nightingale), 1870-1947  Search this

Millet, Francis Davis, 1846-1912  Search this

Remington, Frederic, 1861-1909  Search this

Stevenson, Robert Louis, 1850-1894  Search this

Extent:

11.9 Linear feet

Type:

Collection descriptions

Archival materials

Awards

Interviews

Photographs

Sketchbooks

Scrapbooks

Medals

Date:

1775-1968

bulk 1870-1915

Summary:

The papers of the painter, muralist, and illustrator John White Alexander measure 11.9 linear feet and date from 1775 to 1968, with the bulk of materials dating from 1870 to 1915. Papers document Alexander's artistic career and many connections to figures in the art world through biographical documentation, correspondence (some illustrated), writings, 14 sketchbooks, additonal artwork and loose sketches, scrapbooks, photographs, awards and medals, artifacts, and other records. Also found is a souvenir engraving of a Mark Twain self-portrait.

Scope and Contents:

The papers of the painter, muralist, and illustrator John White Alexander measure 11.9 linear feet and date from 1775 to 1968, with the bulk of materials dating from 1870 to 1915. Papers document Alexander's artistic career and many connections to figures in the art world through biographical documentation, correspondence (some illustrated), writings, 14 sketchbooks, additonal artwork and loose sketches, scrapbooks, photographs, awards and medals, artifacts, and other records. Also found is a souvenir engraving of a Mark Twain self-portrait.

Biographical Information includes multiple essays related to Alexander, his family, and others in his circle. Also found is an extensive oral history of Alexander's wife Elizabeth conducted in 1928. Correspondence includes letters written by Alexander to his family from New York and Europe at the start of his career, and later letters from fellow artists, art world leaders, and portrait sitters of Alexander's. Significant correspondents include Charles Dana Gibson, Florence Levy, Frederick Remington, Robert Louis Stevenson, Henry James, John La Farge, Francis Davis Millet, and Andrew Carnegie. Correspondence includes some small sketches as enclosures and illustrated letters.

Certificates and records related to Alexander's career are found in Associations and Memberships, Legal and Financial Records, and Notes and Writings, which contain documentation of Alexander's paintings and exhibitions. Scattered documentation of Alexander's memberships in various arts association exists for the American Academy of Arts and Letters, the American Academy in Rome, the National Academy of Design, the Onteora Club in New York, the Royal Academy of Fine Arts in Munich, Germany, the Ministère de L'Instruction Publique et des Beaux-Arts, the Union Internationale des Beaux Arts et des Lettres, and the Metropolitan Museum of Art. Notes and Writings include speeches written by Alexander, short stories and essays written by his wife, and articles by various authors about Alexander. Extensive documentation of the planning and construction of the Alexander Memorial Studio by the MacDowell Club is found, along with other awards, medals, and memorial resolutions adopted by arts organizations after Alexander's death.

Artwork includes fourteen sketchbooks with sketches related to Alexander's commercial illustration and cartooning, murals, paintings, and travels. Dozens of loose drawings and sketches are also found, along with two volumes and several dozen loose reproductions of artwork, among which are found fine prints by named printmakers. Many sketches are also interspersed throughout the correspondence. Eight Scrapbooks contain mostly clippings, but also scattered letters, exhbition catalogs, announcements, invitations, and photographs related to Alexander's career between 1877 and 1915. Additional Exhibition Catalogs and later clippings, as well as clippings related to the career of his wife and other subjects, are found in Printed Materials.

Photographs include many portraits of Alexander taken by accomplished photographers such as Zaida Ben-Yusuf, Aimé Dupont, Curtis Bell, Elizabeth Buehrmann, and several signed Miss Huggins, who may have been Estelle Huntington Huggins, a New York painter and photographer. Portraits of others include Alexander's friends William Merritt Chase and Edward Austin Abbey. Also found are photographs of groups, juries, family, friends, and studios in New York, Paris, and New Jersey, and a handful of scenic photographs of Polling, Bavaria, where Alexander had an early studio. A large number of photographs of works of art are found, many with annotations. Among the photographs of murals are a small collection of snapshots of the Carnegie Institute murals in progress. Miscellaneous artifacts include a palette, several printing plates, and an inscribed souvenir engraving of a self-portrait caricature of Mark Twain.

Arrangement:

The collection is arranged into 11 series. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Information, circa 1887-1968 (Box 1, OV 23; 0.1 linear feet)

Series 2: Correspondence, circa 1870-1942 (Box 1; 0.7 linear feet)

Series 3: Associations and Memberships, circa 1897-1918 (Box 1; 2 folders)

Series 4: Legal and Financial Records, 1775, 1896-1923 (Box 1; 5 folders)

Series 5: Notes and Writings, circa 1875-1943 (Boxes 1-2; 0.3 linear feet)

Series 6: Awards and Memorials, circa 1870-1944 (Box 2, OV 24; 0.8 linear feet)

Series 7: Artwork, circa 1875-1915 (Boxes 2-3, 6, 14-16, OV 23; 1.5 linear feet)

Series 8: Scrapbooks, circa 1877-1915 (Boxes 17-22; 1.8 linear feet)

Series 9: Printed Materials, circa 1891-1945 (Boxes 3-4, OV 23; 1.5 linear feet)

Series 10: Photographs, circa 1870-1915 (Boxes 4-8, MGP 1-2, OV 25-43, RD 44-45; 4.2 linear feet)

Series 11: Artifacts, circa 1899-1915 (Box 6, artifact cabinet; 0.4 linear feet)

Biographical / Historical:

John White Alexander was born in 1856 in Allegheny City, Pennsylvania. He was orphaned at age five and taken in by relatives of limited means. When Alexander left school and began working at a telegraph company, the company's vice-president, former civil war Colonel Edward Jay Allen, took an interest in his welfare. Allen became his legal guardian, brought him into the Allen household, and saw that he finished Pittsburgh High School. At eighteen, he moved to New York City and was hired by Harper and Brothers as an office boy in the art department. He was soon promoted to apprentice illustrator under staff artists such as Edwin A. Abbey and Charles Reinhart. During his time at Harpers, Alexander was sent out on assignment to illustrate events such as the Philadelphia Centennial celebration in 1876 and the Pittsburgh Railroad Strike in 1877, which erupted in violence.

