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Alice Neel people come first Kelly Baum and Randall Griffey ; with contributions by Meredith A. Brown, Julia Bryan-Wilson, and Susanna V. Temkin

Title:
People come first
Artist:
Neel, Alice 1900-1984  Search this
Author:
Container of (work): Neel, Alice 1900-1984 Paintings Selections  Search this
Curator:
Baum, Kelly  Search this
Griffey, Randall R  Search this
Contributor:
Brown, Meredith A.,  Search this
Bryan-Wilson, Julia  Search this
Temkin, Susanna V  Search this
Host institution:
Metropolitan Museum of Art (New York, N.Y.),.)  Search this
Museo Guggenheim Bilbao  Search this
M.H. de Young Memorial Museum  Search this
Subject:
Neel, Alice 1900-1984  Search this
Neel, Alice 1900-1984 Themes, motives  Search this
Physical description:
255 pages illustrations (chiefly color), facsimiles, portraits (chiefly color) 30 cm
Type:
Exhibitions
Expositions
Exhibition catalogs
Catalogues d'exposition
Place:
New York (State)
New York
New York (État)
Date:
2021
20th century
20e siècle
Topic:
Portrait painting, American  Search this
Painting, American  Search this
Portrait painters  Search this
Women artists  Search this
Peinture de portraits américaine  Search this
Peinture américaine  Search this
Portraitistes  Search this
Femmes artistes  Search this
ART / General  Search this
Call number:
N40.1.N363 M54 2021
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1156765

Isabella Howland papers

Creator:
Howland, Isabella, 1895-1974  Search this
Names:
Bacon, Peggy, 1895-1987  Search this
Bywaters, Jerry  Search this
Dehn, Adolf, 1895-1968  Search this
Force, Juliana, 1876-1948  Search this
Gershoy, Eugenie, 1901?-1983 or 6  Search this
Greenbaum, Dorothea S.  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Strater, Henry, 1896-  Search this
Watson, Forbes, 1880-1960  Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Sketches
Photographs
Date:
1899-1979
Summary:
The papers of artist Isabella Howland measure 1.2 linear feet and date from 1899-1979. The collection documents her career through biographical material, correspondence, personal business records, writings, printed material, artwork, and photographs.
Scope and Contents:
The papers of painter, sculptor, caricaturist, and portraitist Isabella Howland measure 1.2 linear feet and date from 1899-1979. Correspondence makes up about a third of the collection, with the remainder comprised of biographical material, writings, printed material, photographs, and artworks.

Correspondence is found between Isabella Howland and other artists or dealers. Among these are Eugenie Gershoy, Henry Strater, Edith Halpert, Peggy Bacon, Forbes Watson, Jerry Bywaters, Adolph Dehn and Dorothea Greenbaum. Letters from Juliana Force, the first director of the Whitney Museum of American Art, are present. Many invitations to exhibit are included. The collection includes a small number of letters with Howland's family. She maintained written communication with several individuals over decades.

The biographical material contains Isabella Howland's handwritten notes and typed documents about her life. Some legal documents and financial records are present. The writing series includes her story 'Willy Nilly' with accompanying illustrations of animals, in addition to some other writings. The artwork series includes sketches and sketchbooks from childhood into adulthood. Photographs include images of Howland as well as her paintings and portraits.
Arrangement:
Missing Title

Series 1: Biographical Material, 1901-1972 (4 folders; Box 1)

Series 2: Correspondence, 1917-1973 (22 folders; Box 1)

Series 3, Writings, 1935-1964 (8 folders; Box 1)

Series 4: Printed Material, 1928-1976 (5 folders; Box 1)

Series 5: Photographs, circa 1900-1979 (4 folders; Box 1, OV 2)

Series 6: Artwork, 1899-circa 1940s (8 folders; Box 1, OV 2)
Biographical / Historical:
Isabella Howland (1895-1974) lived and worked in New York City. She drew portraits, painted on canvas, sketched on paper, and sculpted caricature busts of people in the art world. She wrote that she could do anything with her hands.

Howland was born in Brookline, Massachusetts. From her youth she knew she wanted to be an artist. She had her earliest artistic training at age 16. Her art education included time at the Boston Museum School and the Art Students League in New York City. She completed her secondary education in France and Germany, moved back to the United States afterwards, and in 1920 travelled again to Europe. In 1922 she settled in Greenwich Village and spent summers in Woodstock to paint landscapes and still-lifes. She actively painted in the 1920s, and had three shows in 1927, 1929, and 1931. During the Depression she worked for the Public Works of Art Project and the Works Progress Administration. In 1934 she married Armando Zegri, and they divorced in 1937. While they were married they owned a club in the West Village named The Café Latino. She began teaching at a private school in the early 1940s while dealing with some personal difficulties. She found religion which comforted her as she dealt with her mother's declining health and her sister's waning mental state.

