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Foundational Truths

Creator:
National Portrait Gallery  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Tue, 20 Apr 2021 07:00:00 -0000
Topic:
Portraits  Search this
See more posts:
PORTRAITS
Data Source:
National Portrait Gallery
EDAN-URL:
edanmdm:posts_b347997fbfb497b27b3c914e12db67b0

South Hadley bicentennial historical exhibition : Art Building, Mount Holyoke College, July 1-21, 1975

Author:
Mount Holyoke College  Search this
Subject:
Chandler, Joseph Goodhue 1813-1884  Search this
Physical description:
27 p. : ill. ; 21 cm
Type:
Exhibitions
Place:
Massachusetts
South Hadley
South Hadley (Mass.)
Date:
1975
1975?]
Topic:
Portraits, American  Search this
Portraits  Search this
Art  Search this
History  Search this
Call number:
N6535.S725 S7
N6535.S725S7
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_145092

Subject Files

Extent:
16 cu. ft. (16 record storage boxes)
Type:
Collection descriptions
Archival materials
Manuscripts
Brochures
Clippings
Compact discs
Digital versatile discs
Black-and-white negatives
Black-and-white photographs
Color photographs
Color negatives
Videotapes
Electronic records
Date:
1958-2007
Descriptive Entry:
This accession consists of records documenting the activities of the National Portrait Gallery (NPG) during the tenure of Director Marc Pachter (2000-2007), but also includes records from the tenures of Directors Charles Nagel (1964-1969), Marvin S. Sadik (1969-1981), and Alan Maxwell Fern (1982-2000). Topics covered include cultural affairs, exhibitions, legislation, strategic planning, the Patent Office Building, budget, donors, management, education, and grants. The records also document NPG's interactions with other Smithsonian Institution (SI) bureaus, professional associations, and museums. A small portion of the records predate the formation of NPG. Materials include correspondence; memoranda; budget records; grant proposals; color photographs and negatives; black-and-white photographs and negatives; brochures; reports; resumes; VHS tapes; and clippings. Some materials are in electronic format.
Rights:
Boxes 2, 13-14 contain materials restricted indefinitely; see finding aid; Transferring office; 06/05/2008 memorandum, Toda to Drummond; Contact reference staff for details.
Topic:
Art museums  Search this
Art museum directors  Search this
Portraits, American  Search this
Museum exhibits  Search this
Budget  Search this
Museums -- Educational aspects  Search this
Museums -- Administration  Search this
Museums -- Public relations  Search this
Genre/Form:
Manuscripts
Brochures
Clippings
Compact discs
Digital versatile discs
Black-and-white negatives
Black-and-white photographs
Color photographs
Color negatives
Videotapes
Electronic records
Electronic records
Citation:
Smithsonian Institution Archives, Accession 08-092, National Portrait Gallery (Smithsonian Institution), Office of the Director, Subject Files
Identifier:
Accession 08-092
See more items in:
Subject Files
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-fa08-092

Folder 3

Container:
Oversize
Type:
Archival materials
Collection Restrictions:
Boxes 2-4, 6-8, 10, 12-15, 17, 19-23, 25, 27 and 30 contain materials restricted indefinitely; see finding aid; Transferring office; 3/3/1999 memorandum, Lee to Cox; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 01-102, National Portrait Gallery (Smithsonian Institution), Office of Exhibitions, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Oversize
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa01-102-refidd1e9503

Exhibition Records

Extent:
7 cu. ft. (7 record storage boxes)
Type:
Collection descriptions
Archival materials
Manuscripts
Black-and-white photographs
Color photographs
Date:
1994-1999
Descriptive Entry:
This accession consists of exhibition loan records. Materials include loan agreements, correspondence, memoranda, condition reports (with photographs of objects), receipts, and notes.
Topic:
War correspondents  Search this
Museum loans  Search this
Museum exhibits  Search this
Museums -- Collection management  Search this
Museum registrars  Search this
Art museums  Search this
Portraits, American  Search this
Genre/Form:
Manuscripts
Black-and-white photographs
Color photographs
Citation:
Smithsonian Institution Archives, Accession 00-128, National Portrait Gallery (Smithsonian Institution), Office of the Registrar, Exhibition Records
Identifier:
Accession 00-128
See more items in:
Exhibition Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-fa00-128

Charlotte Corday in Prison, (painting)

