Search Results

Photographer:

Putnam, Clara  Search this

Putnam, T. N., Mrs  Search this

Names:

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Extent:

28 Prints

Culture:

Dakota Indians  Search this

Sioux  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Prints

Place:

North Dakota

Date:

ca. 1898-1900

Scope and Contents:

Catalog Number 4792: (1)-(11) Tribe: Dakota Description: Dances and games at Devils Lake, near Fort Totten, North Dakota Photographer: Clara Putnam Date: ca. 1898-1900. (12)-(15) Dakota Indians camped at Devils Lake, near Fort Totten, North Dakota Photographer: Clara Putnam Date: ca. 1898-1900. (16) Non-Indian Group of white men, women, and children picnicking at Devils Lake, near Fort Totten, North Dakota ca. 1898-1900. (17)-(20) Dakota Camp scene at Devils Lake (?), near Fort Totten, North Dakota Clara Putnam ca. 1898-1900. (21)-(23) Dakota Group at Devils Lake, near Fort Totten North Dakota Clara Putnam ca. 1898-1900. (24) Non-Indian Two White men, and a woman aboard a boat on Devils Lake, near Fort Totten, North Dakota Clara Putnam ca. 1898-1900. (25) Non-Indian Group of White men at Devils Lake, near Fort Totten, North Dakota Clara Putnam ca. 1898-1900. (26) Dakota Two women at Clara Putnam's house in Carrington, North Dakota Clara Putnam ca. 1898-1900. (27) Dakota Three women and a girl at Clara Putnam's house (?) in Carrington, North Dakota Clara Putnam ca. 1898-1900. (28) Non-Indian Scene at World's Columbian Exposition (?) in Chicago in 1893 Clara Putnam 1893.

Biographical / Historical:

Mr F. L. Putnam stated that when he was a boy his family camped every year at the opposite end of Devils Lake N. W. of Fort Totten, and that the Indians came from the reservation at Fort Totten and from Fort Berthold and held games and dances at the "other" end of the lake. The pictures were taken by his mother, Clara Putnam, who developed the plates herself. Mrs Clara Putnam was the wife of T. N. Putnam, who owned a lumber company in Carrington. Mr F. L. Putnam stated that other photos in the Putnam collection show buildings and scenes in Carrington, and some views taken in California in 1893 and at the World's Columbian Exposition in Chicago in 1893.

Local Numbers:

NAA MS 4792

Local Note:

Prints made 5/67 from 4" x 5" glass negatives lent by F. L. Putnam, 402 Fontaine Street, Alexandria, Virginia, the son of the photographer. Glass negatives returned 7/3/67.)

Filed: Original Prints, Dakota.

Topic:

Photographs  Search this

Dance  Search this

Toys and games  Search this

Camps  Search this

Sioux  Search this

Citation:

Manuscript 4792, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS4792

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw315636f74-7676-434f-90e5-21248ab55361

EDAN-URL:

ead_collection:sova-naa-ms4792

Advertiser:

Singer Manufacturing Company  Search this

Printer:

J. Ottomann Lith. Co.  Search this

Names:

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

1 Item (Ink on paper.)

Culture:

Japanese  Search this

Type:

Archival materials

Trade cards

Place:

Japan -- History

Scope and Contents:

Image of Japanese woman using Singer Sewing Machine to sew a brown Western men's jacket. Woman wears purple kimono with yellow and red undershift. Back contains brief text on the history of Japan. Card probably used at the Chicago World Exposition of 1893.

Local Numbers:

AC0060-0000160-1.tif (AC Scan No.)

AC0060-0000160-2.tif (AC Scan No.)

General:

Sewing Machines, Box 3, Folder 1.

Series Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

Series Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

advertising  Search this

World expositions  Search this

Sewing machines  Search this

Kimonos  Search this

Genre/Form:

Trade cards -- 19th century

Series Citation:

Warshaw Collection of Business Americana Subject Categories: Sewing Machines, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

See more items in:

Warshaw Collection of Business Americana Subject Categories: Sewing Machines

Warshaw Collection of Business Americana Subject Categories: Sewing Machines / Series 1: Manufacturers and Distributors of Sewing Machines / Singer Sewing Manufacturing Company

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep884845459-f04a-4dc7-a09a-bd7431fb3edd

EDAN-URL:

ead_component:sova-nmah-ac-0060-s01-01-sewing-ref532

Creator:

Weems, Katharine Lane, 1899-1989  Search this

Names:

Brookgreen Gardens  Search this

World's Columbian Exposition (1893 : Chicago, Ill.) -- Photographs  Search this

Cornell, Katharine, 1893-1974  Search this

Cresson, Margaret French, 1889-1973  Search this

Gildersleeve, Basil L. (Basil Lanneau), 1831-1924  Search this

Grafly, Charles, 1862-1929  Search this

Hancock, Walker Kirtland, 1901-1998  Search this

Huntington, Anna Hyatt, 1876-1973  Search this

Kroll, Leon, 1884-1974  Search this

Lane, Gardiner M., 1859-1914  Search this

Lane, Katharine Ward, 1862-1893  Search this

Manship, Paul, 1885-1966  Search this

Marans, Moissaye, 1902-1977  Search this

Monjo, Enric, 1895-1976  Search this

Putnam, Brenda, 1890-1975  Search this

Weinman, Adolph A. (Adolph Alexander), 1870-1952  Search this

Wong, Anna May, 1905-1961  Search this

Extent:

14.8 Linear feet

3 Items (rolled docs)

Type:

Collection descriptions

Archival materials

Sketchbooks

Video recordings

Place:

Saranac Lake N.Y. -- Photographs

Date:

1865-1989

Scope and Contents:

Biographical material, extensive diaries, correspondence, notes, writings, business records, sketchbooks and drawings, project files, scrapbooks, printed materials, photographs and slides, motion picture film, and videotape relating to Weem's education and career as a sculptor. Also included are ca. 1 foot of papers of Weems' aunt, watercolorist Katharine Ward Lane (1862-1893), including letters, diaries, sketchbooks and photographs.

