Catalogue of an exhibition of portraits painted by the late Gilbert Stuart, Esq. died 1828, [ca. 1828]. Archives of American Art, Smithsonian Institution.
Topic:
Portrait painting -- 18th century -- Catalogs Search this
Portrait painting -- 19th century -- Catalogs Search this
This collection of papers measures 0.2 linear feet, dates from circa 1820-1932, and provides scattered documentation of the lives of painter Rembrandt Peale and his wife Harriet. There are seven letters from Peale which discuss his Patriae Pater portrait of George Washington and his subsequent attempts to gain a commission from Congress for his equestrian portrait of the first president, as well as illuminating his opinion on patronage for the arts. The collection also contains a copy of Peale's lecture on "Washington and his Portraits," a page with drawings of Roman coins by Peale, two codicils to Harriet Peale's will, printed material including a pamphlet for Peale's The Court of Death and a catalog of sale for Harriet Peale's estate, and photographs of Rembrandt and Harriet Peale.
Scope and Content Note:
This collection of papers measures 0.2 linear feet, dates from circa 1820-1932, and provides scattered documentation of the lives of painter Rembrandt Peale and his wife Harriet. The papers contain seven letters from Peale to various individuals, including Massachusetts senator Elijah Hunt Mills, that document his attempts to seek recognition and recompense from Congress for his portraits of George Washington and illuminate his opinions on patronage of the arts. Also found here is a copy of Peale's lecture on "Washington and his Portraits," and legal papers consisting of two codicils to Harriet Peale's will which list the disposition of Rembrandt Peale paintings in her possession. There is a page with drawings of Roman coins by Peale, printed material including a pamphlet for Peale's popular allegorical painting The Court of Death, and a catalog of sale for Harriet Peale's estate. Photographs picture Rembrandt and Harriet Peale respectively, circa 1850.
Arrangement:
The collection is arranged as one series.
Biographical Note:
Rembrandt Peale (1778-1860) was born in Bucks County, Pennsylvania, and was the second son of painter Charles Willson Peale. He was known primarily for his historical paintings and portraits, particularly those of George Washington. Peale painted his first Washington portrait in 1795 at the age of 17, in a sitting arranged by his father. From 1795-1800 he traveled in Maryland and the South painting portraits, and from 1801-1803 studied with Benjamin West in London.
Peale returned to Europe from l808 to l8l0, and spent most of his time in Paris where he was inspired to take up historical painting. From 1813-1822 he lived in Baltimore where, in 1814, he established a museum for paintings and natural history that later became known as the Peale Museum. Peale's most famous allegorical painting, Court of Death, was completed in 1820 and was one of the most popular paintings of the decade.
In 1822 Peale moved to New York City where he embarked on an attempt to paint what he hoped would become the "Standard likeness" of Washington. In the process he reviewed portraits by other artists including John Trumbull, Gilbert Stuart and his father, as well as his own 1795 picture which had never truly satisfied him. His resulting Patriae Pater, completed in 1824, depicts Washington through an oval window, and is considered by many to be second only to Gilbert Stuart's iconic Athenaeum painting of the first president. Peale subsequently attempted to capitalise on the success of what quickly became known as his "Porthole" picture, collecting tesimonials praising the portrait from people who had known the president, and lobbying Congress, in vain, for a commission to paint an equestrian portrait of Washington. Despite his failure to gain such a commission, "Patriae Pater" was purchased by Congress in 1832 and still hangs in the U.S. Capitol.
Peale subsequently produced over 70 replicas of the "porthole" picture and in the late 1850s delivered a series of lecture entitled "Washington and his Portraits" along the East coast. He was also an accomplished writer and lecturer on natural history, and was among the founders of the Pennsylvania Academy of the Fine Arts, a president of the American Academy, and a founder of the National Academy.
Related Material:
Also found in the Archives of American Art are the following collections relating to Rembrandt Peale: the Albert Duveen collection of artists' letters and ephemera, 1808-1910, includes an 1855 September 8 letter from Rembrandt Peale to an unidentifed person, available on 35 mm microfilm reel D9 (frames 848-850); Printed material relating to Rembrandt Peale, 1830-1862, lent for microfilming by the Historical Society of Pennsylvania in 1855, is available on microfilm reel P29; and the Charles Henry Hart autograph collection, 1731-1912, contains a lithograph by Peale available on 35mm microfilm reel D5 (frame 103).