Painter:
Avery, Emma Fredonia 1858-1928  Search this
Avery, Sallie Jane 1852-1931  Search this
Muller, Charles Louis 1815-1892 (copy after)  Search this
Subject:
Corday, Charlotte  Search this
Medium:
Oil on canvas
Culture:
French  Search this
Type:
Paintings
Paintings-Copy
Date:
Ca. 1870-1880
Topic:
Portrait female--Waist length  Search this
State of Being--Other--Imprisonment  Search this
Ethnic  Search this
History--France--Revolution  Search this
Control number:
IAP 9D640288
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_454211

Capture of Major Andre, (graphics)

Artist:
Jones, Alfred  Search this
Subject:
Andre, John  Search this
Type:
Graphic arts
Exhibition Catalogs
Date:
1876
Topic:
Portrait male  Search this
Occupation--Military--Major  Search this
History--United States--Revolution  Search this
State of Being--Other--Imprisonment  Search this
Landscape  Search this
Figure group  Search this
Control number:
AECI 11170221
Data Source:
Pre-1877 Art Exhibition Catalogue Index
EDAN-URL:
edanmdm:siris_aeci_132760

Capture of Major Andre, (eng.), (graphics)

Artist:
Unknown  Search this
Subject:
Andre  Search this
Andre, John  Search this
Type:
Graphic arts
Exhibition Catalogs
Date:
1876
Topic:
Portrait male  Search this
Occupation--Military--Major  Search this
History--United States--Revolution  Search this
State of Being--Other--Imprisonment  Search this
Figure group  Search this
Landscape  Search this
Control number:
AECI 11310044
Data Source:
Pre-1877 Art Exhibition Catalogue Index
EDAN-URL:
edanmdm:siris_aeci_133431

The Capture of Major Andre, (painting)

Artist:
Stickney, Lucy P.  Search this
Subject:
Andre, John  Search this
Type:
Paintings
Exhibition Catalogs
Date:
1876
Topic:
Portrait male  Search this
Occupation--Military--Major  Search this
History--United States--Revolution  Search this
Animal--Horse  Search this
State of Being--Other--Imprisonment  Search this
Landscape  Search this
Figure group  Search this
Control number:
AECI 01350013
Data Source:
Pre-1877 Art Exhibition Catalogue Index
EDAN-URL:
edanmdm:siris_aeci_24814

Charles Rivers Photographs

Creator:
Rivers, Charles, 1904-1993  Search this
Names:
Chrysler Building (New York, N.Y.) -- Pictorial works  Search this
Empire State Building -- Construction--1929-1930  Search this
Pathe News  Search this
Bates, Ruby  Search this
Extent:
0.5 Cubic feet (4 boxes )
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Albums
Place:
New York (N.Y.) -- 1920-1930
Washington (D.C.) -- 1960-1970
Date:
1929-1963
bulk 1929-1930
Scope and Contents:
The collection contains: twenty-nine silver gelatin photoprints mounted on Fome-Core, Masonite, and cardboard, ranging in size from 5-1/2" x 9-1/4" to 10-11/16" x 13-13/16"; three 5" x 7" unmounted silver gelatin photoprints; a scrapbook which originally contained 56 silver gelatin photoprints, ranging in size from 2" x 3" to 7-1/2" x 9-1/2"; and silver gelatin film negatives (presumably acetate) for the prints. The scrapbook includes a New York Daily News clipping about Rivers: "Builds a Bridge to Students" by Anthony Burton (dated May 12, 1970 by Rivers) with a photograph showing him speaking to a crowd, Most of the photographs depict the construction of the Chrysler and Empire State Buildings--iron workers on the job and relaxing during breaks, and pictures of the buildings at various stages of completion. Other subjects are: a demonstration to prevent World War II (1935), a color photoprint of the Civil Rights March and Demonstration in Washington, D.C. (1963), and two magazine clippings from a Soviet publication, New Times, in which Rivers's prize-winning "Self Portrait" (1930) was reproduced.

