Biographical material; diaries; correspondence, financial material; notes; writings; art work; printed material; and photographs
REEL D30 (fr. 420, 521, 542): Three letters from Bruce Crane, 1930, mentioning his election to the Allied Artists of America, from Will Hicok Low, 1930, concerning Cole's election into an art organization, and from Chauncey Foster Ryder, 1921, saying "You may count on me."
REEL 420 (fr. 453-652): Letters written by Timothy Cole, 1885-1928, primarily to Alphaeus and to painter Edward Ertz of Sussex, England, discussing engraving, work for the CENTURY, World War I, and personal matters; a letter to Alphaeus from sculptor John Angel, 1946, discussing Alphaeus' portrait of him; a poem and notes for a speech by Timothy Cole; writings by Alphaeus describing his engraving techniques and his recollections of his father; printed material, including a program for a dinner honoring collector Alexander Wilson Drake, 1913, an address by Timothy to the National Arts Club, 1916, 11 exhibition catalogs for Timothy, 1927-1931, and for Alphaeus, 1922-1952, a catalog from the Grand Central School of Art, and a few clippings; and 2 photos of Alphaeus, ca. 1912 and 1970.
REEL 3481 (fr.467-700): 64 letters, 1910-1927, and 2 sonnets from his father Timothy Cole and a letter to his future daughter-in-law regarding her upcoming marriage to Alphaeus; a letter to Timothy Cole from Calvin Coolidge thanking him for an engraved bookplate; 12 letters to Cole, 1931-1964, from Maurice Bloch, Paul Bransom, A. B. Butts, Will H. Low, Hermann Dudley Murphy, Hudson Strode, R. P. Tolman, and Mahonri Young; a typescript of an article by Cole on Charles C. Curran; 2 photographs of Cole at work, and a photograph of 26 members of the National Academy of Design, ca. 1925, including 19 autographs on the mat; and miscellaneous printed material and writings.
REELS 4783-4791: Biographical accounts and documents; 70 diaries, 1889-1982, containing accounts of Cole's daily activities and 7 photographs; correspondence, 1891-1988, including letters from his father, Timothy Cole, and other family members, 2 notes from Jean Paul Laurens and Benjamin Constant, comments by Cole about his colleagues in 1901-1902, Solon Borglum, Joseph Pennell, Edward Steichen, and a Mr. Yeats, and a description of Buffalo Bill's Wild West Show, 1902; receipts for art expenses and doctor bills; 4 income tax returns, 1936-1980; an address book, ca. 1933; 6 notebooks on the German language, travels in Orvieto, religious symbols in art, and art history, 1889-1898;
writings by Cole and others, including poems to Eugene and Anita Higgins; prints and drawings by Cole, 1899-1958, including a self-portrait and a portrait drawing of Jean Paul Laurens; 2 prints by John W. Evans, 1935, and Keith Shaw Williams; 26 prints of religious paintings by Italian masters; printed material, including clippings, exhibition catalogs for others, reproductions of art work, material concerning Anita Rio, a postcard album, 1901-1934, and picture postcards, and miscellany; and photographs of Cole, Anita Rio, family, friends, models, residence, travels, art work by Cole and others, and gallery installations.
Biographical / Historical:
Painter, portrait painter; New York, N.Y. Born in New Jersey, Cole was the son of wood engraver Timothy Cole. After studying under Isaac Craig in Italy, he began studies at the Academie Julian in 1892, under Jean Paul Laurens and Benjamin Constant. His painting of Dante was exhibited in the Paris Salon of 1900. He moved to England and married sculptress Margaret Ward Walmsley in 1903. They moved to the United States in 1911, where Cole joined the Salmagundi Club, 1918, and served as president of the New York Water Color Club from 1931 to 1941. He taught at Cooper Union, 1924-1931, and was elected a National Academician in 1941. A widower in 1962, Cole married Anita Rio, the widow of painter Eugene Higgins.
Provenance:
Material on reel D30 donated 1955-1962 by Charles E. Feinberg, an active donor and friend of the Archives of American Art. Material on reels 420, 3481, and 4783-4791 donated 1965-1989 by Alphaeus Cole, in part through his nephew Orlando, and by his estate.