REEL 724: Biographical sketch, 1974; letters from Frederic Bartlett, George Demetrios, Walker Hancock, Leon Kroll, Lee Lawrie, Moissaye Marans, Adolph Alexander Weinman, and others; four sketchbooks, 1954-1965, containing pencil drawings of animals; a scrapbook of clippings, 1924-1941; and printed material.

UNMICROFILMED: Biographical material includes sketches and documents, and biographical information on Weems grandfather, Basil Lanneau Gildersleeve, and father, Gardiner Lane. Diaries (74 v.), 1906-1983, contain entries relating to art studies and her development as a sculptor; some include clippings and photographs. Correspondence, 1898-1989, includes letters from Gifford Beal, Margaret French Cresson, Charles Grafly, John Gregory, Walker Hancock, Malvina Hoffman, Anna Hyatt-Huntington, Paul Manship, Brenda Putnam, Gurdon Tarbox, and Adolph Weinman, discussing Weems' work and participation in various sculpture organizations. There are four notebooks on art history; recipes for clay and plaster; notes on patinas for bronze; lecture notes; lists of Weems' works and exhibitions; an exhibition guest book, 1931-1957; poems, 1933-1981; invoices and receipts, 1919-1981; copyright records, 1928-1978; and art work, including 15 v. of sketchbooks, 1913-1964, drawings and tracings of animal figures. and a copper printing plate mounted on a wood block.

Fourteen project files contain letters, drawings, photographs, and printed material on: an enlarging machine, the Saltus Medal for Merit, the frieze and Rhinoceros sculpture for the Biological Laboratories at Harvard, 1930-1942, including 7 reels of 16mm motion picture film (with script transferred to VHS), the Lotta Fountain, 1939-1974, Legion of Merit Medal, 1949-1952, War Department project, 1946, Goodwin Medal, 1949-1952, Wallace Goodrich Plaque, 1954, Hospital Teaching Clinic, 1955, Boston Museum of Science, 1964-1965, "Dolphins by the Sea" for the New England Aquarium, 1969-1979, Heredities Limited, 1971-1974, and the Museum School, 1977.

Included are two scrapbooks, one of clippings about the work of other artists and one containing poems, clippings of landscapes, animals, works by others, and autographed photographs of actresses Katharine Cornell and Anna May Wong and sculptor Brenda Putnam. Printed material includes clippings, 1911-1989; exhibition announcements and catalogs, 1922-1981; bulletins, programs, brochures on artists, organizations, Brookgreen Gardens, and supplies; reproductions of art works, and the books, Odds Were Against Me (1985, Weems autobiography, and Enrique Monjo (1955), inscribed by Mongo.

Photographs and slides, 1902-1988, are of Weems, family members, artists Charles Grafly, Walker Hancock, and Anna Hyatt-Huntington, Weems' house "The Chimneys," her studio, gardens, animals, works of art by Weems and others, exhibit installations, and views of New York City, Washington, D.C., Monticello, the University of Virginia, and Brookgreen Gardens. Nine albums, 1920-1980, contain photographs of an art class, Weems in her studio, her home, her friends, scenic views, and works of art. Videos and film include a videotape (5 min., U-matic) of an interview of Weems; a film, "From Clay to Bronze," showing the creation of Weems' sculpture "Dark Warrier" (transferred to VHS); motion picture film of the making of the sculpture "Rhinoceros" (transferred to digital betacam, VHS and DVD), and a home movie of a day at the beach, circa 1935.

The papers' of Weems' aunt, Katharine "Kitty" Ward Lane (d. 1893), include Lane's letters, 1898-1893, to her brother (Weems' father) and to other family members; a travel diary from Germany, 1886; notes; financial records, 1891-1892; 10 sketchbooks; printed material; and photographs, 1865-1893, of Lane, early views of Saranac Lake, and 9 views of the Columbia Exposition, 1893.

Biographical / Historical:

Sculptor; Boston, Mass. Died 1989. Specialized in animal sculpture. Studied at the School of the Museum of Fine Arts, Boston under Charles Grafly, Anna Hyatt-Huntington, George Demetrios, and Brenda Putnam. She married F. Carrington Weems in 1947. Named after her aunt, watercolor painter Katharine Ward Lane, who died in 1893.

Provenance:

Material on reel 724 lent for microfilming by Weems, 1974. The four sketchbooks on reel 724 were subsequently donated in 1989. Unmicrofilmed papers were donated 1975 and 1982 by Weems, and in 1989 by her estate. Eighteen diaries (1961-1965, 1967-1976 [1969 not included], 1978, and 1981-1983) and an apppointment book for 1966 donated by the Schlesinger Library, Radcliffe College, 1991.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Animal sculptors -- Massachusetts -- Boston  Search this

Sculptors -- Massachusetts -- Boston  Search this

Watercolorists -- Massachusetts -- Boston  Search this

Topic:

Art -- Study and teaching -- Massachusetts -- Boston  Search this

Artists' studios -- Photographs  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Animal sculpture  Search this

Genre/Form:

Sketchbooks

Video recordings

Sponsor:

Funding for the preservation and transfer of motion picture film provided by the Smithsonian Women's Committee.