Howland had many friends in the art world and regularly received requests to exhibit at museums. She became known as an accomplished portrait artist, and she was commissioned many times to execute drawings or sculptures. She dabbled in writing and illustrating stories, and produced a set of 33 Christmas cards featuring two monks.
Provenance:
Donated between 1975-1976 by Mrs. Martha Craig and Barbara Summer. Three photographs of works of art were donated by Eugenie Gershoy in 1979.
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:
Painters -- New York (State) -- New York  Search this
Portrait painters -- New York (State) -- New York  Search this
Caricaturists -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Sketchbooks
Sketches
Photographs
Citation:
Isabella Howland papers, 1899-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.howlisab
See more items in:
Isabella Howland papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97b9408e8-8951-4a76-9505-e11f14ea5721
EDAN-URL:
ead_collection:sova-aaa-howlisab

Sylvia Sleigh papers

Creator:
Sleigh, Sylvia  Search this
Names:
Artists in Residence (Gallery: New York, N.Y.)  Search this
Soho 20 (Gallery)  Search this
Women in the Arts Foundation, Inc  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1961-1983
Scope and Contents:
Files containing correspondence, printed material and miscellany on the Women in the Arts Foundation, Inc., the Artists in Residence Gallery, and Soho 20, all in New York City; 196 photographs of Sleigh's paintings; catalogs, announcements, and clippings concerning Sleigh.
Biographical / Historical:
Sylvia Sleigh is a portrait painter, figure painter, and instructor from New York, New York.
Provenance:
Donated 1979-1983 by Sylvia Sleigh.
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:
Art teachers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Identifier:
AAA.sleisylv
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90a970476-158f-4e44-9592-03a8a4505674
EDAN-URL:
ead_collection:sova-aaa-sleisylv

A. Henry Nordhausen papers

Creator:
Nordhausen, A. Henry, 1901-  Search this
Names:
Peter A. Juley & Son  Search this
Royal Academy of Fine Arts (Munich, Germany)  Search this
Salmagundi Club  Search this
Extent:
8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1919-1991
Scope and Contents:
Biographical material; correspondence with Harrison Cady, John Cosigan, the Columbus Museum, Georgia Institute of Technology, Grand Central Galleries, Musemont Fine Art Camp, the Salmagundi Club, the Art Students League, Laurence Schmeckebier (Nordhausen's biographer), Syracuse University, the United States Navy, and others, mostly concerning portraits by Nordhausen; bills and receipts; a diary, 1923-1924, concerning his studies at the Royal Academy of Fine Arts in Munich and his travels in Europe; day books and engagement calendars, ca. 1940-1985; address books; guest books; 9 scrapbooks, 1919-1991, containing photographs, clippings and letters; exhibition catalogs and announcements; photographs of works of art by Peter A. Juley; certificates of merit from the Salmagundi Club, 1950-1974; and photographs of Salmagundi Club dinners, 1938, 1940, 1942, 1947, 1949, 1961, and 1962.
Biographical / Historical:
Painter, portrait painter; Columbus, Ga. Died 1993.
Provenance:
Bequest of A. Henry Nordhausen, 1994.
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:
Painters -- New York (State) -- New York  Search this
Portrait painters -- New York (State) -- New York  Search this
Painters -- Georgia -- Columbus  Search this
Topic:
Portrait painting -- United States  Search this
Art -- Study and teaching -- United States  Search this
Art -- Study and teaching -- Germany -- Munich  Search this
Identifier:
AAA.norda
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93d1c67e6-821a-4d63-b5ac-e58cc78b411a
EDAN-URL:
ead_collection:sova-aaa-norda

Macbeth Gallery records

Creator:
Macbeth Gallery  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Homer, Winslow, 1836-1910  Search this
Macbeth, Robert W. (Robert Walker), 1884-1940  Search this
Macbeth, William, 1851-1917  Search this
McIntyre, Robert G. (Robert George), b. 1885  Search this
Stuart, Gilbert, 1755-1828  Search this
Weir, Robert Walter, 1803-1889  Search this
Extent:
131.6 Linear feet
Type:
Collection descriptions
Archival materials
Daguerreotypes
Photographs
Scrapbooks
Date:
1947-1948
1838-1968
bulk 1892-1953
Summary:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.
Scope and Content Note:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. The records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

The gallery's correspondence files form the core of the collection and illuminate most aspects of American art history: the creation and sale of works of art, the development of reputations, the rise of museums and art societies, change and resistance to change in the art market, and the evolution of taste. Ninety-five feet of correspondence house substantial and informative letters from dozens of important American painters and sculptors, including older artists and younger contemporaries of the gallery in its later years. There are also letters from collectors, curators, other galleries, and critics.

The financial files found in the collection offer insight into the changing economic climate in which the gallery operated. They include information ranging from the details of individual sales and the market for individual artists, to consignment activities and artist commissions, to overviews of annual sales. This information is augmented by the firm's inventory records and the photographs of artwork with their accompanying records of paintings sold. The inventory records provide details of all works of art handled by the gallery, both sold and unsold, and the buyers who purchased them; the photographs of artwork include images of artwork sold with accompanying sales information.

The highlight of the gallery's printed material is the publication Art Notes. Although published only until 1930, Art Notes provides an excellent and detailed view of the gallery's exhibition schedule and the relationship of the gallery owners with many of the artists whose work they handled. It was a house organ that also provided a running commentary on events in the art world. The gallery's 19 fragile scrapbooks, maintained throughout the firm's history, provide further coverage of activities through exhibition catalogs and related news clippings. Printed material from other sources provides a frame of reference for activities in the art world from the mid-19th to the mid-20th-centuries and includes an almost complete run of the rare and important pre-Civil War art publication The Crayon.

