The microfilmed Alfred Williams Anthony papers contain letters, autographs, biographical data, and miscellaneous material collected by Anthony about 19th century artists.
Artists represented in the collection include: Edwin A. Abbey, Ernest Albert, Elizabeth A. Allen, Daniel C. Beard, Frank Beard, Samuel G. W. Benjamin, Albert Bierstadt, Nathaniel Blaisdell, Edwin H. Blashfield, Evangeline Blashfield, Charles W. Bolton, Victor D. Brenner, Sydney & Mrs. Burleigh, William M. Chase, Frederic E. Church, Harry Cochrane, William A. Coffin, Timothy Cole, Thomas Cole, Royal Cortissoz, Palmer Cox, Christopher Cranch, Felix O. C. Darley, Frederick Dellenbaugh, Frederick Dielman, Andrew J. Downing, Charles L. Eastlake, George W. Edwards, Daniel C. French, Edmund H. Garrett, Sanford R. Gifford, V. Gribayedoff, Henry W. Herbert, Elbert Hubbard, Daniel Huntington, Laurence Hutton, Ernest L. Ipshen, Norman W. Isham, F. Lynn Jenkins, John La Farge, Edward C. Leavitt, William J. Linton, Benson J. Lossing, Will H. Low, Jervis McEntee, George Merrill, John H. Mills, Thomas Moran, Samuel F.B. Morse,
A. R. Mullen, Thomas Nast, National Arts Club, Wilbur F. Noyes,Frederick B. Opper, Mrs. Archie M. Palmer, Erastus D. Palmer, William F. Paris, Carl R. Parker, Hiram Powers, Howard Pyle, Thomas B. Read, Albert Rosenthal, Augustus Saint-Gaudens, John Sartain, Walter Smedley, George F. C. Smillie, Francis H. Smith, Bayard Taylor, Col. Henry S. Taylor, John Trumbull, Henry T. Tuckerman, Union League Club, N.Y., D. B. Updike, Vasili Vereschagen, Charles Vezin, Douglas Volk, D. Everett Waid, John Q. A. Ward, Clara E. Waters, Robert W. Weir, J. Thomson Willing, Ellsworth Woodward, Mabel Woodward, William Woodward, and F. Hammond Wright.
Biographical / Historical:
Alfred Williams Anthony (1860-1939) was a theologian, author, and educator in Lewiston, Maine. He served in various roles for the General Conference of Freewill Baptists, the Maine chapter of the Religious Education Association, and the Committee on Goodwill between Jews and Christians. Anthony also served on the boards of trustees for Bates College, Hillsdale College, and Brown University.
Related Materials:
The New York Public Library Archives and Manuscripts Division holds the Alfred Williams Anthony collection, 1679-1944. Bates College Edmund S. Muskie Archives and Special Collections Library holds the Alfred Williams Anthony papers, 1872-1996 and the Dressler family collection of Alfred Williams Anthony Papers, 1802-1985.
Provenance:
Microfilmed 1956 by the Archives of American Art with other art-related papers in the Manuscript Division of the New York Public Library. Included in the microfilming project were selected papers of the Art Division and the Prints Division.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Woodbury, Charles H. (Charles Herbert), 1864-1940 Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Oil paintings
Sketchbooks
Watercolor paintings
Photographs
Charcoal drawings
Date:
circa 1870-1961
bulk 1870-1900
Summary:
The papers of Boston area portrait painter Rose Lamb date from circa 1870 to 1961, with the bulk of the material dating from circa 1870 to 1900, and measure 0.8 linear feet. The collection contains a diploma; letters from artists, writers, historians, and others, including nine letters from former teacher and friend William Morris Hunt; photographs of unidentified people and artwork by Lamb; and original artwork, including a sketchbook, charcoal drawings, watercolors, and two oil paintings.
Scope and Content Note:
The papers of Boston area portrait painter and drawing instructor Rose Lamb date from circa 1870 to 1961, with the bulk of the material dating from circa 1870 to 1900, and measure 0.8 linear feet. The collection contains a diploma; letters from artists, writers, historians, and others, including nine letters from former teacher and friend William Morris Hunt; photographs of unidentified people and artwork by Lamb; and original artwork, including a sketchbook from circa 1870, charcoal drawings, two watercolors, and two oil paintings. Artwork depicts landscapes, children, and other figure studies.
