United States of America -- Virginia -- Alexandria
Scope and Contents:
There are three 35 mm. slides depicting horticultural details which were not catalogued.
The folder includes a work sheet, site analysis map-1985, article copy and brochure.
Former Title:
Wellington
Walnut Tree Farm
Cliftons Neck
General:
River Farm was first called Piscataway Neck by Margaret and Captain Giles Brent in 1653. During William Clifton's ownership, the property was known as Cliftons Neck. George Washington bought the property in 1760 to lease. The largest track at this time was called "River Farm." Tobias Lear, a renter, had called the property Walnut Farm. In 1859, a century after Washington purchased the property from Clifton, Charles Augustine Washington sold 652 acres of River Farm to three Quaker brothers, Stacey, Isaac, and William Snowden of New Jersey in order to acquire lumber for the ship building. The Snowdens divided the acreage, then known as Wellington, into three sections. In 1866, 280 acres including the present-day River Farm were sold to three men known as "The Syndicate." A writer from The Washington Sunday Star visited the estate in 1904 and referred to it as "this broken and pathetic house." The Wellington property was subsequently purchased in 1912 by Miss Theresa Thompson, a member of a prominent local family. Miss Thompson made changes and improvements at Wellington, but is was for Malcolm Matheson, who bought the property in 1919, to transform it into the early-20th century country estate we know today. The American Horticultural Society purchased River Farm in 1973 and made it their headquarters. The Society maintains display and test gardens on the 27 acre site. The 1757 main house is furnished in period; and the gardens offer identified plants.
Persons associated with the property include: Captain Giles Brent (former owner, 1653); Giles Brent (former owner); George Brent (former owner); Cliftons of Chotank (former owners 1739); George Washington (former owner, 1760); Charles Augustine Washington (former owner); Stacey, Isaac, and William Snowden (former owners, 1859); "The Syndicate" (former owners, 1866); Miss Theresa Thompson (former owner, 1912); Malcolm Matheson (former owner, 1919); and the American Horticultural Society (owners, 1973-present).
Related Materials:
River Farm related holdings consist of 2 folders (3 glass lantern slides and 10 35 mm. slides)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Virginia -- Fairfax County -- Mount Vernon
Scope and Contents:
Folders include work sheets, a book, brochures, and copies of articles.
General:
The Washington title to Mount Vernon dates from the original land grant (known as Little Hunting Creek) of 1674 to John Washington. Augustine Washington acquired the property in 1726. The land was then deeded to his son, Lawrence, and renamed Mount Vernon in 1743. The title passed to George Washington, Lawrence's half brother, in 1761.
The house and gardens were repeatedly changed over the course of ownership. The rectangular upper garden was established in 1763 to mirror the garden to the south, which was laid out in 1760. The design followed popular European landscape trends. As design trends changed from the formal to naturalistic, so, too, did Mount Vernon change. The upper garden was expanded and changed in 1785 to a shield shape. The gardens became pleasure gardens as well as utilitarian. After the estate was bought by the Mount Vernon Ladies' Association, restoration attempts began to bring the estate back to the time of George Washington. The Museum is open to the public.
Persons associated with the property include: John Washington (former owner, 1674); Augustine Washington (former owner, 1726); Lawrence Washington (former owner, 1743); George Washington (former owner, 1761-1799); Bushrod Washington (former owner); John A. Washington, Jr. (former owner, ?-1858); and Mt. Vernon Ladies Association of the Union (owners, 1858-present).
Related Materials:
Mount Vernon related holdings consist of 1 folder (10 glass lantern slides and 33 35 mm. slides)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Virginia -- Fairfax County -- Mount Vernon
Mount Vernon (Mount Vernon, Virginia)
Date:
1937
General:
The Washington title to Mount Vernon dates from the original land grant (known as Little Hunting Creek) of 1674 to John Washington. Augustine Washington acquired the property in 1726. The land was then deeded to his son, Lawrence, and renamed Mount Vernon in 1743. The title passed to George Washington, Lawrence's half brother, in 1761.
