The microfilmed American Philosophical Society selected records contain art related letters; committee reports; registrar's and curators' records; pamphlets; and exhibition catalogs from the archives of the American Philosophical Society. Many of the letters are to the Society's secretary and librarian John Vaughan; a few are to the Society's presidents Thomas Jefferson and Peter S. Du Ponceau, and officials John K. Kane and J. Peter Lesley. Among the correspondents are Benjamin Franklin, Benjamin West, Charles Willson Peale, Jacob Perkins, Philip Tidyman, Charles B. Lawrence, John Trumbull, Thomas Sully, Joseph Delaplaine, Robert Patterson, John Quincy Adams, Titian Ramsay Peale, Rembrandt Peale, Joel Roberts Poinsett, Victor G. Audubon, and Robert Fulton.
Also included are copies of the registrar's cards for portraits and busts owned by the Society, arranged alphabetically by sitter; "Preliminary Notes, Biographical Sketches, and Memoranda chronologically arranged, for insertion in the Curator's Catalog of Portraits, Busts, and Bas-Reliefs in the Collection of the American Philosophical Society. Illustrated by photographs taken from the originals by Mrs. Julius A. Sachese, member APS"; circa 25 exhibition catalogs and pamphlets (1811-1840) for exhibitions of the Society of Artists of the United States, Columbian Society of Artists, Artists' Fund Society, Artists' and Amateurs' Association, and for works by Thomas Sully, Gilbert Stuart, Benjamin Robert Haydon, Joseph Delaplaine, and others; and newspaper clippings (1917) about the controversy surrounding portraits by Albert Rosenthal hung in Independence Hall (reel P36, frames 372-401).
Biographical / Historical:
The American Philosophical Society (founded 1743) is a scholarly organization in Philadelphia, Pennsylvania. Founded by Benjamin Franklin, the American Philosophical Society "promotes useful knowledge" through research, professional meetings, publications, library resources, and community outreach.
Related Materials:
The American Philosophical Society holds the American Philosophical Society archives, 1743-1984.
Provenance:
Microfilmed for the Archives of American Art, 1955. The letters are mainly American Philosophical Society records, but many were pulled from ASP's Misc. Mss. and various other collections, and microfilmed in no apparent order. Descriptive cards microfilmed with each letter indicate location of originals.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art -- Societies, etc. -- Pennsylvania -- Philadelphia Search this
Portraits -- Private collections -- Pennsylvania -- Philadelphia Search this
REEL P20 (fr.679): Memorandum by Anne M. Smith, 1855 Mar. 27, concerning Benjamin West's "Death of Socrates" and "View of Conestoga Creek."
REEL P23 (fr. 85, 108-157, 218-233): Portrait of West engraved by H. Meyer (?), from an original by T. Lawrence for the British Gathering of Contemporary Portraits, published by T. Cadell and W. Lavier, London, April 15, 1815; estate papers, 1814-1819, relating to Hannah West; card of admission for Mrs. Holland to see "Elgin Marbles" at Burlington House, May 1814; letters from West to George Dillwyn, John Singleton Copley, Peter Thomson, George William West, Mr. Rawle, Joseph Wharton, James Northcote, Sarah Robeson, and to the American Academy of the Fine Arts, about his portrait of Sir Thomas Lawrence, undated and 1772-1819; a letter to Mrs. West from Henry Sulger, Aug. 15, 1774, about West's picture of Christ; and an extract of a letter from Elizabeth West to Dr. Edwards, Jan. 7, 1798, reporting the death of her nephew.
REEL P24 (fr.34-38) : Biographical sketches of West, circa 1805, from the Historical Society of Pennsylvania's "Quaker Scrapbook," v. 2.
REELS P24 (fr. 527-627) & P25 (fr. 465-541): Correspondence, speeches, financial statements, catalogs, etc., of Benjamin West, 1788-1819, compiled by John Galt for his volume on "The Life, Studies, and Works of Benjamin West, Esq.", published in 1820.
REEL P25: Sketchbooks, 1790-1807; travelling expenses, 1807; account books and financial papers, 1790-1804 and 1810-1811; and a list of subscribers to the print of "The Death of Lord Nelson."
REEL 4560: Papers relating to West from HSP's Gilpin Collection (Collection (#704), including an account book with London Banker, 1790-1804, and 1810-1811; and a sketchbook and loose drawings, 1755-1819.
