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Great Exhibit of Seeds, Agricultural Building, World's Columbian Exposition

Publisher:
Kilburn, B. W. (Benjamin West), 1827-1909  Search this
Photographer:
Kilburn, B. W. (Benjamin West), 1827-1909  Search this
Names:
Henderson, Peter, 1822-1890  Search this
Extent:
1 Stereograph (b/w)
Container:
Box 4
Type:
Archival materials
Stereographs
Date:
1894
General:
Historic Image #: 8718
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. 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.
Topic:
Exhibitions  Search this
Public buildings  Search this
Interior views  Search this
Flags  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Historic Gardens Stereograph Collection.
Identifier:
AAG.STR, Item STR053001
See more items in:
Historic gardens Stereograph collection
Historic gardens Stereograph collection / World's Fairs and Expositions / World's Columbian Exposition (1893, Chicago, Illinois) / IL159: Illinois -- Chicago -- World's Columbian Exposition
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-str-ref3583

The Three Fountains, Columbian Exposition

Publisher:
Kilburn, B. W. (Benjamin West), 1827-1909  Search this
Photographer:
Kilburn, B. W. (Benjamin West), 1827-1909  Search this
Extent:
1 Stereograph (b/w)
Container:
Box 4
Type:
Archival materials
Stereographs
Date:
1893
Scope and Contents:
front: James M. Davis, New York, St. Louis, Liverpool, Toronto, Sydney
General:
Historic Image #: 8437
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. 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.
Topic:
Exhibitions  Search this
Fountains  Search this
Public buildings  Search this
Sculptures  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Historic Gardens Stereograph Collection.
Identifier:
AAG.STR, Item STR053002
See more items in:
Historic gardens Stereograph collection
Historic gardens Stereograph collection / World's Fairs and Expositions / World's Columbian Exposition (1893, Chicago, Illinois) / IL159: Illinois -- Chicago -- World's Columbian Exposition
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-str-ref3584

California Liberty Bell, Horticultural Hall, Columbian Exposition

Publisher:
Kilburn, B. W. (Benjamin West), 1827-1909  Search this
Photographer:
Kilburn, B. W. (Benjamin West), 1827-1909  Search this
Extent:
1 Stereograph (b/w)
Container:
Box 4
Type:
Archival materials
Stereographs
Date:
1893
Scope and Contents:
front: James M. Davis, New York, St. Louis, Liverpool, Toronto, Sydney
General:
Historic Image #: 7979
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. 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.
Topic:
Exhibitions  Search this
Bells  Search this
Fruit  Search this
Floral decorations  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Historic Gardens Stereograph Collection.
Identifier:
AAG.STR, Item STR053003
See more items in:
Historic gardens Stereograph collection
Historic gardens Stereograph collection / World's Fairs and Expositions / World's Columbian Exposition (1893, Chicago, Illinois) / IL159: Illinois -- Chicago -- World's Columbian Exposition
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-str-ref3585

World expositions : stereographs

Topic:
John Bull (locomotive)
Collector:
Warshaw, Isadore, 1900-1969  Search this
Creator:
Kilburn, B. W. (stereograph publisher)  Search this
Centennial Photographic Co. (stereograph publisher)  Search this
Burr & Manley Dry Goods, Groceries and Clothing (stereograph publisher)  Search this
Names:
Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this
Exposition universelle de 1867 (Paris, France)  Search this
Exposition universelle internationale de 1900 (Paris, France)  Search this
Krupp (gun manufacturer)  Search this
Pan-American Exposition (1901: Buffalo, N.Y.)  Search this
Panama-California Exposition (1915 : San Diego, Calif.)  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Extent:
41 Items
Container:
Box 7
Type:
Archival materials
Photographs
Photographs
Stereographs
Place:
Paris (France) -- Exhibitions -- 1860-1900 -- Stereographs
Philadelphia (Pa.) -- Exhibitions -- 1870-1880 -- Stereographs
San Diego (Calif.) -- Exhibitions
Massachusetts -- Exhibitions -- 1870-1880 -- Stereographs
Buffalo (N.Y.) -- Exhibitions -- 1900-1910 -- Stereographs
Date:
ca. 1867-1915
Scope and Contents:
Includes the Centennial Exhibition (7, incl. 1 of Machinery Hall, pub. by Burr & Manley Dry Goods, Groceries and Clothing, Manchester Depot, Vermont; and 4 by Centennial Photographic Co.); Massachusetts Charitable Mechanic Association Thirteenth Exhibition, 1878 (1); World's Columbian Exposition, 1893 (25); Paris Exposition, 1867 (1); Exposition Universelle, 1900 (1); Pan-American Exposition (1); Panama-California Exposition, 1915 (1); A.Y.P. Exposition (2); 2 unidentified. Other photographers and publishers represented include B.W. Kilburn.
General:
Stereograph in World's Columbian Exposition group shows John Bull locomotive and train and "great Krupp Guns."
Related Materials:
Forms part of photographs division, Warshaw Collection; in stereographs sub-series, box 7.
Restrictions:
Unrestricted research use on site. Photographs must be handled with white cotton gloves, unless protected by plastic sleeves.
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.
Topic:
Exhibitions -- Stereographs  Search this
Centennial Celebrations -- Stereographs  Search this
World's fairs  Search this
Genre/Form:
Photographs -- Stereographs
Stereographs
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana, Series 2: Other Collection Divisions
Warshaw Collection of Business Americana, Series 2: Other Collection Divisions / 2.6: Stereographs / World Expositions
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s02-ref2835

Ernest Edwin Coffin Collection

Photographer:
Brooks, Warwick  Search this
Steckel, Geo. (George), 1864-  Search this
Weston, Arthur  Search this
Sarony, Napoleon, 1821-1896  Search this
Collector:
Coffin, Ernest Edwin  Search this
Creator:
Falk, B. J. (Benjamin J.), 1853-1925  Search this
Sandwina, Katie  Search this
Weider, Joe (author)  Search this
Donor:
Manhart, Harrison D., II  Search this
Names:
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Sandow, Eugen, 1867-1925  Search this
Extent:
11.5 Cubic feet (26 boxes)
Type:
Collection descriptions
Archival materials
Pamphlets
Articles
Correspondence
Photographs
Glass plate negatives
Scrapbooks
Date:
1889-1954
Summary:
The collection documents Eugen Sandow and other bodybuilders through correspondence and photographs.
Scope and Contents:
The collection contains original and copy photographs of Eugen Sandow and other bodybuilders and actors, by well known photographers Warwick Brooks, Napoleon Sarony, Benjamin J. Falk, George Steckel, and others; correspondence with well-known bodybuilders such as Joe Weider and Katie Sandwina; and periodicals and books about Sandow.
Arrangement:
The collection is divided into four series.

Series 1: Background Materials, 1894-1958

Series 2: Correspondence, 1902-1954

Series 3: Publications, 1926-03-1955-01

Series 4: Photographs, 1889-1952
Biographical:
Ernest Edwin Coffin (1898-1954) was a California amateur bodybuilder, and weightlifter and collector of bodybuilding memorabilia, especially on the subject of Eugen Sandow. Coffin considered himself the world's expert on "Sandowania" and spent over 40 years writing and collecting memorabilia about Sandow as well as other strongmen such as Joe Weider, Milo Steinborn, and Katie Sandwina.

Born Frederich Muller (1867-1925) in Konigsberg, Prussia, Muller emigrated to England in 1889 and become a citizen in 1906. Muller adopted the stage name of Eugen Sandow and ran several schools of physical culture, performed, lectured, and wrote about strength amd mental and physical health. Sandow toured the United States in 1893 with his manager, Florenz Ziegfeld, the "Follies" showman. Sandow's first American appearance was at the World's Fair in Chicago where he was an instant success. Ziegfeld marketed Sandow as "the perfect man," and "the modern Hercules." Sandow used his popularity to market books, a magazine (Physical Culture), and exercise equipment.
Separated Materials:
Materials in the Division of Culture and the Arts (now Division of Cultural and Community Life).

The Division of Culture and the Arts holds hand weights, a cut-out, and a dumbbell belonging to Eugen Sandow. See accession #2001.0179.
Provenance:
The collection was donated to the Archives Center by Dan Manhart in 2009.
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.
Topic:
Physical education and training  Search this
Modelling  Search this
Bodybuilding  Search this
Books  Search this
Periodicals  Search this
Genre/Form:
Pamphlets
Articles
Correspondence
Photographs -- 20th century
Photographs -- 19th century
Glass plate negatives
Scrapbooks -- 20th century
Citation:
Ernest Edwin Coffin Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1152
See more items in:
Ernest Edwin Coffin Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1152

Chicago World's Fair, 1893. / Court of Honor [black-and-white photoprint]

Collector:
Swezey, Kenneth M., 1905-1972 ((journalist))  Search this
Names:
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Collection Creator:
Swezey, Kenneth M., 1905-1972 ((journalist))  Search this
Sarony, Napoleon, 1821-1896  Search this
Tesla, Nikola, 1857-1943  Search this
Extent:
1 Item (Silver gelatin on paper., 8" x 10".)
Container:
Box 19, Folder 2
Type:
Archival materials
Place:
Chicago Ill. -- 1890-1900
Date:
1893
Scope and Contents:
Night view of the electric lights in the Court of Honor. Photographer unidentified.
Local Numbers:
AC0047-0000009.tif (AC Scan No.)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
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.
Topic:
Electric lighting  Search this
Electricity -- 1880-1950  Search this
Exhibitions  Search this
Collection Citation:
Kenneth M. Swezey Papers, Archives Center, National Museum of American History.
See more items in:
Kenneth M. Swezey Papers
Kenneth M. Swezey Papers / Series 2: Tesla Photographs / Court of Honor Chicago World's Fair, Lighthouse
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0047-ref746

Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives

Printer:
MacCormack, Forrest (intern)  Search this
Talman, Hugh (photographer)  Search this
Photographer:
Smillie, T. W. (Thomas William), 1843-1917  Search this
Johnston, Frances Benjamin, 1864-1952  Search this
Collector:
National Museum of American History (U.S.). Division of Domestic Life  Search this
National Museum of American History (U.S.). Division of Domestic Life  Search this
Names:
World's Columbian Exposition (1893 : Chicago, Ill.) -- Photographs  Search this
Extent:
2 Cubic feet (7 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Contact prints
Place:
White House (Washington, D.C.)
Washington (D.C.) -- 1890-1900
Chicago Ill. -- 1890-1900
Date:
1993 - 1993
circa 1888-1899, 1906
Summary:
Twenty glass plate negatives and reference copy prints of the images taken between the late 1880s and the early 1900s by Frances Benjamin Johnston and Thomas W. Smillie. The images depict the skyline of Washington D.C., views from the 1893 World's Fair: Columbian Exposition, blueprints for the Smithsonian Arts and Industries Building, and an unidentified orchestra.
Scope and Contents:
The collection consists of twenty glass plate negatives and associated reference copy prints depicting scenes from the 1893 World's Fair: Columbian Exposition in Chicago, Illinois as well as images of the Washington D.C. skyline dating from between 1888 and 1899. The glass plate negatives range in size from 17" x 20" to 20" x 24" while the silver gelatin, resin-coated paper prints are all 20" x 24". All the images are black and white.

Series 1, Glass Plate Negatives, 1893, 1906, circa 1888-1899, is arranged by a numbering system, possibly assigned by the Smithsonian Office of Printing and Photographic Services (OPPS). The numbers were etched or written on the negatives, for example 3107. The series begins with the numbered images from Washington DC (#3101-#3107), followed by images without identifying numbers. The numbered images from the 1893 Columbian Exposition (non-inclusive #11302-11359) come next, followed by the images without identifying numbers.

The images of Washington D.C., when arranged in the following sequence, form a panorama of the Washington D.C. city: #3103, #3107, #3104, #3101, #3106, #3105, #3102. The images were taken from the tower of the Smithsonian Castle facing north, beginning with a view of the United States Capitol Building in the east (#3102) and ending with a view of the incomplete Washington Monument in the west (#3103). An unnumbered image of the United States Capitol taken after 1899 from the tower of the Old Post Office and Clock Tower looking down Pennsylvania Avenue is included. Two unnumbered blueprints dated July 19, 1906 show the second and third floor layouts of the Smithsonian Arts and Industries Building.

The images of the 1893 World's Fair: Columbian Exposition show various buildings built for the event as well as a replica of the Battleship Illinois which was constructed to illustrate advances in naval technology. Exterior views of the Administration Building, Government Building, Palace of Fine Arts, Manufactures and Liberal Arts Building as well as an interior view of the World's Fair Post Office in the Government Building are found among the negatives. A number of the images appear to have been taken from atop some of the buildings looking down.

One unnumbered and unidentified picture of a musical orchestra sitting on stage is included at the end of the series.

Series 2, Copy prints, 1993, include duplicate or, in some instances triplicate, photographic copy prints of the images from the glass plate negatives. In the case of #11311 and #11359, no copy prints exist. The silver gelatin prints on resin-coated paper were created in the fall of 1993.
Arrangement:
The collection is arranged in two series.

Series 1: Glass Plate Negatives, 1893, 1906, circa 1888-1899

Series 2: Copy prints (reference copies), 1993
Biographical / Historical:
While the origin and provenance of some of the glass plate negatives is uncertain, it is likely that the images were created by Smithsonian photographer and curator Thomas W. Smillie and by Frances Benjamin Johnston, a prominent female photographer who was a protege of Smillie's.

Thomas W. Smillie was born in Edinburgh, Scotland in 1843 and emigrated to the United States when he was five years old. He attended Georgetown University, where he studied medicine and chemistry. Shortly thereafter he became a photographer for the Smithsonian and remained with the institution until his death in 1917. In 1896 he was named "custodian" of photography for the Institution, in essence becoming its first photography curator. He staged photographic exhibits and actively collected both images and equipment related to photography.

Frances Benjamin Johnston was an early pioneer for women in the field of photography and photojournalism. Born in 1864 in Grafton, West Virginia, Johnston studied art in Maryland and later at the Académie Julien in Paris. Her high-profile family connection with the Eastman family as well as her insatiable appetite for knowledge about photographic processes quickly propelled her to a formidable professional career. Her work appeared in publications such as The Ladies' Home Journal, Harper's Weekly, and Cosmopolitan, among others. As an apprentice to Thomas W. Smillie, Johnston was engaged to photograph the 1893 World's Fair: Columbian Exposition in Chicago. She made Washington D.C. her home and had the opportunity to photograph a large number of high profile individuals and government officials, including five United States presidents. Her photography often documented mundane and commonplace aspects of life rather than spectacular or prominent ones. Later in her career she focused her photography on colonial architecture, with images of houses, barns, and other buildings that intentionally showed everyday life in the United States South rather than high profile structures which had already been well-documented. She moved to New Orleans in 1940 and died in 1952.
Related Materials:
Materials at the Smithsonian Institution

Smithsonian Institution Archives

Records, circa 1883-1984 (SIA RU000529)

Field Research Photographs, circa 1909-1924 (SIA Acc. 02-086)

Personnel Records, 1892-1952 (SIA Acc. 05-123)

Collected Registers, 1908-1912 and undated (SIA Acc. 06-138)

National Anthropological Archives

Glass Negatives of Indians (Collected by Bureau of American Ethnology)
Provenance:
Immediate source of acquisition unknown.
Restrictions:
The collection is open for research. Reference photograph copies should be used where possible. Gloves must be worn when handling unprotected photographs and negatives. Special care is required when handling the glass plate negatives both because of their large size and because some of the negatives are broken.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Washington Monument (Washington, D.C.)  Search this
Genre/Form:
Photographs -- Black-and-white negatives -- Glass -- 1890-1900
Contact prints -- 1950-2000
Citation:
Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives, 1888-1906, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0416
See more items in:
Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0416

Charles M. Kurtz papers

Creator:
Kurtz, Charles M. (Charles McMeen), 1855-1909  Search this
Names:
Albright Art Gallery (Buffalo, N.Y.)  Search this
American Art Association  Search this
Buffalo Fine Arts Academy  Search this
Exposition universelle internationale de 1900 (Paris, France)  Search this
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
National Academy of Design (U.S.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Saint Louis Exposition and Music Hall Association (1883-1902 : Saint Louis, Mo.)  Search this
Southern Exposition (1885 : Louisville, Ky.)  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Starkweather family  Search this
Abbey, Edwin Austin, 1852-1911  Search this
Avery, Samuel Putnam, 1822-1904  Search this
Cesnola, Luigi Palma di, 1832-1904  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Hallowell, Sara  Search this
Hambidge, Jay, 1867-1924  Search this
Hasbrouck, Du Bois Fenelon, b.1860  Search this
Irwin, Benoni, 1840-1896  Search this
Ives, Halsey Cooley, 1847-1911  Search this
Kurtz, Davis Brook Kurtz, 1826-1906  Search this
Kurtz, Julia Stephenson  Search this
Reid, Alexander  Search this
Rhodes, Charles Ward, d. 1905  Search this
Richardson, Mary Curtis, 1848-1931  Search this
Sedelmeyer, Charles  Search this
Thum, Patty P., 1853-1926  Search this
Wanamaker, John, 1838-1922  Search this
Wickenden, Robert J.  Search this
Photographer:
Pluschow, Guglielmo  Search this
Extent:
27.74 Linear feet
Type:
Collection descriptions
Archival materials
Menus
Photographs
Lithographs
Etchings
Address books
Engravings
Visiting cards
Diaries
Photogravures
Tempera paintings
Oil paintings
Sketches
Date:
1843-1990
bulk 1884-1909
Summary:
The papers of arts administrator, museum director, collector, dealer, and editor Charles M. Kurtz (1855-1909), measure 27.74 linear feet and date from 1843-1990 (bulk dates 1884-1909). The bulk of the collection consists of detailed chronological correspondence between Kurtz and his wife and family, friends, colleagues, and business associates that documents many notable exhibitions, galleries, museums, private collections, as well as cities, people, and events of the period. Also found in the collection are Kurtz's diaries, scrapbooks, printed materials, and photographs.
Scope and Content Note:
The Charles M. Kurtz papers measure 27.74 linear feet and date from 1843 to 1990 with the bulk of the material dating from 1884 to 1909. The bulk of the collection consists of chronological correspondence between Kurtz and his family, most notably his wife, friends, colleagues, and business associates. Kurtz's letters are amazingly detailed and document many notable exhibitions, galleries, museums, private collections, as well as cities, people, and events of the period. The letters between Kurtz and his wife are most interesting for their descriptive commentary on late 19th century life and offer a complete picture of Kurtz's activities. Many of Kurtz's letters to Halsey C. Ives can be found in the Halsey C. Ives Papers. Some of the letters in the collection are illustrated. Also found in the collection are Kurtz's diaries, scrapbooks, printed materials, and photographs.
Arrangement:
The collection is organized into twelve series.