The house and gardens were repeatedly changed over the course of ownership. The rectangular upper garden was established in 1763 to mirror the garden to the south, which was laid out in 1760. The design followed popular European landscape trends. As design trends changed from the formal to naturalistic, so, too, did Mount Vernon change. The upper garden was expanded and changed in 1785 to a shield shape. The gardens became pleasure gardens as well as utilitarian. After the estate was bought by the Mount Vernon Ladies' Association, restoration attempts began to bring the estate back to the time of George Washington. The Museum is open to the public.
Persons associated with the property include: John Washington (former owner, 1674); Augustine Washington (former owner, 1726); Lawrence Washington (former owner, 1743); George Washington (former owner, 1761-1799); Bushrod Washington (former owner); John A. Washington, Jr. (former owner, ?-1858); and Mt. Vernon Ladies Association of the Union (owners, 1858-present).
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Images of various artifacts and specimens in the United States National Museum's collections, including George Washington's uniform and camp chest; the Franklin Press; Samuel P. Langley, third Secretary of the Smithsonian, supervising the installation of the Easter Island stone figures; zoological, ornithological, entomological, and botanical specimens; exhibits relating to animals and Native Americans; the Daguerre Monument sculpted by J. Scott Hartley; and a model of the National Zoological Park modeled under Langley.
Biographical/Historical note:
The United States National Museum building (later renamed Arts and Industries) opened to the public in 1881. It held displays of anthropology, art, geology, history, and natural history, while a few of the exhibits (birds, invertebrates and art) remained in the original Smithsonian "Castle." In 1911, the Smithsonian opened a new building (now the National Museum of Natural History Building), which held anthropology, art and natural history collections.
Local Call Number(s):
NAA Photo Lot 99-41
Location of Other Archival Materials:
Items depicted in this collection held in the National Museum of Natural History and National Museum of American History collections.
Additional photographs of US National Museum collections held in the Smithsonian Institution Archives and the National Anthropological Archives (Photo Lot 4).
Restrictions:
Nitrate negatives are in cold storage and require advanced notice for viewing.
1 Microfilm reel (3 items on 2 frames of microfilm)
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1875-1887
Scope and Contents:
The microfilmed Augusta Barker papers contain a letter from Augusta Barker to Mr. Cope (1875 June 28) about an original portrait of George Washington painted by her father, Rembrandt Peale, with a postscript added by Emily C. Jacobs, who purchased the painting. Also included are a biography of Augusta Barker; and an "In Memoriam" typescript of Barker's obituary (1887 July 8, Northampton, Massachusetts).
Biographical / Historical:
Augusta Barker (1803-1887) was one of portraitist Rembrandt Peale's (1778-1860) daughters.
Related Materials:
The Archives of American Art holds the Rembrandt and Harriet Peale collection, circa 1820-1932. Also found at the Archives of American Art are the microfilmed selected Peale family papers, 1803-1854 and the microfilmed printed material relating to Rembrandt Peale, 1830-1862.
The American Philosophical Society holds the Rembrandt Peale papers, 1705-1898 and the Peale family papers, 1803-1854. New York Public Library Archives and Manuscripts Division holds the Rembrandt Peale letters, 1835-1857.
Provenance:
Microfilmed by the Historical Society of Pennsylvania for the Archives of American Art, 1955.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
This collection of papers measures 0.2 linear feet, dates from circa 1820-1932, and provides scattered documentation of the lives of painter Rembrandt Peale and his wife Harriet. There are seven letters from Peale which discuss his Patriae Pater portrait of George Washington and his subsequent attempts to gain a commission from Congress for his equestrian portrait of the first president, as well as illuminating his opinion on patronage for the arts. The collection also contains a copy of Peale's lecture on "Washington and his Portraits," a page with drawings of Roman coins by Peale, two codicils to Harriet Peale's will, printed material including a pamphlet for Peale's The Court of Death and a catalog of sale for Harriet Peale's estate, and photographs of Rembrandt and Harriet Peale.
Scope and Content Note:
This collection of papers measures 0.2 linear feet, dates from circa 1820-1932, and provides scattered documentation of the lives of painter Rembrandt Peale and his wife Harriet. The papers contain seven letters from Peale to various individuals, including Massachusetts senator Elijah Hunt Mills, that document his attempts to seek recognition and recompense from Congress for his portraits of George Washington and illuminate his opinions on patronage of the arts. Also found here is a copy of Peale's lecture on "Washington and his Portraits," and legal papers consisting of two codicils to Harriet Peale's will which list the disposition of Rembrandt Peale paintings in her possession. There is a page with drawings of Roman coins by Peale, printed material including a pamphlet for Peale's popular allegorical painting The Court of Death, and a catalog of sale for Harriet Peale's estate. Photographs picture Rembrandt and Harriet Peale respectively, circa 1850.
