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
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.
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.
Rights situation uncertain. Probably in public domain, applicable copyrights expired.
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.
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:
Missing Title
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.
Genre/Form:
Memoirs
Manuscripts
Photographs
Sketches
Typescripts
Diaries
Sketchbooks
Citation:
Frederick William MacMonnies papers, 1874-1997. Archives of American Art, Smithsonian Institution.
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Kilburn, B. W. (Benjamin West), 1827-1909 Search this
Photographer:
Kilburn, B. W. (Benjamin West), 1827-1909 Search this
Extent:
1 Stereograph (black and white)
Container:
Box 4
Type:
Archival materials
Stereographs
Date:
1893
General:
Historic Image #: 8437
front: James M. Davis, New York, St. Louis, Liverpool, Toronto, Sydney
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
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 (black and white)
Container:
Box 4
Type:
Archival materials
Stereographs
Date:
1893
General:
Historic Image #: 7979
front: James M. Davis, New York, St. Louis, Liverpool, Toronto, Sydney
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
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.
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).
Digitization of Series 2.2: Stereographs was made possible by Andrew and Anya Shiva.