Most of these prints were made by Charles Rivers many years after the creation of the original negatives, probably ca.1970s 1980s. The collection is in generally good condition, except that many of the print surfaces are scratched.
Biographical / Historical:
Charles Rivers created a certain amount of confusion about his origins, whether accidentally or intentionally. Born Constantinos Kapornaros[1] (or Kostandinos Kapernaros)[2] in the small town of Vahos in Mani, an isolated area in the southern Peloponnesian region of Greece, on May 20, 1904, he emigrated to the United States as a child of five or six with his parents. His school record showed that he was enrolled in 1911 at the age of seven.[3] The family lived in Maine or New Hampshire, then Massachusetts, and later other locations in New York state. It is believed that his new name was derived from the Charles River in Boston.[4] The change may have been occasioned by a need to conceal his deep involvement in left-wing political and union activities.[5] Mr. Rivers settled in New York City in 1950 and resided there until 1993.[6] He sometimes identified his birthplace as Denver, Colorado,[7] but this may have been a fabrication or simplification, based on the fact that Greek church baptismal records were kept in Denver.[8] His sons James and Ronald believe that he never became an official American citizen. Late in life, in order to visit his birthplace, he was issued a passport, based on his school records, which stated that he was born in Denver. Rivers photographed the construction of the Chrysler Building (1929) and the Empire State Building (1930) in New York City. He was inspired to take up photography by seeing the work of the influential documentary photographer Lewis Hine, whose famous images of working children helped win passage of protective child labor laws. Rivers and Hine both photographed the Empire State Building and the men building it, yet Rivers apparently was unaware until years later that his idol had been present. Employed as an iron worker, Rivers traded his pail of tools for a Zeiss Ikon[9] camera during his lunch hour or when photographic opportunities arose. While the workers depicted in some of the photographs clearly are aware of the photographer's presence, Rivers's project presumably was conducted more or less surreptitiously. It is not known for certain if the paths of Rivers and Hine ever crossed, but his son Ron considers it unlikely: Hine photographed only the Empire State Building in connection with his "Men at Work" project,[10] not the earlier Chrysler Building, and Rivers did not work on the Empire State Building for a very long period. His self-portrait on the Empire State Building, "The Bolter-Up," may have been intended as a memento during one of his last days on that job.[11]

Rivers became unemployed in the Depression and consequently became involved in national efforts to create Social Security, unemployment insurance, and housing programs. These experiences apparently encouraged his active participation in politically leftist activities, as coverage about him in Soviet publications attests. A pacifist, in 1935 he was involved in demonstrations aimed at preventing World War II, and in the 1960s he took part in anti-Vietnam demonstrations and encouraged young people to continue such resistance.

In the 1950s Rivers worked in steel fabrication, in a chemistry lab as a technician, and briefly as a legislative aide for a New York state senator.

In 1986 Rivers submitted his 1930 self-portrait, posed on the Chrysler Building, to the International Year of Peace art contest sponsored by the New Times, published in Moscow: it was awarded a prize and diploma.

Mr. Rivers died in 1993, only two weeks after moving to Arlington, Texas to enter a nursing home near his sons' homes.

1. The page on Rivers in New York University=s Robert F. Wagner Labor Archives web site (http://laborarts.org/collections/item.cfm?itemid=82) --noted 5 June 2002), claims Rivers was born in 1905 and changed his name Ato resemble those of the Mohawk Indians working on the high steel of New York City=s skyscrapers and bridges".

2. This spelling is given in an e-mail from James Rivers to Helen Plummer, Aug. 19, 2002.

3. Ibid.

4. Telephone conversation between Ron Rivers and the author, 6 June 2002. Additional information was provided by Ron Rivers in electronic mail messages, 5 June and 12 June 2002.

5. James Rivers, op. cit.

6. Telephone conversation with Ron Rivers, 6 June 2002.

7. In a biographical statement for the Amon Carter Museum of Western Art (copy supplied by Helen Plummer), Charles Rivers called Denver his birthplace. The George Eastman House photographer database also included this apparently erroneous information, probably derived from the Amon Carter statement (telephone conversation with Helen Plummer, 3 June 2002).

8. Ron Rivers, telephone conversation, 6 June 2002.

9. Identified by Charles Rivers as the camera used in the skyscraper photographs: interview by Carol Sewell, "Photographer looked at U.S. from high view," Fort Worth Star-Telegram, Dec. 27, 1986. Rivers also used a Rolleiflex, according to Ron Rivers (see note above), but the folding Zeiss Ikon camera would have been a more convenient addition to a lunchbox than the bulkier Rolleiflex. The collection negatives are not in the Rolleiflex square format, moreover.

10. See Judith Mara Gutman, Lewis W. Hine and the American social conscience. New York: Walker, 1967.

11. Ron Rivers, telephone conversation, 6 June 2002.
Related Materials:
Materials at the Smithsonian Institution

Hirshhorn Museum and Sculpture Garden

Included Rivers's self-portrait, "The Bolter Up," in its summer 2002 exhibition, "Metropolis in the Machine Age," in the form of a new print made from a digital copy of the Archives Center's original negative. The author discussed the new print from the Rivers negative and other photographs in this exhibition in an invited gallery lecture, "The Skyscraper Photographs of Lewis Hine and Charles Rivers," Hirshhorn Museum and Sculpture Garden, June 6, 2002.