Biographical / Historical:
Painter. Born in Pennsylvania, moved to London, where his studio became a center for expatriate Americans.
Provenance:
Material on reel P25 microfilmed by the Historical Society of Pennsylvania for the Archives of American Art, 1955. Material on reel 4560 lent for microfilming in 1991 by the Historical Society of Pennsylvania as part of AAA's Philadelphia Arts Documentation Project. [Account book and one sketchbook are filmed on both reels].
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Reel 4560: Authorization to publish, quote or reproduce requires written permission from Historical Society of Pennsylvania. Contact Reference Services for more information.
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.
This collection measures 0.3 linear feet and consists of 19 items dated 1771-circa 1879, relating to expatriate painter Benjamin West. West, who settled in London and was renowned for his portraits and his paintings of historical events, was the first internationally known American painter. The collection provides scattered documentation of West's activities including during the time of his appointment as historical painter to King George III, and contains letters from West, artwork including 2 engravings of the artist, 2 pages of West's accounts, and a ticket to a lecture at the Royal Academy of Art.
Scope and Content Note:
This collection measures 0.3 linear feet and consists of 19 items dated 1771-circa 1879, relating to expatriate painter Benjamin West. West, who settled in London and was renowned for his portraits and his paintings of historical events, was the first internationally known American painter. The collection provides scattered documentation of West's activities including during the time of his appointment as historical painter to King George III, and contains scattered letters from West, two engravings of the artist, prints, and ephemera.
Twelve letters are written to prominent politicians such as John Adams and Robert R. Livingston, Jr., the U.S. Minsister in Paris, close friend and portraitist John Green, and others. There are two pages of accounts documenting West's association with John Boydell. In 1786, Boydell, an alderman for the City of London and a publisher of books, illustrations and engravings, launched an ambitious project to commission the best artists in England, including West, to provide illustrations for an edition of Shakespeare's plays. Also found is a ticket to a lecture at the Royal Academy of Art.
Artwork includes two engravings of West, a print of his birthplace, a print of a late 18th century portrait of West by Jonathan Spilsbury, and an ink drawing after Benjamin West of John Singleton Copley's son and daughter, circa 1879.
Arrangement:
The collection is arranged as one series.
Biographical Note:
Expatriate painter Benjamin West (1738-1829) was born in Springfield, Pennsylvania and worked in Pennsylvania and New York before settling in London as a portrait painter and historical painter to King George III. West initially studied with local artist William Williams in Pennsylvania and began painting portraits in Pennsylvania and New York in the 1750s. Around 1760 he traveled to Italy to study art and then settled in London as a portrait painter and remained in Europe for the rest of his life. He received many commissions under the patronage of George III and in 1772 was appointed historical painter to the King.
A leader in neoclassicism and a mentor to many young English and American artists including John Constable, Charles Willson Peale, Gilbert Stuart, and John Singleton Copley, West became the first American artist to receive international recognition. Among his best-known works are Death of General Wolfe (1770) and Penn's Treaty with the Indians (1772). In these, and other historical paintings, he maintained the compositional elements of neoclassicism but departed from tradition by painting historical figures in the clothing of their period, rather than in classical attire.
West was a co-founder of the Royal Academy of Arts with Sir Joshua Reynolds, and served as the Academy's president from 1792-1815.
Benjamin West died in London in 1820.
Provenance:
The Benjamin West collection was acquired through gifts and purchases from various sources between 1955 and 1981. Nine letters and 2 engravings were donated by Charles Feinberg, 1955-1958; 2 additional letters were lent by Feinberg for microfilming in 1967 and subsequently purchased by AAA in 1968. Account book pages were purchased from Walter R. Benjamin Autographs, circa 1960, and one letter was purchased from Charles Hamilton Autographs, Inc., in 1963. A wood engraving was transferred from the National Portrait Gallery Library in 1981; the sources of an ink drawing and a print are unknown.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Two pages of West's accounts document his transactions with John "Alderman" Boydell between 1786-1792, including payment for prints of West's Battle of the Boyne (1781), probably Oliver Cromwell Dissolving the Long Parliament (1782), and Ophelia and Laertes (1792) which was included in Boydell's Shakespeare folio.