Reference files record the interest which the gallery owners took in the work of early portrait painters and in later artists such as George Inness and Winslow Homer. Together with the immense volume of correspondence with buyers and sellers of paintings by the great portraitists and the Hudson River School found in the gallery's correspondence files, these records are still useful sources of information today and underscore the deep interest that the Macbeths and Robert McIntyre took in 18th and 19th-century American art.

The photographs of artists found here are a treasure trove of images of some of the major figures of the 19th and 20th-centuries. There are photographs of artists such as Chester Beach, Emil Carlsen, Charles Melville Dewey, Frederick Carl Frieseke, Childe Hassam, Winslow Homer, George Inness, Maurice Prendergast, and Julian Alden Weir, many of them original prints and the majority of them autographed.

With the exception of the "The Eight" and a few of their contemporaries, an important aspect of art history, the modernist movement, is generally represented in the Macbeth Gallery records only in a negative form as the three successive proprietors of the gallery showed very little interest in this area. Nevertheless, the collection is a highly significant source of information on many of the major and minor figures in American art in the period after 1890.
Arrangement:
The collection is arranged into eight series:

Missing Title

Series 1: Correspondence, 1838-1968 (Box 1-95, 163-164, OV 165; 96.2 linear feet)

Series 2: Financial and Shipping Records, 1892-1956 (Box 96-110; 11.8 linear feet)

Series 3: Inventory Records, 1892-circa 1957 (Box 111-113; 3.0 linear feet)

Series 4: Printed Material, 1838-1963 (Box 114-119, 162; 5.0 linear feet)

Series 5: Scrapbooks, 1892-1952 (Box 120-130; 3.3 linear feet)

Series 6: Reference Files, 1839-1959 (Box 131-132; 0.6 linear feet)

Series 7: Miscellaneous Files, 1912-1956 (Box 133-134; 0.8 linear feet)

Series 8: Photographs, circa 1880-circa 1968 (Box 135-161; 12.1 linear feet)
Historical Note:
The Macbeth Gallery was established in 1892 by William Macbeth, a Scotch-Irish immigrant who had spent ten years with the print dealer Frederick Keppel before he opened his doors to the art-buying public at 237 Fifth Avenue in New York. Despite the prevailing interest in foreign art at that time, particularly in that of the Barbizon and Dutch schools, Macbeth was determined to dedicate his gallery to "the permanent exhibition and sale of American pictures, both in oil and water colors."

Although some of the gallery's earliest exhibitions were of work by European artists, the business soon became the only gallery in continuous operation that kept American art permanently on display. In the January 1917 issue of Art Notes, Macbeth recounts those early days remembering that "The opening of my gallery......was a rash venture under the existing conditions, and disaster was freely predicted." Nevertheless, he struggled through the financial crisis of 1893 and persisted with his devotion to American art; slowly the market for his pictures grew more amenable.

Macbeth moved to more spacious quarters at 450 Fifth Avenue in 1906 and two years later undertook what was to become the major event in the gallery's early history: the 1908 exhibition of "The Eight," featuring work by Arthur B. Davies, Willam J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. "The Eight" were an unlikely combination of social realists, visionaries and impressionists eager to challenge the dominating influence of the National Academy. The exhibition received an immense amount of publicity and instantly entered into art history as a successful assault on tradition.

Despite the splash that the exhibition made and its implications for the future of American art, nothing that the gallery did subsequently indicated that Macbeth intended to capitalize on its significance. It is true that Macbeth supported many artists later considered leaders in American art when the public would pay no attention to them because of their modernist tendencies; Arthur B. Davies, Paul Dougherty, Maurice Prendergast, Theodore Robinson, and F. Ballard Williams all held their first exhibitions at his gallery. Nevertheless, neither Macbeth nor the gallery's two successive proprietors, Robert G. McIntyre (William's nephew) and Robert Macbeth (William's son), who joined the gallery in 1903 and 1906 respectively, ever developed a true interest in modern art. The November 1930 issue of Art Notes summarizes their collective disdain for modernism, stating: "We believe that, by and large, modern art is amusing. We are heretical enough to believe that much of it was started for the amusement of its creators and that no one was more surprised than they when it was taken seriously by a certain audience to whom the bizarre and the unintelligible always makes an appeal." So while the Macbeths and McIntyre cetainly championed American artists and insisted they deserved as much recognition as the Europeans, their deepest and most abiding interest was undoubtedly the established artists of the 18th and 19th-centuries and those of the early 20th-century who continued in a more conservative style. Artists such as Emil Carlsen, Charles Harold Davis, Frederick C. Frieseke, Robert Henri, Winslow Homer, Chauncey F. Ryder, Abbot Handerson Thayer, J. Francis Murphy, A. H. Wyant were the gallery's bread and butter.