Series 1: Biographical Information, 1885-1931, undated

Series 2: Correspondence, 1843-1940, undated

Series 3: Circulars/Requests for Submissions of Works of Art, 1886-1905

Series 4: Legal Records, 1881-1928

Series 5: Financial Records, 1870-1989, undated

Series 6: Diaries, 1894-1901

Series 7: Notes and Writings, 1872-1980, undated

Series 8: Scrapbooks, 1878-1909

Series 9: Printed Material, 1873-1990, undated

Series 10: Photographs, 1898-1990

Series 11: Photographs of Works of Art, undated

Series 12: Miscellany, undated
Biographical Note:
Charles M. Kurtz's name is known to many scholars and students of American art history. To some he is important for his critical writings, others are interested in his management of exhibitions for the Art Union and the American Art Association. Many are aware of him because of his publication of National Academy Notes, which continued for nine years. Still others are familiar with Kurtz in his role as an art administrator for late 19th century art exhibitions like those at the 1893 Columbian Exposition in Chicago and the St. Louis Fair, or for his accomplishments as the first director of the Albright Gallery in Buffalo, New York. Sometimes researchers have become familiar with his name through the sale catalogue for his considerable collection, which was sold at auction after his death in 1909. His career, which encompassed the last quarter of the nineteenth century and the first decade of the twentieth century, touched on virtually every aspect of art in America during that period.

Born in 1853 to Davis Brook Kurtz (1826-1906), an attorney, and Julia Wilder, Charles Kurtz enjoyed a genteel upbringing. The Kurtz family originated in Darmstadt, Germany, and migrated to America in the eighteenth century. D.B. Kurtz, a leading member of the Lawrence County bar, was also a vice-president of the National Bank of Lawrence County, Pennsylvania. As a local representative of many important railroad and business interests, he accumulated assets estimated at one million dollars by the time of his death, just three years before that of his son, Charles, the eldest of his five children. Unlike his brothers Louis, who also became an attorney, and Edward, a professor at Columbia University, Charles eschewed a professional career to enter the art world, as did his sisters Emily, an artist, and Catherine, a musician.

After his graduation from Washington and Jefferson College in Washington, Pennsylvania, Kurtz visited the Centennial Exposition, held in 1876 in Philadelphia, before coming to New York to study art at the National Academy of Design. These two activities foreshadowed the direction that his career would eventually take. As the chronology indicates, his early efforts revolve around writing for a variety of publications, most notably, his own National Academy Notes. In 1881 he took what was to be the first of many trips abroad to survey the art scene in Europe. Later in his career, his fascination with foreign art and his own entrepeneurial interests led him to become an outspoken opponent of tariffs on imported art.

Kurtz's personal life changed significantly in 1884 when he met Julia Stephenson, a physician's daughter and fledging art student from Harrodsburg, Kentucky. Throughout their courtship and after their marriage the couple was frequently separated. Consequently, they wrote lengthy letters which document not only their personal relationship but also Kurtz's aspirations and activities in the art world.

With his appointment as one of Halsey C. Ives's (1847-1911) chief assistants of the Fine Arts Department of the World's Columbian Exposition in 1891, Charles Kurtz's career achieved international stature. Among the most notable European artists he introduced into this country through circulating exhibitions were the Glasgow School, the Danish School, the Hungarian artist, Mihaly Munkacsy, and the subject of his final exhibition, the Spanish artist, Sorolla.

Throughout his life, Kurtz was plagued by health problems and, in 1899, illness forced him to resign as Assistant Director of Fine Arts for the United States for the Paris Exposition of 1900. Throughout the following decade, his work was increasingly interrupted by ill health. His death in 1909 at the age of 54, while sudden, was not entirely unexpected. However it most certainly cut short a cosmopolitan career that encompassed virtually every aspect of the art world and the pertinent issues of the day.

Kurtz is remembered for his editorial work with the National Academy of Design; as Art Director for the Southern Exposition, 1883-1886, and the St. Louis Exposition, 1894-1899 (where he introduced the Glasgow School of Painting); and as Assistant Chief/Director for the World's Columbian Exposition, the 1900 Paris Exposition, and the 1904 Louisiana Purchase Exposition. He was also director of the Buffalo Fine Arts Academy.

1855 -- Charles McMeen Kurtz born

1876 -- receives B.S. degree from Washington and Jefferson College, Washington, Pennsylvania

1876-78 -- studies at the National Academy of Design, N.Y. with Lemuel Wilmarth and William Morgan; writes a column, "New York Letters," for The Courant published in New Castle, Pennsylvania

1878 -- edits a small daily paper published during a "National Camp Meeting for the promotion of Holiness" held that summer in New Castle, Pa.; its critical stance resulted in his public denouncement and earned him a reputation as a journalist in western Pennsylvania; receives M.A. from Washington and Jefferson College

1878-79 -- becomes the local editor of The Guardian of New Castle

1879 -- publishes The Daily Reporter, a financial success

1881 -- publishes the first issue of National Academy Notes; travels in Europe, spending time in England, Holland, Belgium, Germany, Switzerland, Italy and France (Paris)

1881-82 -- prepares Illustrated Notes for Metropolitan Museum of Art exhibition

1882 -- writes "Art Notes" in The New York Tribune and resigns Dec. 23rd

1882-83 -- accepts position to write for Music and Drama, a new daily paper

1883 -- becomes the general manager of the American Art Union; exhibits a large collection of Art Union paintings in Buffalo, N.Y. and Louisville, Ky., where they became part of the Southern Exposition's first great art display

1883-86 -- accepts offer to become Director of the Art Department, Southern Exposition, Louisville, Kentucky

1884 -- edits Art Union magazine until December; applies for position to head the Art Department of the New Orleans World's Fair in September

1884-86 -- accepts a position offered by the American Art Association; terminates uncongenial relationship in March, 1886

1885 -- writes catalogues for the sale of the George Seney Collection and for the Watts exhibition at the Metropolitan Museum of Art, New York; October 1, marries Julia Stephenson (1861-1931), daughter of Dr. A. T. Stephenson of Harrodsburg, Kentucky; they had two daughters who survived them: Julia Wilder Kurtz (1889-1977), and Isabella Starkweather Kurtz (1901-1991); another daughter, Elizabeth Stephenson Kurtz (1886-1897), predeceased them

1886 -- terminates employment with the Art Association; daughter, Elizabeth Stephenson Kurtz, born

1886-87 -- manages the circulation of Mihaly Munkacsy's Christ Before Pilot for Charles Sedelmeyer to American venues: New York, Boston, St. Louis, Cincinnati, Kansas City, Minneapolis, Saint Paul, Nashville, Phildelphia, Indianapolis; tour generates $90,000 in ticket receipts

1889-91 -- February 24, appointed art critic ("Art Notes") and book reviewer for New York Daily Star; later literary and art editor of the Sunday Star

1890 -- writes for the Sunday edition The Press, a New York paper

1891 -- writes for The World; art editor for The New York Recorder; contributes to the New York Truth

1891-93 -- contributes to Chicago Evening Post ; writes artist biographies for The Chicago Graphic, a regional magazine; appointed Assistant Chief of the Department of Fine Arts of the World's Columbian Exposition

1894 -- contributes column, "Art at the Exposition" to St. Louis Life

1895 -- tours Denmark, Scotland, and France during the summer on behalf of the St. Louis Exposition

1894-99 -- appointed Director of the Art Department of the St. Louis Annual Exposition

1896 -- elected member of The Japan Society, London

1897 -- daughter, Elizabeth (Daisy), dies

1898 -- receives a diploma and medal "in recognition of valuable services in connection with the Fine Arts Exhibit" from the directors of the Trans-Mississippi International Exposition, Omaha

1899 -- appointed Assistant Director of Fine Arts for the United States Commission to the Paris Exposition of 1900; resigned in July due to ill health

1901-04 -- appointed Assistant Chief of the Department of Art of the Louisiana Purchase Exposition, August

1901 -- daughter, Isabella Starkweather Kurtz, born

1902 -- receives honorary Ph.D from Washington and Jefferson College "in recognition of distinguished ability and services as an art critic and writer"

1905 -- receives the cross of the Order of Merit from Prince Ferdinand of Bulgaria; appointed Director, Buffalo Fine Arts Academy and Albright Art Gallery, Buffalo, New York, in January; exhibits Glasgow paintings at Albright Art Gallery from November until the following April

1906 -- writes Academy Notes, a bulletin pubished by the Buffalo Fine Arts Academy and the Albright Art Gallery; father, D.B. Kurtz, dies in Newcastle, Pennsylvania

1907 -- accused of importing German pictures free of duty for exhibition purposes and then selling some for profit

1908 -- Honorary Doctor of Philosophy degree conferred by Washington and Jefferson College

1909 -- Charles M. Kurtz dies in Buffalo, New York on March 21

1910 -- Sale of the private collection of Charles M. Kurtz at auction, Fifth Avenue Art Galleries, February 24-25

1931 -- Widow, Julia Stephenson Kurtz dies October 30

1977 -- Daughter, Julia Wilder Kurtz, dies

1991 -- Daughter, Isabel Starkweather Kurtz, dies in Buffalo, N.Y.; remaining Charles M. Kurtz Papers bequeathed to the Archives of American Art and the National Academy of Design, New York
Related Material:
The St. Louis Exposition/Halsey C. Ives papers in the Archives of American Art contain material relating to Charles M. Kurtz.