Twelve letters from West include a 1771 letter (with transcript) to his friend, 18th century portrait artist John Green, whom West had known in Pennsylvania and who briefly joined West in London in 1774. Largely autobiographical in content, the letter describes how West "imbarked [sic] on Historical painting" and comments how he has been "so fare successfull in it that I find my pictures sell for a prise [sic] that no living artist ever received before."
Other letters provide scattered documentation of West's association with high-profile politicians and landowners and include letters to: John Adams, November 1783, inviting Adams and "friends" (including John Jay with whom Adams signed the Treaty of Paris ending the American Revolution), to see the "Queen's House;" the U.S. Minister in Paris, Robert R. Livingston, Jr., June 1804 (with transcript), regarding West's medal and diploma from the "Department of the Fine Arts in the National Institute;" Taylor, March 1805, accepting an invitation from the Duke of Norfolk to the "annual dinner of the Society for the Encoragement [sic] of Arts;" Mr. T. Smith, December 1806, regarding a portrait of Sir Philip Sidney which West is painting; Wm. Wallace, January 1807, regarding an account; to Richard H. Davis, May 1809, offering to sell Davis the painting "Venus & Adonis by Titian," with Davis's response on the reverse; Sir William, June 1810, regarding visists from the Duke of Cambridge and the Duke of Gloucester to West's exhibition; S. Bourne, General Consul of the U.S. in Amsterdam, inquiring about a loan to a London goldsmith that was never repaid; Joseph Nollekins, March 1815, regarding recommendation of a sculptor, Mr. Franzone; Isaac Solly, April 1815, declining an invitation to a dinner; and a letter of thanks to Sir John Leicester, April 1819.
Artwork consists of two engravings of West including a stipple engraving by David Edwin, circa 1800, a print depicting West's birthplace, a print of a late 18th century portrait of West by Johanthan Spilsbury, and an ink drawing after Benjamin West of John Singleton Copley's son and eldest daughter, circa 1879. Also found is a ticket for Mr. Bishop to a lecture at the Royal Academy of Art.
Collection Restrictions:
Use of original papers requires an appointment.
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:
Benjamin West collection, 1771-circa 1879. 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
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:
Benjamin West collection, 1771-circa 1879. 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
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:
Benjamin West collection, 1771-circa 1879. 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
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:
Benjamin West collection, 1771-circa 1879. 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
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:
Benjamin West collection, 1771-circa 1879. 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
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:
Benjamin West collection, 1771-circa 1879. 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
Jules David Prown research material on artists measures 11.8 linear feet and 0.004 GB and dates from 1935 to 2010, with the bulk of the material dating from 1958 to 1975. Prown, an art historian and educator, is an authority on the work of artist John Singleton Copley, and these papers contain related notes, subject files, correspondence, portrait and attribution files, and photographs and digital photographs of artwork. Also found are Prown's research files on other artists, including Benjamin West, typescripts of his lectures, and copies of his published writings.
Scope and Contents:
Jules David Prown research material on artists measures 11.8 linear feet and 0.004 GB and dates from 1935 to 2010, with the bulk of the material dating from 1958 to 1975. Prown, an art historian and educator, is an authority on the work of artist John Singleton Copley, and these papers contain related notes, subject files, correspondence, portrait and attribution files, and photographs and digital photographs of artwork. Also found are Prown's research files on other artists, including Benjamin West, typescripts of his lectures, and copies of his published writings.
The bulk of the collection consists of Prown's research material on the work of John Singleton Copley, including notes and correspondence he compiled while working on his dissertation and later two-volume work John Singleton Copley. Of interest are a set of notes regarding the computer analysis of sitters of John Singleton Copley. Included are detailed biographical forms for each sitter and lists of codes and cross references used for Prown's computer analysis. Topics of his notes and subject files include biographical information on Copley, technique and materials, specific works of art such as Watson and the Shark, and painting themes. Correspondence found throughout his research files usually discuss dates of paintings, attribution, and provenance. Photographs and related printed material are often included with correspondence.
Arrangement:
The collection is arranged as 4 series. The original order of the donor was maintained.