When William Macbeth died in 1917 Robert Macbeth took up the reins with the assistance of Robert G. McIntyre . Although they incorporated the business as William Macbeth, Inc., in 1918 the gallery continued to be known, as it always would be, simply as Macbeth Gallery. Macbeth and McIntyre continued to show work in the same vein as the elder Macbeth. They concentrated primarily on oil paintings at this time, having found by the 1920s that "oils are all that our gallery owners will buy," though they also exhibited an occasional group of watercolors and pastels in addition to bronzes and other sculpture by contemporary American artists such as Chester Beach and Janet Scudder.

Of the early American painters the Macbeths and McIntyre were particularly interested in colonial portraits and miniatures, especially those painted by prominent artists in the latter part of the eighteenth century such as John Singleton Copley, Gilbert Stuart, Thomas Sully and John Trumbull. In its early years the gallery also handled the work of a few prominent American etchers including Frank W. Benson, Emil Fuchs, Daniel Garber, Childe Hassam and Chauncey F. Ryder. The print department was generally discontinued, however, in the late 1930s although the gallery continued to show prints by contemporaries such as Stow Wengenroth.

In 1924 relative prosperity allowed the gallery to move uptown to 15 East Fifty-seventh Street. When the 1930s brought new financial hardship for the gallery Macbeth and McIntyre took a variety of approaches to boosting sales. In 1930 they decided to hold only group exhibitions throughout the season to the exclusion of one-man shows, and also held some special exhibitions of paintings priced at a hundred dollars each in the hope that they could tempt those "willing to take advantage of a rare chance to secure representative examples of good art at a most attractive price." A move to smaller quarters at 15 East Fifty-seventh Street in 1935 was made with the intention of concentrating their efforts on the work of fewer contemporary artists, while continuing to handle the work of the older Americans they had long supported.

When Macbeth died suddenly and unexpectedly in August 1940 following an operation for appendicitis, McIntyre continued to run the gallery with the assistance of Hazel Lewis. During the 1940s McIntyre and Lewis showed primarily contemporary art in a wide range of media including oil, watercolor, pastel, drawing and sculpture, while continuing, as always, to show the occasional group of 19th-century Americans. The great success of the gallery's later years was undeniably Andrew Wyeth whose first exhibition, held at Macbeth Gallery in 1937, resulted in the sale of all twenty-two paintings cataloged.

Although subsequent Wyeth exhibitions were also successful, McIntyre struggled financially throughout the 1940s and periodically considered liquidating the company. Although "vitally interested" in contemporary art by people such as Robert Brackman, Jay Connaway, Carl Gaertner, James Lechay, Herbert Meyer and Ogden M. Pleissner he found that, for the most part, it did not pay. McIntyre continued operations until 1953 when he decided that doing so for profit was not only a financial burden but also ran contrary to his desire to spend more time devoted to his first love, early American art. When the lease expired on 11 East Fifty-seventh Street in April 1953 McIntyre did not renew it. After closing the gallery's doors he sold art from his New York apartment and from his home in Dorset, Vermont. He officially dissolved William Macbeth, Inc., in 1957.

The history of the Macbeth Gallery is a long and distinguished one with each successive proprietor making a significant contribution to art in America. William Macbeth helped establish an audience and a market for American art when few were willing to give it serious consideration. Robert Macbeth continued to cement the gallery's reputation as one of the leading firms in New York and was instrumental in organizing the American Art Dealers Association. Robert G. McIntyre claimed in a letter to Lloyd Goodrich, dated 22 June 1945, that the thing of which he was most proud was "the share I have had in the formation of the collection of the Addison Gallery of American Art, at Andover, Massacusetts." McIntyre was widely respected in the art community as a dealer, as an adviser to curators, and as a scholar whose research and book on Martin Johnson Heade helped "rediscover" an important American artist. One of his most significant and lasting contributions to the history of art in America, however, was undoubtedly his gift of the gallery's historical records to the Archives of American Art.
Related Material:
Among the holdings of the Archives of American are a small collection of scattered Robert McIntyre's papers and 9 items of William Macbeth's papers. Macbeth Gallery exhibition catalogs are also available in the American Art Exhibition Catalog collection and the Brooklyn Museum Records, both loaned and microfilmed collections.

An extensive collection of Macbeth Gallery exhibition catalogs are also held by the Frick Art Reference Library and the Watson Library of the Metropolitan Museum of Art.
Provenance:
The bulk of the Macbeth Gallery records were donated and microfilmed in several installments between 1955 and 1966 by Robert G. McIntyre and Estate. Additional Macbeth Gallery printed material was donated by Phoebe C. and William Macbeth II, grandchildren of William Macbeth, in 1974.
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.
Topic:
Eight (Group of American artists)  Search this
Artists -- United States  Search this
Art -- Collectors and collecting  Search this
Art, American  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Daguerreotypes
Photographs
Scrapbooks
Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macbgall
See more items in:
Macbeth Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9755cec30-3318-4f15-a7b7-031c448a7a46
EDAN-URL:
ead_collection:sova-aaa-macbgall
Online Media:

William Page and Page Family papers

Creator:
Page, William, 1811-1885  Search this
Names:
National Academy of Design (U.S.)  Search this
Beecher, Henry Ward, 1813-1887  Search this
Beecher, Thomas Kinnicut, 1824-1900  Search this
Briggs, Charles F. (Charles Frederick), 1804-1877  Search this
Curtis, George William, 1824-1892  Search this
Cushman, Charlotte, 1816-1876  Search this
Fenton, Rueben  Search this
Garrison, William Lloyd, 1805-1879  Search this
Hicks, Thomas, 1823-1890  Search this
Lowell, James Russell, 1819-1891  Search this
O'Donovan, William Rudolph, 1844-1920  Search this
Olmstead, Bertha  Search this
Olmstead, Mary  Search this
Page, Sophia Stevens, 1827-1892  Search this
Page, William, 1811-1885  Search this
Perry, E. W. (Enoch Wood), 1831-1915  Search this
Phillips, Wendell, 1811-1884  Search this
Scranton, William Walker  Search this
Shaw, Francis George, 1809-1882  Search this
Stark, William, 1825-1873  Search this
Sumner, Charles, 1811-1874  Search this
Tilton, Theodore, 1835-1907  Search this
Wilmarth, Lemuel Everett, 1835-1918  Search this
Extent:
11.06 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Poems
Drawings
Diaries
Date:
1815-1947
bulk 1843-1892
Summary:
The papers of the portraitist and art theorist William Page and the Page family measure 11.06 linear feet and date from 1815 to 1947, bulk 1843-1892. In addition to the papers of William Page, the papers include documents related to Page's wife's career as a writer and records documenting their personal lives and the lives of their family members. Types of documents found include personal documents and artifacts, correspondence, essays, lectures, diaries, poems, notes and notebooks, financial records, legal records, published works, clippings, catalogs, photographs, and artwork.
Scope and Content Note:
The papers of the painter William Page and the Page family measure 11.06 linear feet and date from 1815 to 1947, with the bulk of papers dating from 1843 to 1892. Papers contain records related to the life and career of William Page, president of the National Academy of Design from 1871 to 1873 and prominent portraitist and art theorist of his day. Also found are records related to his wife's career as a writer and records documenting their personal lives and the lives of their family members. Types of documents found include personal documents and artifacts, correspondence, essays, lectures, diaries, poems, notes and notebooks, financial records, legal records, published works, clippings, catalogs, photographs, and artwork.

Correspondence includes the personal and professional correspondence of William and Sophia Page, and their parents, siblings, and children. Significant correspondents include Thomas Hicks, Enoch Wood Perry, William Stark, Theodore Tilton, Lemuel Wilmarth, Wendell Phillips, William Walker Scranton, Francis G. Shaw; James Russell Lowell, Charles Frederick Briggs, George W. Curtis, Charlotte Cushman, Thomas K. Beecher, Mary Olmsted, and Bertha Olmsted.

Writings include the essays and lectures of William Page, as written by him and revised by Sophia Page in the late 1870s, as well as Sophia's writings as a columnist in Europe in the 1850s. Notes, notebooks, diaries, and poems are also found. Personal Business Records include business records related to the sale and exhibition of artwork as well as financial and legal documents. A small number of memoranda and documents related to Page's work at the National Academy of Design are also found. Printed Materials include exhibition catalogs, published works by William and Sophia Page, and clippings and articles about Page.

Photographs consist mainly of portraits, most of them mounted cabinet photographs or cartes-des-visites, some of which appear to have been used as studies for Page's painted portraits. Among those pictured are William Page, James Russell Lowell, Henry Ward Beecher, Reuben Fenton, Wendell Phillips, Charles Sumner, William R. O'Donovan, and William Lloyd Garrison. Many of the photographic portraits are unidentified. Artwork includes sketches, drawings, prints, and a small number of notes made by Page in the course of painting portraits.
Arrangement:
The collection is arranged into 7 series. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Biographical Materials and Artifacts, 1847-1917 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1815-1942 (Boxes 1-4, 9-10; 3.2 linear feet)

Series 3: Notes and Writings, 1839-1888, 1949 (Boxes 4-5, OV 10; 1.3 linear feet)

Series 4: Personal Business Records, 1848-1932 (Boxes 5 and 9; 0.2 linear feet)

Series 5: Printed Materials, 1845-1938 (Boxes 5-7, 9, OV 11; 1.6 linear feet)

Series 6: Photographs, 1845-1947 (Boxes 7-9, OV 12, MGP 5-6; 1.4 linear feet)

Series 7: Artwork, 1856-1874 (Box 8, OV 13-16, rolled documents 17-19; 0.6 linear feet and 3 rolled documents)
Biographical Note:
The painter William Page was born in 1811 in Albany, NY. He attended public schools in New York City, and after working briefly in the law firm of Frederick de Peyster, was placed in the studio of the painter/engraver James Herring in 1825, where he received his first formal art training. He took classes at the National Academy of Design the year it was formed, in 1826, under Samuel F.B. Morse, and in 1827 he was awarded one of the National Academy's first annual student prizes.

