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.
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. 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.
This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection 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.
Collection Citation:
National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.
This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection 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.
Collection Citation:
National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Michael Mazur, 1993 Jan. 12-1995 Feb. 3. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- Massachusetts -- Interviews Search this
Prints -- Technique -- Study and teaching Search this
An interview of Alfeo Faggi conducted in Woodstock, N.Y., by Dorothy Seckler, on 1963 Aug. 1, for the Archives of American Art.
Biographical / Historical:
Sculptor; Woodstock, N.Y. b. in Florence, Italy; d. Oct. 16, 1966, at age 81.
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.
Restrictions:
Transcript available on the Archives of American Art website.
The records of the American Academy in Rome measure 65.9 linear feet and date from 1855 to 2012. The collection documents the history of the institution from its inception in 1894 as the American School of Architecture in Rome, through the end of World War II, and chronicles the contributions the academy has made to America's cultural and intellectual development. Nearly one-half of the collection consists of an unprocessed addition received in 2014 containing records that mostly post-date World War II and include correspondence and subject files of officers and executives based in the New York office of American Academy in Rome.
Scope and Content Note:
The records of the American Academy in Rome measure 65.9 linear feet and date from 1855 to 2012. The collection documents the history of the institution from its inception in 1894 as the American School of Architecture in Rome, through the end of World War II, and chronicles the contributions the academy has made to America's cultural and intellectual development. Nearly one-half of the collection consists of an unprocessed addition received in 2014 containing records that mostly post-date World War II and include correspondence and subject files of officers and executives based in the New York office of American Academy in Rome.
Items predating the 1894 founding of the American School of Architecture in Rome are personal papers and memorabilia of individuals associated with the institution.
Series 1: Predecessor Institutions, is composed of the records of the American School of Architecture in Rome, 1894-1898, and the American School of Classical Studies in Rome, 1895-1913. Records of the American School of Architecture in Rome include records of its Managing Committee, correspondence, financial records, and printed matter. Among the Managing Committee's records are notes and correspondence relative to the founding of the institution, minute books and reports; also, legal documents including records concerning its dissolution prior to being reorganized as the American Academy in Rome. Correspondence is mostly that of Vice President Charles F. McKim who handled administrative matters. Financial records include capital stock certificates, invoices and receipts. Printed matter consists of scholarship competition announcements.
Records of the American School of Classical Studies in Rome include records of its Managing Committee, Committee on Fellowships, publications, printed matter, and treasurers' records. The Managing Committee's records consist of the proposed resolution concerning its merger with the American Academy in Rome. Committee on Fellowship records are comprised of correspondence, reports, and fellowship applications. Publications records include correspondence and invoices. Printed matter includes general information, annual reports of the Managing Committee and Director, annual reports of the Committee on Medieval and Renaissance Studies, fellowship applications and examination questions, and the proposed consolidation agreement. Treasurers' records include the files of Alex. Bell and Willard V. King. Bell's sparse records consist of a budget, receipts for salary payments, an invoice, canceled checks, and correspondence. King's files, while more substantial than those that survive from Bell's tenure, are quite incomplete. They include correspondence, banking records, budgets and financial statements, investment records, invoices, and receipts for salaries and expenses.
Series 2: Board of Trustees Records, is comprised of legal documents, minutes, and reports; records of Trustee committees; records of officers; and records of individual Trustees. Legal documents, 1897-1926 and undated, consist of by-laws and amendments, certificate of incorporation, and constitution and amendments. Minutes and reports of the Board of Trustees, 1897-1947 and 1957, including those of its annual meetings, are carbon copies rather than the official minute books, and are incomplete. Reports of officers are incomplete, as well. Also included are reports of Officers'/Trustees' visits to Rome, and reports of the Director and Secretary in Rome submitted to the Board of Trustees.
Records of Trustee committees, 1905-1946 and undated, consist of reports and/or minutes arranged alphabetically by committee; these, too are incomplete, with many committees represented by a single report. Committees represented are: Building Committee, Carter Memorial Committee, Endowment Committee, Executive Committee, Finance Committee, Library Committee, McKim Memorial Committee, Nominating Committee, Committee on Publications. Committee on the School of Classical Studies records consist of its own minutes and reports, reports of its Advisory Council and the Jury on Classical Fellowships. Committee on the School of Classical Studies also include reports of officers and staff of the School of Classical Studies to the Committee on the School of Classical Studies as follows: Director, Professor in Charge, Annual Professor, Director of the Summer Session, Professor of Archaeology, Curator of the Museum, Editor, Librarian, and Committee on the Welfare of Women Students. Committee on the School of Fine Arts records consist of its own minutes and reports, reports of its Special Committee on the Plan and Expense of a Department of Music in the School of Fine Arts, and report of Fine Arts Program, Triptych Project with the Citizens Committee for the Army and Navy, Inc.; also, reports of officers and staff of the School of Fine Arts to the Committee on the School of Fine Arts as follows: Director, Professor in Charge, Associate in Charge, Annual Professor, Professor in Charge of the Department of Musical Composition. In addition, there are minutes and/or reports of the Committee of Twelve and Subcommittee of Five and the Special Committee on Villa Aurelia.
Records of Officers. 1898-1957 and undated, consist mainly of correspondence files and reports, with large numbers of transcriptions and carbon copies. Included are records of: Presidents Charles F. McKim, William R. Mead, Charles A. Platt, John Russell Pope, and James Kellum Smith; Vice Presidents Theodore N. Ely, George B. McClellan, and Henry James; Secretaries H. Siddons Mowbray (Secretary/Treasurer), Frank D. Millet, C. Grant La Farge, William B. Dinsmoor, and H. Richardson Pratt; and Treasurers William R. Mead, William A. Boring, Leon Fraser, and Lindsay Bradford Office files of President Mead, Secretaries Millet and La Farge, and Treasurer Boring are the most complete; files of other individuals, the Vice Presidents in particular, are often quite sparse.
Records of individual Trustees, 1902-1946 and undated, consist of material relating to official Academy business that was created or maintained by each in his capacity as trustee. (Note: many of these individuals also served as officers or staff of the Academy, and their records documenting those functions will be found in the appropriate series.) Included in this subseries are the records of: Chester H. Aldrich, Gilmore D. Clarke, James C. Egbert, Barry Faulkner, Allan C. Johnson, William M. Kendall, C. Grant La Farge, Edward P. Mellon, Charles Dyer Norton, Charles A. Platt, John Russell Pope, Edward K. Rand, John C. Rolfe, James Kellum Smith, S. Breck Trowbridge, Ferruccio Vitale, John Quincy Adams Ward, Andrew F. West, and William L. Westerman. These records tend to be sparse; files maintained by James C. Egbert, Barry Faulkner, Allan C. Johnson, and Ferruccio Vitale are notable exceptions.
