Search Results

Artist:

John Trumbull, 6 Jun 1756 - 10 Nov 1843  Search this

Sitter:

Benjamin Silliman, 8 Aug 1779 - 24 Nov 1864  Search this

Medium:

Oil on wood

Dimensions:

Panel: 48.9 x 40 x 1.3cm (19 1/4 x 15 3/4 x 1/2")

Frame: 67.3 x 58.4 x 8.3cm (26 1/2 x 23 x 3 1/4")

Type:

Painting

Date:

1825

Topic:

Benjamin Silliman: Male  Search this

Benjamin Silliman: Law and Crime\Lawyer  Search this

Benjamin Silliman: Science and Technology\Scientist  Search this

Benjamin Silliman: Literature\Writer\Scientific  Search this

Benjamin Silliman: Education and Scholarship\Educator\Lecturer  Search this

Benjamin Silliman: Education and Scholarship\Educator\Professor\University  Search this

Benjamin Silliman: Education and Scholarship\Founder\College  Search this

Benjamin Silliman: Science and Technology\Scientist\Naturalist  Search this

Benjamin Silliman: Science and Technology\Scientist\Chemist  Search this

Benjamin Silliman: Science and Technology\Scientist\Earth scientist\Geologist  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Alice Silliman Hawkes

Object number:

NPG.68.6

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm45a5f1415-809e-45dc-ac73-1d198ef0750b

EDAN-URL:

edanmdm:npg_NPG.68.6

Artist:

John Sartain, 24 Oct 1808 - 25 Oct 1897  Search this

Copy after:

J. Horace & Henry M. Wells  Search this

Sitter:

Jeremiah Day, 1773 - 1867  Search this

Theodore Dwight Woolsey, 1801 - 1889  Search this

Benjamin Silliman, 8 Aug 1779 - 24 Nov 1864  Search this

Medium:

Mezzotint on paper

Dimensions:

Image: 13.4 × 21.6 cm (5 1/4 × 8 1/2")

Sheet: 15.5 × 24 cm (6 1/8 × 9 7/16")

Type:

Print

Date:

1860

Topic:

Printed Material\Book  Search this

Printed Material\Papers  Search this

Print  Search this

Costume\Dress Accessory\Neckwear\Tie\Bowtie  Search this

Jeremiah Day: Male  Search this

Jeremiah Day: Education and Scholarship\Administrator\College administrator  Search this

Theodore Dwight Woolsey: Male  Search this

Theodore Dwight Woolsey: Education and Scholarship\Administrator\University administrator\University president  Search this

Benjamin Silliman: Male  Search this

Benjamin Silliman: Law and Crime\Lawyer  Search this

Benjamin Silliman: Science and Technology\Scientist  Search this

Benjamin Silliman: Literature\Writer\Scientific  Search this

Benjamin Silliman: Education and Scholarship\Educator\Lecturer  Search this

Benjamin Silliman: Education and Scholarship\Educator\Professor\University  Search this

Benjamin Silliman: Education and Scholarship\Founder\College  Search this

Benjamin Silliman: Science and Technology\Scientist\Naturalist  Search this

Benjamin Silliman: Science and Technology\Scientist\Chemist  Search this

Benjamin Silliman: Science and Technology\Scientist\Earth scientist\Geologist  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.86.41

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm410f5ab24-ee1a-4ccd-9c50-045348b99813

EDAN-URL:

edanmdm:npg_NPG.86.41

Creator:

Robert Schoelkopf Gallery  Search this

Names:

Zabriskie Gallery  Search this

Andrejevic, Milet, 1925-1989  Search this

Aponovich, James, 1948-  Search this

Bailey, William, 1930-2020  Search this

Bell, Leland  Search this

Brassaï, 1899-  Search this

Cameron, Julia Margaret Pattle, 1815-1879  Search this

Cartier-Bresson, Henri, 1908-  Search this

Cornell, Joseph  Search this

Dawson, Manierre, 1887-1969  Search this

Driggs, Elsie, 1898-1992  Search this

Erlebacher, Martha Mayer  Search this

Evans, Walker, 1903-1975  Search this

Fiske, Gertrude, 1878-1961  Search this

Freund, Gisèle  Search this

Horton, William S., 1865-1936  Search this

Ito, Miyoko, 1918-1983  Search this

Lachaise, Gaston, 1882-1935  Search this

Laderman, Gabriel, 1929-  Search this

Ligare, David  Search this

Matthiasdottir, Louisa  Search this

Matulka, Jan, 1890-1972  Search this

Myers, Ethel  Search this

Nadelman, Elie, 1882-1946  Search this

Schoelkopf, Robert J., 1927-1991  Search this

Stella, Joseph, 1877-1946  Search this

Storrs, John Henry Bradley, 1885-1956  Search this

Wiesenfeld, Paul  Search this

Extent:

