This collection consists of two photograph albums and a number of individual photographs (tintypes and cabinet prints, all portraits), from the turn of the century to approximately 1918. The cabinet prints are from Pennsylvania and Ohio studios. Most of the snapshots seem to have been taken in and around Washington, D.C.
Scope and Contents:
This collection is composed of two photograph albums and a number of individual photographs. The group includes nineteenth-century material (tintypes and cabinet prints, all portraits), but most of the items are from the turn of the century to approximately 1918. Studio portraits as well as amateur snapshots are included. The cabinet prints are from Pennsylvania and Ohio studios. Most of the snapshots mounted in the two albums seem to have been taken in and around Washington, D.C., and include numerous familiar buildings and scenery. The albums are in poor condition, as number 1 is 'without a cover, and most of the pages are separated from the cover of number 2. Photographers represented include (?) Applegate, J. B. Bairstow, and Filson & Son.
Arrangement:
This collection is arranged by type.
Biographical / Historical:
These photographs are from the family of Ms. Evelyn (Lynn) Turner.
Provenance:
Collection donated by Evelyn or Lynn Turner, 1986, June 1.
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.
Zolnay, George Julian, 1862 or 1863-1949 Search this
Extent:
0.4 Linear feet ((68 items on 3 partial microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1905
Scope and Contents:
Biographical forms completed by artists and illustrators for the Art League Publishing Company's ARTISTS YEAR BOOK. Each contains details written by the artist concerning parentage, exhibitions and collections containing his work, books illustrated, memberships in clubs, etc.
Included are forms from: Hugo Ballin, Frederick E. Bartlett, James C. Beckwith, William V. Birney, Karl Bitter, Albert D. Blashfield, Carle Joan Blenner, Frederick A. Bridgman, Bolton Brown, Ray Brown, George Elmer Browne, George De Forest Brush, Henry Kirke Bush-Brown, Walter A. Clark, Kenyon Cox, Lockwood De Forest, Harry Fenn, James E. Fraser, Walter Granville-Smith, Jules Guerin, Birge Harrison, Thomas A. Harrison, Ernest Haskell, Albert Herter, George Hitchcock, Lucius Wolcott Hitchcock, Edward Kemeys, William S. Kendall, Alonzo Kimball, Charles MacCord, Thomas R. Manley, Richard F. Maynard, George H. McCord, Thomas Meteyard, Francis D. Millet, John H. Mills, Edward P. Moran, Henry Mosler,
Herman D. Murphy, Leonard Ochtman, Frederick B. Opper, Eric Pape, Ernest Peixotto, Edward Penfield, Louis M. Potter, Edward W. Redfield, Henry Reuterdahl, Louis J. Rhead, Henry Sandham, William Sartain, Claude A. Shepperson, Florence Scovel Shinn, George H. Smillie, James D. Smillie, Frederic D. Steele, Julian Story, Lorado Taft, Henry O. Tanner, Frank W. Taylor, Dwight W. Tryon, Charles Henry Turner, Charles Yardley Turner, Ross S. Turner, Simon H. Vedder, Carleton Wiggins, Irving R. Wiles, Henry Wolf, Charles H. Woodbury, Rufus F. Zogbaum, and George J. Zolnay.
Biographical / Historical:
Art publishing house; Chicago, Ill. Published, THE ARTISTS YEAR BOOK: A HANDY REFERENCE BOOK WHEREIN MAY BE FOUND INTERESTING DATA PERTAINING TO ARTISTS, AND THEIR STUDIO, HOME, AND SUMMER ADDRESSES, FOR 1905-1906. Arthur Hosking was the editor.
Provenance:
Donated 1958.
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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Edward Gay and Gay family papers, 1852-1983. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for digitization of the Edward Gay and Gay Family Papers was made possible by a gift from Edward Gay's descendants Gay Fort Boswell, Wickie Fort Bridgforth, Melanie Fort Christian, Caleb Fort, Edward Fort, Hamlet Fort, James Fort, William Fort, Claudia Fort Heath, Jack Linville, and Jim Linville, in memory of Daniel Wilkins Fort
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Edward Gay and Gay family papers, 1852-1983. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for digitization of the Edward Gay and Gay Family Papers was made possible by a gift from Edward Gay's descendants Gay Fort Boswell, Wickie Fort Bridgforth, Melanie Fort Christian, Caleb Fort, Edward Fort, Hamlet Fort, James Fort, William Fort, Claudia Fort Heath, Jack Linville, and Jim Linville, in memory of Daniel Wilkins Fort
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
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:
Edward Gay and Gay family papers, 1852-1983. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for digitization of the Edward Gay and Gay Family Papers was made possible by a gift from Edward Gay's descendants Gay Fort Boswell, Wickie Fort Bridgforth, Melanie Fort Christian, Caleb Fort, Edward Fort, Hamlet Fort, James Fort, William Fort, Claudia Fort Heath, Jack Linville, and Jim Linville, in memory of Daniel Wilkins Fort
Correspondence of William Pettit, clerk in the War Department during the American Civil War, to his wife Hannah Pettit in Wisconsin.
Scope and Contents:
The collection consists of thirty-eight letters which William Pettit wrote to his wife from Washington, D.C.; a letter written soon after Lincoln's assassination by Pettit's wife; a letter from Lucy Pettit (Pettit's daughter) to her grandparents describing her birth on February 2, 1843; and a first draft of "my family reminiscences" - consisting of seventeen hand-written pages describing the family's genealogy from the middle 1600's when they first arrived in this country.
