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Robert Henri papers

Creator:
Henri, Robert, 1865-1929  Search this
Names:
Pennsylvania Academy of the Fine Arts  Search this
Anshutz, Thomas Pollock, 1851-1912  Search this
Bouguereau, William Adolphe, 1825-1905  Search this
Calder, Alexander Stirling, 1870-1945  Search this
Grafly, Charles, 1862-1929  Search this
Hovenden, Thomas, 1840-1895  Search this
MacRae, Elmer Livingston, 1875-1953 -- Photographs  Search this
Parrish, Maxfield, 1870-1966 -- Photographs  Search this
Redfield, Edward Willis, 1869-1965  Search this
Sloan, John, 1871-1951  Search this
Extent:
4 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Sketchbooks
Date:
1870-1954
Scope and Contents:
The Robert Henri papers date from 1880 to 1954. included are 26 diaries, dating from 1880 to 1928. The collection also includes writings, scrapbooks, printed material, and miscellany.
Reels 885-887: 25 diaries kept by Robert Henri, August 15, 1881 to October 20, 1928 (some entries with illustrations). Henri writes about his studies at the Pennsylvania Academy of the Fine Arts and in Paris; his instructors Thomas Anshutz, Thomas Hovenden, and Adolphe Bouguereau, and fellow students Alexander Stirling Calder, Edward Redfield, Charles Grafly, and others; his opposition to the National Academy of Design and academic painting between 1902 and 1912; the exhibition of The Eight in 1908; the 1910 Exhibition of Independent Artists; the MacDowell Club; the founding of the Association of American Painters and Sculptors; and other topics. Also included are typescripts of 4 plays; scrapbooks of clippings, 1888-1954 and loose clippings; 82 photographs of Henri, including a group photo of Henri, Elmer MacRae, Maxfield Parrish, and four unidentified women, classes, and models; a letter and receipt from John Sloan; clippings regarding The Eight; and a copy of Memoirs of My Dead Life, by George Moore, annotated by Henri.
Reel 1654: Robert Henri diary, May to November 1880. Henri writes about his daily activities as a 15-year-old boy growing up on the Platte River, including entries on family events, playing with his brothers and friends, fishing, celebrating July 4th, bailing hay for his father, a dance and fair, and houses in Cozad, Nebraska (122 pages).
Biographical / Historical:
Robert Henri (1865-1929) was a painter and instructor in New York, N.Y.
Provenance:
Material on reels 885-887 was lent by Mrs. Janet LeClair, the widow of John LeClair, nephew of Henri's sister-in-law, Violet Organ. Organ inherited these papers and planned on using them in a biography of Henri which was never written. The papers passed to John LeClair upon Organ's death in 1959 and subsequently donated to Yale University. Organ donated other Henri papers, including correspondence, notes, notebooks, photographs and other manuscript material to Yale University's Beinecke Library in the 1960s. The diary on reel 1654 was lent by Dr. Robert Gatewood, a cousin of Robert Henri, who reported that he had at one time possessed several of Henri's illustrated boyhood stories and other diaries which were all destroyed in a fire.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art teachers  Search this
Painters  Search this
Topic:
Eight (Group of American artists)  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.henrrobe
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a0c0c34a-afea-42f2-bfcc-150d7bc6a1df
EDAN-URL:
ead_collection:sova-aaa-henrrobe