Materials at Other Organizations

Amon Carter Museum, Fort Worth, Texas

See Barbara McCandless and John Rohrbach, Singular moments: photographs from the Amon Carter Museum, with select entries by Helen Plummer. Reproduction of a Rivers photograph, with description and analysis, p. 30. Additional information has been generously supplied by Ms. Plummer, curatorial associate, and Barbara McCandless, curator of photography, Amon Carter Museum of Western Art, Fort Worth Texas.

Robert F. Wagner Labor Archives at New York University

Museum of the City of New York

Some of his photographs were included in the Amon Carter Museum of Western Art exhibition, "Looking at America: Documentary Photographs of the 1930s and 1940s," December 1986.
Provenance:
The collection is a gift from Mr. Charles Rivers, 1989.
Restrictions:
Collection is open for research.
Rights:
Archives Center claims copyright. Rights were conveyed to the Archives Center through a Deed of Gift signed by the donor.
Topic:
Self-portraits, American  Search this
Iron and steel workers -- 1920-1930 -- New York (State) -- New York  Search this
Construction workers -- 1900-1950 -- New York (State) -- New York  Search this
Structural steel workers -- 1920-1930 -- New York (State) -- New York  Search this
Labor unions  Search this
Civil rights demonstrations -- 1960-1970  Search this
Skyscrapers -- 1920-1930 -- New York (State) -- New York  Search this
Civil rights  Search this
Peace movements -- 1960-1970  Search this
Peace movements -- 1930-1940  Search this
Scottsoro boys case  Search this
Fires  Search this
Scottsboro Trial, Scottsboro, Ala., 1931  Search this
Self-portraits  Search this
Genre/Form:
Photographs -- 1900-1950
Scrapbooks -- 20th century
Albums
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1970-1990
Citation:
Charles Rivers Photographs, 1929-1963, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0360
See more items in:
Charles Rivers Photographs
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep82c2fc0d6-34f9-422b-b6e3-c1d1072e975f
EDAN-URL:
ead_collection:sova-nmah-ac-0360
Online Media:

Commodore Esek Hopkins

Alternate Title:
Book: An Impartial History of the War in America
Artist:
Robert Pollard, 1755 - 1838  Search this
Sitter:
Commodore Esek Hopkins, 1718 - 1802  Search this
Medium:
Engraving on paper
Dimensions:
Sheet: 20.5 x 12.3cm (8 1/16 x 4 13/16")
Type:
Print
Place:
United Kingdom\England
Date:
c. 1782
Topic:
Commodore Esek Hopkins: Male  Search this
Commodore Esek Hopkins: Military and Intelligence\Navy\Officer\Revolution  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
S/NPG.75.28.2.f
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm41a041b76-4ac0-4d20-b111-f02ec98a5086
EDAN-URL:
edanmdm:npg_S_NPG.75.28.2.f

1st Earl Charles Grey

Alternate Title:
Book: An Impartial History of the War in America
Artist:
Robert Pollard, 1755 - 1838  Search this
Sitter:
1st Earl Charles Grey, 1729 - 1807  Search this
Medium:
Engraving on paper
Dimensions:
Sheet: 20.5 x 12.3cm (8 1/16 x 4 13/16")
Type:
Print
Place:
United Kingdom\England
Date:
c. 1782
Topic:
1st Earl Charles Grey: Male  Search this
1st Earl Charles Grey: Military and Intelligence\Soldier\Revolution  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
S/NPG.75.28.2.h
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm464f259ab-5b55-474e-9f7c-55545cde227d
EDAN-URL:
edanmdm:npg_S_NPG.75.28.2.h

Portraits of resistance activating art during slavery Jennifer Van Horn

Author:
Van Horn, Jennifer  Search this
Physical description:
x, 331 pages illustrations, portraits 26 cm
Type:
Portraits
Place:
United States
Date:
2022
Topic:
Portraits, American  Search this
Slaves  Search this
Race in art  Search this
African Americans in art  Search this
Art and society--History  Search this
Black people in art  Search this
Portrait painting, American  Search this
Slavery in art  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1159891