Additional Charles Kurtz papers, 1870-1910, including 340 letters which discuss exhibitions, sales of art, patronage, atelier visits, and submissions to publications, and letters to his parents in which he discsses the art market and art world new; as well as manuscripts, notebooks, a diary, and printed ephemera relating to exhibitions and publications, are available at the Getty Research Institute, Research Library, Los Angeles, California.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel 4912) including Charles Kurtz's Glasgow painting diary. The loaned diary was returned to the lender and can now be found at the Yale Center for British Art in New Haven, Connecticut. This material is not described in the collection container inventory.
Provenance:
For many years, the Kurtz Papers were thought to have been destroyed in a fire. Isabel Kurtz, a school teacher who lived with her older sister in Buffalo, New York, was vague when initially approached about her father's papers by Archives Regional Director, Robert Brown in the mid-1980s. However upon her death in 1991, her will revealed that the papers were indeed in her house in Buffalo and the bulk of them were bequeathed to the Archives of American Art. Paintings and a diary relating to the Glasgow School were given to the Yale Center for British Art. That diary has subsequently been duplicated on microfilm and is now also available in the Archives. Scorch marks on some of the papers and also on the paintings given to Yale suggest that there was indeed a fire. The material that was not bequeathed to the Archives included duplicates of printed documents along with books from the Kurtz library and a coin collection, all of which were dispersed in an estate auction that was held in Buffalo in 1991.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
Glasgow painting diary, Microfilm reel 4912: Authorization to publish, quote, or reproduce requires written permission from Yale Center for British Art. 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:
Editors -- United States  Search this
Art critics -- United States  Search this
Arts administrators -- United States  Search this
Topic:
Works of art  Search this
Glasgow school of painting  Search this
Exhibitions -- United States  Search this
Art, Scottish  Search this
Art -- Private collections  Search this
Art criticism  Search this
Art -- Collectors and collecting  Search this
Museum directors -- New York (State) -- Buffalo  Search this
Function:
Art museums -- New York (State)
Genre/Form:
Menus
Photographs
Lithographs
Etchings
Address books
Engravings
Visiting cards
Diaries
Photogravures
Tempera paintings
Oil paintings
Sketches
Citation:
Charles M. Kurtz papers, 1843-1990 (bulk 1884-1909). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kurtchar
See more items in:
Charles M. Kurtz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kurtchar
Online Media:

John Quincy Adams Ward papers in the New York Historical Society

Creator:
Ward, John Quincy Adams, 1830-1910  Search this
Names:
Library of Congress  Search this
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
South Carolina Interstate and West Indian Exposition  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Adams, Herbert, 1858-1945  Search this
Appleton, Thomas Gold, 1812-1884  Search this
Bitter, Karl Theodore Francis, 1867-1915  Search this
Borglum, Gutzon, 1867-1941  Search this
Chilton, R. S.  Search this
Cushing, Robert  Search this
Dana, Paul  Search this
French, Daniel Chester, 1850-1931  Search this
Herber, C. A.  Search this
Johnson, Robert Underwood, 1853-1937  Search this
Orr, Alexander Ector, 1831-1914  Search this
Potter, Edward Clark, 1857-1923  Search this
Richards, T. Addison (Thomas Addison), 1820-1900  Search this
Ruckstull, F. W. (Fred Wellington), 1853-1942  Search this
Thomas, Charles N.  Search this
Extent:
2 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1857-1915
Scope and Contents:
Correspondence regarding the St. Louis Exposition, the World's Columbian Exposition, the South Carolina Interstate and West Indian Exposition, statuary in New York City and the Library of Congress, the Washington statue in Newburyport, Mass. Letters from Robert Cushing in Italy pertain to the supervision of the execution of Ward's marble statuary group in Carrara. Correspondents include Herbert Adams, Thomas Gold Appleton, Karl Bitter, Gutzon Borglum, Daniel Chester French, Robert Underwood Johnson, Thomas Addison Richards, Edward Clark Potter, Alexander E. Orr, R. S. Chilton, Paul Dana, F. Wellington Ruckstuhll, Charles N. Thomas, C. A. Herber and Ward's wife.
Biographical / Historical:
Sculptor; New York, N.Y.
Provenance:
Lent 1973 by New York Historical Society.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Sculpture, American  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Identifier:
AAA.wardjohn
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wardjohn

Larry Zim World's Fair Collection

Collector:
National Museum of American History (U.S.). Division of Cultural History  Search this
Cooper-Hewitt Museum.  Search this
Zim, Larry (Larry Zimmerman), 1931-1987  Search this
National Museum of American History (U.S.). Division of Cultural History  Search this
Names:
Alaska-Yukon-Pacific Exposition (1909 : Seattle, Wash.)  Search this
Appalachian Exposition. (Knoxville, Tennessee: 1911)  Search this
Art and Techniques Exposition (Paris, France: 1937)  Search this
British Empire Exhibition (Wembley, London, England: 1924-1925)  Search this
British Empire Exposition (Glasgow, Scotland: 1938)  Search this
Bronx International Exposition (New York, New York: 1917-1918)  Search this
Brussels International (1910 )  Search this
California Midwinter International Exposition (1894 : San Francisco, Calif.)  Search this
California-Pacific International Exposition (San Diego, California: 1935-1936)  Search this
Canadian National Exposition (1937)  Search this
Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this
Centennial Exposition of the Ohio Valley and Central States (1888 : Cincinnati, Ohio)  Search this
Century of Progress International Exposition (1933-1934 : Chicago, Ill.)  Search this
Chicago Autumn Festival (1899)  Search this
Cincinnati Industrial Exposition (1882 : Cincinnati, Ohio)  Search this
Cotton States Exposition (1895 : Atlanta, Ga)  Search this
Esposizione Internationale (1911 : Turin, Italy)  Search this
Esposizione Internationale D'Arte (Venice, Italy: 1910)  Search this
Esposizione Internazionale d'Arte (1895 : Venice, Italy)  Search this
Exhibition of Art Treasures (1857 : Manchester, England)  Search this
Exhibition, Massachusetts Charitable Mechanic Association (1878 : Boston, Massachusetts)  Search this
Expo 67 (Montréal, Québec)  Search this
Exposicion Centro-Americana (1897 : Guatemala City, Guatemala)  Search this
Exposition Coloniale Internationale (Paris, France: 1931)  Search this
Exposition International (1894 : Lyons, France)  Search this
Exposition International Coloniale Maritime et d'Art Flammand (Antwerp, Belgium: 1930)  Search this
Exposition International de Liege (1930)  Search this
Exposition Internationale Maritime (1887 : Le Havre, France)  Search this
Exposition Nationale Belge (1880 : Belgium)  Search this
Exposition Universelle (1885 : Antwerp, Belgium)  Search this
Exposition Universelle de Paris (1855 : Paris, France)  Search this
Exposition Universelle de Paris (1878 : Paris, France)  Search this
Exposition universelle de 1867 (Paris, France)  Search this
Exposition universelle de 1889 (Paris, France)  Search this
Exposition universelle et internationale (1958 : Brussels, Belgium)  Search this
Exposition universelle internationale de 1900 (Paris, France)  Search this
Fiera di Milano (1939)  Search this
Foreign Exhibition (1883 : Boston, Massachusetts)  Search this
Franco-British Exhibition (London, England: 1908)  Search this
Franklin Institute Exhibition (1874 : Philadelphia, Pennsylvania)  Search this
Gewerbe Austellung (1896 : Berlin, Germany)  Search this
Golden Gate International Exposition (1939-1940 : San Francisco, Calif.)  Search this
Great Exhibition of 1851 (London, England)  Search this
Great Industrial Exhibition (1853 : Dublin, Ireland)  Search this
Great Lakes Exposition (Cleveland, Ohio: 1936-1937)  Search this
Hemisfair '68 (San Antonio, Texas: 1968)  Search this
Hudson-Fulton Celebration (1909)  Search this
Imperial International Exhibition (London, England: 1909)  Search this
International Exhibition (1897 : Brussels, Belgium)  Search this
International Exhibition of 1862 (London, England)  Search this
International Exhibition of 1871 (London, England)  Search this
International Exhibition of 1872 (London, England)  Search this
International Exhibition of Arts and Manufactures (1865: Dublin, Ireland)  Search this
International Exposition (Barcelona, Spain: 1929-1930)  Search this
International Exposition (Brussels, Belgium: 1935)  Search this
International Exposition of Decorative Arts and Modern Industries (1925 : Paris, France)  Search this
International Exposition on the Environment (Spokane, Washington: 1974)  Search this
International Fire Exhibition 1903 : London, England)  Search this
International Marine Exhibition of Marine Hygiene and Exhibition of the Italian Glories (Genoa, Italy: 1914)  Search this
International Ocean Exposition (Okinawa, Japan: 1975)  Search this
Interstate and West Indian Exposition (Charleston, South Carolina: 1901-1902)  Search this
Italian Exposition (1904 : London, England)  Search this
Jamestown Tercentennial Exposition (Hampton Roads, Virginia: 1907)  Search this
Japan World Exposition (Osaka, Japan: 1970)  Search this
Japan-British Exhibition (London, England: 1910)  Search this
Knoxville International Energy Exposition (1982)  Search this
Lewis and Clark Centennial Exposition (1905 : Portland, Or.)  Search this
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
National Ecuadorian Exposition (Quito, Ecuador: 1909)  Search this
National Export Exposition (1899 : Philadelphia, Pennsylvania)  Search this
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
New York World's Fair (1964-1965)  Search this
Pan-American Exposition (1901: Buffalo, N.Y.)  Search this
Panama-California Exposition (1915 : San Diego, Calif.)  Search this
Panama-Pacific International Exposition (1915: San Francisco, Calif.)  Search this
Scottish National Exposition (Edinburgh, Scotland: 1908)  Search this
Sesqui-Centennial International Exposition (1926 : Philadelphia, Pa.)  Search this
Sydney International Exhibition (Sydney, Australia: 1879)  Search this
Texas Centennial Central Exposition (Dallas, Texas: 1936)  Search this
Universal Exhibition (1873 : Vienna, Austria)  Search this
Western Pennsylvania Exposition (1915 : Pittsburgh, Pennsylvania)  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
World's Industrial and Cotton Centennial Exposition (1884-1885 : New Orleans, La.)  Search this
Extent:
46 Cubic feet (123 boxes and 148 map-folders)
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Postcards
Greeting cards
Stationery
Panoramas
Sheet music
Posters
Shopping bags
Photographs
Stereographs
Menus
Place:
Disneyland (California)
Date:
1841-1988
Scope and Contents:
Memorabilia of fairs and World's Fairs throughout history, both in the United States and abroad, including photographs, stereographs, panoramas and slides; printed materials; postcards; sheet music; philatelic material; stationery and greeting cards; menus and food service items; posters; shopping bags; motion picture films; and other items.
Arrangement:
The collection is divided into three series.