Arrangement:
The collection is arranged as one series.
Biographical Note:
Rembrandt Peale (1778-1860) was born in Bucks County, Pennsylvania, and was the second son of painter Charles Willson Peale. He was known primarily for his historical paintings and portraits, particularly those of George Washington. Peale painted his first Washington portrait in 1795 at the age of 17, in a sitting arranged by his father. From 1795-1800 he traveled in Maryland and the South painting portraits, and from 1801-1803 studied with Benjamin West in London.
Peale returned to Europe from l808 to l8l0, and spent most of his time in Paris where he was inspired to take up historical painting. From 1813-1822 he lived in Baltimore where, in 1814, he established a museum for paintings and natural history that later became known as the Peale Museum. Peale's most famous allegorical painting, Court of Death, was completed in 1820 and was one of the most popular paintings of the decade.
In 1822 Peale moved to New York City where he embarked on an attempt to paint what he hoped would become the "Standard likeness" of Washington. In the process he reviewed portraits by other artists including John Trumbull, Gilbert Stuart and his father, as well as his own 1795 picture which had never truly satisfied him. His resulting Patriae Pater, completed in 1824, depicts Washington through an oval window, and is considered by many to be second only to Gilbert Stuart's iconic Athenaeum painting of the first president. Peale subsequently attempted to capitalise on the success of what quickly became known as his "Porthole" picture, collecting tesimonials praising the portrait from people who had known the president, and lobbying Congress, in vain, for a commission to paint an equestrian portrait of Washington. Despite his failure to gain such a commission, "Patriae Pater" was purchased by Congress in 1832 and still hangs in the U.S. Capitol.
Peale subsequently produced over 70 replicas of the "porthole" picture and in the late 1850s delivered a series of lecture entitled "Washington and his Portraits" along the East coast. He was also an accomplished writer and lecturer on natural history, and was among the founders of the Pennsylvania Academy of the Fine Arts, a president of the American Academy, and a founder of the National Academy.
Related Material:
Also found in the Archives of American Art are the following collections relating to Rembrandt Peale: the Albert Duveen collection of artists' letters and ephemera, 1808-1910, includes an 1855 September 8 letter from Rembrandt Peale to an unidentifed person, available on 35 mm microfilm reel D9 (frames 848-850); Printed material relating to Rembrandt Peale, 1830-1862, lent for microfilming by the Historical Society of Pennsylvania in 1855, is available on microfilm reel P29; and the Charles Henry Hart autograph collection, 1731-1912, contains a lithograph by Peale available on 35mm microfilm reel D5 (frame 103).
Provenance:
In 1960, Lawrence A. Fleischman donated one letter. Six items were donated by Charles E. Feinberg in 1962. An additional 35 items were transferred from the National Collection of Fine Arts Library to the Archives in 1979.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Portrait painters -- Pennsylvania -- Philadelphia Search this
Correspondence of Hart, ca. 1,000 letters, mostly with Clarence W. Bowen, regarding Hart's activities on the planning committee of the Centennial of George Washington's Inauguration, New York City, 1889 and correspondence concerning Hart's chairmanship of the Committee on Retrospective Art, World's Columbian Exposition in Chicago, 1893.
Biographical / Historical:
Charles Henry Hart Art (1847-1918) was a historian, lawyer, writer, and director, Pennsylvania Academy of the Fine Arts, 1882-1904. He published widely on the subject of eighteenth and nineteenth-century portraiture in the United States.
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.
The microfilmed printed material relating to Rembrandt Peale contains an annotated auction catalog, "Catalogue of Valuable Original Paintings by the late Rembrandt Peale, and Frederic E. Church, Peter F. Rothermel, and William E. Winner" for an auction at M. Thomas & Sons, Philadelphia, Nov. 18, 1862; a pamphlet (circa 1862), "Portrait of Washington" containing letters addressed to Peale as testimonials of Peale's "port-hole" portrait of Washington, painted in 1823; and two circulars announcing for public subscription new engravings, enlarged and altered, of the portrait (circa 1830).