Historical American Records Survey portrait survey records

Creator:
Historical Records Survey (U.S.)  Search this
Names:
United States. Work Projects Administration  Search this
United States. Works Progress Administration  Search this
Extent:
4.4 Linear feet ((on 12 microfilm reels))
Type:
Collection descriptions
Archival materials
Place:
United States -- Economic conditions -- 1918-1945
United States -- Social conditions -- 1933-1945
Date:
1935-1942
Scope and Contents:
Records documenting activities of the Survey to inventory portraits in America done before 1860 in the states of Connecticut, Maine, Massachusetts, New Hampshire, New York, Rhode Island, and Vermont.
Included are research documents; correspondence; interoffice memoranda; survey manuals; press releases; clippings; photographs of works of art; short biographies of sitters and artists; ca. 15,000 of the original survey cards; first drafts of checklists and catalogs; and lists of portraits received too late to be included in the final version of the catalog.
Biographical / Historical:
The Historical Records Survey (HRS) had its origins in the Federal Emergency Relief Administration and the Civil Works Administration. In 1935 it came under the auspices of the Works Progress Administration Federal Writers' Project and eventually was designated as an independent program under Federal Project No. One. The projects, ideally suited for white collar workers, employed individuals to survey, classify and collect historical records. One program of the HRS was to document American portraits (sculpture, prints and paintings) done before 1860.
Provenance:
Lent for microfilming by the Massachusetts State Library, A. Hunter Rineer, State Librarian, Boston, Mass., 1977.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Portraits, American  Search this
Portrait painting, American  Search this
New Deal, 1933-1939  Search this
Federal aid to the arts  Search this
Federal aid to public welfare  Search this
Function:
Programs (organizations)
Agencies
Identifier:
AAA.histreco
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9844891dc-b6be-458e-a11c-61a52a792bbb
EDAN-URL:
ead_collection:sova-aaa-histreco

Addison and Mamie Scurlock [glass plate photonegative]

Photographer:
Scurlock Studio (Washington, D.C.)  Search this
Names:
Scurlock, Addison N., 1883-1964  Search this
Scurlock, Mamie Estelle  Search this
Subseries Creator:
Scurlock, Addison N., 1883-1964  Search this
Custom Craft  Search this
Scurlock Studio (Washington, D.C.)  Search this
Scurlock, George H. (Hardison), 1919-2005  Search this
Scurlock, Robert S. (Saunders), 1917-1994  Search this
Extent:
1 Item (Silver gelatin on glass, 7" x 5".)
Culture:
African Americans -- Washington (D.C.)  Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
Ca. 1910-1920
Scope and Contents:
Self-portrait of the young Addison Scurlock with his future wife Mamie,seated on rocks in an outdoor setting; she holds a straw hat. No ink on negative. No edge imprint. Retouched. No Scurlock number.
Arrangement:
In box 4.3.1.
General:
13.5" x 10.5" print of this image is number 80 in "Corcoran" prints.
7" x 5" print of this image is located in 1.1.A10, Folder 10.
Exhibitions Note:
"Corcoran" print exhibited in "The Scurlock Studio and Black Washington: Picturing the Promise," NMAAHC Gallery, NMAH, January 30-November 15, 2009; image reproduced in exhibit's companion book.
Subseries Restrictions:
Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Portraits -- 1910-1920  Search this
Self-portraits, American  Search this
Couples  Search this
Self-portraits  Search this
Genre/Form:
Photographs -- Black-and-white negatives -- Glass -- 1910-1920
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
See more items in:
Scurlock Studio Records, Subseries 4.10: Glass Plate Negatives
Scurlock Studio Records, Subseries 4.10: Glass Plate Negatives / 4.10: Glass Plate Negatives / 10: Scurlock, Addison and Mamie (Mr. and Mrs.)
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8d3b663e8-98c4-430c-ab37-0618fc34b509
EDAN-URL:
ead_component:sova-nmah-ac-0618-s04-10-ref838

Lawrence B. Van Ingen papers relating to a portrait of Daniel Boone

Creator:
Van Ingen, Lawrence B.  Search this
Names:
Boone, Daniel, 1734-1820 -- Portraits  Search this
Harding, Chester, 1792-1866  Search this
Extent:
13 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1872-1985
Scope and Contents:
Six letters concerning the provenance of the portrait of Daniel Boone by Chester Harding, including a two-page description of the painting and Harding written by George Bingham to Colvin Randall, Dec. 25, 1872, and two letters to Herbert Lee Pratt; a photograph of a detail; a receipt for the portrait from the Connecticut Valley Historical Museum to Mrs. Donald Bush; an auction catalog for the estate of Colvin Randall with a listing for the portrait; a typed account by unknown author relating to the portrait; and three magazine articles on the painting.
Biographical / Historical:
Lawrence Van Ingen is the grandson of Herbert Lee Pratt, a collector of American art, who bought the portrait at the sale of J. Colvin Randall's estate.
Provenance:
The papers have been kept together by successive owners of the Boone portrait.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Topic:
Portraits, American  Search this
Identifier:
AAA.vaninge
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94825f8ed-0b43-4f2a-a633-1c03e0cca23a
EDAN-URL:
ead_collection:sova-aaa-vaninge