Series 1: World's Fair Materials, 1841-1988

Series 2: Reference and Miscellaneous Materials

Series 3: Larry Zim Materials

Series 4: Oversize Materials, 1909-1968
Biographical / Historical:
Larry Zim, whose actual name was Larry Zimmerman, was an industrial designer, a historian of World's Fairs who wrote extensively on the subject, and a collector of World's Fair memorabilia.
Provenance:
Collection by bequest of Larry Zim.
Restrictions:
Collection is open for research but two oversize folders are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
Topic:
Crystal Palace -- (New York, New York)  Search this
Exhibitions  Search this
Genre/Form:
Motion pictures (visual works)
Postcards
Greeting cards
Stationery
Panoramas
Sheet music -- 20th century
Posters
Shopping bags
Photographs -- 19th century
Sheet music -- 19th century
Stereographs
Menus
Citation:
Larry Zim World's Fair Collection, 1841-1988, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0519
See more items in:
Larry Zim World's Fair Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0519
Online Media:

Interior of the Liberal Arts Building, From the top of Elevator, World's Columbian Exposition [black-and-white photoprint, stereograph]

Publisher:
B.W. Kilburn Company  Search this
Collector:
Zim, Larry (Larry Zimmerman), 1931-1987  Search this
Names:
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Collection Collector:
National Museum of American History (U.S.). Division of Cultural History  Search this
Cooper-Hewitt Museum.  Search this
Zim, Larry (Larry Zimmerman), 1931-1987  Search this
Extent:
1 Item (3.6" x 7".)
Type:
Archival materials
Stereographs
Place:
Chicago Ill. -- 1890-1900
Date:
1894
Scope and Contents:
Image includes exhibits and a large American flag hanging from the ceiling.
Local Numbers:
AC0519-0000112.tif (AC Scan)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
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.
Topic:
Interior architecture -- World's fairs  Search this
Buildings -- World's fairs  Search this
Flags -- United States  Search this
Exhibitions  Search this
Genre/Form:
Stereographs -- 1890-1910
Collection Citation:
Larry Zim World's Fair Collection, 1841-1988, Archives Center, National Museum of American History.
See more items in:
Larry Zim World's Fair Collection
Larry Zim World's Fair Collection / Series 1: World 's Fairs Materials / Chicago Columbian, stereographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0519-ref983

Looking, Moving, Heavenward, World's Columbian Expoisiton Ferris Wheel [black-and-white photoprint; stereograph]

Publisher:
B.W. Kilburn Company  Search this
Collector:
Zim, Larry (Larry Zimmerman), 1931-1987  Search this
Donor:
Zim, Larry (Larry Zimmerman), 1931-1987  Search this
Names:
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Collection Collector:
National Museum of American History (U.S.). Division of Cultural History  Search this
Cooper-Hewitt Museum.  Search this
Zim, Larry (Larry Zimmerman), 1931-1987  Search this
Extent:
1 Item (3.6" x 7".)
Type:
Archival materials
Stereographs
Place:
Chicago Ill. -- 1890-1900
Date:
1894
Scope and Contents:
Stereograph of the first Ferris Wheel, which made its debut at the 1893 Columbian Exposition in Chicago.
Local Numbers:
AC0519-0000113.tif (AC Scan)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
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.
Topic:
Amusements  Search this
Exhibitions -- 1890-1900  Search this
Ferris wheels  Search this
Rides  Search this
World's fairs  Search this
Genre/Form:
Stereographs -- 1890-1910
Collection Citation:
Larry Zim World's Fair Collection, 1841-1988, Archives Center, National Museum of American History.
See more items in:
Larry Zim World's Fair Collection
Larry Zim World's Fair Collection / Series 1: World 's Fairs Materials / Chicago Columbian, stereographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0519-ref984

Domestic Life Stereograph and Photograph Collection

Creator:
Centennial Photographic Co.  Search this
Roth, Rodris  Search this
Myers, Susan H.  Search this
Source:
National Museum of American History (U.S.). Division of Cultural History  Search this
Names:
Appalachian Exposition. (Knoxville, Tennessee: 1911)  Search this
California-Pacific International Exposition (San Diego, California: 1935-1936)  Search this
Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this
Exposition universelle de 1867 (Paris, France)  Search this
International Exhibition of 1862 (London, England)  Search this
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Former owner:
National Museum of American History (U.S.). Division of Cultural History  Search this
Extent:
2 Cubic feet (9 boxes)
Type:
Collection descriptions
Archival materials
Stereographs
Place:
Sturbridge (Mass.)
Date:
circa 1862-1920
Summary:
Hundreds of stereographs and other photographic imagery, especially a large number of the 1876 Centennial Exhibition in Philadelphia; other subjects include: the World's Columbian Exhibition (1893); the Louisiana Purchase Exposition, the Great Sanitary Fair; a large number on Massachusetts, including a set of images from Old Sturbridge; buildings and scenery; miscellaneous other subjects.
Scope and Contents note:
The collection is composed largely of photographs related to world's fairs, especially the Philadelphia Centennial Exposition, particularly in the form of stereographs. Other photographs document Williamsburg, Old Sturbridge, Mass., and other locations.
Arrangement:
Collection is arranged into one series. Arranged geographically and topically.
Historical:
Stereographs were employed to document and popularize the great world's fairs of the second half of the nineteenth century and the early years of the twentieth century in the United States and Europe. The Centennial Photographic Company, in particular, was formed essentially to disseminate information about the 1876 fair and to profit from its "educational" products. More generally, the three-dimensional photographic medium was considered an ideal way to provide views of regional attractions in the United States. This collection contains both subjects.
Provenance:
Collection donated by Susan Myers.
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.

Rights situation uncertain. Probably in public domain, applicable copyrights expired.
Topic:
Exhibitions  Search this
Exhibitions -- Missouri  Search this
World's fairs  Search this
Genre/Form:
Stereographs
Citation:
Domestic Life Stereograph and Photograph Collection, circa 1862-1920, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0725
See more items in:
Domestic Life Stereograph and Photograph Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0725
Online Media:

Olin Levi Warner papers

Creator:
Warner, Olin Levi, 1844-1896  Search this
Names:
Fine Arts Federation of New York  Search this
France. Armée. Légion étrangère  Search this
Jno. Williams, Inc.  Search this
Smithsonian Institution  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Cook, Clarence, 1828-1900  Search this
Devens, Charles, 1820-1891  Search this
Eaton, Wyatt, 1849-1896  Search this
Ryder, Albert Pinkham, 1847-1917  Search this
Warner, Sylvia Martinache  Search this
Weir, Julian Alden, 1852-1919  Search this
Extent:
1.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Place:
Paris (France) -- History -- Commune, 1871
Date:
1857-1962
bulk 1857-1899
Summary:
The papers of sculptor Olin Levi Warner measure 1.9 linear feet and date from 1857 to 1962 with the bulk of the materials dating from 1857 to 1899. The collection documents Warner's art student days in Paris and his career as a sculptor, primarily in New York City. Found are scattered biographical materials and writings, including a speech by Warner about the Paris Commune of 1871; personal and professional correspondence; clippings, catalogs, and other printed material; sculpture project files; and photographs of Warner, his studio, his family, and notable figures who sat for him, including artist J. Alden Weir, and his artwork.
Scope and Content Note:
The papers of sculptor Olin Levi Warner measure 1.9 linear feet and date from 1857 to 1962 with the bulk of the materials dating from 1857 to 1899. The collection documents Warner's art student days in Paris and his career as a sculptor, primarily in New York City. Found are scattered biographical materials and writings, including a speech by Warner about the Paris Commune of 1871; personal and professional correspondence; clippings, catalogs, and other printed material; sculpture project files; and photographs of Warner, his studio, his family, and notable figures who sat for him, including artist J. Alden Weir, and his artwork.

Found are biographical materials, including a speech written by Warner about the Paris Commune of 1871, awards, and membership records for several art organizations, including the Fine Arts Federation of New York.

Personal and business correspondence written by Warner, his wife, and his daughter is with family and friends. Warner's correspondents include artists Albert Pinkham Ryder, Clarence Cook, and Wyatt Eaton, among others. Of note are letters written from Warner to his family during the time he spent in Paris from 1869 to 1872 studying art and serving in the Foreign Legion.

Also found are scattered project files for a few of his notable sculptural projects, including his statue of Massachusetts governor Charles Devens, the Hodgkins Medal designed as the Smithsonian Institution's seal, work for the Chicago World's Fair, and bronze work produced by the Jno. Williams Foundry.

Printed materials include clippings and exhibition catalogs for the Society of American Artists, the National Sculpture Society, and the World's Columbian Exposition.

Photographs in the papers are of Warner, his family, home, and studio, works of art, and a few notable sitters, including the artist J. Alden Weir.
Arrangement:
The collection is arranged into five series.