29 Linear feet

Type:

Collection descriptions

Archival materials

Gallery records

Illustrated letters

Photographs

Date:

1851-1991

bulk 1962-1991

Summary:

The collection comprises 29 linear feet of records that document the day-to-day administration of the Robert Schoelkopf Gallery from 1962 to 1991, with additional items predating the founding of the gallery from 1851 to 1961. The collection records artist and client relations, exhibitions, and daily business transactions through artist files, correspondence, printed matter, and photographic material.

Scope and Content Note:

The records of the Robert Schoelkopf Gallery comprise 29 linear feet of material from 1851 to 1991, with some items predating the founding of the gallery. The bulk of the records date from 1962 to 1991, providing researchers with fairly comprehensive coverage of the gallery's development and operations from its inception in 1962 until its closure in 1991. Items dated prior to 1962 relate principally to the period of transition during which Robert Schoelkopf ended his partnership with the Zabriskie Gallery and established his own business. There are also some items relating to artists of the nineteenth and early twentieth century.

The collection consists primarily of artist files documenting relations with contemporary artists, representation of deceased artists, and other works of art handled by the gallery. It also chronicles the gallery's exhibition schedule and the day-to-day administration of the business. The types of material that can be found here include correspondence, exhibition inventories, price lists, accounting and consignment records, shipping and insurance records, printed material, and photographs.

The collection is a valuable source of information on twentieth-century American art history, focusing primarily on early-twentieth-century modernists as well as an important group of American realist painters and sculptors from the latter half of the century. The collection illuminates, in detail, the developing market for these schools and, in the case of the latter group, provides personal insights from artists on the realist perspective.

The records also document the Robert Schoelkopf Gallery's significant contribution to the resurgence of interest in fine art photography during the 1960s and 1970s as reflected in an increase in the value of works by important American photographers such as Walker Evans.

Much of the outgoing correspondence from the gallery consists of copies of letters written by Robert Schoelkopf, with additional business being handled by assistant staff and, from the mid-1970s, Schoelkopf's wife, Laura Jane Schoelkopf. The records offer insight into the personalities of the Schoelkopfs and how their congenial and candid management style influenced their relationships with the contemporary artists they represented.

Arrangement:

Originally the collection was organized as one large file arranged alphabetically by folder title, with titles ranging from names of artists to general subject headings such as "Correspondence." During processing it became clear that the gallery delineated operations into three main functions: artist relations, client-dealer relations, and exhibitions. Consequently the collection is arranged as three main series based on these areas of concern. A small group of miscellaneous photographs of artists constitutes an additional series at the end of the collection.

Originally paper records throughout the collection were generally arranged chronologically, although this order was not strictly adhered to. Frequently, correspondence and memoranda were attached to related records going back several years. To preserve the relationship between such documents, records stapled together in this way have been left together. They are arranged in reverse chronological order and filed in the folder corresponding to the primary date (i.e., the date of the first and most recent paper in the group). Researchers should be aware that date ranges provided on folders refer to the primary dates of documents contained therein and that some items in the folder may predate that range. Otherwise, the general chronological scheme has been retained throughout the collection, with undated material placed at the beginning of the appropriate file.

Printed material is arranged in chronological order, with undated material at the beginning of the folder, and may include press releases, exhibition announcements, exhibition catalogs, posters, clippings from newspapers, magazines, and journals, and other publicity material. Large amounts of printed material are broken down into several discrete folder units.

The most consistent labeling system for photographic material apparent throughout the collection was title of work of art. The majority of images are not dated with a printing date or the date that the work of art was produced, and although many of them have a processing number, these are by no means consistent and there are no master lists that can be used to interpret them. Consequently, images are arranged primarily by media type and then alphabetically by title. Untitled images are placed at the beginning of a media group; "the" in a title is ignored. Exceptions to this method are addressed in the appropriate series descriptions.