Correspondence within the the collection includes 19 letters from artists, such as Albert Sterner, Ross Turner, Howard Pyle, and Charles H. Woodbury; writers Anne Thackeray Ritchie, Margaret Deland, and Alfred Noyes; and historians John Fiske and Albert Bushnell Hart. Also found are nine letters from former teacher and friend William Morris Hunt. Eight of his letters describe in detail his work on the painting of murals in the Capitol building in Albany, New York, and one letter discusses his painting of portraits in North Easton, Massachusetts. Also among the correspondence are four letters to Aimée Lamb, Rose's niece.
Arrangement:
The collection is arranged into 4 series:
Missing Title
Series 1: Diploma, 1881 (Box 1, OV 3; 1 folder)
Series 2: Correspondence, 1878-1914, 1952-1961 (Box 1; 5 folders)
Series 3: Photographs, circa late 1800s (Boxes 1-2; 0.2 linear feet)
Series 4: Artwork, circa 1870-late 1800s (Box 1-2, OV 3; 0.3 linear feet)
Biographical Note:
Rose Lamb (1843-1927) was a portrait painter and drawing instructor of Boston, Massachusetts. Lamb was born in Boston to a prominent family and was a student of William Morris Hunt and Helen Knowlton during the 1870s. Though she did not exhibit often during her lifetime, she was a successful portraitist specializing in portraits of children. Lamb was an active member of Boston society, befriending many artists, writers, and other cultural figures, and her portraits were in great demand among prominent Boston families. She traveled to Europe in 1881, 1890, and 1914, perhaps taking art classes while there in 1881. In 1884, and possibly later, she assisted George Bartlett as a drawing instructor at the South Boston School of Art. In 1900 she suffered a severe illness and stopped painting. For the remainder of her life she instead pursued travel and social activities. Rose Lamb died in 1927.
Related Material:
Also available at the Archives of American Art are the Aimée Lamb (niece of Rose Lamb) papers, 1888-1991. Original letters to Rose Lamb from Mary Cassatt and Childe Hassam are available at the Museum of Fine Arts, Boston.
Provenance:
This collection was donated by Aimée and Rosamond Lamb, nieces of Rose Lamb in installments, primarily from 1980 to 1985. They donated the nine letters to Lamb from William Morris Hunt in 1976.
Restrictions:
Use of the original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- Massachusetts -- Boston Search this
Portrait painters -- Massachusetts -- Boston Search this
Letter to Mr. Marvin regarding a drawing plan Pyle was preparing, and to Ross Turner regarding an exhibition organized by the Colonial Dames.
Biographical / Historical:
Illustrator and children's book author; Wilmington, Del.
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.
Wyeth, N. C. (Newell Convers), 1882-1945 Search this
Extent:
8.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Diaries
Drawings
Christmas cards
Illustrated letters
Cartoons (working drawings)
Sketchbooks
Date:
1841-1987
Summary:
The Allen Tupper True and True family papers date from 1841 to 1987 and measure 8.2 linear feet. The collection presents a good overview of True's personal life and and his career as mural painter and illustrator specializing in Western themes.
Scope and Content Note:
The Allen Tupper True and True family papers date from 1841 to 1987 and measure 8.2 linear feet. The collection presents a good overview of True's personal life and and his career as mural painter and illustrator specializing in Western themes. Through art work, project files, photographs, and printed material, the collection offers a rich resource, both textually and visually of True's research and work on documenting early twentieth century Native Americans cultural traditions. The papers also document True's childhood and his relationship with his family through various family papers, such as correspondence, genealogies, subject files, photographs, and a scrapbook. The collection is a particularly rich resource for the study of Allen Tupper True's work, as well as original documentation of the American West and Native American culture.
Arrangement:
The collection is arranged into thirteen series according to material type. The contents of each series have been arranged chronologically. Glass plate negatives are housed separately and closed to researchers.
Missing Title
Series 1: Biographical Material, 1895-1964, undated (box 1, 7 folders)
Series 2: Subject Files, 1873-1955 (box 1, 23 folders)
Series 3: Correspondence, 1841-1956 (boxes 1-4, 3.5 linear ft.)
Series 4: Business Records, 1903-1951 (box 4, 4 folders)
Series 5: Notes, 1902-1920 (box 5, 10 folders)
Series 6: Writings, 1896-1926 (box 5, 5 folders)
Series 7: Artwork, 1897-1923 (boxes 5, 10, and OV 11, 0.5 linear ft.)
Series 8: Project Files, 1912-1987 (boxes 5-6 and 10, 0.75 linear ft.)
Series 9: Photographs, 1859-1950 (boxes 6-7, 1.5 linear ft.)
Series 10: Scrapbook, 1934 (box 7, 1 volume)
Series 11: Printed Material, 1875-1981 (box 7, 21 folders)
Series 12: Artifacts, ca. 1863 (boxes 7 and 10, 9 items)
Series 13: Glass Plate Negatives, undated (boxes 8-9, 0.8 linear ft.)