Series 1: Biographical Material, 1863-1896 (Box 1, OV 4; 5 folders)

Series 2: Correspondence, 1857-1962 (Box 1; 0.7 linear feet)

Series 3: Project Files, 1871-1936 (Box 1, OV 4; 6 folders)

Series 4: Printed Material, 1862-1950 (Boxes 1-2, OV 4; 6 folders)

Series 5: Photographs, 1870s-1890s (Box 2-3, OV 4; 0.7 linear feet)
Biographical Note:
Olin Levi Warner was born in 1844 in Suffield, Connecticut and worked as an artisan and a telegraph operator before pursuing his art education and career. In 1869, Warner traveled to Paris to study under Francois Jouffroy at the Ecole des Beaux-Arts. He was in Paris when the Republic was declared and served in the French Foreign Legion for a short while before resuming his studies. In 1872 he returned to the United States and set up a studio in New York.

An early proponent of the French Beaux-Arts style, Warner was a founding member of the Society of American Artists in 1877 and joined the National Academy of Design in 1888. By the end of Warner's lifetime, he had become a well-known sculptor, helping to popularize bas-relief in the United States. A few of Warner's notable works include a series of medallions depicting Native American Indian Chiefs, an 1876 bust of President Rutherford B. Hayes, the 1883 nude Diana, a statue of judge and former U.S. Attorney General Charles Devens in Boston, and the design of the bronze doors of the Library of Congress. This last project was uncompleted at the time of Warner's death on August 14, 1896, as the result of a bicycle injury in Central Park.
Separated Material:
The Archives of American Art also holds material lent for microfilming on reel 270. All of the material was later donated, except for one sketchbook which was returned to the lender, and is not described in the collection container inventory.
Provenance:
A portion of the Olin Levi Warner papers were originally loaned to the Archives of American Art for microfilming in 1972 by Rosalie Warner Jones, Warner's daughter. Rosalie Warner Jones and her sister, Frances O. Warner, and Rosalie's daughter Frances Follin Jones, donated the collection in several accretions between 1972 and 1977. This gift included the majority of the loaned materials, excluding one sketchbook. Additional materials were transferred to the Archives in 2005 from the Smithsonian American Art Museum.
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.
Topic:
Artists' studios -- Photographs  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Art -- Study and teaching -- France -- Paris  Search this
Sculpture, American  Search this
Genre/Form:
Photographs
Citation:
Olin Levi Warner papers, 1857-1962 (bulk 1857-1899). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.warnolin
See more items in:
Olin Levi Warner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-warnolin
Online Media:

Emmet family papers

Creator:
Emmet family  Search this
Names:
Berkshire Museum  Search this
Danforth Museum  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Beaux, Cecilia, 1855-1942  Search this
Casals, Pablo, 1876-1973  Search this
De Glehn, Jane Erin Emmet, 1873-1961  Search this
De Glehn, Wilfrid-Gabriel, 1870-1951  Search this
Doyle, Nancy  Search this
Emmet, Julia Colt Pierson, 1829-1908  Search this
Emmet, Lydia Field, 1866-1952  Search this
Emmet, Robert, 1778-1803  Search this
Fontanne, Lynn  Search this
James, Henry, 1843-1916  Search this
La Farge, Bancel, 1865-1938  Search this
Lunt, Alfred  Search this
MacMonnies, Frederick William, 1863-1937  Search this
Metcalfe, Susy  Search this
Millay, Edna St. Vincent, 1892-1950  Search this
Monod, Lucien  Search this
Morgan, Elizabeth Emmet, d. 1934  Search this
Ormond, Violet Sargent  Search this
Quilter, Roger, 1877-1953  Search this
Rand, Ellen Emmet, 1875-1941  Search this
Saint-Gaudens, Augustus, 1848-1907  Search this
Sargent, Emily, 1857-  Search this
Sargent, John Singer, 1856-1925  Search this
Sherwood, Robert E. (Robert Emmet), 1896-1955  Search this
Sherwood, Rosamond, 1899-  Search this
Sherwood, Rosina Emmet, 1854-1948  Search this
White, Stanford, 1853-1906  Search this
Extent:
9.1 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Photographs
Video recordings
Drawings
Diaries
Sound recordings
Date:
1792-1989
bulk 1851-1989
Summary:
The Emmet Family papers document the lives and careers of two generations of the Emmet family from New Rochelle, New York and Stockbridge, Massachusetts, whose artistic talents flourished during the later 19th through the mid-20th centuries. The collection dates from 1792 to 1989, with the bulk of the material dating from 1851-1989, and measures 9.1 linear feet. Through biographical material, two diaries, correspondence, writings and notes, exhibition files, business records, printed material, two scrapbooks, artwork, and photographs of family, friends, exhibitions, and artwork, the papers provide both a rich overview and detailed insights into the daily lives, relationships, and careers of many members of the family. The collection focuses in particular on sisters Lydia Field Emmet, Jane Erin Emmet de Glehn, and Rosina Emmet Sherwood, their mother, Julia Colt Pierson Emmet, and their cousin Ellen Gertrude "Bay" Emmet, all noted painters and illustrators.
Scope and Content Note:
The Emmet Family papers document the lives and careers of two generations of the Emmet family from New Rochelle, New York and Stockbridge, Massachusetts. The collection dates from 1792 to 1989, with the bulk of the material dating from 1851-1989, and measures 9.1 linear feet. Through biographical material, two diaries, correspondence, writings and notes, exhibition files, business records, printed material, two scrapbooks, artwork, and photographs of family, friends, exhibitions, and artwork, the papers provide both a rich overview and detailed insights into the daily lives, relationships, and careers of many members of the family. The collection focuses in particular on sisters Lydia Field Emmet, Jane Erin Emmet de Glehn, and Rosina Emmet Sherwood, their mother, Julia Colt Pierson Emmet, and their cousin Ellen Gertrude "Bay" Emmet, all noted painters and illustrators, whose artistic talents flourished during the late nineteenth through the mid-twentieth centuries.

Biographical material consists of family trees and family histories; individual biographical accounts, award certificates, and documentation for Julia Colt Pierson Emmet, Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn, and Wilfrid de Glehn; a diary titled "Sedgemere Diary" containing drawings and entries primarily by Rosina Emmet Sherwood, and a smaller diary which mentions Rosina's son, future playwright Robert Sherwood; a documentary by Nancy B. Doyle on two VHS videocassettes, entitled The Emmets: Portrait of a Family; and artifacts comprising a rear-view optical device and locks of hair from an early nineteenth century generation of the Emmet family.

Correspondence forms the bulk of the collection and illustrates the interaction between members of this large and influential family and their colleagues and friends, offering a wide-ranging view of life in the late nineteenth through the mid-twentieth centuries, and through two World Wars. The series consists of letters between family members, primarily Julia Colt Pierson Emmet and her daughters, as well as cousins Henry James, Ellen "Bay" Emmet Rand, and Rosamond Sherwood, and friends Cecilia Beaux, Louis Bancel LaFarge, Frederick MacMonnies, Lucien Monod, Roger Quilter, Augustus Saint-Gaudens, Emily and John Singer-Sargent, Violet Sargent Ormond, and Stanford White. Topics include experiences of the Emmets while studying art in Paris, Rosina's presentation at Queen Victoria's court, Lydia's work at the Columbia Exposition, Jane's marriage to Wilfrid de Glehn and her friendship with John Singer Sargent, portrait painting activities, the troubles of their friend Susy Metcalfe in her marriage to Pablo Casals, and the activities of Rosina's son, playwright Robert Emmet Sherwood, and friends Alfred Lund and Lynn Fontanne.

Writings and notes consist of scattered manuscripts and poems by family members, two notebooks, one identified as belonging to Jane Erin Emmet de Glehn, and typescripts about Wilfrid de Glehn following his death. Also found is a book, Out of Town, written and illustrated by Rosina Emmet Sherwood, and Edna St Vincent Millay's poem "Autum Daybreak" written in Millay's handwriting.

Exhibition files document an exhibition held at the Berkshire Museum/Danforth Museum in Pittsfield/Farmingham, Massachusetts in 1982 entitled The Emmets: A Family of Women Painters, and include two audio cassettes of recordings from the "Art for Lunch" series at the Berkshire Museum discussing the exhibition.

Business records include account books belonging to Lydia Field Emmet and Rosina Emmet Sherwood, both of which document income from artwork and other sources, and expenses; a contract for the reproduction of Lydia Field Emmet's artwork; and a document concerning ownership of property, possibly of Emmet family ancestors.

Printed Material consists of clippings, exhibition announcements and catalogs, and reproductions of artwork by Emmet family members and others.

Two scrapbooks contain a combination of drawings, primarily by Rosina Emmet Sherwood, reproductions of artwork, and photographs.

Artwork includes drawings and sketchbooks by Julia Colt Pierson Emmet, Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn Ellen Emmet Rand, and other Emmet relatives, illustrating the early development of their talent.

Photographs are of family members, including Julia Colt Pierson Emmet and William Jenkins Emmet, their daughters Lydia Field Emmet, Jane Erin Emmet de Glehn and husband Wilfrid de Glehn, Rosina Emmet Sherwood and husband Arthur Murray Sherwood, and Robert Emmet Sherwood as a young man. Also found are photos of friends Richard Harding Davis, Frederick MacMonnies, and Augustus Saint-Gaudens; a series of photographs of the installation at Arden Galleries, New York (1936) for the exhibition Paintings, Drawings and Sculptures by Five Generations of the Emmet Family; and photographs of artwork by Emmet family members.
Arrangement:
The Emmet family papers are arranged as nine series.