Series 1: Research Material on John Singleton Copley, 1935-2010 (8.6 linear feet; Boxes 1-9, 0.004 GB; ER01)
Series 2: Research Material on Benjamin West, 1965-1990s (1.4 linear feet; Boxes 9-10, 12-14)
Series 3: Research Material on Other Artists, 1950s-2008 (0.4 linear feet; Box 9)
Series 4: Lectures, 1960s-2010 (1.1 linear feet; Boxes 10-11)
Series 5: Printed Material, 1960-2000 (0.3 linear feet; Box 11)
Biographical / Historical:
Art historian Jules David Prown (1930- ) is a Paul Mellon Professor Emeritus of the History of Art at Yale University, New Haven, Connecticut. He is an authority on American art and material culture. Prown is a graduate of Lafayette College and the Winterthur Program in Early American Culture at the University of Delaware. He received his Ph.D. from Harvard University in 1961 with a dissertation on John Singleton Copley. That year he joined the faculty of the Department of the History of Art at Yale University where he was also Curator of American Art at the University Art Gallery and the founding Director of the Yale Center for British Art. In 1966 he published the two-volume John Singleton Copley. While working on the publication he conducted an in-depth computer analysis of Copley's 240 American sitters. Prown retired from Yale in 1999.
Related Materials:
Jules David Prown papers, 1954-2018, is located at Yale University Archives.
Provenance:
The collection was donated by Jules David Prown in 2003, 2010, 2014, and 2015.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Letters, 1766-1767, from Francis Hopkinson regarding his stay with Benjamin West; letters, 1817-1840, to Joseph Hopkinson from or regarding artists, among them Clevenger, C.R. Leslie, Thomas Sully, Benjamin Trott, and John Trumbull (2 letters regarding sales to the Pennsylvania Academy of the Fine Arts and the work of Benjamin West); letters from Hopkinson's tenure as President of the PAFA relating to exhibitions, purchases, donations and acquisitions including Murillo's "Roman Daughter" and other works by American and European artists, complaints from artists, loans and gifts from Hopkinson to other collections, the commission of a series of medals of generals based on paintings by Thomas Sully and Moritz Furst;
letters relating to Joseph Bonaparte, Count of Survilliers whom Hopkinson represented in legal and art matters, including requests for gifts from the Count's collection; an early biographial sketch of Joseph Hopkinson, and a list of the contents of the Bordentown house.
Biographical / Historical:
Prominent political family in Philadelphia, Penn. and Bordentown, N.J. Joseph Hopkinson was a U.S. Congressman, federal judge, president of the Pennsylvania Academy of the Fine Arts and a collector.
Provenance:
Microfilmed in 1991 as part of AAA's Philadelphia Arts Documentation Project. Bound by the family in volumes, which are not chronological and later donated to the Historical Society of Pennsylvania. Only the art related materials were filmed from the approximately 6 linear feet of papers.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce requires written permission from Historical Society of Pennsylvania. Contact Reference Services for more information.
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:
Museum directors -- Pennsylvania -- Philadelphia Search this
Topic:
Art, Modern -- 19th century -- Pennsylvania -- Philadelphia Search this
The Charles Henry Hart autograph collection dates from 1731-1917 and measures 1.7 linear feet comprised of 226 letters, portrait prints, and other documents signed by American artists.
Scope and Contents:
The Charles Henry Hart autograph collection dates from 1731-1917 and measures 1.7 linear feet comprised of 226 letters, portrait prints, and other documents signed by American artists.
Originally titled by Hart as "The History of Art in America as Told in a Remarkable Collection of Autograph Letters and Documents of Celebrated American Artists of the Eighteenth, Nineteenth, and Twentieth Century," the collection includes letters and other items signed by Thomas Anshutz, John J. Audubon, William Merritt Chase, Frederic Edwin Church, John Singleton Copley, Kenyon Cox, Thomas Eakins, Jervis McEntee, Samuel F.B. Morse, Charles Willson Peale, Raphaelle Peale, Rembrandt Peale, Rubens Peale, Titian Peale, James Daivd Smillie, Gilbert Stuart, Thomas Sully, Abbott Handerson Thayer, John Vanderlyn, Elihu Vedder, John Quincy Adams Ward, Benjamin West, James Abbott McNeill Whistler, and many others.
Arrangement:
The collection is arranged as 1 series.