Alexander carefully saved money from his illustration work and traveled to Europe in 1877 for further art training. He first enrolled in the Royal Art Academy of Munich, Germany, but soon moved to the village of Polling, where a colony of American artists was at its peak in the late 1870s. Alexander established a painting studio there and stayed for about a year. Despite his absence from the Munich Academy, he won the medal of the drawing class for 1878, the first of many honors. While in Polling, he became acquainted with J. Frank Currier, Frank Duveneck, William Merritt Chase, and other regular visitors to the colony. He later shared a studio and taught a painting class in Florence with Duveneck and traveled to Venice, where he met James Abbott McNeill Whistler.

Alexander returned to New York in 1881 and resumed his commercial artwork for Harpers and Century. Harpers sent him down the Mississippi river to complete a series of sketches. He also began to receive commissions for portraits, and in the 1880s painted Charles Dewitt Bridgman, a daughter of one of the Harper brothers, Parke Godwin, Thurlow Weed, Walt Whitman, and Oliver Wendell Holmes. Alexander met his wife Elizabeth, whose maiden name was also Alexander, through her father, James W. Alexander, who was sometimes mistaken for the artist. Elizabeth and John White Alexander married in 1887 and had a son, James, in 1888.

Alexander and his family sailed for France in 1890, where they became a part of the lively literary and artistic scene in Paris at the time. Among their many contacts there were Puvis de Chavannes, Auguste Rodin, and Whistler, who arrived in Paris shortly thereafter. Alexander absorbed the new aesthetic ideas around him such as those of the symbolists and the decorative style of art nouveau. Critics often note how such ideas are reflected in his boldly composed paintings of women from this period, who titles drew attention to the sensual and natural elements of the paintings. His first exhibition in Paris was three paintings at the Société Nationale des Beaux Arts in 1893, and by 1895 he has become a full member of the Société.

Independent and secession artist societies emerged throughout Europe during this period, and Alexander exhibited with several of them, including the Société Nouvelle in Paris, the Munich Secession, and the Vienna Secession. He was also elected an honorary member of the Royal Society of Belgian Artists and the Royal Society of British Painters in London. His exhibited works sold well, and his influence began to be felt back in the United States. Andrew Carnegie and John Beatty of the Carnegie Institute consulted closely with Alexander in the planning and execution of the first Carnegie International Exhibitions. Alexander also became active in supporting younger American artists who wanted to exhibit in Europe, a stance which resulted in his resignation from the Society of American Artists in Paris, which he felt had become a barrier to younger artists. His promotion of American art became an central aspect of his career for the remainder of his life, most visibly through his presidency of the National Academy of Design from 1909 until shortly before his death in 1915. He also served frequently on juries for high-profile exhibitions, and was a trustee at the Metropolitan Museum of Art, the New York Public Library, and the national Institute of Arts and Letters. Around 1912, he helped to form the School Art League in New York, which provided art instruction to high school students.

Alexander returned to the United States nearly every summer while based in Paris, and among his commissioned paintings were murals for the newly-constructed Library of Congress, completed around 1896. In 1901, the Alexanders returned to New York permanently. The demand for portraits continued, and he had his first solo exhibition at the Durand-Ruel Galleries in 1902. Around 1905 he received a commission for murals at the new Carnegie Institute building in Pittsburgh for the astounding sum of $175,000. He created 48 panels there through 1908. During this period, the Alexanders spent summers in Onteora, New York, where Alexander painted his well-known "Sunlight" paintings. There they became friends and collaborators with the actress Maude Adams, with Alexander designing lighting and stage sets, and Elizabeth Alexander designing costumes for Adams' productions such as Peter Pan, the Maid of Orleans, and Chanticleer. The couple became known for their "theatricals" or tableaux, staged at the MacDowell Club and elsewhere, and Elizabeth Alexander continued her design career when her husband died in 1915.

Alexander left several commissions unfinished upon his death at age 59, including murals in Wisconsin, Ohio, and Harrisburg, Pennsylvania. Elizabeth Alexander held a memorial exhibition at Arden Galleries a few months after his death, and a larger memorial exhibition was held by the Carnegie Institute in 1916. Alexander won dozens of awards for artwork in his lifetime, including the Lippincott Prize at the Pennsylvania Academy of the Fine Arts in 1899, the Gold Medal of Honor at the Paris Exposition Universelle in 1900, the Gold Medal at the Panama Pacific Exposition of 1901, and the Medal of the First Class at the Carnegie Institute International Exhibition in 1911. In 1923, the Alexander Memorial Studio was built at the MacDowell colony in New Hampshire to honor his memory.

Provenance:

Papers were donated in 1978 and 1981 by Irina Reed, Alexander's granddaughter and in 2017 by Elizabeth Reed, Alexander's great grandaughter.

Restrictions:

Use of the original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.

Rights:

The John White Alexander papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Topic:

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

Portrait painters -- New York (State) -- New York  Search this

Works of art  Search this

Portrait painting -- 20th century  Search this

Portrait painting -- 19th century  Search this

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

Portrait painting, American  Search this

Genre/Form:

Awards

Interviews

Photographs

Sketchbooks

Scrapbooks

Medals

Citation:

John White Alexander papers, 1775-1968, bulk 1870-1915. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.alexjohn

See more items in:

John White Alexander papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-alexjohn

Interviewee:

Speight, Francis, 1896-1989  Search this

Interviewer:

Blakeslee, Sarah Jane, 1912-  Search this

Subject:

Breckenridge, Hugh H. (Hugh Henry)  Search this

Carles, Arthur B.  Search this

Garber, Daniel  Search this

McCarter, Henry  Search this

Pittman, Hobson Lafayette  Search this

Sartain, Harriet  Search this

Pennsylvania Academy of the Fine Arts  Search this

Type:

Sound recordings

Interviews

Topic:

Art, American  Search this

Painters -- Pennsylvania -- Philadelphia -- Interviews  Search this

Record number:

(DSI-AAA_CollID)13342

(DSI-AAA_SIRISBib)212762

AAA_collcode_speigh87

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212762

Creator:

Rhoden, John, 1918-  Search this

Topic:

African American artists  Search this

Record number:

(DSI-AAA_CollID)8347

(DSI-AAA_SIRISBib)210519

AAA_collcode_rhodjohn

Theme:

Lives of American Artists

African American

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210519

Creator:

Hurd, Peter, 1904-1984  Search this

Names:

Annenberg, Walter H., 1908-  Search this

Eisenhower, Julie Nixon  Search this

Eisenstaedt, Alfred  Search this

Horgan, Paul, 1903-  Search this

Horgan, Paul, 1903- -- Photographs  Search this

Nixon, Pat, 1912-1993  Search this

Nixon, Pat, 1912-1993 -- Photographs  Search this

Wyeth, Henriette, 1907-  Search this

Wyeth, N. C. (Newell Convers), 1882-1945  Search this

Extent:

5.2 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Drawings

Date:

1917-1993

Summary:

The papers of painters Peter Hurd and Henriette Wyeth Hurd measure 5.2 linear feet, date from 1917 to 1993, and present an overview of their careers and their lives together through correspondence, notes, writings, artwork, printed material, and photographs.