Identifier:

AAA.weemkath

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96c1a0919-a71e-4b49-9b63-7e7e27c9052f

EDAN-URL:

ead_collection:sova-aaa-weemkath

Subject:

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Physical description:

32 pages illustrations 42 cm

Type:

Books

World's fairs

Date:

1893

Call number:

T500.B1 Y68 1893 folio

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1080063

Creator:

Smith, H. Jay  Search this

Names:

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Extent:

33 Prints

Culture:

American Indians -- Colorado  Search this

Type:

Collection descriptions

Archival materials

Prints

Place:

Cliff Palace (Mesa Verde, Colorado) -- Archeology

Hovenweep (Colorado) -- Archeology

Date:

circa 1894

Scope and Contents:

No identifications on photographs.

Tentative identifications are: #500 Mesa Verde cliff dwelling. #501 Mesa Verde cliff dwellings. #508 Mesa Verde cliff dwelling: Spruce Tree. #509 Mesa Verde cliff dwellings. #511 Mesa Verde cliff dwellings: Cliff Palace. #514 Mesa Verde cliff dwellings. #515 Mesa Verde cliff dwellings. #516 Mesa Verde cliff dwellings. #520 Mesa Verde cliff dwellings. #525 Mesa Verde cliff dwellings: Cliff Palace. #527 Mesa Verde cliff dwellings. #532 Mesa Verde cliff dwellings. #533 Mesa Verde cliff dwellings. #536 Mesa Verde cliff dwellings. #537 Mesa Verde cliff dwellings. Mesa Verde cliff dwellings: Cliff Palace. #503 Hovenweep ruins. #504 Hovenweep ruins. #507 Hovenweep ruins. #510 Hovenweep ruins. #518 Hovenweep ruins. #700 Tower-like ruin. #512 Ruin on rock pinnacle, with man seated on top. #550 Ruin on rock pinnacle. #524 View of Colorado valley. #531 Pillar-like rock formation. #900 Group of unidentified Indian men.

Local Numbers:

NAA MS 2420

Topic:

Mesa Verde (Colorado) -- Archeology  Search this

Spruce Tree House (Mesa Verde, Colorado) -- Archeology  Search this

Citation:

Manuscript 2420, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS2420

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw30b171c0b-0cd2-49d0-aef7-ba5a92639b97

EDAN-URL:

ead_collection:sova-naa-ms2420

Collector:

Warshaw, Isadore, 1900-1969  Search this

Creator:

Kilburn, B. W. (stereograph publisher)  Search this

Centennial Photographic Co.  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 à Paris  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

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

See more items in:

Warshaw Collection of Business Americana, Series 2: Other Collection Divisions

Warshaw Collection of Business Americana, Series 2: Other Collection Divisions / 2.3: Stereographs / World Expositions

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8f2f4252a-5f0a-4749-a175-e16c74fa3a5d

EDAN-URL:

ead_component:sova-nmah-ac-0060-s02-ref2835

Collector:

National Museum of American History (U.S.). Division of Community Life  Search this

National Museum of American History (U.S.). Division of Political History  Search this

Vogel, Robert M.  Search this

Names:

Ameriflora '92 (Columbus, Ohio)  Search this

Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this

Century of Progress International Exposition (1933-1934 : Chicago, Ill.)  Search this

Christopher Columbus Quincentenary Jubilee (Genova, Italy: 1992)  Search this

Expo '93 (Stuttgart, Germany)  Search this

Expo '93 (Taejŏn-si, Korea)  Search this

Exposición Universal de 1992 (Seville, Spain)  Search this

Exposition universelle et internationale (1958 : Brussels, Belgium)  Search this

Floriade Zoetermeer (The Hague, Netherlands: 1992)  Search this

Golden Gate International Exposition (1939-1940 : San Francisco, Calif.)  Search this

New York World's Fair (1939-1940 : New York, N.Y.)  Search this

New York World's Fair (1964-1965)  Search this

Salon International de l'Aeronautique et de l'Espace (Paris, France: 1991)  Search this

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Donor:

Annis, Esther Pauline  Search this

Carmody, Stella  Search this

Coppola, John  Search this

Frick, Margaret  Search this

Grossman, Walter  Search this

Hallwig, Elizabeth Ann  Search this

Hallwig, O.Morton  Search this

Holt, C.W.  Search this

Krause, Roy  Search this

Landor, Josephine  Search this

Landor, Walter  Search this

Lindsay, Elizabeth R.  Search this

Meggars, Edith R.  Search this

Shafer, Mary C.  Search this

Sheppard, Stephen  Search this

Willcutts, Viola E.  Search this

Former owner:

Warner, Peter M.  Search this

Extent:

3.3 Cubic feet (11 boxes, 12 map-folders)

Type:

Collection descriptions

Archival materials

Photographs

Programs

Clippings

Leaflets

Stickers

Guidebooks

Brochures

Commemoratives

Schedules

Stationery

Fans

Calendars

Postcards

Shopping bags

Press releases

Tickets

Certificates

Bumper stickers

Pamphlets

Maps

Catalogs

Date:

1876-1993

Summary:

Collection documents World's Fairs from 1876 to 1993.

