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Lemuel Everett Wilmarth: artist file, [photographs]

Artist:
Wilmarth, Lemuel Everett 1835-1918  Search this
Physical description:
1 folder
Type:
Photograph
Artist files
Topic:
Art, American  Search this
Image number:
VFM VF003190
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_141965

(No Title Given) [art work] / (photographed by Peter A. Juley & Son)

Artist:
Wilmarth, Lemuel Everett 1835-1918  Search this
Type:
Photograph
Date:
1889
Image number:
JUL J0096552
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_96553

William Page and Page Family papers

Creator:
Page, William, 1811-1885  Search this
Names:
National Academy of Design (U.S.)  Search this
Beecher, Henry Ward, 1813-1887  Search this
Beecher, Thomas Kinnicut, 1824-1900  Search this
Briggs, Charles F. (Charles Frederick), 1804-1877  Search this
Curtis, George William, 1824-1892  Search this
Cushman, Charlotte, 1816-1876  Search this
Fenton, Rueben  Search this
Garrison, William Lloyd, 1805-1879  Search this
Hicks, Thomas, 1823-1890  Search this
Lowell, James Russell, 1819-1891  Search this
O'Donovan, William Rudolph, 1844-1920  Search this
Olmstead, Bertha  Search this
Olmstead, Mary  Search this
Page, Sophia Stevens, 1827-1892  Search this
Page, William, 1811-1885  Search this
Perry, E. W. (Enoch Wood), 1831-1915  Search this
Phillips, Wendell, 1811-1884  Search this
Scranton, William Walker  Search this
Shaw, Francis George, 1809-1882  Search this
Stark, William, 1825-1873  Search this
Sumner, Charles, 1811-1874  Search this
Tilton, Theodore, 1835-1907  Search this
Wilmarth, Lemuel Everett, 1835-1918  Search this
Extent:
11.06 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Poems
Drawings
Diaries
Date:
1815-1947
bulk 1843-1892
Summary:
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.

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 William Page and Page Family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Works of art  Search this
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.
Identifier:
AAA.pagewill
See more items in:
William Page and Page Family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pagewill
Online Media:

Peaches and Grapes on a Cloth Covered Table, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Anonymous Collection
Date:
1888
Topic:
Still Life--Fruit--Grape  Search this
Still Life--Fruit--Peach  Search this
Control number:
IAP 68500013
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_460182

Strawberries and Pitcher, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil on canvas
Type:
Paintings
Date:
Ca. 1894-1905
Topic:
Still Life--Fruit--Strawberry  Search this
Object--Other--Container  Search this
Object--Other--Dish  Search this
Object--Fruit--Pineapple  Search this
Control number:
IAP 9D470001
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_346275

Peach, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil on canvas
Type:
Paintings
Date:
Ca. 1894-1905
Topic:
Still Life--Fruit--Peach  Search this
Control number:
IAP 9D470002
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_346276

Grapes, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil on canvas
Type:
Paintings
Date:
1891
Topic:
Still Life--Fruit--Grape  Search this
Control number:
IAP 9D470003
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_346277

Rock with Trees in Background, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil
Type:
Paintings
Date:
Ca. 1894-1905
Topic:
Landscape--Rocks  Search this
Control number:
IAP 9D470004
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_346279

Tree, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil
Type:
Paintings
Date:
Ca. 1894-1905
Topic:
Landscape--Tree  Search this
Control number:
IAP 9D470005
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_346280

Rock and Tree, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil
Type:
Paintings
Date:
Ca. 1894-1905
Topic:
Landscape--Tree  Search this
Landscape--Rocks  Search this
Control number:
IAP 9D470006
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_346281

Stone House, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil
Type:
Paintings
Date:
Ca. 1894-1905
Topic:
Architecture exterior--Domestic--House  Search this
Control number:
IAP 9D470007
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_346282

Lady at Wheel, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil
Type:
Paintings
Date:
Ca. 1894-1905
Topic:
Figure female--Full length  Search this
Occupation--Domestic--Sewing  Search this
Object--Other--Spinning Wheel  Search this
Control number:
IAP 9D470008
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_346284

Peaches and Grapes, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil on canvas
Type:
Paintings
Date:
1885
Topic:
Still Life--Fruit--Peach  Search this
Still Life--Fruit--Grape  Search this
Control number:
IAP 9D730120
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_349310

Who Wins May Wear, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Cheekwood Botanical Garden and Museum of Art Nashville Tennessee Accession Number: 1995.14
Date:
1882
Topic:
Figure female--Waist length  Search this
Object--Other--Wreath  Search this
Control number:
IAP 49590035
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_382871

Incident on the Morning of the Targer Excursion, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Type:
Paintings
Date:
1878
Topic:
Figure  Search this
Control number:
IAP 81470203
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_212463

The Sailor's Return (The Homecoming), (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil on canvas
Type:
Paintings
Date:
1884
Topic:
Architecture interior--Domestic--House  Search this
Figure group--Family  Search this
Figure female--Elderly  Search this
Occupation--Military--Sailor  Search this
Control number:
IAP 92520055
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_241061

Peaches, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil
Type:
Paintings
Owner/Location:
New Orleans Museum of Art P. O. Box 19123 New Orleans Louisiana 70179
Topic:
Still Life--Fruit--Peach  Search this
Control number:
IAP 17430060
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_258037

Still Life, Strawberries, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil on board
Type:
Paintings
Owner/Location:
Joslyn Art Museum 2200 Dodge Street Omaha Nebraska 68102 Accession Number: 1954.213
Date:
1890
Topic:
Still Life--Fruit--Strawberry  Search this
Control number:
IAP 29990274
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_275075

The World Before Him, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil
Type:
Paintings
Owner/Location:
Sotheby Parke Bernet New York New York
Date:
Aug. 1864
Topic:
Figure--Child  Search this
Control number:
IAP 63007000
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_287660

Still Life with Peaches & Grapes, (painting)

Painter:
Wilmarth, Lemuel Everett 1835-1918  Search this
Medium:
Oil
Type:
Paintings
Topic:
Still Life--Fruit--Grape  Search this
Still Life--Fruit--Peach  Search this
Control number:
IAP 62442018
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_112302

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