Scope and Content Note:

The papers of painters Peter Hurd and Henriette Wyeth Hurd measure 5.2 linear feet, date from 1917 to 1993, and present an overview of their careers and their lives together through correspondence, notes, writings, artwork, printed material, and photographs.

Writer and longtime family friend Paul Horgan, author of Peter Hurd: A Portrait Sketch from Life (Austin: University of Texas Press, 1965), also figures prominently in the collection. Correspondence forms the bulk of the collection and includes letters to family members, letters to and from Paul Horgan, and Peter Hurd's business correspondence. The collection also includes biographical material such as sketches of family members and genealogy information; miscellaneous notes; scattered writings by Paul Horgan; three drawings by Peter Hurd and a drawing by Paul Horgan; printed material including exhibition catalogs, press releases, and brochures; and two photographs of Paul Horgan.

In 1999 the Archives of American Art received an addition to the Peter Hurd and Henriette Wyeth Hurd papers consisting of material concerning Henriette Wyeth Hurd, including an address book; letters regarding portrait commissions, exhibitions, the film The Wyeths: A Father and His Family (Smithsonian World, 1986), and honors and awards; correspondence with Portraits, Inc., 1946-1949, regarding sales and inquiries; letters from Paul Horgan (signed "Plito"); letters from Henriette's father, N.C. Wyeth, and sister, Carolyn Wyeth; more than thirty letters to Andrew Wyeth and his sister Betsy; and several letters from Andrew Wyeth.

Arrangement:

The collection is arranged into eight series. Material in each series is arranged chronologically, unless otherwise noted.

Series 1: Biographical Material, 1980-1984, undated (box 1, 1 folder)

Series 2: Correspondence, 1917-1989 (boxes 1-4, 3.5 linear ft.)

Series 3: Notes, undated (box 4, 1 folder)

Series 4: Writings, 1980-1985 (box 4, 12 folders)

Series 5: Artwork, 1940, undated (box 4, 2 folders)

Series 6: Printed Material, 1928-1929 (box 4, 14 folders)

Series 7: Photographs, 1977, undated (box 4, 1 folder)

Series 8: Unprocessed Addition to the Peter Hurd and Henriette Wyeth Hurd Papers, 1939-1993 (boxes 5-6, 1.2 linear ft.)

Biographical Note:

Peter Hurd was born in 1904 in Roswell, New Mexico, after his parents' move there from the East Coast. He was appointed to the U. S. Military Academy at West Point in 1921, but left two years later to begin an artistic career. After attending Haverford College, he studied under N. C. Wyeth and at the Pennsylvania Academy of the Fine Arts from 1924 to 1926. In 1929, he married Wyeth's eldest child, Henriette, who was also a painter.

Henriette Wyeth was born in 1907 in Chadds Ford, Pennsylvania, and studied at the Normal Art School in Boston in 1920, and later at the Pennsylvania Academy of the Fine Arts.

During the mid-1930s they settled permanently in San Patricio, New Mexico. Hurd printed lithographs and painted portraits and landscapes in addition to federally-sponsored murals in post offices. Henriette was primarily known as a portrait painter.

Peter Hurd died in 1984.

Related Material:

Related material in the Archives of American Art includes Peter Hurd papers relating to the Section of Fine Arts, 1936-1951. These papers contain correspondence concerning Treasury Department art programs, including miscellaneous papers and printed material concerning Hurd's murals for the Section of Fine Arts in Texas and New Mexico.

Also found in the Archives of American Art is 1 sound tape reel of a transcribed interview with Peter Hurd conducted by Sylvia Loomis, March 28, 1964.

Provenance:

The Peter Hurd and Henriette Wyeth Hurd papers were donated to the Archives of American Art in 1991 and 1994 by Michael Hurd and Henriette Wyeth Hurd, the son and widow of Peter Hurd. In 1999, an addition of 1.2 linear feet was donated by the Henriette Wyeth Hurd estate.

Restrictions:

The collection is open for research. Patrons must use microfilm copy.

Rights:

The Peter Hurd and Henriette Wyeth Hurd papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Topic:

Women painters -- New Mexico  Search this

Painters -- New Mexico  Search this

Portrait painters -- New Mexico  Search this

Genre/Form:

Photographs

Drawings

Citation:

Peter Hurd and Henrietta Wyeth Hurd papers, 1917-1993. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hurdpete

See more items in:

Peter Hurd and Henriette Wyeth Hurd papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-hurdpete

Creator:

Curry, John Steuart, 1897-1946  Search this

Names:

Curry, Kathleen, 1899-  Search this

Extent:

10.1 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Video recordings

Photographs

Sketches

Interviews

Date:

1848-1999

Summary:

The papers of painter, muralist, and illustrator John Steuart Curry, and Curry family papers, measure 10.1 linear feet and date from 1848 to 1999. Papers document his career and family history through certificates, correspondence, photographs, clippings, contracts, receipts, inventories, writings, notes, and other materials. The papers contain particularly rich documentation of Curry's period as artist-in-residence at the University of Wisconsin, from 1936 to 1946. Mural projects in Kansas, Washington, DC, and Wisconsin are also documented.

Scope and Content Note:

The papers of painter, muralist, and illustrator John Steuart Curry, and Curry family papers, measure 10.1 linear feet and date from 1848 to 1999. Papers document his career and family history through certificates, correspondence, photographs, clippings, contracts, receipts, inventories, writings, notes, and other materials. The papers contain particularly rich documentation of Curry's period as artist-in-residence at the University of Wisconsin, from 1936 to 1946. Mural projects in Kansas, Washington, DC, and Wisconsin are also documented.

Biographical Materials include chronologies, biographical narratives, genealogical notes, certificates and awards, and other ephemera related to Curry and his family. Family Correspondence includes the earliest records created by Curry himself, including letters home from art school and from the East Coast during his early career.