Charles Henry Hart autograph collection

Creator:
Hart, Charles Henry, 1847-1918  Search this
Names:
Anshutz, Thomas Pollock, 1851-1912  Search this
Audubon, John James, 1785-1851  Search this
Chase, William Merritt, 1849-1916  Search this
Church, Frederic Edwin, 1826-1900  Search this
Copley, John Singleton, 1738-1815  Search this
Cox, Kenyon, 1856-1919  Search this
Eakins, Thomas, 1844-1916  Search this
McEntee, Jervis, 1828-1891  Search this
Morse, Samuel Finley Breese, 1791-1872  Search this
Peale, Charles Willson, 1741-1827  Search this
Peale, Raphaelle, 1774-1825  Search this
Peale, Rembrandt, 1778-1860  Search this
Peale, Rubens, 1784-1865  Search this
Peale, Titian Ramsay, 1799-1885  Search this
Smillie, James David, 1833-1909  Search this
Stuart, Gilbert, 1755-1828  Search this
Sully, Thomas, 1783-1872  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Vanderlyn, John, 1775-1852  Search this
Vedder, Elihu, 1836-1923  Search this
Ward, John Quincy Adams, 1830-1910  Search this
West, Benjamin, 1738-1820  Search this
Whistler, James McNeill, 1834-1903  Search this
Extent:
1.71 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1731-1918
Summary:
The Charles Henry Hart autograph collection dates from 1731-1917 and measures 1.71 linear feet comprised of 232 letters, portrait prints, and other documents signed by American artists. There is a .01 linear foot (6 items) unprocessed addition to this collection donated in 2021 that includes a letter from Winslow Homer to Mr. Clarke, November 28, 1892; typed and annotated lists of autographs of artists in the collections of Charles Henry Hart; handwritten note about English painter and engraver, John Keyse Sherwin, undated; handwritten note regarding Gennearino Persico, miniature artist, July 18, 1826.
Scope and Contents:
The Charles Henry Hart autograph collection dates from 1731-1917 and measures 1.71 linear feet comprised of 232 letters, portrait prints, and other documents signed by American artists. There is a .01 linear foot (6 items) unprocessed addition to this collection donated in 2021 that includes a letter from Winslow Homer to Mr. Clarke, November 28, 1892; typed and annotated lists of autographs of artists in the collections of Charles Henry Hart; handwritten note about English painter and engraver, John Keyse Sherwin, undated; handwritten note regarding Gennearino Persico, miniature artist, July 18, 1826.

Originally titled by Hart as "The History of Art in America as Told in a Remarkable Collection of Autograph Letters and Documents of Celebrated American Artists of the Eighteenth, Nineteenth, and Twentieth Century," the collection includes letters and other items signed by Thomas Anshutz, John J. Audubon, William Merritt Chase, Frederic Edwin Church, John Singleton Copley, Kenyon Cox, Thomas Eakins, Jervis McEntee, Samuel F.B. Morse, Charles Willson Peale, Raphaelle Peale, Rembrandt Peale, Rubens Peale, Titian Peale, James Daivd Smillie, Gilbert Stuart, Thomas Sully, Abbott Handerson Thayer, John Vanderlyn, Elihu Vedder, John Quincy Adams Ward, Benjamin West, James Abbott McNeill Whistler, and many others.
Arrangement:
The collection is arranged in 2 series.

Missing Title

Series 1: Charles Henry Hart autograph collection, 1731-1917 (226 items; Box 1-5)

Series 2: Unprocessed Addition, 1826-1892 and undated (6 items; MMS folder 6)
Biographical / Historical:
Charles Henry Hart (1847-1918) was a historian, lawyer, writer, and director, Pennsylvania Academy of the Fine Arts, 1882-1904. Widely, he published on the subject of 18th and 19th century portraiture in the United States.
Related Materials:
The Archives of American Art also holds the personal papers of Charles Henry Hart, dating from 1774-1930, bulk 1888-1918.

Papers of Charles Henry Hart, 1888-1894, are also located at The New York Public Library Archives & Manuscripts.
Provenance:
The Charles Henry Hart autograph collection was donated to the Archives of American Art in 1954 as an anonymous gift. It is assumed that Hart assembled the letters. Original collation was two letterbooks entitled "The History of Art in America as Told in a Remarkable Collection of Autograph Letters and Documents of Celebrated American Artists of the Eighteenth, Nineteenth, and Twentieth Century." Additional six items donated in 2021 by Ty West, who found the compiled material among his grandfather-in-law's belongings.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Autographs -- Collections  Search this
Artists -- United States -- Portraits  Search this
Autographs -- Collectors and collecting  Search this
Artists -- United States -- Autographs  Search this
Citation:
Charles Henry Hart autograph collection, 1731-1918. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hartchar
See more items in:
Charles Henry Hart autograph collection
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw912c4422c-cbb9-4889-838e-46e6976b6dca
EDAN-URL:
ead_collection:sova-aaa-hartchar