Series 1: Biographical Material, circa 1855-1988 (0.6 linear feet; Boxes 1, 10, OV 12)

Series 2: Correspondence, 1792-1985 (6.2 linear feet; Boxes 1-7)

Series 3: Writings and Notes, circa 1870s-1981 (11 folders; Box 7)

Series 4: Exhibition Files, 1947-1983 (0.3 linear feet; Boxes 7-8)

Series 5: Business Records, circa 1799-1945 (7 folders; Box 8)

Series 6: Printed Material, 1872-1989 (0.35 linear feet; Boxes 8, 10)

Series 7: Scrapbooks, 1870-1890 (0.2 linear feet; Boxes 8, 10)

Series 8: Artwork, circa 1850-circa 1920 (0.35 linear feet; Boxes 8, 10)

Series 9: Photographs, circa 1870s-circa 1950s (1 linear foot; Boxes 8-9, 11)
Biographical Note:
The Emmet family, descended from patriot Thomas Addis Emmet, brother of Irish martyr Robert Emmet, counts many physicians, lawyers, and writers (including cousin Henry James) among its ranks. Although evidence of artistic talent existed in several previous generations, it flourished during the later 19th through the mid-20th centuries in the professional portraiture of sisters Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn, and their cousin Ellen "Bay" Emmet Rand.

The eldest daughter of Julia Colt Pierson Emmet (1829-1908), herself a talented illustrator who had studied under Daniel Huntington, Rosina "Posie" Emmet (1854-1948) studied under William Merritt Chase at his Tenth Street Studio in New York and under Robert-Fleury at the Academie Julian in Paris. Before her marriage to Arthur Murray Sherwood in 1887, Rosina established a studio in New York and continued to submit illustrations to various publications. During her marriage, she slowed her creative activities, until financial reverses dictated her return to her career around the turn of the 20th century. Her daughter Rosamond Sherwood (1899-1990) was also a portrait painter. Her son, Robert Emmet Sherwood (1896-1955) became a four-time Pulitzer Prize-winning playwright.

Lydia Field Emmet (1866-1952) studied under Collin, Bouguereau, MacMonnies, and Robert-Fleury at the Academie Julian. Upon her return to New York, Lydia continued her studies under Chase, Kenyon Cox, H. Siddons Mowbray, and Robert Reid at the Art Students League, as well as at Chase's Shinnecock Summer School of Art. She established her portrait studio in New York City and began spending summers at Stockbridge, Massachusetts, where she built her home, "Strawberry Hill," in 1905. Best known for her portraits of children, Lydia's subjects were members of the socially prominent families of New York, Boston, and Philadelphia.

The youngest sister, Jane Erin Emmet (1873-1961), also studied with Chase in New York, and in Paris. In 1904, she married British landscape painter Wilfrid Von Glehn, who had visited the United States with his friend John Singer Sargent. (The Von Glehns' surname was changed to De Glehn, in 1919.) Settling in London, Jane continued her painting, befriended many artists and composers, and accompanied her husband and Sargent on several art-related journeys through Europe.

The Emmet sisters' cousin, Ellen Gertrude "Bay" Emmet (1875-1941), studied in New York at the Art Students League and under Frederick MacMonnies in Paris, becoming a National Academician in 1934. She married William Blanchard Rand in 1911 and settled in Salisbury, Connecticut. After the stock market crash of 1929, Bay's portraits of prominent society figures provided most of her family's income.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 4544) including one scrapbook, compiled by Rosina Emmet Sherwood, consisting of portrait sketches, drawings of her dogs, genre scenes, travel views, and photographs of travels, friends, actors, and the ship "Scythia,". Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1988-1991, the bulk of the Emmet family papers were donated by Rosamond Sherwood, daughter of Rosina Emmet Sherwood (via Katharine Emmet Bramwell of New York), by Rosamond Sherwood's estate (via F. Douglas Cochrane, executor, from Boston), and by Rosamond's nieces, Virginia Sherwood and Julia Shipway. Additionally, one scrapbook was lent for microfilming in 1990 and subsequently donated by Mrs. Earl Maize. Douglas Cochrane then loaned another scrapbook for microfilming (reel 4344) in 1991 which was returned to Mrs. Earl Maize.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Painters -- England -- London  Search this
Topic:
Art -- Study and teaching -- France -- Paris  Search this
Works of art  Search this
Women painters -- New York (State)  Search this
Painting, American -- New York (State)  Search this
Illustrators -- New York (State)  Search this
Playwrights  Search this
Portrait painters -- New York (State) -- New York  Search this
Singers  Search this
World War, 1914-1918  Search this
World War, 1939-1945  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Photographs
Video recordings
Drawings
Diaries
Sound recordings
Citation:
Emmet family papers, 1792-1989 (bulk 1851-1989). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.emmefami
See more items in:
Emmet family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-emmefami
Online Media:

The Commercial Cable System in operation at Chicago / World's Columbian Exposition / Compliments of the Commercial Cable Co. / Mackay-Bennett System [pamphlet]

Collector:
Western Union Telegraph Company  Search this
Author:
Commercial Cable Company  Search this
Names:
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Collection Creator:
United Telegraph Workers.  Search this
Western Union Telegraph Company  Search this
Extent:
1 Item (Ink on paper., 5.4" x 7.8")
Type:
Archival materials
Pamphlets
Date:
1893
Scope and Contents:
Concise History / of the / Atlantic Cable / and the / Commercial Cable Company; contains many images related to the company history.
Arrangement:
In series 2, box 32, folder ?
Local Numbers:
AC0205-0000102-01 (AC Scan)

AC0205-0000102-02 (AC Scan)

AC0205-0000102-03 (AC Scan)

AC0205-0000102-04 (AC Scan)

AC0205-0000102-05 (AC Scan)

AC0205-0000102-06 (AC Scan)

AC0205-0000102-07 (AC Scan)

AC0205-0000102-08 (AC Scan)

AC0205-0000102-09 (AC Scan)

AC0205-0000102-10 (AC Scan)

AC0205-0000102-11 (AC Scan)

AC0205-0000102-12 (AC Scan)

AC0205-0000102-13 (AC Scan)

AC0205-0000102-14 (AC Scan)

AC0205-0000102-15 (AC Scan)

AC0205-0000102-16 (AC Scan)

AC0205-0000102-17 (AC Scan)

AC0205-0000102-18 (AC Scan)
Collection Restrictions:
Collection is open for research but Series 11 and films are stored off-site. Special arrangements must be made to view some of the audiovisual materials. 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.
Topic:
Cable  Search this
Telegraph, Wireless  Search this
Ships  Search this
Genre/Form:
Pamphlets -- 1900-1910
Pamphlets -- 1900-1930
Collection Citation:
Western Union Telegraph Company Records, Archives Center, National Museum of American History
See more items in:
Western Union Telegraph Company Records
Western Union Telegraph Company Records / Series 2: Subsidiaries / Commercial Cable Co., (World's Columbian Exposition pamphlet)
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0205-ref11317
Online Media:

Classification and rules, Department of Electricity : with other information for intending exhibitors / World's Columbian Exposition, Chicago, Illinois, U.S.A., 1893

Dept. of Electricity:
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Subject:
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Physical description:
24 p. : ill., map ; 23 cm
Type:
Exhibitions
Place:
Illinois
Chicago
Date:
1893
1893?]
Topic:
Electric industries  Search this
Exhibition buildings  Search this
Call number:
TK6.U62 C53 1893
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_458401

Frederick William MacMonnies papers

Creator:
MacMonnies, Frederick William, 1863-1937  Search this
Names:
Ecole nationale supérieure des beaux-arts (France) -- Students  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Barnard, George Grey, 1863-1938  Search this
Bion, Paul  Search this
Booth, Edwin, 1833-1893  Search this
Flanagan, John F., 1865-1952  Search this
MacMonnies, Alice  Search this
MacMonnies, Berthe  Search this
MacMonnies, Betty  Search this
MacMonnies, Marjorie  Search this
MacMonnies, Mary Fairchild, 1858-1946  Search this
McClellan, George Brinton, 1826-1885  Search this
Smart, Mary, 1915-  Search this
White, Stanford, 1853-1906  Search this
Extent:
7 Linear feet
Type:
Collection descriptions
Archival materials
Memoirs
Manuscripts
Photographs
Sketches
Typescripts
Diaries
Sketchbooks
Date:
1874-1997
Summary:
The papers of sculptor Frederick William MacMonnies date from 1874 to 1997 and measure 7.0 linear feet. Found within the papers are biographical material, a diary, correspondence, personal business records, project files, two sketchbooks and sketches, writings, printed material, and photographs. Well over one-half of the collection consists of Mary Smart's research files for her biography of MacMonnies, A Flight with Fame, as well as clippings regarding her research and a copy of the book.
Scope and Content Note:
The papers of sculptor Frederick William MacMonnies date from 1874 to 1997 and measure 7.0 linear feet. Found within the papers are biographical material, a diary, correspondence, personal business records, project files, two sketchbooks and sketches, writings, printed material, and photographs. Well over one-half of the collection consists of Mary Smart's research files for her biography of MacMonnies, A Flight with Fame, as well as clippings regarding her research and a copy of the book.

Biographical material consists of a student card to the École des Beaux-Arts, a certificate of registration as an American Citizen, the wills of MacMonnies and his second wife, Alice, and a biographical note by Alice MacMonnies.

The most significant item in the collection is MacMonnies' diary that documents his first voyage to Europe where he was anxious to pursue his studies in sculpture. His well-described activities during his first year of study in Paris, Munich, and in Italy illustrate the excitement and challenges faced by serious art students in the mid-1880s.

Correspondence includes letters exchanged between MacMonnies and colleagues including George Grey Barnard, Paul Bion, and John Flanagan. There are also letters from MacMonnies to his second wife Alice and to his daughters, Berthe Helene (Betty) and Marjorie MacMonnies.

Personal business records include deeds for land in Long Island, New York, certificates of copyright for MacMonnies' art work, and a rental agreement for and inventory of MacMonnies' studio in Giverny, France.

Project files are found for the Fountain Barge of State at World's Columbian Exposition in Chicago and other sculpture pieces. There is also a sheet of preliminary sketches for the statue General George B. McClellan.