Correspondence and Project files document mural projects, appearances, gallery relationships, and other activities from the early 1930s until his death in 1946 with correspondence, photographs, clippings, contracts, writings, and other miscellany. Subject files include pictorial reference and research files created by Curry for subjects depicted in his murals and paintings. Curry's writings include essays, lectures, interviews, and notes related to his technical and philosophical approach to art, as well as notes from his various travels, and essays by others about Curry. Personal Business Records contain records of artwork, business transactions, and personal finances.

Print Materials include print copies of published artwork by Curry, including magazine illustrations from Curry's early career. Extensive clippings, exhibition catalogs, and a scrapbook created by Curry as a youth are also found. Photographs depict Curry throughout his life in formal portraits, candid snapshots, and publicity photographs, with a significant number of photographs depicting Curry creating and posing with his artwork. The Artwork series contains a few sketches by Curry and seven canvases used for testing art materials. Additional sketches are found in Subject Files and scrapbooks.

Estate Papers contain materials dated after Curry's death in 1946 and mainly document the activities of Kathleen Curry in managing her husband's estate from 1946 until her death in 2001. Estate papers contain writings about Curry, correspondence, inventories of artwork, and alphabetical files documenting sales, exhibitions, and other projects.

Arrangement:

The collection is arranged into ten series:

Series 1: Biographical Materials, 1911-1993 (Box 1; 0.2 linear feet)

Series 2: Family Correspondence, 1916-1946 (Box 1; 0.2 linear feet)

Series 3: Correspondence and Project Files, 1928-1946 (Boxes 1-3, OV 11; 2.3 linear feet)

Series 4: Subject Files, 1848-1946 (Boxes 3-4, OV 11-12; 0.7 linear feet)

Series 5: Notes and Writings, circa 1911-1946 (Box 4; 0.3 linear feet)

Series 6: Personal Business Records, 1916-1952 (Box 4, OV 13; 0.3 linear feet)

Series 7: Print Materials, 1918-1985 (Boxes 4-5, 10; OV 12-13; 1.6 linear feet)

Series 8: Photographs, circa 1900-1998 (Boxes 5-6, OV 14; 1.1 linear feet)

Series 9: Artwork, 1941, undated (Box 7, OV 12, 14, 15; 0.2 linear feet)

Series 10: Estate Papers, circa 1946-1999 (Boxes 7-9 and rolled document; 2.3 linear feet)

Biographical Note:

Painter, muralist, and illustrator John Steuart Curry is considered one of the three important painters of the American Regionalist movement, along with Thomas Hart Benton of Missouri and Grant Wood of Iowa. Curry was born in north-eastern Kansas in 1897, and grew up on his family's farm. Curry left high school to attend the Kansas City Art Institute briefly, and then studied at the Art Institute of Chicago in 1916 with Edward J. Timmons and John Norton. Curry later spent a year in Paris studying with Basil Schoukhaieff in 1926 and 1927.

Curry began his career as a freelance illustrator in Leonia, New Jersey, under the influence of Harvey Dunn. Curry's illustrations were widely published in illustrated magazines such as Boy's Life, Country Gentleman, and Saturday Evening Post in the early 1920s. He married Clara Derrick in 1923 and lived in Greenwich Village, and then Westport, Connecticut, from 1924 to 1936. Derrick died in 1932, and in 1934 Curry married Kathleen Gould.

Curry's career shifted from illustration to painting during the 1920s and 1930s, bolstered by success in exhibitions and sales. Exhibits included the National Academy of Design (1924), the Corcoran Gallery (1927-1928), a solo exhibition at the Whitney Studio Club (1930), and the Carnegie International Exhibition (1933). Early sales include Baptism in Kansas, purchased by the Whitney in 1930, and Spring Shower, purchased by the Metropolitan Museum in 1932. Curry taught at Cooper Union (1932-1934) and the Art Student's League (1932-1934), and painted his first murals in Westport under the Federal Art Project in 1934.

In 1936, he was appointed artist-in-residence at the University of Wisconsin College of Agriculture as part of a rural art program developed by rural sociologist John Burton. The purpose of his residency was to serve as an educational resource for rural people of the state. Curry stayed in this position until his death in 1946, carrying out the program's mission through lectures and visits with dozens of art and civic groups around the state, and by making himself available to rural artists through correspondence and guidance in his studio. He also helped to organize annual rural art exhibitions for UW's Farm and Home Week beginning in 1940. In return for his work, he was given a salary and a studio on campus and the freedom to execute his own work as he chose.

Under the Federal Art Program's Section of Painting and Sculpture, Curry completed two murals in the Justice Department building in Washington in 1936, Westward Migration and Justice Defeating Mob Violence, and two murals in the Department of the Interior building in 1938, The Homestead and The Oklahoma Land Rush. A design that was rejected by the government for the Justice building, a mural entitled Freeing of the Slaves, was later executed at the University of Wisconsin in their law library. From 1938 to 1940, Curry worked on murals for the state house rotunda in Topeka, Kansas admist a stormy, public controversy over his dramatic depiction of Kansas history. The legislature effectively blocked Curry's completion of the project through a formal resolution not to remove marble that was blocking areas that were part of Curry's design. Infuriated, Curry left the unfinished murals unsigned, and later derided the state frequently for the treatment he received. The Kansas State legislature issued a formal apology and appreciation of the completed murals in the 1990s.

Despite the lack of appreciation of his home state, Curry did receive recognition elsewhere during his lifetime as an artist of national importance. He continued to paint and exhibit in the art centers of the East Coast. In 1941, he won the Gold Medal Award at the Pennsylvania Academy of the Fine Arts exhibition, and in the 1942 Artists For Victory exhibition, he won the top prize for Wisconsin Landscape. Curry's book illustrations were in high demand, and he contributed to books such as My Friend Flicka, editions of Lincoln's and Emerson's writings, and Wisconsin writer August Derleth's The Wisconsin. A biography of Curry written by Laurence Schmeckebier was published in 1942.

Curry died in 1946 of heart failure. A retrospective that had been planned for the living artist opened less than a month after his death at the Milwaukee Art Institute. His wife, Kathleen Curry, maintained his estate until her death, in 2001, at the age of 102. Additional retrospective exhibitions were held at Syracuse University in 1956 and in the Kansas State Capitol in 1970. In 1998, the exhibition "John Steuart Curry: Inventing the Middle West" was organized at the University of Wisconsin and traveled to the M.H. de Young Memorial Museum and the Nelson Atkins Museum of Art.