Walter Elmer Schofield papers

Creator:
Schofield, Walter Elmer, 1867-1944  Search this
Names:
Carnegie Institute  Search this
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Alexander, John White, 1856-1915  Search this
Anshutz, Thomas Pollock, 1851-1912  Search this
Breckenridge, Hugh H. (Hugh Henry), 1870-1937  Search this
Calder, Alexander Stirling, 1870-1945  Search this
Caro-Delvaille, Henry, 1876-1928  Search this
Chase, William Merritt, 1849-1916  Search this
Dougherty, Paul, 1877-1947  Search this
East, Alfred, Sir, 1849-1913  Search this
Forbes, Stanhope Alexander, 1857-1947  Search this
Grafly, Charles, 1862-1929  Search this
Henri, Robert, 1865-1929  Search this
Lathrop, William Langson, 1859-1938  Search this
Lever, Hayley, 1876-1958  Search this
Oberteuffer, Karl A. (Karl Amiard), 1908-1958  Search this
Olsson, Julius, 1864-1942  Search this
Redfield, Edward Willis, 1869-1965  Search this
Sargent, John Singer, 1856-1925  Search this
Shannon, Charles Hazelwood, 1863-1937  Search this
Sloan, John, 1871-1951  Search this
Symons, George Gardner, 1861-1930  Search this
Taylor, Henry Fitch, 1853-1925  Search this
Trask, John E. D., 1871-1926  Search this
Young, Charles Morris, 1869-1964  Search this
Extent:
0.8 Linear feet ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1885-1974
Scope and Contents:
Biographical material, correspondence, business records, notes, printed material and photographs document the career of landscape painter Walter Elmer Schofield.
REEL D71: Letters, 1923-1961, are from museums concerning the exhibition or collection of Schofield's work, from his son to the Archives of American Art concerning the acquisition of Schofield's papers, and a letter and biographical sketch from British sculptor Helen Stuart Weir. Photographs, ca. 1890-1937, are of Schofield, including one at a silvermine in Mexico, and 4 with the Royal Artillery and Royal Fusiliers. One shows Schofield with fellow artists John White Alexander, William Merritt Chase, and Sir Alfred East. There are also photographs of Schofield's residence in Suffolk, England, gallery installations, and art works. Business records, 1888-1921, include discharge papers from the San Antonio Rifles, and 3 leases. Printed material, 1902-1945, includes clippings, an exhibition catalog, a membership list for the National Academy of Design, 1902, and a program for a memorial service for Schofield.
REEL 5043: Biographical material, 1904-1945, includes a biographical sketch, an award certificate from the Carnegie Institute, and a death certificate. Correspondence, 1892-1974, consists primarily of letters between Schofield and his wife during his sojourns in America. Schofield's letters describe his activities including participation in the Louisiana Purchase Exposition and on Carnegie Institute juries, and mention his colleagues including Thomas Anshutz, Alexander Stirling Calder, Henry Caro-Delvaille, Paul Dougherty, Charles Grafly, Robert Henri, William Lathrop, Julius Olsson, Edward Redfield, John Singer Sargent, Charles Shannon, John Sloan, Gardner Symons, Henry Fitch Taylor, John Trask, and Charles Morris Young. There are also one to three letters each from Hugh Henry Breckenridge, Stanhope Forbes, Hayley Lever, and Karl Oberteuffer.
Business records, 1903-1937, include receipts for art supplies, the shipment of household goods, financial records for the sale of Reen Cottage,and for an exhibition at Stendahl Art Galleries, and a contract of ownership for the Delph Spinning Company. Notes consist of lecture notes "Art Noon Club Objectives" and a stanza from "Dover Beach" by Matthew Arnold. Printed material, 1901-1945, consists of clippings, 2 exhibition catalogs, and a reproduction of a wood-engraving of Otley Church. Photographs, 1887-1940, are of Schofield, his wife and sons, members of Schofield's class at the Pennsylvania Academy of the Fine Arts, classes taught by Schofield, members of his military units, his residences in Suffolk and Cornwall, England, gallery installations, and works of art.
Biographical / Historical:
Painter. Born Philadelphia, Pa., Schofield studied at the Pennsylvania Academy of the Fine Arts and, in 1890, at the Academie Julian. After marrying Murielle Redmayne in 1897, he established his residence in England, making frequent trips to the United States to conduct his art-related business. He was primarily known as a landscape and marine painter.
Provenance:
Material on reel D71 donated 1961 by Sydney Schofield, Walter Schofield's son. Material on reel 5043 donated by Mrs. S.E. Schofield through the Brandywine River Museum, 1986.
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  Search this
Topic:
Impressionism (Art)  Search this
Painting  Search this
Identifier:
AAA.schowalt
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw934368c4f-c13b-4ed5-a997-61cb7dbe7360
EDAN-URL:
ead_collection:sova-aaa-schowalt