Files labeled "Photographs of Works of Art" will typically include any or all of the following: black-and-white copy prints, black-and-white transparencies, color transparencies, slide transparencies, Polaroid prints, color snapshots, contact sheets, and separation sheets. Often the same image will be duplicated in several different formats. Any notes on photographic material found in or on the original folder in which the material was filed have been preserved with the material or transcribed onto a sheet of acid-free paper that either encloses or is placed directly before the item to which the information applies.

The designation "General" indicates that a file may contain any or all of the types of material outlined above.

Missing Title

Series 1: Artist Files, 1851-1991, undated (Boxes 1-23; 23 linear ft.)

Series 2: General Business Files, 1960-1991, undated (Boxes 24-28; 4.74 linear ft.)

Series 3: Group Exhibition Files, 1960-1988, undated (Boxes 28-29; 1 linear ft.)

Series 4: Photographs of Artists, undated (Box 29; 0.25 linear ft.)

Historical Note:

Robert Schoelkopf, Jr., was born in Queens, New York, in 1927. He graduated from Yale College in 1951 with a bachelor of arts degree and then taught briefly at his alma mater while conducting graduate research in art history. Schoelkopf began his career in commercial art in 1957 as an independent dealer of American painting and sculpture and became a member of the Art Dealers Association of America in 1958. In 1959 he formed a partnership with Virginia Zabriskie, of the Zabriskie Gallery in New York, which lasted until 1962. The gallery exhibited late-nineteenth and early-twentieth-century American painting, together with contemporary painting of a somewhat conservative style.

In 1962 Schoelkopf signed a three-year lease for the fourth floor of a building at 825 Madison Avenue in New York, where he opened the Robert Schoelkopf Gallery. From the outset, Schoelkopf aimed to specialize in American painting of the nineteenth and twentieth century and sculpture of all schools. He predicted a burgeoning market for the Hudson River School in particular, believing that American painting was increasingly perceived as being worthy of serious attention. In a letter dated January 3, 1963, Schoelkopf congratulated John Spencer for his decision to collect nineteenth-century American paintings for the Allen Memorial Art Museum at Oberlin College, assuring him that "progressive chauvanism [ sic] will operate to elevate prices in American painting. Every year more colleges teach Art History, and soon they shall have reached the level of sophistication and development where they will be obliged (for face) to offer tuition in specifically American art - hitherto neglected of academicians.... I and many other dealers have plans for exhibitions of nineteenth-century American painting, especially the Hudson River School."

Schoelkopf's instincts regarding the Hudson River School were undoubtedly correct, and consequently nineteenth-century American painters formed a permanent mainstay of his inventory. He is perhaps remembered more, however, for his dedication to reviving interest in lesser-known American painters from the turn-of-the-century who were impressionist or modernist in style. Schoelkopf developed something of a reputation for unearthing forgotten talent that, while sometimes mediocre or inconsistent, was occasionally exceptional and certainly worthy of note. He was committed to reinstalling Joseph Stella in the pantheon of major American artists, representing Stella's estate from 1963 to 1971 and holding regular exhibitions of the artist's work from 1962 on. In 1969 the gallery held the first New York exhibition of the paintings of Manierre Dawson, who was subsequently acclaimed by the critics for his important and innovative contributions to modernism. In 1970 Schoelkopf began showing the work of Jan Matulka, an artist whose work had been neglected since the 1930s, and his enthusiastic representation of the Matulka estate paved the way for a retrospective at the Whitney Museum of American Art in 1979.

Schoelkopf's interest in turn-of-the-century artists also extended to sculptors such as John Flannagan, Ethel Myers, Elie Nadelman, and John Henry Bradley Storrs, and he directed considerable energy to furthering Gaston Lachaise's reputation as an artist of major stature. When Lachaise died at the peak of his career in 1935, his estate was left to his wife, Isabel, and in 1957 to Isabel's son, Edward. When Edward died shortly thereafter, John B. Pierce, Jr., a nephew of Isabel Lachaise, was appointed trustee of the estate and formed the Lachaise Foundation. In 1962 Pierce entered an agreement with Robert Schoelkopf and Felix Landau to represent Lachaise's sculpture on the East and West Coasts, respectively. In this capacity Schoelkopf helped to launch a major retrospective of the artist's work at the Whitney Museum of American Art in 1964 and a traveling exhibition that began circulating in 1967.