Provenance:
In 1960, Lawrence A. Fleischman donated one letter. Six items were donated by Charles E. Feinberg in 1962. An additional 35 items were transferred from the National Collection of Fine Arts Library to the Archives in 1979.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Portrait painters -- Pennsylvania -- Philadelphia Search this
The letters of Thomas Eakins measure 0.2 linear feet and date from 1866 to 1934. They primarily document the period between 1866 and 1869 that he spent studying art in Paris, as well as his career as a portrait artist.
Scope and Content Note:
The letters of Thomas Eakins measure 0.2 linear feet and date from 1866 to 1934. They primarily document the period between 1866 and 1869 that he spent studying art in Paris, as well as his career as a portrait artist.
Arrangement:
Due to the small size of this collection, items are categorized into one series consisting of five folders. Items are arranged chronologically.
Biographical Note:
Realist painter Thomas Eakins was born in Philadelphia, Pennsylvania, in 1844. He was encouraged by his parents to develop his talent in art, and in 1862 he entered the Pennsylvania Academy of Fine Arts. Also during this period Eakins developed an interest in anatomy, revealed later in the realistically detailed Gross Clinic, painted in 1875. In 1866 he moved to Paris, where he studied painting with Jean-Léon Gérôme at the Ecole des Beaux-Arts for three years, and briefly with sculptor Augustin-Alexandre Dumont and painter Léon Bonnat. He toured Spain for six months in 1870 and then returned to Philadelphia to become a portrait artist. Eakins began teaching at the Pennsylvania Academy of Fine Arts, and became its director of instruction in 1882. During this period he also met fellow artist Susan MacDowell and they were married in 1884. While at the Academy, he promoted a curriculum based on the study of the human figure, and began using photography as a method of study for his paintings. A dispute over the use of nude models forced Eakins to resign from the Academy in 1886, but he continued painting and exhibiting until his death in 1916.
Provenance:
Letters from Eakins to his family were donated by Dr. Caroline Crowell, daughter of Frances Eakins Crowell, and niece of Thomas Eakins. Other letters were donated in 1962 and 1963 by Irving Levitt and Lawrence Fleischman. Both accessions were microfilmed upon receipt.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized 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:
Portrait painters -- Pennsylvania -- Philadelphia Search this
Topic:
Painters -- Pennsylvania -- Philadelphia Search this
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.
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 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 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.
Letters from Sully, one sending his autograph to Rodney A. Mercur, April 27, 1870; and to the Literary Society of Marshal College decling his election as an honorary member of the society, May 6, 1839; a copy of an engraving by John Sartain of Sully, signed by Sully; and a letter to "Jasper" from Sully's son, Thomas, Jr., responding for his father in his absence, July 1831.
Biographical / Historical:
Portrait painter; Philadelphia, Pa.
Provenance:
Donated 1955-1962 by Charles E. Feinberg, an active donor and friend of AAA.
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:
Portrait painters -- Pennsylvania -- Philadelphia Search this
Topic:
Portrait painting -- 19th century -- Pennsylvania -- Philadelphia Search this
Handwritten catalog, 12 p., listing 182 of Stuart's portraits, and 27 of his pictures in Philadelphia. On cover: "Exact copy of the catalog of portraits by Stuart exhibited 1828 in Boston...see Dunlap's History of Design, v.1."
Provenance:
Microfilmed by the Historical Society of Pennsylvania for the Archives of American Art, 1955.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Portrait painters -- Pennsylvania -- Philadelphia Search this
Topic:
Portrait painting -- 18th century -- Catalogs Search this
Portrait painting -- 19th century -- Catalogs Search this
The microfilmed printed material relating to Rembrandt Peale contains an annotated auction catalog, "Catalogue of Valuable Original Paintings by the late Rembrandt Peale, and Frederic E. Church, Peter F. Rothermel, and William E. Winner" for an auction at M. Thomas & Sons, Philadelphia, Nov. 18, 1862; a pamphlet (circa 1862), "Portrait of Washington" containing letters addressed to Peale as testimonials of Peale's "port-hole" portrait of Washington, painted in 1823; and two circulars announcing for public subscription new engravings, enlarged and altered, of the portrait (circa 1830).