Series 3: New York Office Records, consists of records of staff, rosters, printed matter, photographs, personal papers, Association of Alumni of the American Academy in Rome, and miscellaneous records.
Records of staff, 1919-1950 and undated, include the office files of Executive Secretaries Roscoe Guersney, Meriwether Stuart, and Mary T. Williams; Librarian George K. Boyce; and Endowment Fund Campaign Secretaries Phillilps B. Robinson and Edgar I. Williams.
The rosters, 1895-1939 and undated, are printed forms completed by fellows and students, with occasional attachments (usually correspondence or photographs). Included are the rosters of the School of Fine Arts, School of Classical Studies, and School of Classical Studies Summer Sessions.
Printed matter, 1905-[1981?] and undated, has been classified as Academy produced and produced by others. Items produced by the Academy, 1905-[1981?], include general information including act of incorporation and by-laws, fundraising brochure, constitution, Directory of Fellows and Residents, histories of the institution, newsletter of the Director, and printed items relating to special events. Printed matter specifically relating to the School of Classical Studies includes annual announcements, the consolidation agreement, a directory, fellowship announcements and applications, lecture announcements, newsletters, and brochures about summer sessions. School of Fine Arts printed matter includes annual announcements, concert programs, exhibition checklists and catalogs, fellowship announcements and application forms, history, and newsletters.
Printed matter produced by others, 1905-1940 and undated, consists of three scrapbooks of news clippings and photographs compiled by the American Academy in Rome, extensive clipping files, and articles from miscellaneous publications. All of these items are about the American Academy in Rome, or by or about individuals associated with the institution. Also included is a poster for Leave Courses offered at the Academy for U. S. servicemen.
Photographs, 1891-1941 and undated, are organized into the categories of works of art, people, buildings, places, events, and miscellaneous. Works of art are by visiting students and fellows, Frank D. Millet, collaborative problems, Rome Prize Competitions in Architecture, Rome Prize Competitions in Landscape Architecture, and Prix de Rome Competition exhibitions. Photographs of people are both of individuals and groups; among the groups are summer school students and fellowship winners.
Buildings depicted are American Academy properties. Among them are the "New Building," including interior and exterior construction views; studios; and Villas Aurelia, Mirafiore, and Richardson. Also included is a group of photographs of Academy architecture students measuring buildings in Rome and Florence. Places pictured are views of the Academy property and surrounding areas.
Photographs of events include cricket games, Thanksgiving and Fourth of July dinners, Architectural League exhibition, and inauguration of the Manship Fountain. Miscellaneous photographs are of an architectural drawing for a proposed building.
Personal Papers, Memorabilia, and Ephemera, 1855-1923 an undated, were donated to the American Academy in Rome or otherwise left on its premises. None are official records generated by the institution. Included are: Ernest Lewis' photograph album/scrapbook; Allan Marquand's papers; Charles F. McKim's memorabilia, photographs, printed matter, and artifacts; Charles R. Morey's correspondence; and Elihu Vedder's Bible.
Records of the Association of the Alumni of the American Academy in Rome, 1913-1945 and undated), consist of a small number of scattered records including correspondence, fellows' war/government service information (compiled by Sidney Waugh), membership lists, and a newsletter.
Miscellaneous records, 1899-1926 and undated, are writings and architectural records. Writings consist of published and unpublished manuscript material about the American Academy in Rome and its history, and article by H. Siddons Mowbray advising on ornamentation, and text and illustrations for the Art and Archaeology issue on the Academy. Also included are fragments of unidentified letters. Architectural records [oversize] include property and floor plans of Villas Aurora, Chiaraviglio, Ferrari, and Ludovisi.
Series 4: Rome Office Records, consist of records of staff and personal papers. Records of staff, 1903-1947 and undated, include the office files of Directors H. Siddons Mowbray, George Breck, Jesse Benedict Carter, Gorham Phillips Stevens, James Monroe Hewlett, Chester H. Aldrich, Amey Aldrich [Acting Director, very briefly, perhaps unofficially], Charles R. Morey, and Laurance P. Roberts; and records of two members of the School of Fine Arts faculty, Frank P. Fairbanks, Professor of Fine Arts, and Felix Lamond, Professor of Music. Records of Carter, Stevens, Hewlett, and Aldrich appear to be fairly complete; records of early directors are sparse; those of Morey and Roberts appear to be missing significant portions; and those of Professors Fairbanks and Lamond consist of a few scattered items.
Also surviving are the personal papers of Director Gorham Phillips Stevens, 1912-1931 and undated), consisting of correspondence, financial records, and documentation of professional and charitable activities.
Series 5: Unprocessed Addition to the American Academy in Rome Records was received in 2014 and consists of 31.6 linear feet of the New York office's records for officers, directors, and executives.
Arrangement:
It was obvious that before they came to the Archives of American Art the records had been rearranged more than once, and in such a way that materials from many different departments had been intermingled. In keeping with archival theory and practice, the records were organized to reflect the structure and operation of the institution that created the records, making them more understandable and accessible to a wide variety of researchers.
In general, the records of each officer and staff member are arranged alphabetically, with general correspondence preceding the alphabetical sequence; arrangement within each file is chronological, unless noted otherwise.
Records of the American Academy in Rome are organized into five major series. Each series, except series 5, is divided into several subseries, with the arrangement described in detail in the series descriptions.
Missing Title
Series 1: Predecessor Institutions, 1894-1913 (box 1; 0.88 linear ft.; Reels 5749-5750)
Series 2: Board of Trustees Records, 1897-1957, undated (boxes 1-17, 35, 37; 15.25 linear ft.; Reels 5750-5777)
Series 3: New York Office, 1855-circa 1981, undated (boxes 17-32, 36; 15 linear ft.; 5777-5795)
Series 4: Rome Office, 1903-1943, undated (boxes 32-34; 3 linear ft.; 5795-5800)
Series 5: Unprocessed Addition to the American Academy in Rome Records, 1933-2002 (boxes 35-103; 31.6 linear ft.)
Historical Note:
While in Chicago to advise and work on the fine arts section of the 1893 World's Columbian Exposition, architects Charles F. McKim, Daniel Burnham, and Richard Howland Hunt, painters John La Farge and Frank Millet, and sculptors Augustus Saint-Gaudens, and Daniel Chester French, among others, met regularly. From their collaborative experience and discussions came the idea for an American school for artists in Europe. Charles F. McKim was especially enthusiastic. He strongly believed that collaborative experience should be available to future American artists, and perceived a real need for an American school in Europe--preferably in Rome, the very best place to study art, in his opinion.