The gallery's other major commitment was to painting and sculpture by contemporary American realists, many of whom worked in a figurative style and explored elements of allegory and classical mythology in their work, presenting landscapes, still lifes, and portraits from a realist perspective. The bulk of the gallery's exhibitions were, in fact, of work by contemporary artists, including metaphysical still-life painter William Bailey, colorist Leland Bell, figurative painter Martha Mayer Erlebacher, landscape and narrative painter Gabriel Laderman, and Icelandic artist Louisa Matthiasdottir. William Bailey was one of the gallery's most commercially successful artists, and his first one-person exhibition in New York was held there in 1968. Demand for Bailey's paintings often far exceeded his output, and by the late 1970s Schoelkopf invariably sold out his exhibitions and had compiled a lengthy waiting list for his work.

In its early years the Robert Schoelkopf Gallery contributed considerably to the development of interest in fine art photography that fostered an increasingly lucrative market for photographic prints during the 1960s and 1970s. In 1965 Schoelkopf began incorporating photography into the gallery's exhibition schedule and, in the spring of 1974, opened a gallery dedicated to photography on the second floor at 825 Madison Avenue. Between 1965 and 1979 Schoelkopf's was the only serious New York gallery dealing in painting and sculpture that also regularly exhibited photography as fine art. His interests lay primarily in antiquarian photography and the work of nineteenth-century and twentieth-century masters including Eugéne Atget, Mathew Brady, James Robertson, and Carleton Watkins. Schoelkopf organized shows examining specific photographic processes, the photogravure and the cyanotype, and presented surveys of genres such as portrait and landscape photography. In 1967 he held the first exhibition in many years of the work of Julia Margaret Cameron, an important figure in the history of Victorian photography, timing it to coincide with a show at the Metropolitan Museum of Art that focused on Cameron as one of four Victorian photographers.

Schoelkopf also handled the work of several influential contemporaries, most notably Brassaï, Henri Cartier-Bresson, Walker Evans, and Gisèle Freund. The gallery held Freund's first exhibition in the United States in 1975 and was, for a time, the only place in New York where one could see and purchase prints by Cartier-Bresson. Schoelkopf began exhibiting Evans's work in 1966 and regularly thereafter, including a 1971 exhibition that coincided with a major retrospective at the Museum of Modern Art.

In the fall of 1976 the second-floor gallery space was turned over to Marcuse (Cusie) Pfeifer, then the gallery's director, who planned to use it to show the work of young photographers in a gallery under her own name. Schoelkopf continued to hold several photography exhibitions a year in the fourth-floor gallery but decided to concentrate primarily on nineteenth-century masters.

In March 1971 a fire in the building at Madison Avenue resulted in substantial water damage to the gallery space. Although very little of the inventory was destroyed, the incident forced Schoelkopf to close until September. This temporary loss of revenue compounded with a nationwide recession cut into Schoelkopf's financial resources and left him questioning his commission policy and his level of commitment to contemporary work in all media. A letter to artist Adolph Rosenblatt dated May 3, 1971, records how Schoelkopf had become increasingly disenchanted with "all contemporary work" and would begin taking 40 percent commission on sales, instead of 33.3 percent. "Beside the matter of enthusiasm is the matter of economics," Schoelkopf remarked, "and the last year and a half have been really dreadful for the art business."

This difficult period was followed immediately by more prosperous times. January 1973 proved to be the gallery's most successful month to date, encouraging Schoelkopf to purchase a house in Chappaqua, New York, later that year. In November 1974 Schoelkopf wrote to Anthony D'Offay that business "is as slow as it has ever been, but what sales we make are big ones" and revealed that auctions had, at that point, become his primary avenue for trade.

Around 1975 Schoelkopf's wife of eleven years, Laura Jane Schoelkopf, began working in the gallery. Although seemingly dubious of the work at first, she became a considerable asset to the business and reputedly complemented her husband's relationship with the gallery's contemporary artists through her warmth and hospitality, qualities often noted by artists who corresponded regularly with the couple.