Related Material:

The Archives of American Art holds an oral history interview with Kathleen Curry regarding John Steuart Curry conducted in 1990 and 1992.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming (reels 164-168 and 4574-4576) including 98 sketchbooks, 1919-1942; a ledger, 1938-1946, of expenses with four loose letters to John Steuart Curry in Italian and Spanish; a notebook, 1932-1938, titled "Account and records of works, etc."; a journal, undated, of drafts of poems, and approximately 50 sketches. Loaned materials were returned to the lender some of which were subsequently donated to the Worcester Museum of Art in Worcester, Massachusetts. This material is not described in the collection container inventory.

John Steuart Curry memorabilia received with the Kathleen Curry's donation in 1979 (baby cup, baby dress, overalls, medals, paint box, watercolor box, 2 photographs) were transferred to the Spencer Museum of Art in 1985.

Provenance:

John Steuart Curry's widow, Kathleen Curry, lent materials on reels 164-168 for microfilming in 1971. In 1979, she subsequently donated portions of the material lent, along with additional items, some of which were transferred to Spencer Museum of Art. In 1972, Mildred Curry Fike, John Steuart Curry's sister, gave material and R. Eugene Curry, a brother, donated more material in 1975 and 1993. Ellen Schuster, John Steuart Curry's daughter, donated the home movies in 1973 and Daniel Schuster, John Steuart Curry's son-in-law, gave additional papers in 1991 in 1992, 1995, and 1999. In 1992, 1999 and 2000, additions were received from Kathleen Curry that may contain material previously filmed as a loan on reels 164-168.

Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Access to undigitized portions requires an appointment.

Rights:

The John Steuart Curry papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Topic:

Art -- Study and teaching  Search this

Art -- Technique  Search this

Works of art  Search this

Regionalism in art  Search this

Painters -- Wisconsin  Search this

Muralists -- Wisconsin  Search this

Illustrators -- Wisconsin  Search this

Genre/Form:

Scrapbooks

Video recordings

Photographs

Sketches

Interviews

Citation:

John Steuart Curry and Curry family papers, 1900-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.currjohn

See more items in:

John Steuart Curry and Curry family papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-currjohn

Creator:

Glackens, Ira, 1907-1990  Search this

Names:

Delaware Art Museum  Search this

Kraushaar Galleries  Search this

National Gallery of Art (U.S.)  Search this

National Portrait Gallery (Smithsonian Institution)  Search this

Williams College. Museum of Art.  Search this

Barnes, Albert C. (Albert Coombs), 1872-1951  Search this

Barnes, Laura L., 1875-1966  Search this

Buckley, Charles E.  Search this

Bullard, E. John(Edgar John), 1942-  Search this

Dimock, Ira  Search this

Fitzgerald, Irene Dimock  Search this

Glackens, Edith  Search this

Glackens, William J., 1870-1938  Search this

Kuhn, Walt, 1877-1949  Search this

Liff, Vivian  Search this

Luks, George Benjamin, 1867-1933  Search this

Morse, Stearns  Search this

Perlman, Bennard B.  Search this

Prendergast, Eugénie  Search this

Prendergast, Maurice Brazil, 1858-1924  Search this

Schwab, Arnold T.  Search this

Shinn, Everett, 1876-1953  Search this

Sloan, Helen Farr, 1911-2005  Search this

Extent:

2.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Sound recordings

Writings

Date:

circa 1900-1990

Summary:

The Ira and William Glackens papers, circa 1900-1990, measure 2.3 linear feet. The collection consists primarily of the papers of Ira Glackens relating to the artwork of his father, William Glackens, but also contains scattered correspondence of William and his wife Edith, including letters from Albert Barnes. Ira Glackens' papers include books written by Ira; exhibition catalogs and clippings about William and others; photographs of the Glackens family and friends, of Ira, and of the Glackens residence; and an audio recording of William Glackens' remarks upon accepting an award at the Carnegie International Exhibition in 1936. There are also records of the Sansom Foundation, which was set up by Ira Glackens and his wife Nancy.

Scope and Content Note:

The Ira and William Glackens papers, circa 1900-1990, measure 2.3 linear feet. The collection consists primarily of the papers of Ira Glackens relating to the artwork of his father, William Glackens, but also contains scattered correspondence of William and his wife Edith, including letters from Albert Barnes. Ira Glackens' papers include books written by Ira; exhibition catalogs and clippings about William and others; photographs of the Glackens family and friends, of Ira, and of the Glackens residence; and an audio recording of William Glackens' remarks upon accepting an award at the Carnegie International Exhibition in 1936. There are also records of the Sansom Foundation, which was set up by Ira Glackens and his wife Nancy.

Biographical information consists of genealogical research on the Glackens family and a copy of Ira Glackens birth certificate.

Correspondence of the artist William Glackens includes letters to his wife, Edith, written while on a trip to Paris in 1912 to purchase paintings for collector Albert C. Barnes. Barnes' letters to William and Edith Glackens are about paintings in the Barnes Collection, the educational plans of his Foundation, and Glackens' work and exhibitions. Letters to Edith Dimock Glackens are from relatives and friends including her father, Ira Dimock, her sister, Irene Dimock FitzGerald, author James L. Ford, and painter Maurice Prendergast. There is also a copy of a letter concerning the estate of Lenna G. Borton, the Glackens' daughter.

Ira Glackens' correspondence largely concerns exhibitions, sales, loans, donations and the authentication of artwork by William Glackens. Correspondents include museums, galleries and artists, in addition to personal correspondence with family and friends. Names of significant correspondents in Ira Glackens' correspondence include Laura (Mrs. Albert C.) Barnes, Charles Buckley, Delaware Art Museum, Kraushaar Gallery, Walt Kuhn, Vivian Liff, George Luks, Stearns Morse, National Gallery, National Portrait Gallery, Bennard Perlman, Eugenie Prendergast, Arnold T. Schwab, Helen (Mrs. John) Sloan, and Williams College Museum of Art.

Noteworthy writings include speeches, a memoir, and a short play by Ira Glackens, and family recollections of Edith Glackens. A 1936 audio recording is of remarks made by William Glackens upon being presented with an award for his entry in the Carnegie Institute's International Exhibition. Writings by others include essays by John Bullard and Everett Shinn about Glackens.

Printed material includes Ira Glackens' books, catalogs of group and solo exhibitions featuring the work of William Glackens, clippings concerning William Glackens, and reviews of Ira Glackens' books.

Records of the Sansom Foundation, Inc., a non-profit organization founded in 1950 by Ira and Nancy Glackens to oversee their art interests, consist of annual reports, a charitable trust registration form, and financial and tax records.

Photographs are of the Glackens family, travel scenes and artwork by William Glackens, The Eight, and other artists.