Page joined the Presbyterian church and attended Phillips Academy and Amherst with the intention of becoming a minister, but his artistic ability won out, and by 1830 he was painting commissioned portraits in Albany, Rochester, and New York. He married Lavinia Twibill in 1833, and they had three daughters between 1834 and 1839. He joined the American Academy and served on its board of directors in 1835. He exhibited at the American Academy, the National Academy of Design, the Boston Athenaeum, and other venues throughout the 1830s. Favorable reviews brought steady portrait commissions, including John Quincy Adams and the New York governor William L. Marcy. He was made a full member of the National Academy in 1837.

In the 1840s, Page's reputation and maturity as a painter grew. His first wife left him around 1840, and in 1843 he married Sarah Dougherty. The couple moved to Albany, Boston, and back to New York seeking portrait commissions and patronage. He became friends with the poet James Russell Lowell and the writer and publisher Charles Frederick Briggs, two writers and editors who helped to promote his artwork in Boston and New York and published his theoretical writings. In 1844, Lowell dedicated his first published book of poetry to Page, and the following year, Briggs published a series of articles by Page in the Broadway Journal, entitled "The Art of the Use of Color in Imitation in Painting." The series described Page's arduous experiments with color and glazes, and his ideas about correspondences between spirituality and the natural world as expressed in art.

In 1850, Page traveled to Florence, Italy, where he painted several copies of the works of Titian in the galleries of the Uffizi and Pitti palaces, studying his use of color and further developing his own experimental techniques. He became friends with the sculptor Hiram Powers, who introduced him to the writings of Emmanuel Swedenborg, a Christian metaphysician whose ideas fueled Page's interest in the spiritual aspects of art. In 1852, Page moved to Rome, a city with an international artists' community and a strong market for art. Page found a loyal following in Rome's large circle of American ex-patriates, including the sculptors Thomas Crawford and Harriet Hosmer, the actress Charlotte Cushman, and the poets Robert and Elizabeth Barrett Browning, all of whom sat for portraits by Page.

In 1854, Page's second wife left him amidst public scandal, and he sank deep in debt to his bankers at Packenham and Hooker, an English firm that by 1856 had a lien on all the paintings in his studio. That same year Page met Sophia Stevens Hitchcock, an American widow traveling in Rome with Bertha Olmsted, Frederick Law Olmsted's sister. Hitchcock was from Barnet, Vermont and came to Europe after her first husband died in 1852 after only a year of marriage. She traveled to England and Paris, where she wrote regular columns on local customs and events for the New York Tribune that were published under the by-line "An American Woman in Paris." She and Page met in Rome in 1856, and in October 1857, after Page traveled back the United States to obtain a divorce from Sarah Dougherty, he and Sophia married.

The couple stayed in Rome until 1860. His wife's three brothers, all businessmen, helped to promote his artwork in Europe and America. Page's paintings of this period include several Venus subjects, one of which was championed by his most loyal patrons, who raised $3000 by subscription to buy the painting for the Boston Athenaeum. A later Venus painting was rejected from the Paris salon for indecency, a controversy that was later leveraged for publicity in a touring exhibition in the United States.

The Pages returned to the United States in 1860 and settled in Tottenville, New York. They had six children between 1858 and 1870. Page had a studio at Eagleswood, NJ, and later in the Studio Building on 10th Street in Manhattan, where he held a large exhibition in 1867. In the 1860s, he painted a self-portrait and a companion portrait of Sophia set in Rome, as well as a series of civil war heroes including Robert Gould Shaw, Winfield Scott, and David Farragut. Photographs played a consistent part in Page's technique of portraiture, and he is known to have worked with the photographer Matthew Brady, who attended art classes early on with Page, as well as the photographers Sarony and Charles Williamson, who taught classes on drawing from enlarged photo-transparencies. Brady photographs taken for Page include David Farragut and Reuben Fenton.

Page lectured frequently on Titian and Venetian art, a subject in which he was considered an expert, and on painting technique and his philosophical ideas about nature, art, and spirituality. In 1871, Page was elected the president of the National Academy of Design, a post he held until 1873, but his poor health following a collapse in 1872 limited his accomplishments in office. Despite these limitations, he continued to paint, including portraits of General Grant, an idealized portrait of the president based on early photographs and Charles Sumner. He also became interested in portraiture of William Shakespeare around this time, and his studies resulted in a book, Shakespeare's Portraits, a bust based on existing portraiture, and a full-length portrait entitled "Shakespeare Reading," based on Page's measurements of a supposed death mask in Darmstadt, Germany, which he went to inspect against the advice of his doctor in 1874.

In 1877, another collapse left Page incapacitated for the remainder of his life. Sophia Page tried editing and publishing his writings and lectures, but with little success. Page died in 1885. A life marked by personal scandal ended the same, when two of his daughters from his first marriage contested his will, tying up his estate in a lengthy and public probate trial. Their suit was dismissed in 1889, and Sophia Page died in 1892.

This biography relies heavily on Joshua Taylor's William Page: The American Titian (1957).
Separated Material:
The Archives of American Art also holds materials lent for microfilming (reel 1091) including letters from Elizabeth Barrett and Robert Browning, Lydia Maria Child, Charlotte Cushman, James Russell Lowell, Charles A. Dana, and others. Lent material was returned to the donor and is This material is not described in the container listing of this finding aid.
Provenance:
A portion of the collection was donated to the Archives of American Art by Mrs. Lesslie S. (Pauline Page) Howell, William Page's grandaughter, in 1963. William S. Page, Pauline Page Howell's nephew, donated additional papers in 1964 and 1973. Pauline Page Howell and William S. Page also loaned a group of letters to the Archives in 1964 which were microfilmed on reel 1091 and then returned to the donors. Mrs. Howell's son, William Page Howell, donated material in 1980.