Artist Files

Collection Creator:
Robert Schoelkopf Gallery  Search this
Extent:
(boxes 1-23, 23 linear ft.)
Type:
Archival materials
Date:
1851-1991, undated
Scope and Contents note:
This series forms the core of the collection and comprises files relating to more than three hundred artists whose work the gallery represented or handled at some point. The main types of material that can be found here include correspondence with artists and clients interested in borrowing, consigning, or purchasing their work; printed material documenting exhibitions of individual artists at the Robert Schoelkopf Gallery and related events; general reference material about gallery artists; photographic images of works of art dealt with by the gallery; and photographs of artists. Items of particular interest are noted in parentheses after the folder title.

Individual artists are represented by groups of material ranging from a single file to several linear feet of files, depending on the gallery's level of involvement with their work. Groups of files of particular interest are described in greater detail below. A list of all known group and one-person exhibitions held at the gallery is provided as an appendix and can be used to identify the dates of exhibitions for specific artists.

Relations with many of the gallery's contemporary artists are particularly well documented in this series. The gallery's interest in figurative painting that incorporated elements of allegory, myth, fantasy, and dreams is evinced in files relating to artists such as Milet Andrejevic, Bruno Civitico, Martha Mayer Erlebacher, and David Ligare. Gabriel Laderman, another artist who worked extensively with allegorical themes, is also well represented in this series, and of particular interest are his letters describing his experiences living and working in Malaysia. Correspondence files relating to the painter Caren Canier contain personal letters from the artist that detail her attitude to her work and her relationships with her husband, artist Langdon Quin, and their two children. Paul Wiesenfeld, a realist painter who specialized in portraits and finely detailed interiors, also wrote to the gallery from Germany disclosing aspects of his personal life that affected his work. Correspondence with sculptor Isabel McIlvain contains detailed explanations by the artist of her attitudes to her work and her sculpting methods. McIlvain's files also chronicle her commission to produce a sculpture of John F. Kennedy that was unveiled in Boston in 1990.

Files relating to William Bailey record many aspects of his relationship with the Schoelkopfs. Correspondence files primarily comprise letters to and from clients interested in Bailey's work but are interspersed with correspondence with Bailey and his wife that often details personal aspects of their lives as well as providing insight into Bailey's artistic development and his experiences living in Italy, where he and his family resided much of the time. Consignments and sales of Bailey's work are well documented here, as is the gallery's role in the compilation and publication of three books about the artist. An extensive collection of news clippings records various stages of his career and the growth of his commercial success.

Two substantial groups of files document the gallery's representation of painter Louisa Matthiasdottir and her husband, Leland Bell. Correspondence with Bell includes mention of his time spent in Europe and his teaching experiences, and reveals his sardonic wit.

Several files of correspondence with Miyako Ito offer rich insight into a short period during the artist's life. The bulk of the material comprises letters written by Ito to Robert Schoelkopf in 1960 and 1961, occasionally on a daily basis and often of a very poetic and deeply reflective and emotional nature.

Folders relating to Joseph Cornell contain some correspondence with the artist that offers insight into his personality. They also record Schoelkopf's bid, albeit in vain, to represent the artist's estate following his death in 1972 and the gallery's commitment to Cornell through continued consignment of his work.