Joseph Delaplaine letter: Philadelphia, [P.A.], to Ezra C. Gross

Creator:
Delaplaine, Joseph, 1777-1824  Search this
Names:
Gross, Ezra Carter, 1787-1829  Search this
King, Charles Bird, 1785-1862  Search this
Extent:
1 Page
Type:
Collection descriptions
Archival materials
Pages
Date:
1819 Dec. 21
Scope and Contents:
A letter from Delaplaine to Ezra C. Gross in the House of Representatives, "soliciting the honour of your portrait" for Delaplaine's "Gallery of portraits." Delaplaine comments on his gallery, suggests [Charles Bird] King as a possible portraitist, and offers to pay half of King's fee.
Biographical / Historical:
Delaplaine (1777-1824) compiled Delaplaine's Repository of the Lives and Portraits of Distinguished American Characters (1815-1818). Ezra C. Gross was a Congressman, ca. 1820; Elizabeth, New York.
Provenance:
The donor Anna Marie Ettell, according to acquisition information, "has copies of Delaplaine's repository - former staff member." The gift was received through Tina Morelli of the National Portrait Gallery.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Topic:
Portraits, American  Search this
Identifier:
AAA.delajose
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw974c5ddfe-2f33-4d29-8d5a-330c1d10d31c
EDAN-URL:
ead_collection:sova-aaa-delajose

Lens on American art the depiction and role of eyeglasses John Wilmerding

Author:
Wilmerding, John  Search this
Host institution:
Shelburne Museum  Search this
Subject:
Shelburne Museum  Search this
Physical description:
183 pages illustrations (chiefly color), portraits, photographs 26 cm
Type:
Exhibitions
Expositions
Portraits
Art criticism
Exhibition catalogs
Date:
2020
21st century
Topic:
Eyeglasses in art  Search this
Portraits, American  Search this
Lunettes dans l'art  Search this
Portraits américains  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1147103

Benny Andrews portraits, a real person before the eyes [contributors: Jessica Bell Brown, Connie H. Choi, Kyle Williams]

Title:
Portraits, a real person before the eyes
Artist:
Andrews, Benny 1930-2006  Search this
Writer of supplementary textual content:
Brown, Jessica Bell  Search this
Choi, Connie H  Search this
Williams, Kyle (Archivist, foundation director)  Search this
Host institution:
Michael Rosenfeld Gallery  Search this
Physical description:
188 pages illustrations, portraits (chiefly color) 31 cm
Type:
Exhibitions
Expositions
Exhibition catalogs
Date:
2020
20th century
20e siècle
Topic:
Portraits, American  Search this
African American art  Search this
African American artists  Search this
Portraits américains  Search this
Art noir américain  Search this
Artistes noirs américains  Search this
Call number:
N40.1.A57 M53 2020
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1154996

[Samuel F.B. Morse self-portrait, copy of a painting.]

Collector:
Western Union Telegraph Company  Search this
Names:
Morse, Samuel Finley Breese, 1791-1872  Search this
Collection Creator:
United Telegraph Workers.  Search this
Western Union Telegraph Company  Search this
Extent:
1 Item (Ink on paper., 11.9" x 8.9")
Container:
Box 776, Folder 4
Type:
Archival materials
Photographs
Paintings
Date:
undated
Local Numbers:
AC0205-0000010.tif (AC Scan)
Collection Restrictions:
Collection is open for research but Series 11 and films are stored off-site. Special arrangements must be made to view some of the audiovisual materials. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Telegraph, Wireless  Search this
Self-portraits, American  Search this
Self-portraits  Search this
Genre/Form:
Paintings -- Reproductions
Collection Citation:
Western Union Telegraph Company Records, Archives Center, National Museum of American History
See more items in:
Western Union Telegraph Company Records
Western Union Telegraph Company Records / Series 23: Photographs / 23.13: Oversized Photographs / Samuel F.B. Morse
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8f675916f-4c13-43ae-a3fd-1e63938a5fe6
EDAN-URL:
ead_component:sova-nmah-ac-0205-ref11322

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