Scope and Contents:

The collection is a compilation of gifts from numerous donors, of printed materials and ephemera relating to World's Fairs.

Arrangement:

The collection is arranged into one series chronologically by fair.

Provenance:

Collected from numerous donors by the Division of Community Life (now called the Division of Home and Community Life.) A number of items in the collection were also collected for the National Museum of American History by the Division. Donors include Viola E. Willcuts, Peter M. Warner, Edith B. Meggars, Elizabeth R. Lindsay, C.W. Holt, Walter Grossman, Margaret Frick, Peter M. Warner, Esther Pauline Annis, Roy Krause, Ameriflora, Expo '92, Expo '93, Colombo, O. Morton Hallwig and Elizabeth Ann Hallwig, Mary C. Shafer, Robert Vogel, John Coppola, Stella M. Carmody, Walter and Josephine Landor, and Stephen Sheppard.

Restrictions:

The 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:

Exhibitions  Search this

World's fairs  Search this

Genre/Form:

Photographs -- Color transparencies -- 1950-2000

Programs

Clippings

Leaflets

Stickers

Guidebooks

Brochures

Commemoratives

Schedules

Stationery

Fans

Calendars

Postcards

Shopping bags

Press releases

Tickets

Certificates

Bumper stickers

Pamphlets

Maps

Catalogs

Citation:

Division of Community Life World's Fairs Collection, 1876-1993, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1132

See more items in:

Division of Community Life World's Fairs Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82197e99b-7898-4422-9249-ca8c9abf0798

EDAN-URL:

ead_collection:sova-nmah-ac-1132

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

GUID:

https://n2t.net/ark:/65665/ep85a17cf6d-30e5-44ee-9bee-4be32e20f412

EDAN-URL:

ead_collection:sova-nmah-ac-1152

Collector:

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 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 coloniale internationale de Paris (1931)  Search this

Exposition universelle de 1867 à Paris  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 150 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

GUID:

https://n2t.net/ark:/65665/ep8523c6615-9c45-41fc-86c2-ca7717969437

EDAN-URL:

ead_collection:sova-nmah-ac-0519

Creator:

Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this

Names:

Century Association (New York, N.Y.)  Search this

Exposition universelle internationale de 1900 (Paris, France)  Search this

Lambs (New York, N.Y.)  Search this

Lincoln Club (New York, N.Y.)  Search this

Merchants Club (New York, N.Y.)  Search this

National Academy of Design (U.S.)  Search this

Union League Club (New York, N.Y.)  Search this

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Barye, Antoine-Louis, 1796-1875  Search this

Inness, George, 1825-1894  Search this

Smyth, Frederick, 1832-1900  Search this

Vereshchagin, Vasili Vasilevich, 1842-1904  Search this

Extent:

3.6 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Scrapbooks

Date:

1880-1936

bulk 1883-1920

Summary:

The scrapbooks of Thomas Benedict Clarke measure 3.6 linear feet and date from 1879-1930. Twelve scrapbooks contain mostly newspaper clippings, but also include correspondence, invitations, exhibition catalogs, programs, magazine articles, art auction catalogs, and other material relating to Clarke's personal art collection and general art patronage. The scrapbooks also include clippings and miscellany relating to the Clarke family and influential society clubs, such as the Union League, Lambs, and New York Athletic clubs.

Scope and Content Note:

The scrapbooks of Thomas Benedict Clarke measure 3.6 linear feet and date from 1879-1930. Twelve scrapbooks contain mostly newspaper clippings, but also include correspondence, invitations, exhibition catalogs, programs, magazine articles, art auction catalogs, and other material relating to Clarke's personal art collection and general art patronage. The scrapbooks also include clippings and miscellany relating to the Clarke family and influential society clubs, such as the Union League, Lambs, and New York Athletic clubs.

Scrapbook 1 dates from 1880-1884 and includes information about the Lincoln Club, the Century Association, Motto Club, Rembrandt Club, Merchants Club, Art Club, and Union League Club. Scrapbook 2 dates from 1883-1884 and includes an index of artists in the Clarke art colletion, as well as information about the artists. Scrapbook 3 dates from 1887-1889 and includes information about artists Vasily Vereshchagin and Antoine Louis-Barye. Scrapbook 5 dates from 1891-1894 and contains clippings about the Clarke Prize, the opening of Clarke's "Art House" in Manhattan, New York, the 1891 Clarke exhibition at the Pennsylvania Academy of Fine Arts, the 1892 Columbian Loan Exhibition, and the 1893 Worlds' Columbian Exhibition. Scrapbook 6 dates from 1891-1902 and includes clippings regarding the art and auction sales of Greek, Continental, Persian, and Oriental antiquities, rugs, and porcelains. Scrapbook 7 dates from 1894-1898 and covers Clarke's support of Justice Frederick Smyth, his parents' 50th anniversary celebration, his daughter's society introduction reception, and events at the Lambs and Union League Clubs. Scrapbook 8 dates from 1894-1920 and houses announcements of the George Inness memorial exhibition, coverage of the Inness 1895 estate auction sale, copies of correspondence between Inness and Clarke, and two original photographs of Inness' studio. Scrapbook 9 is dated 1899-1900 and includes coverage of events at clubs, particularly the Lambs and Union League clubs, the Clarke Prize, Paris Exposition, Dewey Arch, and the private art collection of William T. Evans. Scrapbook 10 dates from 1899-1936 and consists primarily of coverage of the 1899 Clarke art auction to fund the National Academy of Design's Clarke prize. Scrapbook 11 dates from 1900-1902 and covers Clarke's Hampton cottage, his daughter's marriage and divorce suit, the New York School of Design for Women, and the Academy of Design annual exhibition. Scrapbook 12 is dated from 1899-1918 contains clippings regarding William Tilden Evans, a contemporary art collector and friend of Clarke's.