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:
Painters -- New York (State) -- New York Search this
Portrait painters -- New York (State) -- New York Search this
The papers of muralist, painter, and teacher Barry Faulkner measure 2.82 linear feet and date from circa 1858-1973. Faulkner's career; his relationships with family, friends, and fellow-artists; and his thoughts on art and artists are documented in biographical materials, correspondence, writings, sketchbooks, five diaries, two photograph albums and photographs, and one scrapbook. Correspondents include family members, Witter Bynner, Ann and Eric Gugler, Leon Kroll, Isabel Manship, James Johnson Sweeney, Maxfield Parrish and others. An unprocessed addition to the collection dating 1942 includes a one page letter mounted on board from Maxfield Parrish to Barry Faulkner.
Scope and Content Note:
The papers of muralist, painter, and teacher Barry Faulkner measure 2.82 linear feet and date from circa 1858-1973. Faulkner's career; his relationships with family, friends, and fellow-artists; and his thoughts on art and artists are documented in biographical materials, correspondence, writings, sketchbooks, five diaries, photograph albums and photographs, and one scrapbook. An unprocessed addition to the collection dating 1942 includes a one page letter mounted on board from Maxfield Parrish to Barry Faulkner.
Biographical materials include biographical sketches, awards, and records documenting Faulkner's military service. Also found are a list of medications, a list of Faulkner's writings, party guest lists, an address book, a calendar, and materials related to the posthumous publication of Sketches From an Artist's Life. Of special interest are oversized architectural drawings by Eric Gugler for Faulkner's Keene, New Hampshire house.
Correspondence includes letters from Faulkner's friends, family, fellow artists, and art organizations and institutions. Faulkner's correspondence with his parents document his 1900-1901 trip to Italy with the Thayer family. Of special interest is his correspondence with writer Witter Bynner about Faulkner's daily life in New Hampshire, his travels through Europe, his artistic practice and career, Bynner's writings, his opinions on artistic and literary works, and his service in World War One. Many of the letters to Bynner include sketches by Faulkner of Abbott Handerson Thayer, Rockwell Kent, Augustus Saint-Gaudens, Homer Saint-Gaudens, George de Forest Brush, Kahlil Gibran, and Mark Twain. Additional correspondents include sculptor Frances Grimes, architect Eric Gugler, painter Leon Kroll, and museum director James Johnson Sweeney.
Faulkner's writings are about art, artists, and the New Hampshire art community. Found are essays on Gifford Beal, George de Forest Brush, James Earle Fraser, Harriet Hosmer, Paul Manship, Charles Adams Platt, Hiram Powers, Edward Willis Redfield, Joseph Lindon Smith, Mary Lawrence Tonetti, Mark Twain, Lawrence Grant White, and Mahonri Young. Other writings discuss Faulkner's mural commissions, various aspects of New Hampshire history, and the history of the Dublin and Cornish art colonies whose inhabitants included George de Forest Brush, Augustus Saint-Gaudens, and Abbott Handerson Thayer. Of special interest is a manuscript for Faulkner's posthumously published memoir Sketches From an Artist's Life, and an unpublished manuscript titled A Neighborhood of Artists about the history and culture of the Connecticut River Valley.
Four sketchbooks by Faulkner contain drawings of landscapes, city scenes, architecture, people, nature, and studies of artwork by others. Also found are two loose sketches.
Five diaries document Faulkner's 1922-1924 trip through Europe, Africa, and Asia including stops in France, Italy, Egypt, and Turkey. Diaries record Faulkner's thoughts on architecture, tourist sites, and travel amenities. Found is one diary from 1956 that discusses social events, the Saint-Gaudens Memorial, the MacDowell Colony of artists, and various artists including Gifford Beal, Maxfield Parrish, Paul Manship, and Eric Gugler.
The bulk of printed material consists of clippings which document published writings by Faulkner, obituaries and published rememberances of Faulkner, local events in Keene, New Hampshire, and reproductions of Faulkner's artwork. Also found are exhibition catalogs of other artists, an announcement of Faulklner's death from the American Academy of Arts and Letters, and a publication illustrated with reproductions of Faulkner's murals for the National Archives.
Photographs include formal and informal images of Faulkner throughout his life, and photographs of his family and friends, his studio, and reproductions of his artwork. Also included are two photograph albums, one of which contains photographs of Faulkner during his youth and one that contains photographs primarily from the 1930s of Faulkner's Keene, New Hampshire house, himself, and his friends and family.