By March of the following year, McKim was busy devising plans for the school and persuading like-minded architects and artists to assist. He proposed to finance the school by convincing institutions with traveling scholarships in the arts to send those students to Rome. Columbia University, University of Pennsylvania, and the Rotch Scholarship fund readily agreed to the scheme, and in ensuing years many others followed suit. In October, 1894, the American School of Architecture in Rome opened temporary quarters in the Palazzo Torlonia. The school consisted of its Director, Austin Lord, three fellows, and a visiting student; its "library" contained but one volume.
A move to the larger, more suitable Villa Aurora occurred in July 1895. Rent from two subtenants (the newly established American School of Classical Studies in Rome and the British and American Archaeological Society Library in Rome), along with a personal contribution from McKim, made this financially feasible.
The American School of Architecture in Rome was incorporated in the State of New York, 1895, and 10 shares of capital stock were issued. Despite substantial fundraising efforts in Chicago, New York, and Boston, severe financial problems continued. The American School of Classical Studies in Rome vacated the Villa Aurora in 1896--and with it went a sizeable portion of the School of Architecture's income. McKim frequently made up the deficit from his own pocket.
Eventually, it was decided that the American School of Architecture in Rome must be reorganized along the lines of the French Academy and that national sponsorship needed to be obtained through an act of Congress. In June of 1897, the American School of Architecture in Rome voted to dissolve itself and create the American Academy in Rome. The new institution would assume all assets and obligations, fellowships in painting and architecture were to be added to the program, and its Board of Trustees would include architects and artists. The Academy is not a school. Its fellows and visiting students, already professionally trained, go to Rome for further development and for collaboration and association with others. In the words of Director Gorham Phillips Stevens: "The object of the American Academy in Rome is not to afford opportunities for a few individuals to perfect themselves for the practice of their chosen professions. The ideal is to create an atmosphere in which a limited number of carefully selected artists and scholars may develop that synthesis of intellectual culture which will make them worthy to preserve and continue the great traditions of the past in order that the standard of art and literature may be handed on from year to year, constantly strengthened and improved."
Beginning in 1901, bills to make the American Academy in Rome a "national institution" were introduced in Congress on several occasions. A hearing was finally scheduled in 1905, and a revised bill that prohibited government funding and specified that U.S. officials may not be Trustees was signed into law. Serious efforts to create an Endowment Fund and secure better quarters were associated with the movement to obtain status as a national institution. The Academy was successful in meeting all of these objectives. In 1904, the Academy moved to the Villa Mirafiore (also known as Villa Mirafiori), which it soon purchased and renovated. The Endowment Fund raised well over a million dollars. Donors of $100,000 to the Endowment Fund, designated "Founders" of the American Academy in Rome, were: The Carnegie Foundation, Henry C. Frick, Harvard College, Charles F. McKim, J. P. Morgan, Sr., J. P. Morgan, Jr., The Rockefeller Foundation, John D. Rockefeller, Jr., William K. Vanderbilt, and Henry Walters. Other categories of donors were "Incorporators" (a new Act of Incorporation was required at the time the American Academy in Rome was chartered as a national institution) and "Life Members."
The American School of Classical Studies in Rome, which had been established by the Archaeological Society in 1895 and during its first year shared the Villa Aurora with the American School of Architecture in Rome, entered into a consolidation agreement with the American Academy in Rome in 1911. Their merger went into effect on the last day of 1912, and ever since, the American Academy in Rome has consisted of the School of Fine Arts and the School of Classical Studies, administered by a common director. The School of Classical Studies is composed of fellows and visiting scholars who are graduate students, secondary teachers, or professors engaged in research in the areas of archaeology, ancient art, philology, and humanistic studies. Women were a part of the School of Classical Studies from its beginning, but were not permitted to participate in the School of Fine Arts until well after World War II. Beginning in 1923, the School of Classical Studies instituted Summer Sessions which appealed to secondary teachers, and attracted an enrollment that was largely female.
Originally, the School of Fine Arts offered fellowships in architecture, painting, and sculpture. Fellowships in landscape architecture were added in 1915; in 1920, a Department of Music was established, and along with it fellowships in musical composition. Fellowships in art history were established in 1947. Unmarried men under age 30 were eligible to compete for the fine arts fellowships awarded annually (except for landscape architecture, awarded every third year); the duration of fellowships ranged from one to three years at various points in the institution's history. In residence along with fellows of the American Academy in Rome, might be holders of various traveling scholarships: the McKim Fellowship, the Columbia Traveling Scholarship, the Perkins Scholarship, the Robinson Traveling Scholarship (Harvard), the Rotch Scholarship, the Julia Appleton Scholarship, the Traveling Scholarship and Stewardson Memorial Scholarship (University of Pennsylvania), the Cresson Scholarship (Pennsylvania Academy of the Fine Arts), the Drexel Institute Traveling Scholarship, the Lazarus Scholarship (Metropolitan Museum of Art), the Lowell Scholarship (Massachusetts Institute of Technology), and the Rinehart Scholarship (Peabody Institute, Baltimore). Visiting students, who remained for a much briefer period than fellows or recipients of various traveling scholarships, were admitted to all lectures and granted use the library, but resided elsewhere. The Academy opened an Atelier in downtown Rome for visiting students in 1927, which operated until financial considerations forced its discontinuation seven years later.
As the merger was being planned, J. P. Morgan, Sr., who was interested in both the American Academy in Rome and the American School of Classical Studies in Rome, began buying properties on the Janiculum, adjacent to Villa Aureilia. Villa Aurelia, built on the summit of the Janiculum in 1650, had been bequeathed to the American Academy in Rome in 1909 by Clara Jessup Heyland. Complications surrounding the gift of Villa Aurelia--including the will being contested by Mrs. Heyland's brother, and problems with unsettled tax assessments--were overcome in the interest of acquiring the outstanding building and its extensive grounds. Not long before his death in 1913, Morgan donated his neighboring land, and the American Academy in Rome continued to expand its Janiculum holdings through purchases and gifts from others. Morgan also agreed to provide a loan for construction of a new building. This building, designed by McKim, Mead, and White and known as the Main Building or Academy Building, opened in 1915; it served as the fellows' residence and work area, and included room for the library, offices, and space for exhibitions and other public events.
During World War I, the American Academy in Rome managed to remain open, although no new fellows arrived during the war years and the number of resident fellows and staff dwindled considerably. Most who remained were involved in some type of civilian war work, often with the Red Cross. In fact, Villa Aurelia was rented by the Red Cross in Italy for office space, and the Main Building was offered as a convalescent hospital, but the war ended before it could be put to that use.