A 670 page annotated index of Books 1-6 and Books 10-12 is available on microfilm reels N598-N599.

Arrangement:

The collection is arranged into 1 series:

Missing Title

Series 1: Scrapbooks, 1880-1936 (Boxes 1-2, 4 BVs; 2.6 linear feet)

Biographical Note:

Thomas Benedict Clarke (1848-1931) was a prominent New York businessman and one of the first major collectors of contemporary American paintings in the 1870s-1880s. He purchased his first painting in 1872 and eventually amassed one of the largest private collections of American art at the turn of the century.

After retiring from the business world, Clarke served as President of the New York School of Applied Design for Women, Treasurer of the National Society of Arts, and Chairman of the House Committee of the Union League Club. He was a founding member of the National Sculpture Society and National Arts Club, and founded the Clarke Prize of the National Academy of Design in 1883. He was also a member of several New York gentlemen's clubs, including the Century, Lotos, Lamb, and Manhattan Clubs.

In 1890, Clarke announced he would no longer officially acquire or deal in works of art, except as an agent for his friend, George Inness. Concentrating his attentions on a new venture, in 1891, he opened "Art House" off of Fifth Avenue in New York City, a showcase for English furniture, Oriental porcelains, and Continental antiquities. In 1899, he announced he would be putting his collection of 375 American paintings up for sale during a landmark, week-long auction at the American Art Association. Included in the sale were 32 works by George Inness and 30 works by Winslow Homer.

In 1912, Clarke returned to active art collecting, this time focusing his energies on building a collection of Colonial American art.

Related Material:

The Archives also has the Thomas B. Clarke letters from or about Homer Dodge Martin, 1893-1897, which have been digitized and are available online via the Archives of American Art's website.

Also found in the Archives are Letters to Thomas B. Clarke from artists, 1883-1918 and the handwritten catalog Private art collection of Thomas B. Clarke, 1872-1879, both of which have been microfilmed and are available on reels D5 and 2802.

Provenance:

The scrapbooks of Thomas Benedict Clarke were donated by the Whitney Museum of Art director, Lloyd Goodrich, in 1978.

Restrictions:

Use of originals requires an appointment. Patrons must use microfilm copy due to fragility of the original scrapbooks.

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:

Collectors and collecting -- New York (State) -- New York  Search this

Genre/Form:

Photographs

Scrapbooks

Citation:

Thomas Benedict Clarke scrapbooks, 1880-1936, bulk 1883-1920. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.clarthom

See more items in:

Thomas Benedict Clarke scrapbooks

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92536a00c-2365-4c57-a77b-277080741854

EDAN-URL:

ead_collection:sova-aaa-clarthom

Creator:

Whistler, James McNeill, 1834-1903  Search this

Names:

Company of the Butterfly  Search this

Royal Academy of Arts (Great Britain)  Search this

Salon (Exhibition : Paris, France)  Search this

Salon des refusés  Search this

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Anderson, Christine  Search this

Beck, J. W.  Search this

Boehm, Joseph Edgar, Sir, 1834-1890  Search this

Bronson, Katharine de Kay, 1834-1901  Search this

Burnett, Frances Hodgson, 1849-1924  Search this

Burnett, Swan M. (Swan Moses), 1847-1906  Search this

Ford, Sheridan, d. 1922  Search this

Lee, George Washington Custis, 1832-1913  Search this

Lee, Robert E. (Robert Edward), 1807-1870  Search this

Leighton of Stretton, Frederic Leighton, Baron, 1830-1896  Search this

Lucas, George A., 1824-1909  Search this

Pollitt, Herbert Charles Jerome, 1871-1942  Search this

Wilde, Oscar, 1854-1900  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Postcards

Pamphlets

Date:

1863-1906, circa 1940

Summary:

The collection measures 0.2 linear feet and provides scattered documentation of the career of American-born British-based painter and etcher James McNeill Whistler (1834-1903) through 39 items from Whistler to various recipients, including 25 letters, 9 telegraphs, 3 invitations, one thank you card and a postcard. The collection also contains 4 letters from others, 7 catalogs of Whistler exhibitions, a note from the back of Whistler's painting The Beach at Selsey Bill, and a 1906 copy of Wilde v. Whistler: being an acromonious correspondence on art between Oscar Wilde and James A. McNeill Whistler, a pamphlet containing letters originally published in London newspapers between 1885 and 1890.

Scope and Content Note:

The collection measures 0.2 linear feet and provides scattered documentation of the career of American-born British-based painter and etcher James McNeill Whistler (1834-1903) through 39 items from Whistler to various recipients, including 25 letters, 9 telegraphs, 3 invitations, one thank you card and a postcard. The collection also contains 4 letters from others, 7 catalogs of Whistler exhibitions, a note from the back of Whistler's painting The Beach at Selsey Bill, and a 1906 copy of Wilde v. Whistler: being an acromonious correspondence on art between Oscar Wilde and James A. McNeill Whistler, a pamphlet containing letters originally published in London newspapers between 1885 and 1890.