Biographical / Historical:
Rembrandt Peale (1778-1860) was born in Bucks County, Pennsylvania, and was the second son of Charles Willson Peale. He was known primarily for his historical paintings and portraits, particularly those of George Washington. Peale painted his first Washington portrait in 1795 at the age of 17, in a sitting arranged by his father. With his father, he was also a founding member of the Pennsylvania Academy of the Fine Arts. He also established Peale's Baltimore Museum and Gallery of Fine Arts in 1814.
Related Materials:
The Archives of American Art holds the Rembrandt and Harriet Peale collection, circa 1820-1932 and the Rubens Peale diaries, 1855-1865. Also found at the Archives of American Art are the microfilmed Charles Willson Peale diaries and exhibition announcement, 1765-1826; microfilmed Titian Ramsay Peale Collection, 1771-1876; microfilmed Mary Jane Peale and Peale family selected papers, circa 1815-1897; microfilmed selected Peale family papers, 1803-1854; microfilmed selected papers from the Peale-Sellers collection, circa 1767-1904; and microfilmed Augusta Barker papers, 1875-1887.
The American Philosophical Society holds the Rembrandt Peale papers, 1808-1833 and the Peale family papers, 1705-1898. New York Public Library Archives and Manuscripts Division holds the Rembrandt Peale letters, 1835-1857.
Provenance:
Lent for microfilming by the Historical Society of Pennsylvania, 1955.
Restrictions:
Patrons must use microfilm copy.
Occupation:
Painters -- Pennsylvania -- Philadelphia Search this
Portrait painters -- Pennsylvania -- Philadelphia Search this
Correspondence, business records and printed material primarily relating to activities of the Brooklyn Art Association.
REELS N13-N17: Letters from American artists and others; business records; and printed matter relating to the Brooklyn Art Association. Many of the letters are addressed to H.R. Latimer, a curator at the Association, regarding exhibitions, receipt and return of work, etc.
REEL N25: Publications, clippings, correspondence, etc. about planning a World's Fair in New York celebrating the centennial of George Washington's inauguration, 1889.
Biographical / Historical:
Lawyer, collector; New York City. Treasurer of Brooklyn Art Association, 1862-1891, which later became the Brooklyn Academy of Music. At the time of his death, Ford possesed the most valuable private library collection in the U.S., which his sons donated to the New York Public library.
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.
Files on ca. 150 American artists and art subjects, selected from Duveen's art reference files. Included are photographs of paintings in other collections, auction and exhibition catalogs, miscellaneous publications.
Files include: Francis Alexander, Washington Allston, William H. Bartlett, Ben-Zion, Thomas Birch, Joseph Blackburn, Ralph A. Blakelock, Charles F. Blauvelt, Peter Blume, Emile Branchard, Albertis D. O. Browere, John G. Brown, Jonathan Buddington, James E. Buttersworth, Carra, Dennis M. Carter, Mary Cassatt, George Catlin, Centurion, Paul Cezanne, Moura Chabor, Marc Chagall, T. Chambers, Jean Charlot, Thomas Cole, John Constable, George Cope, John S. Copley, Ralston Crawford, Jasper F. Cropsey, Arthur B. Davies, Charles Despiau, Roland Detre, Thomas R. Dibble, Enrico Donati, William Doriani, Thomas Doughty, Jessie Drew-Bear, Robert S. Duncanson, Dunlap, Asher B. Durand, George H. Durrie, Frank Duveneck, Evert Duyckinck, Thomas Eakins, Jacob Eichholtz, Louis M. Eilshemius, Charles L. Elliott, Robert Field, Emil Ganso, Pablo Gargallo, Jan Gelb, Paul Gillman, Christian Gullager, George H. Hall, Chester Harding, William M. Harnett, George Harvey, William J. Hays, George P. A. Healy, Edward L. Henry, John Hesselius, Edward Hicks, Thomas Hicks, Holland House, Charles Fevret de Saint-Memin, Winslow Homer, S. A. Hudson, Daniel Huntington, Henry Inman, George Inness, John