After Italy declared war on the United States in 1941, the American Academy in Rome closed for the remainder of World War II. Those who had been awarded fellowships in classics just prior to the Academy's closing were given the option of using their stipends for study at home or waiting until conditions permitted travel to Rome. A very reduced staff stayed to care for the property and continue library cataloguing, coping with often severe wartime shortages of food and fuel. In addition, there were financial hardships. When bank accounts of enemy aliens were frozen and it was no longer possible to transfer funds from the United States, the Swiss Legation and Vatican arranged for loans to keep the Academy and its staff afloat. Funds that would have been awarded to new fellows during this period were put to use in other ways. In 1943, the American Academy in Rome made a grant to the Citizen's Committee for the Army and Navy, Inc. for competitions to award commissions to artists and art students throughout the country, funding more than 100 triptychs for chapels, as well as murals, medals, and sculpture. Seniors in American colleges and universities were eligible to compete for several scholarships for graduate work in classical studies awarded by the American Academy in Rome.
In 1945, the Academy was the site of Leave Courses on various aspects of Italian culture offered to servicemen. From the end of the war until the Academy reopened at the start of the 1946/47 academic year, G.I. Fellowships were offered to discharged soldiers wishing to study at the Academy, making the institution eligible to receive surplus equipment and rations. During this time intensive planning was underway for administrative changes and new programs.
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1893 -- While in Chicago to collaborate on the fine arts section for the World's Columbian Exposition, architects Charles F. McKim, Daniel Burnham, Richard Howland Hunt, painters John La Farge, and Sculptors Augustus Saint-Gaudens, and Daniel Chester French, among others, met regularly and from their collaborative experience and discussions came the idea for an American school in Europe.
1894 -- American School of Architecture in Rome opened in temporary quarters at the Palazzo Torlonia with Austin Lord, Director, three fellows, and a visiting student.
1895 -- Villa Aurora leased with 2 subtenants, the American School of Classical Studies and the British and American Archaeological Society Library in Rome American School of Architecture incorporated and 10 shares of capital stock issued (2 each to McKim and Hunt, and 1 to Burnham, Kendall, Schermerhorn, Boring, Garland, and Dill) McKim visits Rome.
1896 -- Metropolitan Museum of Art, administrator of Jacob H. Lazarus Scholarship for the study of mural painting, agrees to send the winner to Rome American School of Classical Studies in Rome vacates Villa Aurora.
1897 -- American School of Architecture in Rome dissolved and reorganized as the American Academy in Rome; the assets (including the lease on Villa Aurora) of the American School of Architecture in Rome were transferred and its program expanded to include fellowships in painting and sculpture Samuel A. B. Abbott appointed first Director Rome Prize discontinued (for 9 years) due to lack of funds.
1898 -- Incorporated in New York State; trustees begin to focus on raising an endowment.
1904 -- Move to Villa Mirafiore (also known as Villa Mirafiori); occupied until 1914.
1905 -- Chartered by the Congress of the United States; a bill signed by President Roosevelt made the American Academy in Rome a national institution (receiving no government funding and barring U.S. officials from acting as Trustees).
1906 -- Purchase of Villa Mirafiore finalized; renovations begun.
1909 -- Villa Aurelia bequeathed to the Academy by Clara Jessup Heyland (used until 1932); there were protracted problems surrounding the acquisition of the property including a brother who contested the will and unsettled taxes.
1911 -- School of Classical Studies in Rome (established by the Archaeological Institute of America in 1895) and the American Academy in Rome announce their consolidation [the merger became effective on the final day of 1912].
1912 -- Lands on the Janiculum adjacent to Villa Aurelia, recently acquired by J. Pierpont Morgan, Sr., transferred to the American Academy in Rome.
1913 -- American Academy in Rome now consists of the School of Fine Arts and the School of Classical Studies. New York office moves to the Architect's Building, 101 Park Ave., remaining at this location until 1973. By this date, largely through the generosity of J. Pierpont Morgan, Sr., nearly all of the land bounded by Via Angelo Masina, Via Giacomo Medici, Via Pietro Riselli, and the Aurelian Wall on the Janiculum had been purchased and many improvements made to the properties near the Villa Aurelia. Construction begins on the new Academy building designed by McKim, Mead, and White and situated on the grounds of Villa Aurelia; financed through a loan from J. Pierpont Morgan, Sr. (after Morgan Sr.'s death, his son offered to cancel the loan at an amount equal to funds raised by the Academy for the purpose).
1915 -- First Fellowship in Landscape Architecture established; opening of new Academy building housing the fellows' residential quarters, work areas, library, offices, and spaces for public programs.
1917 -- Villa Aurelia rented to the Red Cross for office space, and the new Main building was slated to become a convalescent hospital, but the war ended before it could be put to use.
1919 -- New York office reorganized by Roscoe Guernsey, executive secretary; sale of Villa Mirafiore; Academic Council established in Rome.
1920 -- Department of Music and Fellowship in Musical Composition established.
1923 -- School of Classical Studies establishes summer sessions, largely attended by teachers.
1926 -- Second Fellowship in Landscape Architecture funded by Garden Club of America (later permanently endowed).
1927 -- Academy opens an Atelier in downtown Rome, providing studios for visiting students (operated until 1934).
1929 -- First Thomas Spencer Jerome lecturer appointed.
1941 -- Academy closes for duration of World War II; a skeletal staff remain behind to care for the property and continue library cataloguing; Italy declares war on the United States.
1942 -- After transfer of funds from the U.S. proved impossible and enemy aliens were prohibited from withdrawing their own funds from Italian banks, the Swiss Legation and Vatican offered assistance to the Academy by providing loans.
1943 -- Academy grant to Citizen's Committee for the Army and Navy, Inc., funded hundreds of triptychs; murals, medals, and sculptures also commissioned Academy awards scholarships in classical studies at American colleges and universities.
1945 -- "Leave courses," held at the Academy, consisting mainly of lectures by distinguished scholars still in Rome, instituted for U.S. servicemen.
1946 -- Regular program resumes at the start of the academic year.
1947 -- Fellowship in the History of Art established.
1965 -- Loan of printed matter for microfilming by the Archives of American Art (reels ITRO 2-3 and 11-13).
1973 -- New York office moves to American Federation of Arts building, 41 East 65th St. (until 1993).
1982 -- Gift of New York office records to the Archives of American Art.
1990 -- Gift of Rome office records to the Archives of American Art.
1993 -- New York office moves to Metropolitan Club, 7 East 60th St.
Related Material:
Papers of a number of former fellows, trustees, and other individuals associated with the American Academy in Rome are among the holdings of the Archives of American Art.