A card index of William Glackens' paintings, prepared by Ira Glackens, provides details of artwork in William Glackens' estate.

Arrangement:

The collection is arranged as 8 series.

Series 1: Biographical Information, circa 1900-1990 (Box 1; 2 folders)

Series 2: Correspondence, 1902-1989 (Box 1; 0.7 linear feet)

Series 3: Writings, 1963-1982 (Boxes 1, 3; 0.2 linear feet)

Series 4: Sansom Foundation, Inc., 1957-1973 (Box 2; 0.2 linear feet)

Series 5: Printed Material, 1903-1989 (Boxes 2-3; 0.6 linear feet)

Series 6: Scrapbook, 1956-1980 (Box 3; 0.1 linear feet)

Series 7: Photographs, circa 1900-1986 (Box 2; 0.3 linear feet)

Series 8: Card Index of William Glackens' Paintings, circa 1940-1949 (Box 3; 0.2 linear feet)

Biographical Note:

Ira Dimock Glackens (1907-1990), the first child of painter and illustrator William Glackens and Edith Dimock Glackens, was born in New York City. Raised in the art world, he was well acquainted with his father's friends and colleagues. Upon his father's death in 1938, Ira became responsible for managing and administering the art remaining in William Glackens's estate.

Educated at the Choate School, Ira Glackens became a writer. He published two books about his father: William Glackens and the Ashcan Group: The Emergence of Realism in American Art (1957) and William Glackens and the Eight: The Artists who Freed American Art (1984). An opera expert, Ira Glackens was also the author of Yankee Diva: Lillian Nordica and the Golden Days of Opera (1963) and an authority on apples.

William Glackens (1870-1938) was born in Philadelphia and studied at the Pennsylvania Academy of the Fine Arts with Robert Henri while working as an illustrator for local newspapers, including the Philadelphia Press. In 1895, he departed for a year in Paris and then moved to New York City where he continued to work as an illustrator for various newspapers and periodicals. Before long, Glackens began to focus on scenes of city life and street crowds and, in 1908, he participated in the groundbreaking exhibition of The Eight at the Macbeth Gallery in New York City.

Between 1925 and 1932 William Glackens lived and worked in France and his painting was strongly influenced by Renoir. He spent the remainder of his life in New York City, exhibiting widely from 1894 on. Glackens was named an Associate of the National Academy of Design and was the recipient of several awards including those of the 1901 Pan-American Exposition (gold), the 1904 St. Louis Exposition, the 1915 Pan-Pacific Exposition, the 1933 Society of Independent Artists Exhibition, and the 1936 Carnegie International Exhibition.

Related Materials:

The Archives also holds several collections related to Ira and William Glackens, including the Ira Glackens letters to Jane Wasey; the Illustrations by William Glackens and letter from Ira Glackens; the Lillian E. Travis papers relating to William Glackens and Charles Prendergast; and the Thomas Hart Benton and Ira Glackens letters. Substantial correspondence between William Glackens and the Kraushaar Gallery can also be found in the Kraushaar Galleries records.

Separated Material:

Published books not authored by Glackens family members or related to Glackens' family members were transferred to the Smithsonian's American Art Museum Library in 2007. A few pieces of artwork were given to Williams College, also in 2007.

Provenance:

The Ira and William Glackens papers were donated to the Archives of American Art by Ira Glackens in 1987, and by his estate in 1991. In 2007 a small cache of papers found in the Glackens home was donated by Susan Corn Conway, who had purchased the Glackens' house.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Ira and William Glackens papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Topic:

Illustrators -- Pennsylvania -- Philadelphia  Search this

Authors -- Pennsylvania -- Philadelphia  Search this

Painting, American  Search this

Eight (Group of American artists) -- Photographs  Search this

Art -- Collectors and collecting  Search this

Painting, Modern -- 20th century -- United States  Search this

Painters -- Pennsylvania -- Philadelphia  Search this

Genre/Form:

Photographs

Sound recordings

Writings

Citation:

Ira and William Glackens papers, circa 1900-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Sansom Foundation.

Identifier:

AAA.glacwill

See more items in:

Ira and William Glackens papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-glacwill

Creator:

Butler, Mary  Search this

Names:

Pennsylvania Academy of the Fine Arts  Search this

Biddle, George, 1885-1973  Search this

Chase, William Merritt, 1849-1916  Search this

Eakins, Susan Macdowell  Search this

Grafly, Dorothy, 1896-  Search this

Henri, Robert, 1865-1929  Search this

Norris, S. Walter  Search this

Oakley, Thornton, 1881-1953  Search this

Pennell, Joseph, 1857-1926  Search this

Sartain, William, 1843-1924  Search this

Stoddard, Alice Kent Pearson, 1885-1976  Search this

Thouron, Henry  Search this

Extent:

1.6 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Writings

Photographs

Date:

1853-1946

bulk 1884-1946

Summary:

The papers of landscape painter Mary Butler date from 1853-1946, bulk 1884-1946, and measure 1.6 linear feet. Found within the papers are biographical material, correspondence, and records relating to Butler's long participation in the Fellowship of the Pennsylvania Academy of the Fine Arts. Also found are notes and writings, a scrapbook, printed material, and photographs of Butler, her friends, her studio in Ogunquit, Maine, her landscape paintings, and exhibition installations.

Scope and Content Note:

The papers of landscape painter Mary Butler date from 1853-1946, bulk 1884-1946, and measure 1.6 linear feet. Found within the papers are biographical material, correspondence, and records relating to Butler's long participation in the Fellowship of the Pennsylvania Academy of the Fine Arts. Also found are notes and writings, a scrapbook, printed material, and photographs of Butler, her friends, her studio in Ogunquit, Maine, her landscape paintings, and exhibition installations.

Biographical material includes genealogical notes on Butler's early family history, biographical accounts, teaching certificates, and letters of recommendation from Butler's instructors including William Merritt Chase, Robert Henri, and William Sartain.

Found within the papers are correspondence with family members, including letters to her cousin Edgar Butler letters from her friend Mrs. Thomas Eakins; and miscellaneous scattered letters from various colleagues including George Biddle, Dorothy Grafly, Thornton Oakley, and Alice Kent Stoddard concerning various topics. Correspondence regarding exhibitions is with arts organizations and colleagues including Henry Thouron and S. Walter Norris.