The Whistler letters found here touch on some important events in Whistler's career. One letter to George Lucas, an American art dealer in Paris, discusses his plans to send Symphony in White, No. 1: The White Girl to the Paris Salon of 1863. Rejected by the Royal Academy of Arts in London in 1862, the painting was also refused by the Paris Salon but shown ultimately in the landmark exhibition at the Salon des Refusés.

Also found are a circa 1879 letter to the eldest son of Robert E. Lee, General George Washington Custis Lee, with whom Whistler had been a cadet at West Point, recommending sculptor Joseph Boehm for an equestrian statue for memorializing Lee and expressing Whistler's veneration for the Confederate general; a circa 1880 letter from Whistler, written during his 14 months in Venice, to Katharine de Kay Bronson, who presided over the expatriate community there; 2 circa 1892-1893 letters documenting Whistler's determination to pursue Sheridan Ford through the courts in response to Ford's publication of a contraband version of Whistler's book The Gentle Art of Making Enemies; and a circa 1897 letter to J. W. Beck, sent in response to Beck's request on behalf of the Royal Academy that he exhibit with the British contingent at the 1893 World's Columbian Exposition in Chicago. In the letter Whistler insults Sir Frederic Leighton, the Royal Academy's president, retaliating against previous slights including having his paintings hung well above eye-level, or "skied".

Although few, if any, records survive about the creation of The Company of the Butterfly, a syndicate established in 1897 for selling Whistler's work, the collection contains one letter from Christine Anderson, the secretary of the Company, to one of it's first clients, Herbert Charles Pollitt.

The collection also contains an 1883 invitation from Whistler to Dr. Swan Burnett and his wife, children's author Frances Hodgson Burnett, to view etchings and drypoints and a note written by Whistler and signed with the butterfly, taken from the back of the painting Beach at Selsey Bill (1865).

Seven catalogs dating from 1892-1910 and circa 1940 document Whistler exhibitions in London and the United States.

Seven of the Whistler items are signed with his butterfly signature and all letters sent after his wife's death in May 1896 are on mourning stationary.

Arrangement:

The collection is arranged as 1 series:

Missing Title

Series 1: James McNeill Whistler Collection, 1863-1906, circa 1940 (Box 1; 0.2 linear ft.)

Biographical Note:

London-based painter and etcher, James McNeill Whistler (1834-1903) was born in Lowell, Massachusetts and lived in St. Petersburg and London as a child before returning to the United States on the death of his father in 1849. After a failed attempt at a military career at West Point from 1851-1853, he worked as a draftsman for the Coast Survey from 1854-1855 where he received technical instruction in etching. Whistler then left for Paris and remained an expatriot for the rest of his life, living alternately in Paris and London. He studied briefly in Paris at the Ecole Impériale, but was influenced more heavily by his own studies of the great masters and his contemporaries, including Henri Fantin-Latour, Charles Baudelaire, Gustave Courbet, and Edouard Manet.

Whistler's reputation as an etcher was firmly established with the 1858 publication of his group of "French Set" etchings. Shortly thereafter he settled in London and began work on his first major painting At the Piano (1859). His paintings, such as Symphony in White No. 1 The White Girl, (1862; National Gallery of Art, Washington, D.C.) and later portraits such as Arrangement in Black and Grey No. 1: The Artist's Mother (1871; Musée d'Orsay, Paris), won him international acclaim. His style was not easily defined although he was influenced by Realism and Impressionism and by Japanese art styles, which can be seen in his "Nocturne" landscapes, exhibited in 1877 at the Grovesnor Gallery in London, and influenced the development of his "butterfly signature" in the 1860s.

When art critic John Ruskin wrote a scathing review of the "Nocturnes" exhibition, Whistler sued for libel and won, although the resulting legal fees drove him into bankruptcy. He spent 14 months in Venice on a commission for the Fine Art Society and produced a succession of etchings and pastels that were subsequently exhibited in 1883 and helped to stabilize his financial situation.

In 1885 Whistler, famous for his witty and flamboyant personality, published his Ten O'Clock Lecture which espoused his belief in "art for arts sake," and asserted his refusal to ascribe narratives or morality to his art. Whistler's "Ten O'Clock" drew a response from Oscar Wilde and a public discourse between the two men followed in the London newspapers. It was later published in the pamphlet Wilde v. Whistler: being an acrimonious correspondence on art between Oscar Wilde and James A. McNeill Whistler.

In 1890 Whistler published The Gentle Art of Making Enemies, a collection of his best letters and witticisms. The book had originally been the idea of American journalist Sheridan Ford, to whom Whistler had advanced money which he then withdrew with the intent of completing the project alone. When Ford retaliated with a contraband edition of the book, Whistler pursued him through the courts and Ford was tried in Belgium in 1891.

Toward the end of his life Whistler focused increasingly on etching, drypoint and lithography, in addition to interior decoration such as the Peacock Room for Frederick Leyland's London residence begun in 1876. A happy marriage to Beatrix Godwin in 1888 ended in her death in May 1896. By the time of his death in London in 1903, Whistler was regarded as major artist of international renown.