Chaloner Prize Foundation records, 1915-1974 (microfilm reels 5664-5669) were received with the American Academy in Rome records. They have been arranged and described as a separate collection.
Valentine, Lucia and Alan Valentine. The American Academy in Rome, 1894-1969. Charlottesville: University Press of Virginia, 1973.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels ITRO 2-3, and ITRO 11-13) including annual reports, exhibition catalogues, a history of the American Academy in Rome, the American Academy in Rome at the World's Fair, and the Golden Gate Exposition and newsletter. Loaned materials were returned to the lender and can be found at the American Academy in Rome, Italy. This material is not described in the collection container inventory.
Provenance:
The material on reels ITRO 2-3 and ITRO 11-13 were lent to the Archives of American Art for microfilming by the American Academy in Rome in 1965. Records of predecessor institutions, the Board of Trustees, and the New York office, including photographs and personal papers, were donated in 1982 by the Academy president, Calvin G. Rand. In 1990, Rand also gifted the Rome office records and the personal documents of Gorham Phillips Stevens. An addition of New York office records was donated in 2014 by the Academy director, Adele Chatfield-Taylor.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information.
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.
The 19 scrapbooks in this series are the collection's main source of Macbeth Gallery exhibition catalogs and related news clippings. Although incomplete, the scrapbooks provide fairly comprehensive coverage of the gallery's history and include material on day-to-day events at the gallery as well as important occasions such as the gallery's fortieth, fiftieth and sixtieth anniversaries, news of the art world in general and some photographs. Some of the scrapbooks also contain printed material related to art, exhibitions and events elsewhere. Many of the exhibition catalogs found here are annotated with prices and other notes. Notably missing is the catalog for the 1908 exhibition, The Eight.
See Appendix for a list of Macbeth Gallery exhibitions documented in Series 5: Scrapbooks.
Arrangement:
As some of the dates of the scrapbooks overlap, they were numbered 1-19 for clarity. The scrapbook cover for #3 is housed in Box 120, and the contents are housed in Box 122.
Appendix: Macbeth Gallery Exhibitions Documented in Scrapbooks:
This chronological list of Macbeth Gallery exhibitions is extensive, but incomplete. While an attempt has been made to establish the accuracy of the information provided here, dates and titles of exhibitions are not guaranteed to be accurate. Most of the exhibitions listed here are documented in the scrapbooks through exhibition catalogs and/or invitations, lists of artwork and news clippings. The list is annotated with AAA microfilm reel and frame numbers to assist researchers in locating material on specific exhibitions.
Scrapbook 1, 1892-1901
Dec. 7-21, 1892 -- Water Colors by American Artists (NMc1: 273-275)
Jan.23-Feb.11, 1893 -- Landscapes in Oil (NMc1: 276-277)
Feb. 27-Mar. 18, 1893 -- Landscapes in Oil by William Keith (NMc1: 278-279)
Mar. 20-Apr. 8, 1893 -- Watercolors by Dutch Artists (NMc1: 281-282)
Nov. 8-29, 1893 -- Second Annual Exhibition of Watercolors by American Artists (NMc1: 283-285)
Dec. 2-16, 1893 -- Drawings in Watercolors and in Black and White by C. R. Grant and Wilson De Meza (NMc1: 287-290)
Jan. 20-Feb. 3, 1894 -- Pictures and Sketches by Anton Mauve (NMc1: 291-292, 311-313)
Feb. 6-17, 1894 -- Paintings by Henry W. Ranger (NMc1: 295-296)
Jan. 21-Feb. 2, 1901 -- Pictures and Portraits by Wilbur A. Reaser (NMc1: 385)
Feb. 25-Mar. 9, 1901 -- Frederick Ballard Williams (NMc1: 394-395)
Feb. 4-16, 1901 -- Landscapes by Alexander H. Wyant and George Inness (NMc1: 390-391)
May 9-31, 1901 -- Paintings by Arthur B. Davies (NMc1: 400-402)
Nov. 29-Dec. 14, 1901 -- Watercolors, Color Prints from Wood Blocks and Etchings Printed in Color by Helen Hyde (NMc1: 405-406)
Scrapbook 2, 1893-1898
Primarily news clippings.
Scrapbook 3, 1902-1910
Feb. 3-15, 1902 -- Private Collection of American Pictures (NMc1: 2-5)
Mar. 17-29, 1902 -- Some Phases of London When the Lamps Are Lighted, Done in Pastel by Fernand Lungren (NMc1: 10-13)
Mar. 31-Apr. 5, 1902 -- Group of Pictures by Sidney Starr (NMc1: 13)
Apr. 1-12, 1902 -- Pictures by Robert Henri (NMc1: 15-16)
Apr. 14-26, 1902 -- Drawings by Jane Erin Emmet (NMc1: 21-22)
Apr. 28-May 11, 1902 -- Landscapes by W. L. Lathrop (NMc1: 20)
Jan 19-31, 1903 -- Drawings and Sketches by Homer D. Martin, 1836-1897 (NMc1: 27)
Jan. 27-Feb. 11, 1905 -- Pictures by William Sartain (NMc1: 37-39)
Feb. 23-Mar. 8, 1905 -- Paintings by Arthur B. Davies (NMc1: 62-64)
May 1-6, 1905 -- Oil Paintings by American Artists from the Macbeth Gallery (at the Galleries of George D. Brodhead, Rochester, NY) (NMc1: 69-72)