Biographical Note:
Allen Tupper True (1881-1955) was born in Colorado Springs, Colorado in 1881. He was a student at the University of Denver, and studied at the Corcoran School of Art, Washington, D.C. between 1901 and 1902. In 1902, he was accepted into Howard Pyle's classes in Chadd's Ford, Pennsylvania, and studied there until 1908, befriending classmates George Harding, Gordon McCouch, Thornton Oakley, and N.C. Wyeth. Through Pyle, True began his career as a magazine illustrator.
From approximately 1913-1915, True worked with British muralist Frank Brangwyn, assisting Brangwyn in the execution of murals at the Panama-Pacific Exposition in San Francisco, California.
After marrying Emma Goodman Eaton in 1915 (divorced 1934), True launched his career as a mural painter. His most notable works include the mural decorations in the state capitol buildings of Colorado, Missouri, Nebraska, and Wyoming, as well as murals for the Mountain States Telephone and Telegraph Company Building and the Civic Center in Denver, Colorado. True specialized in depicting Western and Native American themes.
From 1934-1945, True acted as consultant for the U.S. Bureau of Reclamation, in charge of and designing all decoration and color schemes for the Boulder Dam power plant, Grand Coulee Dam, and the Shasta Dam, among others.
True was a Unitarian Mason, and a member of the Mural Painters of America, Beta Theta Pi, Cactus Club of Denver, and the Author's Club, London. He died in 1955.
Provenance:
The Allen Tupper True and True family papers were donated in February and April 1988 by True's daughter Jane True Mueller and his son, Frank True.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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.
An interview of Frank Schoonover conducted 1966 April 6, by Richard Doud, for the Archives of American Art. Schoonover speaks of his first meeting with Howard Pyle; studying under Pyle at Drexel Institute and at Pyle's own school; Pyle's work for "Harper's"; working for "Harper's" himself as an illustrator; Pyle's contribution to illustration; and meeting Maxfield Parrish.
Biographical / Historical:
Frank Earle Schoonover (1877-1972) was an illustrator, from Wilmington, Delaware.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 4 digital wav files. Duration is 1 hr., 34 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Letters, mostly from distinguished club members in behalf of candidates for membership, and some membership forms.
Correspondents are: James C. Beckwith, Norman Bel Geddes, Karl Bitter, Robert Blum, Gutzon Borglum, Arnold W. Brunner, Clarence C. Buel, Gelett Burgess, Charles C. Coleman, Royal Cortissoz, Lawrence Hutton, Richard Mansfield, Thomas Nast, Maxfield Parrish, Howard Pyle, F. Hopkinson, J. Alden Weir, and Stanford White.
Biographical / Historical:
New York City. Founded by Edwin Booth in 1888, the club had among its members many prominent actors, artists and writers.
Provenance:
Microfilmed 1956 by the Archives of American Art with other art-related papers in the Manuscript Division of the New York Public Library. Included in the microfilming project were selected papers of the Art Division and the Prints Division.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
REEL NOR 1: Correspondence, including letters and cards from Remington to his wife, Eva Adele Caten Remington, and with admirers and associates, including Edwin Austin Abbey, Albert J. Beveridge, Poultney Bigelow, Frederick Stuart Church, Powhatan Clark, Samuel L. Clemens, Royal Cortissoz, Homer Davenport, Richard H. Davis, Gen. George A.Forsyth, Childe Hassam, John Hay, A. Barton Hepburn, Arthur Hoeber, W. D. Howells, Carter P. Johnson, Rudyard Kipling, Daniel S. Lamont, Nelson A. Miles,W.L. Palmer, Howard Pyle, Julian Ralph, Theodore Roosevelt, Owen Wister, Gen. Leonard Wood, admirers and associates; and catalogs.
REEL 902: 11 brief letters from Remington to his friend Julian Ralph, and 1 letter from Theodore Roosevelt to Daniel W. Lord regarding Lord's apparent interest in New Mexico; a poem in Remington's hand; an autographed menu from a dinner of the Authors Club, New York City; and dedications in books written by Remington.
REEL 3470: A photocopy of a letter from Remington to "My Dear Colonel," March 21, 1903.
Biographical / Historical:
Painter, sculptor, etcher, and illustrator New Rochelle, New York and Ridgefield, Connecticut.
Provenance:
Material on reel NOR 1 lent for microfilming by the Ogdenburg Public Library and Remington Memorial, 1956. Material on reel 902 lent for microfilming by Mr. & Mrs. Robert Benkert and Louis Fisher, 1974. Material on reel 3470 donated by Mrs. Miles Reber, 1981.