There are files documenting Butler's long participation in the Fellowship of the Pennsylvania Academy of the Fine Arts, including a letter from Joseph Pennell, notes, writings, and printed material. Additional printed material includes a scrapbook of clippings, and exhibition announcements and catalogs. Photographs are of Butler, her friends, her studio in Ogunquit, Maine, views of the Maine coast and of Cathedral Crag in Washington State, Butler's landscape paintings, and miscellaneous exhibition installations.

Arrangement:

The papers are arranged into seven series. Each series is arranged chronologically.

Series 1: Biographical Material, 1884-1945 (Box 1; 10 folders)

Series 2: Correspondence, 1853-1944 (Box 1; 0.5 linear feet)

Series 3: File for the Fellowship of the Pennsylvania Academy of the Fine Arts, 1917-1946 (Box 1; 14 folders)

Series 4: Notes and Writings, 1905-1938 (Box 1; 10 folders)

Series 5: Scrapbook, 1908-1942 (Box 1; 5 folders)

Series 6: Printed Material, 1894-1944 (Box 2; 0.4 linear feet)

Series 7: Photographs, circa 1870-1945 (Box 3; 0.2 linear feet)

Biographical Note:

Mary Butler was born on October 27, 1865 in Uwachlan, Pennsylvania, the daughter of James and Rachel M. (James) Butler.

Butler began her education at the Darlington Seminary. She studied painting at the Philadelphia School of Design for Women (now the Moore College of Art) under William Sartain and Robert Henri, graduating in 1894. Between 1896 and 1902, she studied at the Pennsylvania Academy of the Fine Arts under William Merritt Chase and Celia Beaux. From 1897 to 1898, she studied at the Académie Colarossi in Paris with Gustave Courtois, René François Xavier Prinet, and Jean-Antoine Injalbert.

She attended a summer school conducted by William Merritt Chase at Shinnacock Hills, and later studied under Robert Henri and Edward W. Redfield. With Redfield, she spent a season at Centre Bridge, Pennsylvania. Butler was primarily a landscape painter and traveled widely in the United States and Europe to find unusual and inspiring views. She also spent summers in Ogunquit and on Monhegan Island, Maine.

In 1909, Butler joined the Fellowship of the Pennsylvania Academy of the Fine Arts and served as President of that organization from 1921 to 1937. During her tenure, she inaugurated traveling exhibitions, a picture purchasing fund and, in 1915, the Thouron Fund for aid of needy artists.

Throughout her career Butler exhibited extensively and promoted the arts in Philadelphia.

Mary Butler died on March 16, 1946.

Provenance:

The Mary Butler papers were donated in 2005 by Rachel F. Armstrong, the artist's niece.

Restrictions:

The collection is open for research. Use requires an appointment.

Rights:

The Mary Butler papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Topic:

Landscape painters -- Pennsylvania -- Philadelphia  Search this

Women painters -- Pennsylvania -- Philadelphia  Search this

Genre/Form:

Scrapbooks

Writings

Photographs

Citation:

Mary Butler papers, 1853-1946, bulk 1884-1946. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.butlmary

See more items in:

Mary Butler papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-butlmary

Artist:

Frederick Gutekunst, 25 Sep 1831 - 27 Apr 1917  Search this

Sitter:

Henry Ossawa Tanner, 21 Jun 1859 - 25 May 1937  Search this

Medium:

Albumen silver print

Dimensions:

Image/Sheet: 14.2 x 10.4cm (5 9/16 x 4 1/8")

Mount: 16.6 x 10.8cm (6 9/16 x 4 1/4")

Mat: 45.7 x 35.6cm (18 x 14")

Type:

Photograph

Date:

c. 1897

Topic:

Home Furnishings\Furniture\Seating\Chair  Search this

Costume\Dress Accessory\Eyeglasses  Search this

Personal Attribute\Facial Hair\Mustache  Search this

Henry Ossawa Tanner: Male  Search this

Henry Ossawa Tanner: Visual Arts\Artist\Painter  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.2011.10

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4b0739ad8-ee7b-4156-b02d-c142835f3f8e

EDAN-URL:

edanmdm:npg_NPG.2011.10

Attribution:

John B. Neagle, 4 Nov 1796 - 17 Sep 1865  Search this

Sitter:

Harriet Hendickson Locke, 1845 - 1945?  Search this

Medium:

Oil on canvas

Dimensions:

51cm x 43.3cm (20 1/16" x 17 1/16"), Sight

Type:

Painting

Date:

1851?

Topic:

Costume\Jewelry\Necklace  Search this

Nature & Environment\Plant\Flower\Flowers  Search this

Harriet Hendickson Locke: Female  Search this

Portrait  Search this

Credit Line:

Owner: Pennsylvania Academy of the Fine Arts

Object number:

1957.14 PAFA

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4f74fd404-363c-4037-b8f7-bd7a334ef755

EDAN-URL:

edanmdm:npg_1957.14_PAFA

Artist:

John B. Neagle, 4 Nov 1796 - 17 Sep 1865  Search this

Sitter:

Cornelia Harrison Earl, 1775 - 1838?  Search this

Medium:

Oil on canvas

Dimensions:

75cm x 62.3cm (29 1/2" x 24 1/2"), Sight

Type:

Painting

Date:

c. 1832

Topic:

Home Furnishings\Furniture\Seating\Chair  Search this

Costume\Outerwear\Shawl  Search this

Costume\Hair Accessory\Hair band  Search this

Cornelia Harrison Earl: Female  Search this

Portrait  Search this

Credit Line:

Owner: Pennsylvania Academy of the Fine Arts

Object number:

1894.6.6 PAFA

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4169439dc-b256-4fb9-b6e5-c367e5efa5a5

EDAN-URL:

edanmdm:npg_1894.6.6_PAFA

Artist:

John B. Neagle, 4 Nov 1796 - 17 Sep 1865  Search this

Sitter:

Anna Gibbon Johnson Hubbell, 1809 - 1895  Search this

Medium:

Oil on canvas

Dimensions:

Image: 116.2 x 85.7cm (45 3/4 x 33 3/4")

Type:

Painting

Date:

1828

Topic:

Costume\Headgear\Hat  Search this

Exterior  Search this

Nature & Environment\Clouds  Search this

Architecture\Balustrade  Search this

Costume\Dress Accessory\Glove\Gloves  Search this

Anna Gibbon Johnson Hubbell: Female  Search this

Portrait  Search this

Credit Line:

Owner: Pennsylvania Academy of the Fine Arts

Object number:

1929.7 PAFA

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4bcd4a7c0-0601-4097-a3d7-89cf9315a8aa

EDAN-URL:

edanmdm:npg_1929.7_PAFA

Artist:

Bass Otis, 1784 - 1861  Search this

Sitter:

John B. Neagle, 4 Nov 1796 - 17 Sep 1865  Search this

Medium:

Oil on wood

Dimensions:

53.7cm x 44.2cm (21 1/8" x 17 3/8"), Sight

Type:

Painting

Date:

c. 1815

Topic:

John B. Neagle: Visual Arts\Artist  Search this

John B. Neagle: Male  Search this

John B. Neagle: Visual Arts\Artist\Painter\Portraitist  Search this

Portrait  Search this

Credit Line:

Owner: Pennsylvania Academy of the Fine Arts

Object number:

1944.24 PAFA

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4c9143ad4-32ab-4659-a789-73e55e89223a

EDAN-URL:

edanmdm:npg_1944.24_PAFA

Artist:

Unidentified Artist  Search this

Former attribution:

John B. Neagle, 4 Nov 1796 - 17 Sep 1865  Search this

Sitter:

Mrs. Archibald Randall, 19th Century  Search this

Medium:

Oil on canvas

Dimensions:

74.7cm x 62.8cm (29 7/16" x 24 3/4"), Sight

Type:

Painting

Date:

c. 1832-1838

Topic:

Mrs. Archibald Randall: Female  Search this

Portrait  Search this

Credit Line:

Owner: Pennsylvania Academy of the Fine Arts

Object number:

1922.5.3 PAFA

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm41e52fd0f-7325-4865-80a5-d7d4ebc63aec

EDAN-URL:

edanmdm:npg_1922.5.3_PAFA

Artist:

John B. Neagle, 4 Nov 1796 - 17 Sep 1865  Search this

Sitter:

John Galloway Whilldin, 1791 - 1824  Search this

Medium:

Oil on canvas

Dimensions:

74.9cm x 62.3cm (29 1/2" x 24 1/2"), Sight

Type:

Painting

Date:

1825-1835

Topic:

John Galloway Whilldin: Male  Search this

Portrait  Search this

Credit Line:

Owner: Pennsylvania Academy of the Fine Arts

Object number:

1945.15.1 PAFA

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4d0f3f772-2ce3-405e-aa19-14e15fcb1985

EDAN-URL:

edanmdm:npg_1945.15.1_PAFA

Artist:

John B. Neagle, 4 Nov 1796 - 17 Sep 1865  Search this

Sitter:

Clayton Earl, 1775 - 1834?  Search this

Medium:

Oil on canvas

Dimensions:

75cm x 62.2cm (29 1/2" x 24 1/2"), Sight

Type:

Painting

Date:

1832

Topic:

Clayton Earl: Male  Search this

Clayton Earl: Business and Finance\Businessperson\Merchant  Search this

Portrait  Search this

Credit Line:

Owner: Pennsylvania Academy of the Fine Arts

Object number:

1894.6.5 PAFA

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm48265d67d-bb10-42bb-954f-1ccf299da5ab

EDAN-URL:

edanmdm:npg_1894.6.5_PAFA

Artist:

John B. Neagle, 4 Nov 1796 - 17 Sep 1865  Search this

Copy after:

Gilbert Stuart, 3 Dec 1755 - 9 Jul 1828  Search this

Sitter:

Henry Dearborn, 1751 - 1829  Search this

Medium:

Oil on canvas

Dimensions:

48.5cm x 38.4cm (19 1/8" x 15 1/8"), Sight

Type:

Painting

Date:

c. 1825-1850

Topic:

Henry Dearborn: Male  Search this

Henry Dearborn: Military\Army\Officer\Revolution  Search this

Henry Dearborn: Politics and Government\Statesman  Search this

Henry Dearborn: Politics and Government\Cabinet Member\Secretary of War  Search this

Henry Dearborn: Health and Medicine\Physician  Search this

Portrait  Search this

Credit Line:

Owner: Pennsylvania Academy of the Fine Arts

Object number:

1933.10.48 PAFA

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm409746ebb-2e96-4549-a8cf-00987cac239f

EDAN-URL:

edanmdm:npg_1933.10.48_PAFA

Artist:

John B. Neagle, 4 Nov 1796 - 17 Sep 1865  Search this

Sitter:

John William Wallace, 1815 - 1884  Search this

Medium:

Oil on canvas

Dimensions:

74.5cm x 61.9cm (29 5/16" x 24 3/8"), Sight

Type:

Painting

Date:

1835-1845

Topic:

John William Wallace: Male  Search this

John William Wallace: Law and Law Enforcement\Jurist  Search this

John William Wallace: Law and Law Enforcement\Legal Scholar  Search this

Portrait  Search this

Credit Line:

Owner: Pennsylvania Academy of the Fine Arts

Object number:

1933.10.53 PAFA

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm417184204-119f-4c36-9016-6df40c6ddc1e

EDAN-URL:

edanmdm:npg_1933.10.53_PAFA

Artist:

John B. Neagle, 4 Nov 1796 - 17 Sep 1865  Search this

Sitter:

William Charles Macready, 1793 - 1873  Search this

Medium:

Oil on canvas

Dimensions:

74.8cm x 62.4cm (29 7/16" x 24 9/16"), Sight

Type:

Painting

Date:

c. 1840-1860

Topic:

William Charles Macready: Male  Search this

William Charles Macready: Performing Arts\Performer\Actor  Search this

Portrait  Search this

Credit Line:

Owner: Pennsylvania Academy of the Fine Arts

Object number:

1932.13.3 PAFA

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4eb3004bd-6314-4810-b110-99896c09d906

EDAN-URL:

edanmdm:npg_1932.13.3_PAFA

Artist:

John B. Neagle, 4 Nov 1796 - 17 Sep 1865  Search this

Sitter:

William Crook Rudman Sr., born early 19th Century  Search this

Medium:

Oil on canvas

Dimensions:

74.3cm x 61.2cm (29 1/4" x 24 1/8"), Sight

Type:

Painting

Date:

c. 1845

Topic:

Costume\Jewelry\Chain  Search this

Personal Attribute\Facial Hair\Beard  Search this

William Crook Rudman Sr.: Male  Search this

William Crook Rudman Sr.: Business and Finance\Businessperson\Industrialist  Search this

Portrait  Search this

Credit Line:

Owner: Pennsylvania Academy of the Fine Arts

Object number:

1923.8.4 PAFA

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm44b0832a4-9f72-4aca-b73f-86eab61904c3

EDAN-URL:

edanmdm:npg_1923.8.4_PAFA