Related Material:

The Archives holds several collections relating to James McNeill Whistler including the Katherine Prince collection relating to James McNeill Whistler, 1835- 1892; Edward Guthrie Kennedy papers concerning James McNeill Whistler in the New York Public Library, 1850-1902 and Selected papers concerning James McNeill Whistler in the New York Public Library, 1830-1950 (available on microfilm only, reel N25; originals reside at the New York Public Library); and James McNeill Whistler collection in the University of Glasgow, Special Collections, circa 1830-1963 (available on microfilm only, reels 4600-4611 and 4683-4699; originals reside in the Glasgow University Library, Dept. of Special Collections).

Provenance:

The collection was compiled from a series of accessions donated between 1959 and 2003. Most of the items in the collection were given to the Archives of American Art by Charles Feinberg in 1959. The pamphlet Wilde v. Whistler was donated by Mrs. Lois Field in 1964 and an invitation to Dr. and Mrs. Burnett was donated by Martha Fleischman in 2003.

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.

Occupation:

Art dealers -- France -- Paris  Search this

Painters  Search this

Topic:

Painting, American  Search this

Etchers  Search this

Genre/Form:

Postcards

Pamphlets

Citation:

James McNeill Whistler collection, 1863-1906, circa 1940. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.whisjame2

See more items in:

James McNeill Whistler collection

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw928311e59-846a-4af4-9d7d-74c442d7440c

EDAN-URL:

ead_collection:sova-aaa-whisjame2

Creator:

Centennial Photographic Co.  Search this

Roth, Rodris  Search this

Myers, Susan H.  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 à Paris  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

GUID:

https://n2t.net/ark:/65665/ep81b047a42-7f96-450c-8a9b-10b13f085510

EDAN-URL:

ead_collection:sova-nmah-ac-0725

Creator:

Martiny, Philip, 1858-1927  Search this

Names:

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Cox, Kenyon, 1856-1919 -- Photographs  Search this

Gilder, Richard Watson, 1844-1909 -- Photographs  Search this

Linder, Raymond J.  Search this

Millet, Francis Davis, 1846-1912 -- Photographs  Search this

Saint-Gaudens, Augustus, 1848-1907 -- Photographs  Search this

Weir, Julian Alden, 1852-1919 -- Photographs  Search this

White, Stanford, 1853-1906 -- Photographs  Search this

Extent:

2 Linear feet ((partially microfilmed on 2 reels))

Type:

Collection descriptions

Archival materials

Date:

1858-1973

Scope and Contents:

Correspondence, photographs, sketchbooks, printed material, and lists of commissions. The material was compiled by Martiny's grandson, Raymond J. Linder.

REEL 2156: Correspondence, mostly xeroxed copies, 1901-1925; research correspondence of Linder concerning Martiny, 1972-1973; a 16 p. list of 75 of Martiny's sculpture commissions executed ca. 1887-1924, with brief biographical notes compiled by Linder; sketches and a sketchbook/schoolbook, 1871-1872; invitations, sculpture dedication programs, clippings, Martiny's birth certificate, and miscellany.

REEL 2223: Photographs, ca. 1883-1905, mostly of Martiny's works of art; and photos of Martiny, his studio, family and friends, home, and other personal photos. Also included are two group photos, one taken in Augustus Saint-Gaudens's studio, ca. 1883, with Kenyon Cox, Richard Watson Gilder, Martiny, Francis Millet, Augustus Saint-Gaudens, Julian Alden Weir, and Stanford White, and one of the painters and sculptors who participated in the Columbian Exposition of 1893.

ADDITION: 138 photographs of Martiny's sculpture and sculpture models; 4 photographs of Martiny with other artists; an inventory of sculpture photographs and a "List of Commissions" (47 p., 1996), both compiled by Linder; printed material about Martiny, ca. 1895-1950, including newspaper and magazine articles, exhibition catalogs, and programs; Martiny letterhead stationery; and a pencil sketch by Martiny for the Richard Watson Gilder monument.

Biographical / Historical:

Sculptor, New York, N.Y. Born in Alsace, France. Studied under Augustus Saint-Gaudens.

Provenance:

Donated 1973-1975 and 1997 by Raymond J. Linder, grandson of Martiny.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Sculptors  Search this

Topic:

Sculpture -- United States  Search this

Artists' studios -- Photographs  Search this

Identifier:

AAA.martphil

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9fc8fb166-ed38-44cf-b9cd-1bbb395c8026

EDAN-URL:

ead_collection:sova-aaa-martphil

Creator:

Hart, Charles Henry, 1847-1918  Search this

Names:

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Bowen, Clarence Winthrop, 1852-1935  Search this

Washington, George, 1732-1799  Search this

Extent:

2 Microfilm reels

Type:

Collection descriptions

Archival materials

Microfilm reels

Date:

1889-1893

Scope and Contents:

Correspondence of Hart, ca. 1,000 letters, mostly with Clarence W. Bowen, regarding Hart's activities on the planning committee of the Centennial of George Washington's Inauguration, New York City, 1889 and correspondence concerning Hart's chairmanship of the Committee on Retrospective Art, World's Columbian Exposition in Chicago, 1893.

Biographical / Historical:

Charles Henry Hart Art (1847-1918) was a historian, lawyer, writer, and director, Pennsylvania Academy of the Fine Arts, 1882-1904. He published widely on the subject of eighteenth and nineteenth-century portraiture in the United States.