W, Jarvis, Eastman Johnson, Henrietta Johnston, John Johnston, Hilde B. Kayn, Dikran K. Kelekian, Fitz Hugh Lane, Ernest Lawson, M. F. Lefferts, William R. Leigh, Abraham Lincoln, George B. Luks, Edward G. Malbone, Alfred H. Maurer, Louis Maurer, McKay, Alfred J. Miller, Louis C. Moeller, Samuel F. B. Morse, John Neagle, Donald Organ, Bass Otis, Walter Pach, Charles W. Peale, James Peale, Rembrandt Peale, William Penn, Enoch W. Perry, F. E. H. Philippoteaux, Charles P. Polk, T. B. Pope, Rufus Porter, William M. Prior, Walter Quirt, William T. Ranney, Reinhardt, Frederic Remington, Louisa Robins, Severin Roesen, Thomas P. Rossiter, Peter F. Rothermel, Charles M. Russell, Edward Savage, William Sawitzky, Nikol Schattenstein, Christian Schussele, D. Serres, James Sharples, Morris Shulman, John Smibert, Sergei Soudeikin, Haim Soutine, Frederick R. Spencer, Albert Stewart, Robert Street, William J. Strong, Gilbert Stuart, C. (Charles ?) Sullivan, Thomas Sully, Arthur F. Tait, G. Tirrell, John Trumbull, John Vanderlyn, Pieter Vanderlyn, William Von Schlegell, Samuel L. Waldo, Abraham Walkowitz, George Washington, Elbert Weinberg, Julian A. Weir, Thomas B. Welch, Adolph U. Wertmuller, Benjamin West, Anne Whitney, Arnold Wiltz, William E. Winner, S. Wood, and Thomas W. Wood.
The Saint-Memin, Stuart, B. West and Wertmuller files contain material from Albert Rosenthal relating to the above artists.
Arrangement:
Files are arranged alphabetically by artist and subject, rolls NDU1-NDU3; publications and other miscellany were filmed on rolls NDU4-NDU5.
Biographical / Historical:
Albert Duveen was an art dealer and collector with offices in New York, N.Y., specializing in early American art. He was a cousin to Joseph Duveen (1869-1939), 1st Baron Duveen, president of Duveen Brothers art dealers.
Provenance:
Lent for microfilming 1958 by Duveen.
Restrictions:
The Archives does not own the original papers. Microfilmed materials must be consulted on microfilm.
Correspondence, printed material, and photographs relating to Rosenthal's work, primarily as a portrait painter and collector of American art and artists' papers. Some material pertains to Rosenthal's father, the engraver Max Rosenthal.
Included are: biographical notes and articles by and about Rosenthal and his father, Max; writings by Albert about his father; and reproductions of Albert's work.
Rosenthal's research material on early American art consists of articles on artists, notes about portrait painters, typescript copies of letters of or about early American artists, among them Rembrandt Peale, G.P.A. Healy, and John Rampage, several original letters, including 5 from John Quincy Adams Ward to various people, and one from Ben Silliman to Asher B. Durand, and an engraved copy of a letter from Ben Franklin to Mr. Strahan, July 5, 1775.
Other material includes files on Rosenthal's portraits of French officers who served in the American Revolution; Gilbert Stuart's (George) Washington portraits, 1922-1923; the Rodin Museum in Philadelphia (includes correspondence with Jules Mastbaum, the founder of the museum, and others, 1925-1932); Jean Antoine Houdon's busts of Washington and Lafayette, 1925-1932; Harry T. Peters' book "America on Stone", 1931; and on "Rosen-Thal," Albert's home that was originally the Huffinagle mansion in Buck's County, Pa.
There is voluminous business and other correspondence, 1860-1940, relating to Max, Louis, and Albert Rosenthal's work and to Albert's portraits of Supreme Court Justices. Among the diverse group of correspondents are: Samuel Putnam Avery, William Hunt Diederich, Charles Henry Hart, Sakakichi Hartmann, Oliver Wendell Holmes, A. Mitchell Palmer, Alfred Stieglitz, William Howard Taft, and J. Alden Weir.
Photographs are of Rosenthal's work and of unidentified portraits possibly by Rosenthal; reproductions of European paintings, miniatures, sculptures; and miscellaneous portraits by various artists.