Letters of Charles F. Briggs to James Russell Lowell (Series 2.2) were a part of Pauline Page Howell's 1963 donation to the Archives of American Art. They had been given to Mrs. Howell by Charlotte Briggs, daughter of Charles F. Briggs, because of her father's lifelong friendship with William Page. Letters from Lowell to Briggs are in the James Russell Lowell papers in Houghton Library at Harvard University.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Works of art  Search this
Portrait painters -- New York (State) -- New York  Search this
Portrait painting -- 19th century -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Sketches
Poems
Drawings
Diaries
Citation:
William Page and Page Family papers, 1815-1947, bulk 1843-1892. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pagewill
See more items in:
William Page and Page Family papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98de7b472-afbe-4b16-bbf1-c573fb9dcac6
EDAN-URL:
ead_collection:sova-aaa-pagewill
Online Media:

Charles Scribner's Sons Art Reference Department records, 1839-1962

Creator:
Charles Scribner's Sons  Search this
Subject:
Berger, William Merritt  Search this
Type:
Photographs
Sketches
Citation:
Charles Scribner's Sons Art Reference Department records, 1839-1962. Archives of American Art, Smithsonian Institution.
Topic:
Scribner's Monthly  Search this
Works of art  Search this
Photographers  Search this
Illustrators -- Great Britain  Search this
Designers -- Great Britain  Search this
Sculptors -- France  Search this
Portrait painters -- New York (State) -- New York  Search this
Theme:
Photography  Search this
Architecture & Design  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)5715
(DSI-AAA_SIRISBib)208553
AAA_collcode_charscrs
Theme:
Photography
Architecture & Design
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208553
Online Media:

Mary Turlay Robinson papers, 1923-1971

Creator:
Robinson, Mary Turlay, 1887 or 8-1971  Search this
Subject:
Myers, Frank Harmon  Search this
Dickinson, Edwin Walter  Search this
Hoffman, Malvina  Search this
Kroll, Leon  Search this
Myers, Ella Price  Search this
Stieglitz, Alfred  Search this
Terrell, Allen Townsend  Search this
Watkins, Franklin Chenault  Search this
Beal, Gifford  Search this
Block, Adolph  Search this
Citation:
Mary Turlay Robinson papers, 1923-1971. Archives of American Art, Smithsonian Institution.
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Women artists  Search this
Women painters  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5741
(DSI-AAA_SIRISBib)208580
AAA_collcode_robimary
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208580

Augustus Vincent Tack papers, [ca. 1910]

Creator:
Tack, Augustus Vincent, 1870-1949  Search this
Citation:
Augustus Vincent Tack papers, [ca. 1910]. Archives of American Art, Smithsonian Institution.
Topic:
Art and religion -- New York (State) -- New York  Search this
Painting, Modern -- New York (State) -- New York  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5769
(DSI-AAA_SIRISBib)208608
AAA_collcode_tackaugu
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208608

James Carroll Beckwith diary (in the New York Historical Society), 1895

Creator:
Beckwith, J. Carroll (James Carroll), 1852-1917  Search this
Subject:
Sargent, John Singer  Search this
Citation:
James Carroll Beckwith diary (in the New York Historical Society), 1895. Archives of American Art, Smithsonian Institution.
Topic:
Art, American -- New York (State) -- New York  Search this
Portrait painting -- 19th century -- New York (State) -- New York  Search this
Portrait painting -- 20th century -- New York (State) -- New York  Search this
Theme:
Diaries  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5887
(DSI-AAA_SIRISBib)208727
AAA_collcode_beckjaca
Theme:
Diaries
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208727

Dennis Miller Bunker collection, 1882-1943, bulk 1882-1890

Creator:
Bunker, Dennis Miller, 1861-1890  Search this
Subject:
Hardy, Eleanor  Search this
Evans, Joseph  Search this
Type:
Photographs
Citation:
Dennis Miller Bunker collection, 1882-1943, bulk 1882-1890. Archives of American Art, Smithsonian Institution.
Topic:
Painting, American -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Artists' studios  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6859
(DSI-AAA_SIRISBib)208987
AAA_collcode_bunkdenn
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208987
Online Media:

Harry Siddons Mowbray and Mowbray Family papers, 1872-1976

Creator:
Mowbray, Harry Siddons, 1858-1928  Search this
Subject:
McKim, Charles Follen  Search this
Mowbray, Florence Millard  Search this
Mead, William Rutherford  Search this
Mowbray, George S.  Search this
Mowbray, George Mordey  Search this
Sherwood, Herbert F. (Herbert Francis)  Search this
Mowbray, Helen Amelia  Search this
American Academy in Rome  Search this
Pierpont Morgan Library  Search this
University Club (New York, N.Y.)  Search this
United States. Commission of Fine Arts  Search this
Type:
Scrapbooks
Photographs
Prints
Sketches
Etchings
Diaries
Place:
Larz Anderson Park (Brookline, Mass.)
Citation:
Harry Siddons Mowbray and Mowbray Family papers, 1872-1976. Archives of American Art, Smithsonian Institution.
Topic:
Muralists -- New York (State) -- New York  Search this
Mural painting and decoration  Search this
Flags -- United States  Search this
Painters -- New York (State) -- New York  Search this
Theme:
Diaries  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7034
(DSI-AAA_SIRISBib)209167
AAA_collcode_mowbharr
Theme:
Diaries
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209167
Online Media:

Samuel Brecher papers, 1909-1983

Creator:
Brecher, Samuel, 1897-  Search this
Citation:
Samuel Brecher papers, 1909-1983. Archives of American Art, Smithsonian Institution.
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7070
(DSI-AAA_SIRISBib)209203
AAA_collcode_brecsamp
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209203

Alice Neel papers, 1933-1983

Creator:
Neel, Alice, 1900-1984  Search this
Type:
Photographs
Notes
Citation:
Alice Neel papers, 1933-1983. Archives of American Art, Smithsonian Institution.
Topic:
Portrait painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Portrait painting -- 20th century -- United States  Search this
Women artists  Search this
Women painters  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7576
(DSI-AAA_SIRISBib)209737
AAA_collcode_neelalic
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209737
Online Media:

William F. Draper papers, 1950-1993

Creator:
Draper, William F. (William Franklin), 1912-2003  Search this
Subject:
Kennedy, John F. (John Fitzgerald)  Search this
Mohammed Reza Pahlavi, Shah of Iran  Search this
Citation:
William F. Draper papers, 1950-1993. Archives of American Art, Smithsonian Institution.
Topic:
Portrait painting -- 20th century -- United States  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7596
(DSI-AAA_SIRISBib)209758
AAA_collcode_drapwill
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209758

Rembrandt Lockwood and Lockwood family papers, 1862-1943

Creator:
Lockwood, Rembrandt, 1815-1889  Search this
Subject:
Keiler  Search this
Brundage, Frances I.  Search this
Colburn, Arthur  Search this
Colburn, Helen Frances  Search this
Colburn, Helen Lockwood  Search this
Hammer, William H.  Search this
Place:
Washington (D.C.) -- Social life and customs
Citation:
Rembrandt Lockwood and Lockwood family papers, 1862-1943. Archives of American Art, Smithsonian Institution.
Topic:
Painting -- New York (State)  Search this
Engraving -- New York (State) -- New York  Search this
Women artists  Search this
Women painters  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7903
(DSI-AAA_SIRISBib)210070
AAA_collcode_lockremb
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210070

Charles FitzGerald scrapbooks, circa 1901-1918

Creator:
Fitzgerald, Charles, 1873-1958  Search this
Type:
Scrapbooks
Citation:
Charles FitzGerald scrapbooks, circa 1901-1918. Archives of American Art, Smithsonian Institution.
Topic:
Art criticism -- New York (State) -- New York  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)8177
(DSI-AAA_SIRISBib)210348
AAA_collcode_fitzchar
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210348
Online Media:

Edwin Weyburn and Richard La Barre Goodwin papers, 1830-1958

Creator:
Goodwin, Richard La Barre, 1840-1910  Search this
Goodwin, Edwin Weyburn, 1800-1845  Search this
Citation:
Edwin Weyburn and Richard La Barre Goodwin papers, 1830-1958. Archives of American Art, Smithsonian Institution.
Theme:
Diaries  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8300
(DSI-AAA_SIRISBib)210471
AAA_collcode_goodrich
Theme:
Diaries
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210471

John White Alexander papers, 1775-1968, bulk 1870-1915

Creator:
Alexander, John White, 1856-1915  Search this
Subject:
Abbey, Edwin Austin  Search this
Alexander, Elizabeth A.  Search this
Carnegie, Andrew  Search this
Chase, William Merritt  Search this
La Farge, John  Search this
James, Henry  Search this
Levy, Florence N. (Florence Nightingale)  Search this
Remington, Frederic  Search this
Millet, Francis Davis  Search this
Stevenson, Robert Louis  Search this
Whistler, James McNeill  Search this
Gibson, Charles Dana  Search this
MacDowell Club of New York  Search this
Type:
Awards
Interviews
Photographs
Sketchbooks
Scrapbooks
Medals
Citation:
John White Alexander papers, 1775-1968, bulk 1870-1915. Archives of American Art, Smithsonian Institution.
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
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8637
(DSI-AAA_SIRISBib)210817
AAA_collcode_alexjohn
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210817
Online Media:

Russel D. Palmer papers, 1837-1843

Creator:
Palmer, Russel D. (Russel Denison), 1818-1895  Search this
Citation:
Russel D. Palmer papers, 1837-1843. Archives of American Art, Smithsonian Institution.
Topic:
Portrait painting -- New York (State)  Search this
Portrait painting -- Michigan  Search this
Art and history -- Michigan  Search this
Genealogy -- Michigan  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8783
(DSI-AAA_SIRISBib)210966
AAA_collcode_palmruss
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210966

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