Provenance:

Microfilmed 1956 by the Archives of American Art with other art-related papers in the Manuscript Division of the New York Public Library. Included in the microfilming project were selected papers of the Art Division and the Prints Division.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Occupation:

Art historians  Search this

Topic:

Art -- Exhibitions  Search this

Presidents -- United States -- Inauguration  Search this

Identifier:

AAA.hartchhl

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f8943d2f-e2e6-418e-a4a7-3f214211ce02

EDAN-URL:

ead_collection:sova-aaa-hartchhl

Creator:

Lemon, Frank, 1867-1943  Search this

Names:

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Morgan, J. Pierpont, 1837-1913 (John Pierpont)  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1890-1943

Summary:

The papers of sculptor Frank Lemon measure 0.2 linear feet and date from 1890 to 1943. The collection includes biographical material, letters, photographs, and printed material.

Scope and Contents:

The papers of sculptor Frank Lemon measure 0.2 linear feet and date from 1890 to 1943. The collection includes biographical material, letters, photographs, and printed material.

Biographical material includes Lemon's 1943 obituary. Letters consists of one letter written by Lemon to his wife Nellie describing his activities in the Washington, D.C., area and the exhibition of his sculpture "Marguerite", and two letters signed by J. Pierpont Morgan, one of which was written by Morgan's business secretary concerning Lemon's statue "Sea Breeze". Photographs contain a picture of Lemon (ca. 1890) and his works of art including "Sea Breeze". Printed material includes four clippings about Lemon's work at the Columbian Exposition in Chicago and his sculptures "Sea Breeze" and "Nemesis".

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

Frank Lemon (1867-1943) was a sculptor born in Washington, D.C. where he studied drawing at the Corcoran School of Art and worked in the Architect's office in the Treasury Department. Traveling to New York in 1891, he worked for Philip Martiny, and from 1892 to 1893 was sent to Chicago to work on sculptures for the Agricultural Building at the Columbian Exposition. During this time he also assisted Daniel Chester French. Lemon's first exhibition was at the National Sculpture Society and in 1900, the sculpture "Sea Breeze" was exhibited at the Architectural League and purchased by J. P. Morgan the elder. Lemon later moved to the Seattle, Washington, area where his work was confined primarily to architectural ornament.

Provenance:

The Frank Lemon papers were donated by Lemon's daughter, Ella Lemon Ramhorst.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Topic:

Sculptors  Search this

Genre/Form:

Photographs

Citation:

Frank Lemon papers, 1890-1943. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.lemofran

See more items in:

Frank Lemon papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw920ce7c9e-987d-48af-9a4e-bf0683b6fafb

EDAN-URL:

ead_collection:sova-aaa-lemofran

Creator:

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Names:

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1890-1893

Scope and Contents:

Regulations, information about the importation of works of art, catalogs, floor plans, entry applications, business solicitations, and a photo-gravure of the Art Building.

Provenance:

Donated July 1975 by St. Louis Art Museum.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Topic:

Art -- Exhibitions  Search this

Identifier:

AAA.worlcolu

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9208b616e-e48b-462a-bcec-3a1e31e84d3b

EDAN-URL:

ead_collection:sova-aaa-worlcolu

Creator:

Schneider, Otto J., 1875-1946  Search this

Names:

World's Columbian Exposition (1893 : Chicago, Ill.)  Search this

Swann, James, 1905-1985  Search this

Extent:

0.4 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Date:

1892-1963

Scope and Contents:

A family photograph album, compiled by Schneider's sister, Emma; a scrapbook containing reproductions of drawings by James Swann; photocopies of articles and clippings about Schneider; an etching by Schneider; reproductions of his etchings; and printed material. Also contains materials relating to the World's Columbian Exposition, including a pamphlet, "Official Guide to the Grounds and Buildings of the World's Columbian Exposition," and a broadside, "To the Stockholders of the World's Columbian Exposition".

Biographical / Historical:

Etcher; Chicago, Ill.

Provenance:

This collection was originally in Chicago Historical Society, which gave it to National Collection of Fine Arts when it gave Schneider's works from the estate. National Collection of Fine Arts transferred the papers to AAA in 1980.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Occupation:

Engravers -- Illinois -- Chicago  Search this

Printmakers -- Illinois -- Chicago  Search this

Topic:

Printing -- Illinois -- Chicago  Search this

Engraving -- Printing -- Illinois -- Chicago  Search this

Genre/Form:

Scrapbooks

Identifier:

AAA.schnotto

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90bd138b2-9a0e-436d-b7af-6b120e5daacb

EDAN-URL:

ead_collection:sova-aaa-schnotto

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, 1856-1943  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

GUID:

https://n2t.net/ark:/65665/ep8157adaf9-1d10-4256-a8bc-31ce36bc6642

EDAN-URL:

ead_component:sova-nmah-ac-0047-ref746

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.

Missing Title

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

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

Women artists  Search this

Women painters  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.

Sponsor:

Funding for the processing and digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art

Identifier:

AAA.emmefami

See more items in:

Emmet family papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d9921791-cc0b-425c-810b-1da218cafcec

EDAN-URL:

ead_collection:sova-aaa-emmefami

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.

Missing Title

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.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.warnolin

See more items in:

Olin Levi Warner papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b09d0c5d-59a3-4687-850c-07755b9c82e5

EDAN-URL:

ead_collection:sova-aaa-warnolin