The financial instability that characterized the 1970s undoubtedly influenced Schoelkopf's decision to cease exhibiting photography in 1979. By 1978 however, his investment in early-twentieth-century art appeared to be paying off. Jan Matulka, Joseph Stella, and John Henry Bradley Storrs had all been represented in exhibitions at major museums, and sales of their work had increased considerably. Gaston Lachaise's reputation continued to grow, and the traveling exhibition still circulated, garnering far more interest than had originally been anticipated.

Although contemporary artists continued to take up the largest portion of the gallery's changing exhibitions, Schoelkopf's interest in contemporary work was growing more conservative, tending toward a narrower focus on the narrative and allegorical. By 1979 he no longer exhibited contemporary sculpture, admitting to a lack of enthusiasm for the work of any of the current figurative sculptors and a dislike of all contemporary abstract work. In a letter to Lillian Delevoryas, dated March 17, 1982, he confessed, "With age has come a hardening of the aesthetic arteries perhaps. What we have been showing is realism, but getting tighter all the time."

In April 1984 the gallery was moved to 50 West Fifty-seventh Street, and, during the years that followed, the Schoelkopfs pared down the number of contemporary artists they represented, handling only those to whom they felt most strongly committed while continuing to specialize in nineteenth-century and early-twentieth-century American painting and sculpture. As the gallery approached its thirtieth anniversary, Schoelkopf's achievements were considerable. He had operated a successful New York gallery for almost three decades, rejuvenated the reputations of several important American artists, and was respected by artists and clients alike for the integrity, intelligence, and humor with which he conducted his business affairs. In 1987 he had been appointed to the board of trustees of the Williamstown Regional Art Conservation Laboratory. By this time he was also a member of the advisory board to the National Academy of Design, and in 1988 he became a co-trustee of the Joseph and Robert Cornell Memorial Foundation.

In March 1990, Robert Schoelkopf was diagnosed with leukemia and underwent a regimen of cancer treatment that resulted in a brief remission by the summer. Schoelkopf returned to work temporarily, but by 1991 his condition had worsened and he died in April of that year. Having known for some time that her husband's prognosis was poor, Laura Jane Schoelkopf had apparently decided that she would not continue the gallery in the event of his death. With the help of the youngest of their two sons, Andrew, she settled final accounts and assisted the gallery's contemporary artists in finding representation elsewhere before closing the business in August 1991.

Provenance:

Twenty-seven linear feet of records were donated to the Archives of American Art by Laura Jane Schoelkopf, Robert Schoelkopf's widow, and the Coe Kerr Gallery in 1991 and 1992. An additional gift of 3.4 linear feet was donated by Laura Jane Schoelkopf in 1996. The collection was reduced slightly during processing.

Restrictions:

The collection is open for research. Use 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:

Art, Modern -- 20th century  Search this

Works of art  Search this

Photography, Artistic  Search this

Realism  Search this

Art, American  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Gallery records

Illustrated letters

Photographs

Citation:

Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation.

Identifier:

AAA.robeschg

See more items in:

Robert Schoelkopf Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9773faf46-baaa-4d12-8e4f-cc58adc2787a

EDAN-URL:

ead_collection:sova-aaa-robeschg

Artist:

Trumbull Colonel  Search this

Type:

Paintings

Exhibition Catalogs

Date:

1876

Topic:

State of Being--Other--Imprisonment  Search this

Religion--Christianity  Search this

Figure(s) In Interior--Civic  Search this

Architecture--Civic--Prison  Search this

Control number:

AECI 06440101

Data Source:

Pre-1877 Art Exhibition Catalogue Index

EDAN-URL:

edanmdm:siris_aeci_113594

Artist:

Trumbull Colonel  Search this

Type:

Paintings

Exhibition Catalogs

Date:

1876

Topic:

Religion--Christianity  Search this

State of Being--Other--Imprisonment  Search this

Figure(s) In Interior--Civic  Search this

Architecture--Civic--Prison  Search this

Control number:

AECI 06880053

Data Source:

Pre-1877 Art Exhibition Catalogue Index

EDAN-URL:

edanmdm:siris_aeci_116629

Artist:

Gallait, L.  Search this

Type:

Paintings

Exhibition Catalogs

Date:

1876

Topic:

Architecture--Detail--Door  Search this

State of Being--Other--Imprisonment  Search this

Architecture--Civic--Prison  Search this

Control number:

AECI 01050120

Data Source:

Pre-1877 Art Exhibition Catalogue Index

EDAN-URL:

edanmdm:siris_aeci_18155

Artist:

Unknown  Search this

Michelangelo (copy after)  Search this

Type:

Sculptures

Exhibition Catalogs

Date:

1876

Topic:

Figure male  Search this

State of Being--Other--Imprisonment  Search this

Homage--Julius II  Search this

Control number:

AECI 01070170

Data Source:

Pre-1877 Art Exhibition Catalogue Index

EDAN-URL:

edanmdm:siris_aeci_18842

Artist:

Pinturicchio  Search this

Type:

Paintings

Exhibition Catalogs

Date:

1876

Topic:

Allegory--Passion--Love  Search this

Figure group--Female  Search this

Mythology--Classical--Cupid  Search this

Figure male--Child  Search this

State of Being--Other--Imprisonment  Search this

Control number:

AECI 01070247

Data Source:

Pre-1877 Art Exhibition Catalogue Index

EDAN-URL:

edanmdm:siris_aeci_18919

Artist:

Pinturicchio  Search this

Type:

Paintings

Exhibition Catalogs

Date:

1876

Topic:

Allegory--Passion--Love  Search this

Figure group--Female  Search this

Mythology--Classical--Cupid  Search this

Figure male--Child  Search this

State of Being--Other--Imprisonment  Search this

Control number:

AECI 01080370

Data Source:

Pre-1877 Art Exhibition Catalogue Index

EDAN-URL:

edanmdm:siris_aeci_19208

Artist:

Pinturicchio  Search this

Type:

Paintings

Exhibition Catalogs

Date:

1876

Topic:

Allegory--Passion--Love  Search this

Figure group--Female  Search this

Mythology--Classical--Cupid  Search this

Figure male--Child  Search this

State of Being--Other--Imprisonment  Search this

Control number:

AECI 01090370

Data Source:

Pre-1877 Art Exhibition Catalogue Index

EDAN-URL:

edanmdm:siris_aeci_19492

Artist:

Johnson, E.  Search this

Type:

Paintings

Exhibition Catalogs

Date:

1876

Topic:

State of Being--Other--Imprisonment  Search this

Control number:

AECI 01100051

Data Source:

Pre-1877 Art Exhibition Catalogue Index

EDAN-URL:

edanmdm:siris_aeci_19674

Artist:

Pinturicchio  Search this

Type:

Paintings

Exhibition Catalogs

Date:

1876

Topic:

Allegory--Passion--Love  Search this

Figure group--Female  Search this

Mythology--Classical--Cupid  Search this

Figure male--Child  Search this

State of Being--Other--Imprisonment  Search this

Control number:

AECI 01100370

Data Source:

Pre-1877 Art Exhibition Catalogue Index

EDAN-URL:

edanmdm:siris_aeci_19809

Artist:

Pinturicchio  Search this

Type:

Paintings

Exhibition Catalogs

Date:

1876

Topic:

Allegory--Passion--Love  Search this

Figure group--Female  Search this

Mythology--Classical--Cupid  Search this

Figure male--Child  Search this

State of Being--Other--Imprisonment  Search this

Control number:

AECI 01110370

Data Source:

Pre-1877 Art Exhibition Catalogue Index

EDAN-URL:

edanmdm:siris_aeci_20077

Artist:

Huming  Search this

Michelangelo (copy after)  Search this

Medium:

Cast

Type:

Sculptures

Exhibition Catalogs

Date:

1876

Topic:

State of Being--Other--Imprisonment  Search this

Figure male  Search this

Homage--Julius II  Search this

Control number:

AECI 04070199

Data Source:

Pre-1877 Art Exhibition Catalogue Index

EDAN-URL:

edanmdm:siris_aeci_83347

Collection Creator:

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

Container:

Box 64, Folder 14

Type:

Archival materials

Date:

1867-1887

1900

Collection Restrictions:

This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

See more items in:

National Academy of Design records

National Academy of Design records / Series 18: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw904e8b170-3bde-4605-88e7-7e06ebda50f5

EDAN-URL:

ead_component:sova-aaa-natiacad-ref1120

Published by:

Isaiah Thomas, American, 1749 - 1831  Search this

Subject of:

Phillis Wheatley Peters, American, ca. 1753 - 1784  Search this

Medium:

ink on paper

Dimensions:

H x W: 16 5/8 × 10 5/8 in. (42.2 × 27 cm)

Type:

newspapers

Place printed:

Worcester, Worcester County, Massachusetts, United States, North and Central America

Date:

1791

Topic:

African American  Search this

Literature  Search this

Poetry  Search this

Slavery  Search this

Women  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture

Object number:

A2021.113.1.11

Restrictions & Rights:

Public domain

Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Collection title:

Phillis Wheatley Peters Collection

Classification:

Documents and Published Materials-Published Works

Movement:

Anti-slavery movements

Abolitionist movement

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5574b61f9-a688-4199-9945-3404b1bf5bdb

EDAN-URL:

edanmdm:nmaahc_A2021.113.1.11

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Container:

Box 1, Folder 15

Type:

Archival materials

Date:

1838-1839

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.

Series Citation:

Warshaw Collection of Business Americana Subject Categories: Religion, 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: Religion

Warshaw Collection of Business Americana Subject Categories: Religion / 1: Religious Education / 1.3: Theological and Bible Schools

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a2e78093-a44f-4410-978a-3b6b9fcd75da

EDAN-URL:

ead_component:sova-nmah-ac-0060-s01-01-religion-ref566

Creator:

Mallery, Garrick, 1831-1894  Search this

Extent:

41.29 Linear feet (22 boxes, 29 folders, 3 mounted drawings, and 3 rolled items)

Note:

Some materials, especially in series 3, are stored in the NAA artwork collection.

Culture:

Arctic peoples  Search this

Indians of North America  Search this

Type:

Collection descriptions

Archival materials

Pictographs

Place:

Oceania

Date:

1849-1902

bulk 1870-1895

Summary:

Garrick Mallery (1831-1894) was an ethnologist with the Bureau of American Ethnology who focused primarily on Native American sign language and pictography. This collection reflects Mallery's research interests and methods. Much of the collection is comprised of correspondence and notes relating to sign language and pictography and is organized chiefly by either the cultural or geographic region to which the material belongs. Bound volumes of several of his publications are included, along with annotated draft copies from collaborators. In the case of Mallery's work on pictography, the collection includes several oversize items including original works and reproductions.

Scope and Contents:

This collection contains Garrick Mallery's research and writings as a BAE ethnologist and is largely comprised of correspondence and preparatory materials for publications on Native American sign language and pictography. The geographic scope of the material is chiefly the present-day United States and Canada, though other areas of the world are represented less comprehensively. Correspondence and research notes include verbal descriptions of signs, sometimes with illustrations included. Bound volumes of Mallery's publications are included, along with annotations from collaborators. In addition, this collection includes notecards, drawings, illustrations, photographs, articles, and art objects. Art objects (mostly oversize) deal chiefly with Dakota winter counts and other artifacts.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Arrangement:

This collection is arranged into 3 series: 1) Research Notes, undated; 2) Materials on Sign Language, 1843-1849, 1873-1894; 3) Materials on Pictographs and Petroglyphs, 1849-1902, undated

Biographical Note:

Garrick Mallery (1831-1894) was born in Wilkes-Barre, Pennsylvania and practiced law in Philadelphia from 1853 until the outbreak of the American Civil War. While serving in the army, he became interested in Native American sign language and pictography, perhaps while performing his duties in frontier areas. After retiring from the military in 1879, Mallery was appointed to the newly created Bureau of American Ethnology as one of its first ethnologists. In his work with the Bureau, Mallery pioneered the study of sign language and pictographs, examining them as a universal human phenomenon with a direct link to spoken language.