Jan 29-Feb. 10, 1906 -- Abbot H. Thayer and Gladys Thayer (NMc1: 77-78)
Feb. 19-Mar. 3, 1906 -- Pictures by Charles H. Davis (NMc1: 79-80)
Mar. 10-24, 1906 -- Stephen Parrish (NMc1: 81-82)
Nov. 9-24, 1906 -- A Group of American Paintings (NMc1: 91-92)
Jan. 11-26, 1907 -- Paintings by William Sartain (NMc1: 100-101)
Feb. 1-16, 1907 -- Paintings by Paul Dougherty (NMc1: 105-106)
Feb. 23-Mar. 9, 1907 -- Paintings by Charles H. Davis (NMc1: 107-108)
Mar. 11-23, 1907 -- Portraits by Ellen Emmet (NMc1: 112-113)
Mar. 28-Apr. 3, 1907 -- Paintings by William Keith (NMc1: 115-117)
Nov. 11-23, 1907 -- Paintings by Augustus Vincent Tack (NMc1: 124-125)
Nov. 27-Dec. 12, 1907 -- Paintings by John La Farge (NMc1: 127-131)
Jan. 6-18, 1908 -- Paintings by Jerome Myers (NMc1: 133-134)
Jan. 20-Feb. 1, 1908 -- Paintings by Paul Dougherty (NMc1: 137-138)
Feb. 3-15, 1908 -- Exhibition of Paintings by Arthur B. Davies, William J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice B. Prendergast, Everett Shinn, John Sloan (NMc:142-143 Catalog missing from scrapbook)
Feb. 19-Mar. 7. 1908 -- Forty Selected Paintings by Living American Artists (NMc1: 147-149)
Mar. 11-24, 1908 -- Paintings by a Group of American Artists (Deceased), Copley to Whistler (NMc1: 151-152)
1908 -- Kwaunon Meditating on Life by John La Farge (NMc1: 155)
Nov. 10-25, 1908 -- Paintings by Howard Pyle (NMc1: 158-159)
Nov. 27-Dec. 10, 1908 -- Paintings by Charles Melville Dewey (NMc1: 161-162)
Dec. 15-31, 1908 -- Bronzes by a Group of American Artists (NMc1: 165-166)
Jan. 7-21, 1909 -- Forty Selected Paintings by Living American Artists (NMc1: 168-169)
Jan. 22-Feb. 4, 1909 -- Paintings by Henry W. Ranger (NMc1: 171-172)
Feb. 5-18, 1909 -- Paintings by Paul Dougherty (NMc1: 176
Feb. 19-Mar. 4, 1909 -- Arthur B. Davies (NMc1: 178)
Mar. 5-Mar. 18, 1909 -- Paintings by Charles H. Davis, N.A. (NMc1: 183-184)
Mar. 19-Apr. 1, 1909 -- A Group of Figure Subjects by Blendon Campbell, Charles W. Hawthorne, Robert Henri, George Luks, Kenneth Miller (NMc1: 186-187)
Apr. 2-15, 1909 -- Paintings by Louis Loeb (NMc1: 188-189)
Apr. 16-29, 1909 -- Paintings by a Group of Boston Artists (NMc1: 191-192)
May 10-22, 1909 -- Paintings by American Artists from the Macbeth Galleries, New York [at Findlay Art Co., Kansas City, MO] (NMc1: 195-197)
Nov. 18-Dec. 4, 1909 -- Paintings by Albert P. Lucas (NMc1: 203-205)
Dec. 7-24, 1909 -- Watercolors and Pastels by American Artists (NMc1: 207-210)
Dec 7-24, 1909 -- Second Annual Exhibition of Bronzes by American Sculptors (NMc1: 211-212)
Jan. 6-19, 1910 -- Sixteen Paintings of the Cornish Coast by Paul Dougherty (NMc1: 213-215)
Jan. 20-Feb. 2, 1910 -- Paintings by Mary Curtis Richardson of San Francisco (NMc1: 218-220)
Jan. 20-Feb. 2, 1910 -- First Exhibition of Paintings by Ben Foster (NMc1: 216-218)
Feb 3-16, 1910 -- Landscapes and Figures by Frederick Ballard Williams (NMc1: 227-229)
Feb. 3-16, 1910 -- Spanish Paintings by F. Luis Mora (NMc1: 225-227)
Feb. 17-Mar. 2, 1910 -- The Fur Jacket by J. McNeill Whistler (NMc1: 231-232)
Feb. 17-Mar. 2, 1910 -- Paintings by William Sartain (NMc1: 233-235)
Mar. 3-16, 1910 -- Fourteen Landscapes by Charles H. Davis (NMc1: 237-239)
Mar. 3-16, 1910 -- Recent Portraits by Cecilia Beaux (NMc1: 239-240)
Mar. 17-30, 1910 -- Paintings by Hermann Dudley Murphy (NMc1: 244-246)
Mar. 17-30, 1910 -- Figure Paintings by Charles W. Hawthorne (NMc1: 242-244)
Mar. 31-Apr. 13, 1910 -- Paintings of Baily's Island by Frederick J. Waugh (NMc1: 249-251)
Mar. 31-Apr. 13, 1910 -- Nineteen Landscapes by Chaucey F. Ryder (NMc1: 247-249)
Apr. 14-27, 1910 -- George B. Luks (NMc1: 253-255)
Apr. 30-May 14, 1910 -- The Woman's Art Club of New York, Exhibition of Works in Oil and Sculpture (NMc1: 259-262)
Scrapbook 4, 1907-1913
Primarily news clippings.
Scrapbook 5, 1910-1915
Nov. 3-16, 1910 -- Recent Paintings by Charles W. Hawthorne (NMc2: 1-2)
Nov. 17-30, 1910 -- The Navajo Country in Watercolors by Frederick J. McComas (NMc2: 4-6)
Dec. 6-24, 1910 -- Watercolors, Pastels and Small Bronzes (NMc2: 7-14)
Jan. 5-18, 1911 -- Portraits by Ellen Emmet (NMc2: 15-16)
Jan. 19-Feb. 1, 1911 -- Paintings by Henry B. Snell (NMc2: 17-24)
Feb. 2-22, 1911 -- A Group of Thirty Selected Paintings (NMc2: 25-28)
Feb. 23-Mar. 8, 1911 -- A Group of Forty Selected Paintings (NMc2: 29-32)
Mar. 9-22, 1911 -- Paintings by Charles H. Davis, Paul Dougherty, Daniel Garber, William Sartain, F. Ballard Williams (NMc2: 33-35)
Mar. 23-Apr. 5, 1911 -- A Group of Paintings by Ben Foster, Albert L. Groll, Leonard Ochtman, Chauncey F. Ryder, Gardner Symons (NMc2: 36-38)
Apr. 8-22, 1911 -- The Woman's Art Club of New York, Exhibition of Works in Oil and Sculpture (NMc2: 39-42)
Nov. 16-29, 1911 -- Landscapes, Marines and Wood Interiors by Robert Henri (NMc2: 45-48)
Dec. 6-30, 1911 -- Small Bronzes by American Sculptors (NMc2: 49-52)
Dec. 2-15, 1913 -- Second Exhibition by the Society of Men Who Paint the Far West (NMc2: 172-176)
Jan. 1914 -- Drawings of Game Birds by Frank W. Benson (NMc2: 179-180)