Biographical / Historical:
Rembrandt Peale (1778-1860) was born in Bucks County, Pennsylvania, and was the second son of Charles Willson Peale. He was known primarily for his historical paintings and portraits, particularly those of George Washington. Peale painted his first Washington portrait in 1795 at the age of 17, in a sitting arranged by his father. With his father, he was also a founding member of the Pennsylvania Academy of the Fine Arts. He also established Peale's Baltimore Museum and Gallery of Fine Arts in 1814.
Related Materials:
The Archives of American Art holds the Rembrandt and Harriet Peale collection, circa 1820-1932 and the Rubens Peale diaries, 1855-1865. Also found at the Archives of American Art are the microfilmed Charles Willson Peale diaries and exhibition announcement, 1765-1826; microfilmed Titian Ramsay Peale Collection, 1771-1876; microfilmed Mary Jane Peale and Peale family selected papers, circa 1815-1897; microfilmed selected Peale family papers, 1803-1854; microfilmed selected papers from the Peale-Sellers collection, circa 1767-1904; and microfilmed Augusta Barker papers, 1875-1887.
The American Philosophical Society holds the Rembrandt Peale papers, 1808-1833 and the Peale family papers, 1705-1898. New York Public Library Archives and Manuscripts Division holds the Rembrandt Peale letters, 1835-1857.
Provenance:
Lent for microfilming by the Historical Society of Pennsylvania, 1955.
Restrictions:
Patrons must use microfilm copy.
Occupation:
Painters -- Pennsylvania -- Philadelphia Search this
Portrait painters -- Pennsylvania -- Philadelphia Search this
Research material on portraits by John F. Francis (1808-1886) including photographs with notes, printed material, and letters to Etchison describing the photographs. The items were originally in a scrapbook.
Biographical / Historical:
Etchison: Art historian; Frederick, Md. John F. Francis: born in Philadelphia, was a painter and silhouettist, who worked in many Pennsylvania towns.
Provenance:
Donated 1991 by Josephine Etchison, the aunt of W. Richard Etchison.
Original collation: scrapbook.
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 -- Maryland -- Frederick Search this
Portrait painters -- Pennsylvania -- Philadelphia Search this
Topic:
Portrait painting -- 19th century -- United States Search this
Autobiographical and biographical material, letters, writings, printed material, photographs, a sketchbook, drawings and notebooks belonging to Charles Willson Peale and the Peale family, with notes and writings by Horace Wells Sellers.
Charles Willson Peale material including, part of the preliminary draft of his autobiography, ca. 1790, and a typed copy with notes and addenda by Horace Wells Sellers; typescripts of letterbooks, 1767-1827; a list of portraits and Washington portrait material; a notebook pertaining to paintings and a memo book containing recipes for medicines, colors and notes on painting technique; lectures and essays on natural history, health, domestic happiness and Peale's museum; and letters from John De Peyster.
James Peale's sketchbook; Rubens Peale's letterbooks, 1802-1824, lists of pictures painted at Riverside Farm and memorandum on his life; writings by Titian Ramsay Peale on techniques of miniature painting and a biography of Charles Willson; letters of Titian and Franklin Peale, 1831-1869, with biographical comments by Sellers; a history of the United Bowmen of Philadelphia, a club Titian and Franklin belonged to; material on Peale's Museum including, correspondence, minutes, articles of incorporation, and a handbook with a partial description of the museum's contents; Peale family photographs; and drawings and silhouettes.
Biographical / Historical:
Charles Willson Peale: portrait painter and engraver; Philadelphia, Pa. Sellers: Peale's great-grandson. Peale studied in London with Benjamin West. Painted George Washington's portrait. Established Peale's Museum in 1786. Influential in the founding of the Pennsylvania Academy of Fine Arts. Father of Raphaelle, Franklin, Rubens, Rembrandt and Titian Ramsay Peale. Brother of James Peale.
Provenance:
Lent for microfilming, 1955, by the American Philosophical Society, Peale-Sellers Collection.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Miniature painters -- Pennsylvania -- Philadelphia Search this
Portrait painters -- Pennsylvania -- Philadelphia Search this
Topic:
Art, American -- Pennsylvania -- Philadelphia Search this
Miniature painting -- Pennsylvania -- Philadelphia Search this
Portrait painting -- 18th century -- Pennsylvania -- Philadelphia Search this
Portrait painting -- 19th century -- Pennsylvania -- Philadelphia Search this
History of the portrait collection, Independence National Historical Park / Doris Devine Fanelli and catalog of the collection, Karie Diethorn, editor ; with introduction by John C. Milley
