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.
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.
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.
James E. Johnson, rural artist : a catalogue of an exhibition of portraits by James E. Johnson, 1810-1858, of Columbia County, N.Y. / Ruth Piwonka and Roderic H. Blackburn
Portraits and painters of the early Champlain Valley, 1800-1865 / [Virginia Burdick, Katherine Lochridge] ; an exhibition presented by the Student Association and the Art Gallery of the State University College, Plattsburgh, New York, April 12-May 2, 1975
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.
The collection is arranged into 11 series. Glass plate negatives are housed separately and closed to researchers.
Missing Title
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 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 not served to researchers.
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:
Muralists -- New York (State) -- New York Search this
Portrait painters -- New York (State) -- New York Search this
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.
The papers of landscape painter Sanford Robinson Gifford, date from the 1840s through 1900, and circa 1960s-1970s. The bulk of the papers fall between 1855-1881; material from the circa 1960s-1970s consists of photographic copy prints for which the Archives does not have the originals. The small collection measures 0.9 linear feet of scattered documentation of Gifford's life, primarily extensive biographical accounts of his travels in the mid 1850s and late 1860s in the form of bound letters to his father. These serve as detailed journals of his impressions of Europe and the Middle East, the development of his painting, and his relationships with other artists such as Albert Bierstadt and Worthington Whittredge. The collection also contains sketches by Gifford, printed material including catalogs of Gifford's paintings, and photographs of Gifford and others.
Scope and Content Note:
The collection dates from the 1840s through 1900, and circa 1960s-1970s with the bulk of the material falling between 1855-1881. Material from circa 1960s-1970s consists of photographic copy prints of original photographs from the mid to late 1800s for which the Archives does not own the originals. The papers measure 0.9 linear feet and provide detailed documentation of the life of Hudson River School landscape painter, Sanford Robinson Gifford, during the mid 1850s and late 1860s. The papers contain extensive accounts of Gifford's travels in 3 bound volumes of typewritten letters from Gifford to his father. These letters serve as travel journals and provide extensive and vivid descriptions of Gifford's work and experiences in Europe and the Middle East, and document his relationships with a variety of other artists, including Alfred Bierstadt and Worthington Whittredge, during this period.
Additional records provide scattered documenation of other periods of Gifford's life. Letters refer to his travels in the American west and his Civil War service and its effect on his painting. Printed material includes clippings and exhibition catalogs, and includes a catalogue of his paintings published by the Metropolitan Museum of Art in 1881. Artwork by Gifford includes sketches by the artist and prints, engravings and paintings by various others. Original photographs date from 1856-1900 and include images of Gifford during the Civil War. Copyprints for which the Archives does not own the originals date from the circa 1960s-1970s and include two images of a family home in Hudson, New York, where Gifford had a studio in the mid 1860s, a portrait photograph of Gifford, and an image of Gifford on the Hayden expedition.
Arrangement:
The collection is arranged as 4 series:
Missing Title
Series 1: Letters, 1855-1874 (Box 1; 3 volumes, 1 folder)
Series 2: Printed Material, circa 1850s-1881 (Box 2; 4 folders)
Series 3: Artwork, circa 1840s-circa 1870s (Box 2, OV 3; 4 folders)
Series 4: Photographs and Copy Prints, 1856-circa 1900, circa 1960s-1970s (Box 2, 5, OV 4; 11 folders)
Biographical Note:
Sanford Robinson Gifford was born in Greenfield, New York, in 1823. He attended Brown University from 1842-1844 and moved to New York City in 1845 where he studied drawing, perspective and anatomy under the direction of the British watercolorist and drawing-master, John R. Smith. He also studied the human figure in anatomy classes at the Crosby Street Medical college and took drawing classes at the National Academy of Design. In 1846 he visited the Berkshire Hills and the Catskill Mountains, sketching from nature. "These studies," he wrote to O. B. Frothingham in 1874, "together with the great admiration I felt for the works of Cole developed a strong interest in landscape art, and opened my eyes to a keener perception and more intelligent enjoyment of nature. Having once enjoyed the absolute freedom of the landscape painters life I was unable to return to portrait painting."