All 38 letters of the collection have been transcribed on typewriter. Pettit was concerned about how much wood his wife should order and what she should pay for it. He commented about his children's schooling and their penmanship. He discussed how much money he was sending home and how he was budgeting himself.
His first letter describes New Year's Day when he went to the White House to see the ambassadors pay their respects to Uncle Sam. He got pushed with the crowd inside the White House and describes Mr. and Mrs. Lincoln and the types of people crowding in. He continued to go to the White House open houses because he was amused at the types of people who went there including those who put on airs, showed off their clothes, or thought they themselves were important.
Pettit had a subtle sense of humor as he describes well-known personages, church leaders, and people he worked with. He lived in a boarding house on 9th St., N.W. He has some interesting comments to make about the life and opinions of the time concerning the United States and war, bureaucracy and politics.
Pettit was strongly anti-slavery and had very positive views of Blacks. Some of these came from his religious convictions and others as a result of actual behavior of Blacks during the War in incidents which he describes.
He wrote about the coming 1864 election and the competition against Lincoln. He mentioned that Grant had been to Washington. He reported about the troops in the Army of the Potomac and rumors of war activities. For example, he mentions that the Southern rebels planned to blow up prisoners of war in Richmond if the city was to be taken. There is a description of an escape from a Confederate camp by a Northern officer.
Pettit tells about meeting with a drunken soldier whom he helped to get food and housing; and who tried to save from being knocked in the head as was happening weekly in Washington.
He went to concerts and commented on the performances. He particularly expressed his preference for Wisconsin performers. He described church services and decorations for Easter and Christmas.
Pettit mentioned a Negro victory in battle, and commented that talk of re-enslaving such men was "mean." He said that Blacks had helped many to escape from the Confederates.
In the letter from Hannah dated April 17, 1865, his wife comments about Lee's surrender and her thoughts on the President's assassination. She said it was like losing a family friend. At first, they had thought it was a mistake but was shocked when it was verified. She said that she had spent a gloomy Easter because of it although the day was beautiful. She asked the rhetorical question whether the vice president could do the job and concluded that this event would be a great trial for the Nation's good.
Biographical / Historical:
William Pettit came to Washington, D.C. from Elkhorn, Wisconsin in the summer of 1863 to work as a clerk in the War Department. He left his wife, Hannah, and three daughters, Mary, Agnes and Lucy, at home. His main duties as a clerk were to answer letters received by the Department. He lived very frugally since he earned only $93.50 per month, part of which sent home to pay for his family's expenses and life insurance. He wrote many letters to his wife describing his activities and his thoughts related to wartime Washington. He took advantage of many opportunities available to a civil servant of the period in the nation's capitol. He occasionally attended the fortnightly open house at the White House, lectures at the Smithsonian Institution, and sessions of the Congress and Supreme Court. Since the letters in this collection are from January 2 through March 30th and October 5th through December 30th, 1864, the six summer months activities are unknown.
According to a note from his great granddaughter, Pettit was riding horseback in Washington, the day after the last letter was written, and was killed. Since there is a letter written April 17, 1865 from his wife, it is impossible to know exactly when he died.
Provenance:
These letters and other material were donated to the Smithsonian Institution in August 1985 by Dr. Bern Dibner of the Burndy Library, Norwalk, Connecticut. He received the materials from Gertrude Durrie Gordon who inherited them from her brother Paul Durrie who died in 1985. His wife was a descendant of the Pettit family of Wisconsin.
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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information
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:
Edward H. Dwight papers, 1821-2001, bulk 1950-1979. Archives of American Art, Smithsonian Institution.
Sponsor:
This collection was processed with funding from the Smithsonian Institution's Collections Care and Preservation Fund.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
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:
Chenoweth Hall papers, circa 1870s-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
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:
Chenoweth Hall papers, circa 1870s-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Graphite sketch, "The War Bulletin at Willards Hotel", signed "Mead 1863" with hand-written description on the back. Large number of men standing and talking.
Local Numbers:
AC0060-0001303 (AC Scan No.)
General:
In Box 4, Folder 24.
Civil War Selections from the Archives Center
Related Materials:
Civil War series, Warshaw Collection of Business Americana
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
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, 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).
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Handwritten list of guests to a dinner by Société des amis de l'art japonais (Society of Friends of Japanese Art), likely held in Paris in 1893. Guests included an array of notable artists, politicians, collectors, dealers and publishers.
Guest list of Les Amis de Art Japonaise Diner
Biographical / Historical:
Jeweler, art collector, and author Henri Vever was born in Metz, France in 1854. Together with his older brother Paul, Henri Vever managed the family jewelry firm, Maison Vever, from 1881 until Paul's death in 1915 and Henri's retirement in 1921. As an art collector, Vever amassed a large collection of European, Asian, and Islamic art. Through his work as a jeweler, art collector, and author, Henri Vever played an important role in the twentieth-century art world.
The Société des amis de l'art japonais (Society of Friends of Japanese Art) was first organized in 1892 by the Paris Asian art dealer Sigfried Bing. Vever was a founding member. The group held dinners multiple times each year to discuss their interest primarily in Japanese prints.
Systematic anatomy of the monocotyledons (Systematische anatomie der monokotyledonen) [by] H. Solereder and F.J. Meyer. Translated from German [by A. Herzberg. Edited by B. Golek]