Unmicrofilmed material (0.4 feet) consists of miscellaneous photographs and reproductions.
Biographical / Historical:
Albert Rosenthal (1863-1939) was a portrait painter, printmaker, writer, and collector in Philadelphia, Pa. Rosenthal was a student of his father, engraver Max Rosenthal, and later published a book about him. He is also known for his portraits of Supreme Court Justices, and his collection of American drawings, which he donated to the Free Library of Philadelphia in 1927.
Provenance:
Donated by Albert Duveen, 1959. Duveen collected American artists' and art related papers with the intention of forming an American artists reference facility. He purchased at least some of Rosenthal's papers and much correspondence from the Albert Rosenthal Estate, and subsequently gave them to AAA upon its formation.
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.
Correspondence, castings record, financial materials, photographs and printed materials relating primarily to the work of the Bronze Division of the Ames Manufacturing Company.
Professional and personal correspondence, chiefly of James Tyler Ames, with sculptors, architects, government officials, and colleagues, including his brother, Nathan Peabody Ames, Henry Kirke Brown, Randolph Rogers, and Thomas Ustick Walter. A castings record (16 p.) contains expenses and final prices of bronze castings, a printed list of "Bronze Works Executed by the Ames Manufacturing Company," and photographs of completed work. There are also an expense account for the Lincoln National Monument artillery and cavalry groups, lists of expenses relating to "Bronze Castings for Washington and his Horse," the (Benjamin) "Franklin Statue," and other works. Photographs are of works cast by the Ames Company and of unidentified works, of Ames' artisans, of a room in James Ames' house with framed medallions of Washington and Franklin on the wall, and of a head of Washington and a head of his horse in Thomas Ball's studio; reports by the architect of the Capitol extension, and the U.S. Art Commission (1860); Ames Company promotional items; a printed narrative of the incidents connected with the statue of Washington in Union Square by Henry Kirke Brown; and clippings relating to various statues.
Biographical / Historical:
The Ames Manufacturing Company, Chicopee, Massachusetts, was founded in 1835 by James Tyler Ames and his brother, Nathan Peabody Ames. The company manufactured small tools, cotton machinery, swords, cannons, and did casting of bells. It began manufacturing large bronze statuary circa 1850.
Provenance:
Donated 1986 by Malcolm Stearns, Jr., who purchased them from Parke Bernet, New York, in the 1960s. There are numerous notations on the backs of letters and photographs. It is not known who added this information.
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.
National Museum of American History (U.S.). Division of Domestic Life Search this
Extent:
3.5 Cubic feet (9 boxes, 1 oversize folder)
Type:
Collection descriptions
Archival materials
Clippings
Genealogical tables
Account books
Financial records
Correspondence
Family papers
Wills
Legal documents
Obituaries
Tickets
Manuscripts
Insurance policies
Place:
Alexandria (Va.) -- 18th century
Virginia -- 18th century
Date:
1749-1924; 1957
Summary:
An extensive range of papers relating to the Ramsay family of Alexandria, Virginia.
Scope and Contents:
Original and photocopied correspondence, financial papers, newspaper clippings, legal documents, insurance policies, account book, genealogical notes, wills, lottery tickets, and currency, documenting the activities of the Ramsay family of Alexandria, Virginia and related families.
Arrangement:
The collection is arranged topically.
Biographical / Historical:
William Ramsay (1716-1785), a Scottish Presbyterian minister, played a major role in the establishment of Alexandria, Virginia and later served as its mayor. His son, Dennis, also served as mayor and as a colonel in the Continental Army. Other descendants remained active in local affairs.
Provenance:
Collection donated by Heirs of William and Dennis Ramsay,1962, April 30.
Restrictions:
Collection is open for research.
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.
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Caption as above. Postcard depicting Washington and others. For LaFrance soap. The text mentions the Philadelphia Sesqui-Centennial Exhibition and that La France has an exhibit there.
Local Numbers:
Ivorydata4 1004
0300600161 (AC Scan No.)
General:
Both sides of card shown in scan.
Restrictions:
Unrestricted research use on site by appointment. Reproduction restrictions due to copyright.
Series 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.
Warshaw Collection of Business Americana Subject Categories: Soap, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
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.
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.
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.
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.
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.