The American Art Union bought and showed some of Gifford's first pictures in 1847. In 1851 he was elected an associate, and in 1854 an academician, of the National Academy of Design.
Gifford traveled widely to sketch landscapes for future paintings, recording his experiences in letters to his father which he intended would "serve the double purpose of letter and journal, and be an economy of time." He requested that his father number the letters sequentially and keep them together.
In the summer of 1855 Gifford visited England, Scotland and Paris, where he spent the winter of 1855 transforming his English and Scottish sketches into paintings. In the fall of 1856 he rented a studio in Rome and, over the course of the winter, painted pictures that reportedly pleased him "pretty well," including Lake Nemi. During the spring of 1857, Gifford spent time with fellow artists Worthington Whittredge, William H. Beard and Albert Bierstadt before leaving Rome in May with Bierstadt for a walking tour of southern Italy, where they planned to reconnect with Whittredge and Beard. Gifford ended his European tour with a visits to Innsbruck, Munich, Vienna, Prague, Dresden, Berlin and Paris, before returning to the United States at the end of the summer.
On his return Gifford rented studio Number 19 in the Tenth Street Studio Building in New York City, which he retained until his death. Over the next few years he also made frequent summer trips to various northeastern locales including the Catskills, the Adirondacks, the Green Mountains in Vermont, the White Mountains in New Hampshire, Maine and Nova Scotia.
Gifford served in New York's Seventh Regiment when it marched to the defense of Washington in April 1861, and again in 1862 and 1863. Several paintings resulted from this experience, including Sunday Morning at Camp Cameron (1861), Bivouac of the Seventh Regiment at Arlington Heights, Virginia (1861) and Camp of the Seventh Regiment, near Frederick, Maryland, in July 1863 (1864).
In 1868 Gifford returned to Europe, again visiting London and Paris, where he met with friends Jervis McEntee and his wife. He then spent the summer visiting the Alps and Sicily before wintering in Rome. In 1869 he traveled to Egypt where he and a small party hired a boat to take them on a two-month voyage from Cairo down the Nile River. Subsequently, Gifford traveled to the Middle East with Alfred Craven via the Suez Canal, where his itinerary included Syria, Jerusalem, Samaria, Damascus, Greece and Turkey. Gifford arrived in Venice in June 1869 and sailed for the United States at the beginning of September.
In 1870 Gifford visited Colorado with Worthington Whittredge and John Frederick Kensett, and accompanied a United States Geological party under Dr. Hayden in the exploration of Wyoming, Utah, and the Colorado Territories. In the summer of 1873 he visited California, Oregon, British Columbia and Alaska.
Gifford married in 1877 but in 1880 became ill and died of malarial fever and pneumonia at the age of 58. That same year he was honored with the Metropolitan Museum of Art's first monographic retrospective and a memorial catalogue of his known pictures.
Related Material:
Five sketchbooks were loaned by Vassar College in 1966 and the originals were returned to the donor after microfilming on reel D254.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels D254 and 688) including twenty-one sketchbooks, photographs, passports and certificates, an 1888 European travel diary of Mary Louise Willard, wife of Gifford's nephew, Harold, and a 1966 letter. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Edith Wilkinson first donated the Sanford Robinson Gifford papers in 1955 and 1957. James C. Gifford donated copy prints of photographs in 1964. Five sketchbooks were lent for microfilming by the Vassar College Art Library in 1966 and George and Frances Gifford Cummings donated additional material in 1973. In 1974, sixteen sketchbooks, photographs, and other materials were lent for microfilming by Dr. Sanford Gifford, Gifford's great-nephew.
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.