Series 1: Charles Henry Hart autograph collection, 1731-1917 (226 items; Box 1-5)
Biographical / Historical:
Charles Henry Hart (1847-1918) was a historian, lawyer, writer, and director, Pennsylvania Academy of the Fine Arts, 1882-1904. Widely, he published on the subject of 18th and 19th century portraiture in the United States.
Related Materials:
The Archives of American Art also holds the personal papers of Charles Henry Hart, dating from 1774-1930, bulk 1888-1918.
Papers of Charles Henry Hart, 1888-1894, are also located at The New York Public Library Archives & Manuscripts.
Provenance:
The Charles Henry Hart autograph collection was donated to the Archives of American Art in 1954 as an anonymous gift. It is assumed that Hart assembled the letters. Original collation was two letterbooks entitled "The History of Art in America as Told in a Remarkable Collection of Autograph Letters and Documents of Celebrated American Artists of the Eighteenth, Nineteenth, and Twentieth Century."
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The Robert C. Graham collection of artists' letters measure 0.2 linear feet and dates from 1783 to 1935, with the bulk of the letters dating from 1804 to 1877. Graham, an art dealer and collector, compiled the unrelated letters of several late eighteenth-century and nineteenth-century painters such as Thomas Biddle, Thomas Doughty, G. P. A. Healy, Daniel Huntington, Henry Inman, Emanuel Leutze, Samuel F. B. Morse, Rembrandt Peale, John Singer Sargent, Thomas Sully, John Trumbull, Benjamin West, and others.
Scope and Content Note:
The Robert C. Graham collection of artists' letters measure 0.2 linear feet dates from 1783 to 1935, with the bulk of the letters dating from 1804 to 1877. Graham, an art dealer and collector, compiled the unrelated letters of several late eighteenth-century and nineteenth-century painters such as Thomas Doughty, G. P. A. Healy, Daniel Huntington, Henry Inman, Emanuel Leutze, Samuel F. B. Morse, Rembrandt Peale, John Singer Sargent, Thomas Sully, John Trumbull, Benjamin West, and others.
Arrangement:
Folders are arranged alphabetically by the author of the letter. Multiple letters within folders are arranged chronologically.
Biographical Note:
Robert Claverhouse Graham (1913-1994) was the director of the Graham Gallery in New York City. He and his brother James were fourth generation owners of the gallery which specialized in nineteenth- and twentieth-century American art.
Related Material:
Related material found in the Archives includes the recording and transcript of a 1976 interview of Robert Claverhouse Graham conducted by Paul Cummings for the Archives of American Art. The Archives also holds numerous collections of papers related to or created by the artists who wrote these letters.
Provenance:
The collection was donated in 1961 by Robert C. Graham.
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.
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.
Letters and documents of 19th century Americans, outstanding in literature and the arts.
Correspondents include: Washington Allston, Alexander Anderson, John Audubon, Samuel P. Avery, John Warner Barber, Mathew B. Brady, John Casilear, Vincent Colyer, Christopher P. Cranch, Felix O. C. Darley, Daniel P. Huntington, Washington Irving, James J. Jarves, Charles Lanman, Charles Leslie,Benjamin Lossing, Samuel F. B. Morse, Rembrandt Peale, Thomas B. Read, Thomas A. Richards, Thomas B. Thorpe, William D. Washington, and Benjamin West.
Biographical / Historical:
Editor; New York City. Edited, with his brother George, Literary World, 1847, and published a journal with him, 1848-1853. Also, edited CYCLOPAEDIA OF AMERICAN LITERATURE, 1855.
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.
Letters of American artists, including Washington Allston, Albert Bierstadt, Thomas Cole, Walt Disney, Asher Durand, Horatio Greenough, Winslow Homer, Peter Hurd, Henry Inman, Thomas Sully, John Trumbull, Benjamin West and many others, with an illustrated letter from Edward Gay and correspondence of the Peale family; a handwritten manuscript by Rembrandt Peale, "Washington and His Portraits"; clippings, announcements, an auction catalog of the John Trumbull collection, and other printed material.
Provenance:
Lent for microfilming, 1955, by Haverford College Library.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Letters to Roberts Vaux, 1811-1833, from William Dillwyn, Samuel Emlen, Joseph Delaplaine, John F. Watson, Henry Inman, and G. Gibbon, relating to paintings by Benjamin West, paintings by Sully, etc.
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.