In his work, Mallery collected and examined sign language vocabulary from Native American groups throughout the U.S. and Canada and regularly solicited contributions from collaborators. He also related his findings to examples from the wider world, comparing the formation of Native American signs to those in other areas by hearing individuals and by the deaf. Mallery completed several publications on the topic throughout the 1880s, notably Introduction to the Study of Sign language Among the North American Indians (1880), A Collection of Gesture- Signs and Signals of the North American Indians (1880), and "Sign-language among North American Indians Compared with that Among other People and Deaf-mutes," which appeared in the BAE 1st Annual Report (1881).

While most widely known for his work with sign language, Mallery also undertook extensive research into Native American pictography. Like his work with sign language, he both conducted original research and solicited assistance from collaborators. He was especially interested in the representational images in Dakota winter counts and petroglyphs in the United States and throughout the world.

Sources Consulted

Fletcher, Robert. "Garrick Mallery, President of the Philosophical Society of Washington, in 1888." In Brief Memoirs of Colonel Garrick Mallery, U.S.A., Who Died October 24, 1894, 3-8. Washington: Judd & Detweiler, 1895.

Fletcher, Robert. "Colonel Garrick Mallery, U.S.A." American Anthropologist 8, no. 2 (1895): 79-80.

Chronology

1831 -- Born in Wilkes-Barre, Pennsylvania, on April 25

1850 -- Graduates Yale College

1853 -- Earns LL. B. from the University of Pennsylvania Admitted to the Pennsylvania bar

1853-1861 -- Practices law in Philadelphia

1861 -- Enters the volunteer army of the United States

1862 -- Severely wounded in the battle of Peach Orchard, Virginia Captured and held prisoner at Libby prison in Richmond, Virginia

1866 -- Completes service with volunteer army of the United States Accepts commission in regular army of the United States

1870 -- Marries Helen W. Wyckoff

1879 -- Retires from the United States army due to disability Appointed to the Bureau of American Ethnology

1880 -- Publishes Introduction to the Study of Sign-Language Among the North American Indians as Illustrating the Gesture-Speech of Mankind and A Collection of Gesture-Signs and Signals of the North American Indians With Some Comparisons

1881 -- Publishes "Sign Language Among North American Indians, Compared with that Among Other Peoples and Deaf-Mutes"

1894 -- Dies after a short illness in Washington, D.C., on October 24

Related Materials:

See MS 2322 A collection of gesture-signs and signals of the North American Indians for more of Garrick Mallery's work on sign language.

Provenance:

MS 2372 was transferred from the Bureau of Ethnology Archives to the Smithsonian Office of Anthropology Archives with the merger of the BAE and the Department of Anthropology of the National Museum of Natural History in 1965. The Smithsonian Office of Anthropology Archives was renamed the National Anthropological Archives in 1968.

Restrictions:

Manuscript 2372 is open for research.

Access to Manuscript 2372 requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Language and languages -- Documentation  Search this

Sign language  Search this

Picture-writing  Search this

Ethnology  Search this

Anthropology  Search this

Genre/Form:

Pictographs

Citation:

Manuscript 2372, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS2372

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MS 2372 Garrick Mallery Collection on Sign Language and Pictography

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw367638eb8-dce6-4d4e-bea5-2204e49134ef

EDAN-URL:

ead_collection:sova-naa-ms2372

Series Creator:

Warshaw, Isadore, 1900-1969  Search this

Container:

Oversize 183, Folder 3

Type:

Archival materials

Graphic Materials

Date:

1838

undated

Scope and Contents:

Three B&W illustrations. Amherst (undated). Yale College (1838). Vanderbuilt University (undated).

Series Restrictions:

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.

Series Citation:

Warshaw Collection of Business Americana Subject Categories: Schools, 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: Schools

Warshaw Collection of Business Americana Subject Categories: Schools / Genre / Images

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8f971e6c7-4310-47a6-af78-93e22271eaf3

EDAN-URL:

ead_component:sova-nmah-ac-0060-s01-01-schools-ref219

Collection Creator:

Shinn, Everett, 1876-1953  Search this

Container:

Box 1, Folder 41

Type:

Archival materials

Date:

circa 1920-1950

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Everett Shinn collection, 1877-1958. Archives of American Art, Smithsonian Institution.

Sponsor:

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

See more items in:

Everett Shinn collection

Everett Shinn collection / Series 2: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw993123934-fa14-48eb-bf90-ed2ad57cf81d

EDAN-URL:

ead_component:sova-aaa-shinever-ref54