Jan. 6-19, 1914 -- Paintings by Emil Carlsen, Paul Dougherty, Frederick C. Frieseke, Childe Hassam, Willard L. Metcalf, Kenneth H. Miller, J. Alden Weir (NMc2: 179, 181-183)
Feb. 10-Mar. 2, 1925 -- Water Colors of Egypt and Jerusalem by Taber Sears (NMc3: 126, 129-130)
Feb. 10-Mar.2, 1925 -- The New England Year in Paintings by Charles H. Davis (NMc3: 126-128)
Mar. 3-23, 1925 -- Paintings by E. W. Redfield (NMc3: 131-133)
Mar. 24-Apr. 13, 1925 -- Paintings by Daniel Garber (NMc3: 135-138)
Apr. 14-May 4, 1925 -- Recent Paintings by Robert Henri (NMc3: 140-143)
Apr. 14-May 4, 1925 -- C. W. Hawthorne: Watercolors of Bermuda (NMc3: 139)
Oct. 13-26, 1925 -- Collection of American Masters Loaned for Exhibition (NMc3: 152-154)
Oct. 27-Nov. 16, 1925 -- Memorial Exhibition of Paintings by the Late William Sartain (NMc3: 155-158)
Nov. 7-23, 1925 -- Paintings by Contemporary American Artists Loaned by the Macbeth Galleries, New York, Engaged by the Muncie Art Students' League, Muncie, Indiana (NMc3: 147-148)
Nov. 17-Dec. 7, 1925 -- Paintings by DeWitt and Douglass Parshall (NMc3: 159-162)
Dec. 4-31, 1925 -- Easel Paintings by American Artists, Loaned by Macbeth Galleries to the Springfield Art Association (NMc3: 205, 207)
Dec. 8-Jan. 4, 1926 -- Watercolors by Distinguished American Artists (NMc3: 163-166)
Jan. 5-25, 1926 -- Recent American Portraits (NMc3: 168, 172-173)
Jan. 5-18, 1926 -- American Society of Miniature Painters, 27th Annual Exhibition (NMc3: 168-171)
Jan. 26-Feb. 15, 1926 -- Paintings by Jonas Lie (NMc3: 176-179)
Jan. 26-Feb. 15, 1926 -- First Exhibition of Paintings by John Huffington (NMc3: 176, 180-181)
Feb. 7-Mar. 17, 1926 -- Exhibition of Oil Paintings by American Artists Lent by the Macbeth Galleries to the Utica Public Library Art Gallery (NMc3: 205-206)
Feb. 16-Mar. 8, 1926 -- New Paintings by Charles W. Hawthorne (NMc3: 186-189)
Feb. 16-Mar. 8, 1926 -- Chauncey F. Ryder (NMc3: 184)
Jan. 18-31, 1927 -- Watercolors by John Lavalle of Boston (NMc3: 253-255)
Jan. 22-Feb. 7, 1927 -- Crapo Gallery Opening Exhibition: Thirty Paintings by Thirty Artists assembled by Macbeth Gallery at Swain School, New Bedford, Mass. (NMc3: 245-249)
Feb. 1-14, 1927 -- Recent Paintings by Frank W. Benson (NMc3: 259-262)
Feb. 2-14, 1927 -- American Society of Miniature Painters, 28th Annual Exhibition (NMc3: 253, 256-258)
Feb. 8-26, 1927 -- Works by American Artists Selected by the Associated Dealers in American Paintings, Inc. at Anderson Galleries (Macbeth Gallery one of nine participants (NMc3: 263, 265-271)
Feb. 15-28, 1927 -- New Paintings by Chauncey F. Ryder (NMc3: 278-281)
Mar. 1-14, 1927 -- Watercolors by Aiden L. Ripley (NMc3: 282, 286)
Mar. 1-14, 1927 -- Paintings by a Group of Members of the Guild of Boston Artists (NMc3: 282-285)
Mar. 15-28, 1927 -- Paintings by Malcolm Parcell (NMc3: 287-290)
Mar. 15-28, 1927 -- Recent Pastels of Chartres by Carl Schmidt (NMc3: 287)
Mar. 29-Apr. 18, 1927 -- Thirty-fifty Anniversary Exhibition, Retrospect and Prospective (NMc3: 291-294)
Apr. 19-May 9, 1927 -- Frank A. Brown, Watercolors (NMc3: 296, 302-303)
Aug. 22-Sept. 5, 1927 -- American Art Exhibition arranged for Eastern Long Island by the Macbeth Gallery at Southampton, NY (NMc3: 297-301)
Oct. 18-29, 1927 -- American Art Exhibition, Art League of Fort Worth, Assembeled by the Macbeth Gallery (NMc3: 304, 306-311)
Oct. 18-31, 1927 -- Etchings by Walter Raymond Duff (NMc3: 313-315)
Oct. 18-31, 1927 -- Paintings by Max Bohm (NMc3: 313-315)
Nov. 1-14, 1927 -- Yankee Whalers by Clifford W. Ashley (NMc3: 316-317)
Scrapbook 11, November 1927-June 1930
Nov. 15-28, 1927 -- Paintings of Mallorca by Bernhard Gutmann (NMc3: 319-320)
Nov. 15-28, 1927 -- Paintings of Flowers by Carle J. Blenner (NMc3: 319, 321)
Nov. 29-Dec. 12, 1927 -- The Bathers , Paintings by William S. Horton (NMc3: 322-325)
Nov. 29-Dec. 12, 1927 -- Sidewalks of New York, Chalk Drawings by H. Devitt Welsh (NMc3: 326-327)
Dec. 13-31, 1927 -- Joint Exhibition of Paintings by Daniel Garber and Stanley Woodward (NMc3: 328)
Jan. 3-23, 1928 -- Recent Paintings by Jonas Lie (NMc3: 329-330)
Jan. 24-Feb. 13, 1928 -- Watercolors by John Lavalle (NMc3: 332-334)
Jan. 24-Feb. 13, 1928 -- Walter Ufer: Pictures from Taos (NMc3: 332, 334)
Jan. 24-Feb. 6, 1928 -- American Society of Miniature Painters, 29th Annual Exhibition (NMc3: 337-340)
Feb. 7-21, 1928 -- Small Pictures of Mountain and Sea by Jay Connaway (NMc3: 342)
Feb. 14-27, 1928 -- The Canadian Rockies by Belmore Brown (NMc3: 342-343)
Feb. 14-27, 1928 -- Sculpture by Gleb Derujinsky (NMc3: 342-344)
Feb. 21-Mar. 5, 1928 -- Watercolors of Venice, Spain and Brittany by Frank A. Brown (NMc3: 351-356)
Feb. 21-Mar. 10, 1928 -- Works by American Artists Selected by the Associated Dealers in American Paintings, Inc., at Anderson Galleries; Macbeth Gallery one of sixteen participants (NMc3: 346-352)
Feb. 25-Mar. 17, 1928 -- The Macbeth-Milch Circuit Exhibition of Contemporary American Paintings at Grand Rapids Art Gallery (NMc3: 385-387)