The collection also includes a scrapbook prepared for Faulkner's seventieth birthday containing photographs, cards, telegrams, and placecards with hand drawn illustrations which show the "taste and characteristics" of Faulkner.
Series 2: Correspondence, 1900-1973 (Box 1; 0.5 linear feet)
Series 3: Writings, 1912-1966 (Boxes 1-2; 1.0 linear foot)
Series 4: Sketchbooks and Sketches, circa 1910s-1930s (Boxes 2-3; 8 folders)
Series 5: Diaries, 1922-1956 (Box 2; 6 folders)
Series 6: Printed Materials, circa 1858-1966 (Boxes 2-3; 8 folders)
Series 7: Photographs, 1892-1960s (Boxes 2-3; 15 folders)
Series 8: Scrapbook, 1951 (Box 3; 2 folders)
Biographical Note:
Francis Barrett Faulkner was born on July 12, 1881 in Keene, New Hampshire. He attended Phillips Exeter Academy and went on to study at Harvard College. Around this same time, Faulkner began an apprenticeship with his cousin and painter Abbott Handerson Thayer and painter George de Forest Brush. He also met sculptors James Earle Fraser and Augustus Saint-Gaudens, both of whom became Faulkner's lifelong friends.
In 1901, Faulkner traveled to Italy for the first time with Thayer and his family. He returned to New York in 1902 and studied at the Art Students League and Chase School. He also completed illustration work for Century magazine.
In 1907, Faulkner won the Rome Prize Fellowship from the American Academy in Rome. shortly thereafter, he left to study in Italy for three years, studying with George de Forest Brush and befriending sculptor Paul Manship. Upon his return in 1910, he started working on his first mural, commissioned by the wife of railroad executive E.H. Harriman. Having found his niche, Faulkner continued taking mural commissions until his career was interrupted by World War I and his service in the camouflage section of the army. Shortly after the war, he completed a mural for the marine headquarters in Quantico, Virginia.
Between 1923-1924, Faulkner worked in collaboration with Eric Gugler and Paul Manship to create the American Academy in Rome war memorial. Also following the war, Faulkner completed murals for the Eastman School of Music in 1922, the Rockefeller Center in 1932, and the National Archives in 1936. That same year, Faulkner bought and refurbished a house named "The Bounty" in Keene, New Hampshire, and built a studio nearby. In 1930, he was elected as a trustee of the American Academy in Rome.
During the 1940s, Faulkner created murals for numerous public buildings and sites around New Hampshire including the Senate Chambers in Concord, the Elliot Community Hospital, Keene National Bank, and the Cheshire County Savings Bank in Keene. During his final decades, Faulkner wrote an unpublished manuscript on the history of art in the Connecticut River Valley entitled A Neighborhood of Artists, and his posthumously published memoirs, Sketches of an Artist's Life. Faulkner died in 1966, in Keene, New Hampshire.
Related Material:
Found in the Nancy Douglas Bowditch papers at the Archives of American Art is correspondence, photographs, and printed materials related to Barry Faulkner. The Library of Congress, Manuscript Division also holds a small collection of Barry Faulkner's papers. Additional correspondence from Faulkner is found in the papers of Witter Bynner at the University of New Mexico and at Harvard University.
Provenance:
The collection was donated by Francis Faulkner, Barry Faulkner's nephew, in 1974. An addition to the collection was donated by Jocelyn Faulkner Bolle in 2014.
Restrictions:
The bulk of this collection has been digitized and is available online via AAA's website.
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.
From the Collection of Ferdinand Howald: 19th and 20th century paintings--School of Paris, Renaissance paintings, Italian and Middle Eastern ceramics; given to the Columbus Gallery of Fine Arts, 1931
Author:
Columbus Gallery of Fine Arts, Columbus, O Search this
Brigham Young University and M. Knoedler & Company, Inc. present an exhibition of sculpture, paintings and drawings of Mahonri M. Young from the Brigham Young University art collection : on exhibit March 11 through April 12, 1969, [at the] M. Knoedler & Company, Inc
Title:
Mahonri M. Young
Author:
Young, Mahonri M (Mahonri Mackintosh) 1877-1957 Search this