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.
The papers of engraver and illustrator Alice Barber Stephens measure 0.3 linear feet and date from 1884 to 1986. The collection includes letters, photographs, printed material, and miscellaneous items.
Scope and Contents:
The papers of engraver and illustrator Alice Barber Stephens measure 0.3 linear feet and date from 1884 to 1986. The collection includes letters, photographs, printed material, and miscellaneous items.
Letters are from publishers discussing projects and fees, and by writers complimenting her work. Correspondents include Edward Bok, Sir Arthur Conan Doyle, Hamlin Garland, Ella Higginson, Herbert Hoover, Thornton Oakley, Howard Pyle, and Jessie Willcox Smith.
Photographs contain pictures of Stephens, her husband, and their house Thunderbird Lodge in Rose Valley, Pennsylvania. There are also photographs of amateur theatrical productions and of the dedication ceremony for Albert Laessle's monument "The Beaver."
Printed material consists of clippings concerning Stephens' work and her husband's collection of Native American artifacts, reproductions of Stephens' illustrations, exhibition catalogs, and a booklet about Stephens.
Miscellaneous items includes a manuscript "The Artist's Masque" by Charles H. Stephens, various notes, an inventory of furniture, Library of Congress receipts for works of art, and award certificates.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Alice Barber Stephens (1858-1931) was an engraver and illustrator active in the arts and crafts community established by William Price in 1901. She studied at the Pennsylvania Academy of Fine Arts under Thomas Eakins, the Drexel Academy under Howard Pyle, the Pennsylvania Academy of Design for Women, and at the Julian and Colarossi Academies in Paris. Stephens is primarily known for her illustrations in Harper's, Century, and Scribner's magazines. She was married to the illustrator Charles H. Stephens and lived in a barn remodeled by William Price in Rose Valley, Pennsylvania.
Provenance:
The Alice Barber Stephens papers were donated in 1988 by Stephen's granddaughter and her husband, Mr. and Mrs. Samuel Starr.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Illustrators -- Pennsylvania -- Rose Valley Search this
Letters to the Sterners, primarily regarding art and cultural matters.
Letters are from: John Barbirolli, George G. Barnard, Cecelia Beaux, George Bellows, Emile Bourdelle, Poultney Bigelow, Emma Calve, William M. Chase, Winston Churchill, Constance Collier, John Dewey, Gerald du Maurier, John Drew, James N. Dunn, Joseph Duveen, Elsie Ferguson, Arnold Genthe, Charles D. Gibson, Warren G. Harding, Charles W. Hawthorne, Robert Henri, Walter Hampden, Oliver Herford, Leslie Howard, Sir Henry Irving, Eva Le Gallienne, Julie Marlow, Philip Merivale, Maurice Mozkowski, Alla Nazimova, Joseph Pennell, Raphael Pompelli, Howard Pyle, Theodore Roosevelt, John S. Sargent, G. Bernard Shaw, Sir Herbert B. Tree, Mary A. Ward, J. Alden Weir, Edith Wharton, Francis Wilson, and Israel Zangwill.
Biographical / Historical:
Illustrator and painter; New York City. Sterner's wife, Marie, was an art dealer.
Provenance:
Microfilmed 1956 by the Archives of American Art with other art-related papers in the Manuscript Division of the New York Public Library. Included in the microfilming project were selected papers of the Art Division and the Prints Division.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art dealers -- New York (State) -- New York Search this
Illustrators -- New York (State) -- New York Search this
Material relating to the art department including, excerpts from the history of the institute; excerpts from the records of the registrar (no complete register of students has been preserved); excerpts from exhibition catalogs; excerpts from ECCENTRIC, the student yearbook, 1896 and 1897; scholarships and prizes, 1903-1904; a copy of CATALOGUE OF PAINTINGS, 1935; a list of Howard Pyle's students; and a 10 page bibliography on Pyle.
Biographical / Historical:
Art school; Philadelphia, Pennsylvania. Howard Pyle taught at the Drexel Institute from 1894-1900.
Provenance:
Lent for microfilming, 1954, by Drexel Institute of Tecnology.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
An interview of Gertrude Brinckle conducted 1966 April 7, by Richard Doud, for the Archives of American Art.
Biographical / Historical:
Gertrude Brinckle was a secretary to illustrator Howard Pyle.
General:
Originally recorded on 1 sound tape reel.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Amerikan irasutorēshun-ten : kogane jidai no gaka tachi = The great American illustrators / curated by Judy Goffman ; exhibition coordinator, Brain Trust Inc., Tokyo