Feb. 28-Mar. 12, 1928 -- Paintings by Frank L. Schenk, 1856-1927 (NMc3: 357-358)
Mar. 20-Apr. 2, 1928 -- Lanscapes of Italy by A. Sheldon Pennoyer (NMc3: 366, 368)
Mar. 20-Apr. 9, 1928 -- Recent Landscapes, Switzerland and Other Subjects by Carl Lawless (NMc3: 366-367)
Apr. 2-15, 1928 -- Water Colors by Earl Winslow (NMc3: 355)
Apr. 10-30, 1928 -- St. Ives by Hayley Lever (NMc3: 369)
Apr. 29-May 20, 1928 -- The Macbeth-Milch Circuit Exhibition of Contemporary American Paintings at the University of Wyoming (NMc3: 385-386)
Spring, 1928 -- American Painting for Home Decoration (NMc3: 370-377)
Oct. 16-29, 1928 -- The Canadian Rockies in Watercolors by J. Olaf Olson (NMc3: 389-392)
Nov. 7-24, 1928 -- Etchings by Sears Gallagher (NMc3: 393)
Nov. 13-26, 1928 -- Sand Dunes and Flowers by Frederick Lowell (NMc3: 393-394)
Nov. 26-Dec. 17, 1928 -- Etchings by Carlton T. Chapman (NMc3: 395)
Nov. 27-Dec. 10, 1928 -- Portraits by Ernest L. Ipsen (NMc3: 396-397)
Dec. 4-31, 1928 -- Etchings by Margery A. Ryerson (NMc3: 395)
Dec. 11-24, 1928 -- Landscapes in Watercolor and Gouache by H. Anthony Dyer and Character Studies in Watercolor and Pastel by Nancy Dyer (NMc3: 398-400)
Jan. 2-14, 1929 -- Figures and Landscapes by the Late J. Alden Weir, 1852-1929 (NMc3: 401-402)
Jan. 15-28, 1929 -- Paintings by H. Dudley Murphy; Watercolors by Nellie Littlehale Murphy (NMc3: 404-405)
Jan. 15-28, 1929 -- Portraits by William James (NMc3: 406-407)
Feb. 4-18, 1929 -- Twenty-five Etchings by Harold Denison (NMc3: 410, 416-417)
Feb. 5-18, 1929 -- Paintings by Emil Carlsen and Dines Carlsen (NMc3: 408-409)
Mar. 5-18, 1929 -- Marine Paintings by Stanley W. Woodward (NMc3: 419-423)
Mar. 19-Apr. 1, 1929 -- Watercolors by Frederick C. Frieseke (NMc3: 424-425)
Mar. 19-Apr. 1, 1929 -- Pastels of Louisiana by Will H. Stevens (NMc3: 424)
Apr. 1929 -- Paintings by Childe Hassam (NMc3: 433-438)
Apr. 2-15, 1929 -- Paintings by Arthur Meltzer (NMc3: 431)
Apr. 2-15, 1929 -- Watercolors by Earle B. Winslow (NMc3: 431)
June, 1929 -- Old Mill Afternoon by Childe Hassam, Ainslie Galleries, Inc., Detroit in collaboration with Macbeth Gallery (NMc3: 465-467)
Oct. 1-14, 1929 -- Portraits in Oil and Pastel by Paul Swan (NMc3: 472-473)
Oct. 15-28, 1929 -- Exhibitions from the Summer Colonies: No. 1, Lyme (NMc3: 476-477)
Oct. 19-29, 1929 -- Milch-Macbeth Exhibition of Prints and Paintings by American Artists at the High Museum under the auspices of the Atlanta Art Association (NMc3: 462)
Oct. 20-Nov. 11, 1929 -- Memorial Exhibition of Paintings by John Huffington (NMc3: 476-479)
Nov. 12-25, 1929 -- Exhibition from the Summer colonies: No. 2, Selections from the North Shore Arts Association of Gloucester (NMc3: 480-481)
Nov. 26-Dec. 3, 1929 -- Recent Landscapes by Charles H. Davis (NMc3: 482-483)
Dec. 10-Dec. 23, 1929 -- Watercolors by J. Olaf Olson (NMc3: 484-486)
Dec. 24-Jan. 6, 1930 -- Exhibitions from the Summer Colonies: No. 3, Mystic (NMc3: 487-488)
Jan. 7-20, 1930 -- Paintings of Wyoming Days and Nights by Ogden N. Pleissner (NMc3: 490, 492)
Jan. 21-Feb. 3, 1930 -- Landscapes by Aldro T. Hibbard (NMc3: 490-491)
Feb. 8-21, 1938 -- Vermont in Watercolors by Stanford Stevens (NMc4: 541-542)
Feb. 8-21, 1938 -- Modern American Interior: Prizewinning Design and Selected Drawings from a Competition Sponsored by James H. Blauvet and Associates, Interior Designers (NMc4: 543)
Feb. 23-Mar. 7, 1938 -- Herbert Dickens Ryman (NMc4: 546)
Mar. 1-14, 1938 -- Paintings and Watercolors by Anne Goldthwaite (NMc4: 546-547)
Mar. 8-21, 1938 -- Recent Watercolors of Woodstock, Charleston, New England by John W. Taylor (NMc4: 548-549)
Mar. 22-Apr. 11, 1938 -- Jon Corbino (NMc4: 554-561)
Apr. 12-25, 1938 -- Paintings by Ohio Artists (NMc4: 580-571)
Apr. 26-May 9, 1938 -- Paintings by Furman Joseph Finck (NMc4: 572-573)
May-June 1938 -- Winslow Homer: Watercolors and Early Oils from the Estate of Mrs. Charles S. Homer and Other Sources (NMc4: 574-579)
Oct. 4-28, 1938 -- Opening Exhibition (NMc4: 581)
Nov. 1-23, 1938 -- Dale Nichols, Watercolors and Tempera of Alaskan Subjects (NMc4: 582-583)
Nov. 29-Dec. 19, 1938 -- Sea Island Country Watercolors by Horace Day (NMc4: 584)
Jan. 10-30, 1939 -- Herbert Meyer (NMc4: 588-589)
Feb. 7-27, 1939 -- American Watercolors Past and Present (NMc4: 592-597
Mar. 7-Apr. 3, 1939 -- Monhegan by Jay Connaway (NMc4: 602-603)
Apr. 5-24, 1919 -- Oils and Watercolors by Ogden M. Pleissner (NMc4: 606-607)
May 2-22, 1939 -- Paintings by Francis Chapin, Antonio P. Matino, and Moses Soyer and Drawings by Jon Corbino (NMc4: 609-611)
Fragile original scrapbooks are closed to researchers. For more information, please contact Reference Services.
Collection 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.
Collection Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
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.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and 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.