This microfilmed diary was kept by Beckwith during 1895 while he was living in New York City. Beckwith writes of his constant worry about money; his dissatisfaction with his painting; of friends and personal matters; the portraits he is working on; art and artists,;his admiration for John Singer Sargent; classes at several art schools in the city; and the various clubs to which he belonged.
Biographical / Historical:
James Carroll Beckwith (1852-1917) was a portrait and landscape painter in New York, New York. He studied art at the National Academy of Design before moving to Paris and studying at the École des Beaux-Arts and under Carolus-Duran. While in Paris, he shared a studio with painter John Singer Sargent, who also was also studying with Carolus-Duran. Beckwith taught at the Art Students League when he returned to New York. He was elected as a member of the National Academy of Design in 1894.
Related Materials:
The Archives of American Art also holds the James Carroll Beckwith papers, 1871-circa 1991, bulk 1875-1917.
Provenance:
Lent for microfilming by the New York Historical Society, 1974.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Portrait painters -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
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
Letters, writings, business records, and printed materials.
Genealogical and biographical data; correspondence (and transcripts) with Colonel Thomas Aspinwall, members of the Astor family, Elizabeth Caton, Felicia Hemans, Washington Irving, Aaron Vail, Mary Caton Patterson Wellesley, West's sister Jane Woods, and others; letters to West's neice Aduella Price Bryant and to Laura Simpson, requesting biographical and genealogical information on West, and research notes by Bryant on West's correspondents; West's account of his visit with Lord Byron in 1822; and a yearbook belonging to Felicia Hemans.
Lists compiled in 1929 and 1961 of West's paintings and portraits; excerpts from William L. Stone's book HISTORY OF NEW YORK CITY and biographies of West's contemporaries in England; clippings on West's portraits, his genealogy, and the history of Nashville, Tenn.; and miscellany.
Biographical / Historical:
Portrait and figure painter; London, England and New York, N.Y.
Provenance:
Donated 1983 by Gertrude M. Meissner, a descendent of West.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Biographical data; list of Irving's paintings; and 6 photographs of his paintings.
Biographical / Historical:
Portrait, genre, and historical painter; Charleston, S.C. and New York, N.Y.
Provenance:
Donated 1966 by Sarkisian, great-grandaughter of Irving. She compiled the list of his paintings and provided the photographs of his work.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York Search this
Portrait painters -- New York (State) -- New York Search this
Topic:
Portrait painting -- 19th century -- History Search this
Viele's research material on Thomas Le Clear, consisting of letters, printed material, notes, and photographs.
REEL 3480: Research material on Thomas Le Clear, including photocopies of letters received from institutions, dealers, and private owners of Le Clear's paintings; 2 letters to E.P. Richardson, 1959 and 1961; and a 30-page typescript of an article, later published as "Buffalo's Contribution to Mid-19th Century American Romantic Painting," containing information on Le Clear, William H. Beard, and Lars G. Sellstedt.
REEL BV1: Correspondence with art institutions; notes; lists of paintings; a clipping; and a photograph of Le Clear's painting "Two Children."
Biographical / Historical:
Art historian; Buffalo, New York. Le Clear was a painter, Buffalo, New York.
Provenance:
Material on reel BV1 lent for microfilming by Viele, 1958. Material on reel 3480 donated by Viele, 1961.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art historians -- New York (State) -- Buffalo Search this
Scrapbook pages containing research notes regarding primitive American art; articles on early American artists, or limners, and their works; research material regarding Ammi Phillips.
Biographical / Historical:
Portrait painter and folk artist; New York (State)
Provenance:
Lent for microfilming 1968 by the Museum of Early American Folk Arts.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Folk art's many faces : portraits in the New York State Historical Association / by Paul S. D'Ambrosio and Charlotte M. Emans ; with introductory material by Louis C. and Agnes Halsey Jones
Ammi Phillips in Columbia County : a catalogue of an exhibition of portraits done in Columbia County by Ammi Phillips (1788-1865), August 15-September 30, 1975 / by Ruth Piwonka and Roderic H. Blackburn