Art work consists of two sketchbooks, drawings, and plaster casts of sketches for planned sculpture projects for the New York Public Library, a memorial statue for Edwin Booth, and a drinking fountain.

Writings include a manuscript by MacMonnies concerning the adverse effects modernity was having on beauty in art, a typescript concerning George Grey Barnard's statue of Lincoln, and memoirs by Mary Fairchild MacMonnies Low in which she describes her early life, her first encounter with MacMonnies, and their life together in Paris and Giverny, including a visit from Stanford White and his wife.

Well over one-half of the collection consists of Mary Smart's research files for her biography of MacMonnies, A Flight with Fame. Printed material includes clippings and a copy of Mary Smart's book.

Photographs are of Frederick MacMonnies, family members, his studio, a horse used as a model for The Horse Tamers, and art work.
Arrangement:
The collection is arranged as 10 series:

Series 1: Biographical Material, 1884-1921 (Box 1; 5 folders)

Series 2: Diary, 1884-1885 (Box 9; 1 folder)

Series 3: Correspondence, 1880-1971 (Box 1; 0.6 linear feet)

Series 4: Personal Business Records, 1874-1931 (Box 1; 6 folders)

Series 5: Project Files, 1891-1935 (Box 1, 9-10; 27 folders)

Series 6: Art Work, 1910-1914 (Box 1, 8-9; 1.1 linear feet)

Series 7: Writings, 1912-1917 (Box 2; 12 folders)

Series 8: Mary Smart's Research Files, 1908-1997 (Box 2-6, 9; 4.2 linear feet)

Series 9: Printed Material, 1896-1996 (Box 6-7; 13 folders)

Series 10: Photographs, 1889-1911 (Box 7, 9; 8 folders)
Biographical Note:
Frederick William MacMonnies (1863-1937) of New York City, was a well known sculptor of the Beaux-Arts School, equally successful in France as in the United States. He was also a highly accomplished painter and portraitist.

Frederick William MacMonnies was born on September 28, 1863 in Brooklyn Heights, New York, the son of Juliana Eudora West and William MacMonnies. From an early age, MacMonnies showed skill in fashioning figures from wax. Because the Civil War put an end to his father's prosperous importing business, MacMonnies had to leave school at a young age in order to earn money to support the family.

With the help of a stone carver friend of his father, MacMonnies became a studio assistant to Augustus Stint-Gaudens in 1880. MacMonnies also studied at night at Cooper Union. In 1882 Saint-Gaudens promoted MacMonnies to apprentice and encouraged his development as an artist. MacMonnies began studying drawing at the National Academy of Design and occasionally attended classes at the Art Students League. It was during this time that he became better acquainted with Saint-Gaudens' important patrons and colleagues including John LaFarge, Charles F. McKim, Stanford White.

In 1884 MacMonnies left for Paris to study first at the Académie Colarossi and later at the École des Beaux-Arts under Jean Alexandre Falguière. In 1888 he opened a studio in Paris where he mentored artists including Janet Scudder and Mary Foote. He married a fellow artist, Mary Louise Fairchild in 1888. They had two daughters, Berthe Hélène and Marjorie. They were divorced in 1909, and Mary married painter Will Hicok Low later that year. MacMonnies married his former student Alice Jones in 1910.

MacMonnies executed commissions for Stanford White and John La Farge. In 1889, he won a competition to complete a statue of Nathan Hale for City Hall Park. He won a medal in the Paris Salon for his statue of Hale and a second medal for his statue of James T. Stranahan, earning status as a master artist. In 1891, he was commissioned to produce the central fountain for the World's Columbian Exposition in Chicago.

Even though MacMonnies travelled annually to the United States, he maintained his primary residences and studios in Paris and Giverny, France. He was also an occasional painter and had a solo exhibition at the Durand-Ruel Galleries in the United States in 1903. In 1905 his Bacchante and Infant Faun statue became the center of controversy when it was rejected by conservative groups in Boston. It was later acquired by the Metropolitan Museum in New York City. In 1915 he returned permanently to the United States.

MacMonnies was an Academician of the National Academy of Design, Chevalier of the Legion of Honor of France and hors concours at the Paris Salon allowing him to submit works directly to the Salon without initial scrutiny by judges.

Frederick William MacMonnies died of pneumonia on March 22, 1937 in New York City.
Related Material:
Also found in the Archives of American Art are four letters from MacMonnies to Allan Marquand cataloged separately, and a typescript "The Form of the Princeton Monument" lent by Elric Endersby in 1976 and microfilmed on reel 1094.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reels D245 and 3042) including five scrapbooks and letters from Augustus Saint-Gaudens to MacMonnies. Lent materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
The bulk of Frederick William MacMonnies papers were donated by the artist's granddaughters Louise Wysong Rice and Marjorie Vander Velde in 1988 and 1998. Some, but not all, of the papers were originally loaned for microfilming and were later included in the donations. A small addition to the papers was transferred from the Smithsonian's Museum of American Art Library in 1981.
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.
Topic:
Sculptors -- New York (State) -- New York  Search this
Genre/Form:
Memoirs
Manuscripts
Photographs
Sketches
Typescripts
Diaries
Sketchbooks
Citation:
Frederick William MacMonnies papers, 1874-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macmfred
See more items in:
Frederick William MacMonnies papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-macmfred
Online Media:

Karl Gruppe papers, 1900-1978

Creator:
Gruppe, Karl, b. 1893  Search this
Gruppe, Karl, b. 1893  Search this
Subject:
Bitter, Karl Theodore Francis  Search this
American Artists Professional League  Search this
Fine Arts Federation of New York  Search this
National Academy of Design (U.S.)  Search this
National Sculpture Society (U.S.)  Search this
Public Works of Art Project  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Topic:
Monuments -- New York (State) -- New York  Search this
Monuments -- Conservation and restoration  Search this
Sculpture, American  Search this
Sculpture -- Conservation and restoration -- New York (State) -- New York  Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York  Search this
Medals  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)8994
(DSI-AAA_SIRISBib)211182
AAA_collcode_grupkarl
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211182

MS 4689 Matilda Coxe Stevenson Papers

Creator:
Stevenson, Matilda Coxe, 1850-1915  Search this
Stevenson, James, 1840-1888  Search this
Evans, Alexander H.  Search this
Correspondent:
Anderson, Larz, 1866-1937  Search this
Avery, Rachel Foster  Search this
Baird, Spencer Fullerton, 1823-1887  Search this
Curtis, Edward S., 1868-1952  Search this
Douglass, William Boone  Search this
Eagle, Mary K.  Search this
Gill, Mary W.  Search this
Goode, G. Brown (George Brown), 1851-1896  Search this
Hodge, Frederick Webb, 1864-1956  Search this
Holmes, Oliver Wendell, Jr., 1841-1935  Search this
Holmes, William Henry, 1846-1933  Search this
Hornaday, W.T.  Search this
Leidy, Joseph  Search this
McGee, Anita Newcomb, 1864-1940  Search this
Meredith, Virginia C.  Search this
Moseley, A.N.  Search this
Nordhoff-Jung, Sophie  Search this
Pollard, Henry L.  Search this
Powell, John Wesley, 1834-1902  Search this
Putnam, F. W. (Frederic Ward), 1839-1915  Search this
Schweizer, Herman  Search this
Sherman, William Tecumseh Lieut. General  Search this
True, Clara D.  Search this
Tylor, Edward Burnett  Search this
Walcott, Charles D. (Charles Doolittle), 1850-1927  Search this
Bourke, John Gregory, 1846-1896  Search this
Names:
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Depicted:
Carson, Kit, 1809-1868  Search this
Darwin, Charles  Search this
Dickens, Charles, 1812-1870  Search this
Hayden, F. V. (Ferdinand Vandeveer), 1829-1887  Search this
Longfellow, Henry Wadsworth, 1807-1882  Search this
Sherman, William Tecumseh Lieut. General  Search this
Extent:
5 Linear feet
Culture:
Pueblo Indians  Search this
Indians of North America -- Southwest, New  Search this
Type:
Collection descriptions
Archival materials
Date:
ca. 1870-1910
Scope and Contents:
Most of Stevenson's scientific notes are included as separate items in the series of numbered manuscript and the papers of John Peabody Harrington. This particular set of materials is made up of papers that passed into the hands of the executor of her estate. It consists of a miscellany of letters, notes, legal documents, cartographic materials, genealogical materials, photographs, newspaper clippsing, other printed material, and other types of documents. Although tehc ollection largely concerns Stevenson, it also includes some material of her husband, James Stevenson, and members of her family, especially her father, Alexander H. Evans, a Washington, D.C. attorney.
Many of the documents concern Stevenson's field work among the Pueblo Indians and other official duties with the Smithsonian. some material relates to her activities with the World's Columbian Exposition and the Louisiana Purchase Exposition. A few items concern her membership in scientific organizations. Still other documents are of a personal nature, and some are mementoes, especially of James Stevenson. A significant group of documents concern Matilda CoxeStevenson's friendly and, later, very difficult relationship with Clara True.
The photographs include some items of ethnographic interest but it consists largely of portraits of James andMatilda Stevensonand Mrs. Stevenson's relatives. Also included are images in albums apparently gathered by Stevenson as a collector of photographs. They include images of Kit Carson, Charles Darwin, Charles Dickens, Ferdinand Vandiveer Hayden, Henry Wadsworth Longfellow, and William Tecumseh Shermn. In the albums are also a nubmer of photographic portraits with unidentified subjects, many of whom appear to be actors and actresses.
Local Numbers:
NAA MS 4689
Occupation:
Actors -- depicted  Search this
Citation:
Manuscript 4689, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS4689
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-ms4689

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