Files concerning Manierre Dawson document the gallery's representation of the artist's estate and arrangements for the first one-person exhibition of his paintings in New York only a few months before his death in the summer of 1969. The files include correspondence with Dawson in which he discusses preparations for the exhibition, supplies information concerning dates and locations of his paintings, and expresses concerns about his illness. Letters from Dawson's wife, Lillian, written immediately after his death, can also be found here as well as several marked-up copies of the catalog for the 1969 exhibition that includes an introduction written by the artist. The Dawson files document the activities of the partnership formed by Frank J. McKeown, Jr., Dr. Lewis Obi, and Lefferts L. Mabie, Jr., to purchase paintings from the Dawson estate and provide details of how the partnership worked with Schoelkopf as the sole gallery agency for Dawson's paintings. The files also record the distribution of loans and gifts from the partnership to various art institutions.

More than two feet of records offer detailed coverage of Robert Schoelkopf's interest in Gaston Lachaise and his involvement in the administration of the Lachaise Foundation. Correspondence files chronicle relations among Schoelkopf, John B. Pierce, Jr. (trustee of the foundation), and Felix Landau and record decisions taken regarding publications about the artist, policies for casting and limiting editions of his sculpture, and strategies for promoting Lachaise through exhibitions. The traveling exhibition that opened in September 1967 and was still circulating in 1991 is well documented here, as are other practical concerns such as maintaining accounting and storage records of the artist's work.

Files relating to Ethel Myers include correspondence with the artist's daughter, Virginia Downes, and document Schoelkopf's handling of Myers's estate and his involvement in exhibitions to promote her work. The files include one undated letter and one copy of a letter from Myers to Downes, dated 1941, and a copy of a letter from Henry McBride to Myers from 1913. Copies of autobiographical notes written by Myers about her childhood, artists she knew, her marriage to Jerome Myers, and the outbreak of war in Europe can also be found here.

Several files document the appointment and activities of Robert Schoelkopf and Felix Landau as exclusive agents for the sale of works of art from the estate of Elie Nadelman.

A substantial group of files relating to Joseph Stella chronicle Schoelkopf's involvement with Michael and Sergio Stella, trustees of Joseph Stella's estate, and his representation of the estate from 1963 until 1971, when he withdrew from the position following a dispute over commissions. The gallery continued to consign work from the Stella estate until 1991, and these files contain details of those consignments and reflect Schoelkopf's lifelong commitment to promoting Stella's work.

Files relating to John Henry Bradley Storrs document Schoelkopf's relationship with the artist's daughter, Monique Storrs Booz, who designated Schoelkopf as the new agent for works of art from her father's estate when her contract with the Downtown Gallery was terminated in 1969. Schoelkopf continued to represent Storrs's work when Monique Storrs Booz died in 1985, leaving the estate in the hands of two of the artist's grandchildren. Details of the gallery's relationship with Noel Frackman, who conducted important research on Storrs, can also be found here. Of additional interest are two sets of photographs attributed to John Storrs: a group of eleven platinum prints (apparently there were originally thirteen), primarily portraits of children, and a group of twenty-seven silver gelatin prints of rural and coastal scenes.

Another significant component of this series is the number of files documenting the gallery's relationship with various contemporary photographers. Files of correspondence concerning Brassaï contain substantial correspondence with the photographer himself, who frequently wrote to the gallery in French. Records relating to Walker Evans detail Evans's consignments to the gallery and include some letters from him of a more personal nature, such as one describing his observations during a trip to London in 1966. Photographer Giséle è wrote regularly to the gallery, and her letters include detailed descriptions of the processes she employed in printing her work.

Correspondence relating to Julia Margaret Cameron contains several items of interest including a letter from Cameron dated August 10, 1873, to a Mrs. Way concerning photographs of Way's daughter, and an article on Cameron by Charles Harvard with notes containing biographical details about the photographer.

Within its artist files the gallery retained a group of files marked "Miscellaneous." These files contain small amounts of material, often only one or two pieces, relating to various artists for whom an individual file was not maintained or who were unidentified. These records are placed at the end of the alphabetical files and contain primarily copy prints, transparencies, and slide transparencies. Material is arranged alphabetically by name of artist, with records relating to unidentified artists placed at the beginning. To retain the alphabetical arrangement various media formats are filed together and dated material is interfiled with undated material, which forms the bulk of the contents.

The gallery tended to group various types of paper records together with correspondence in a single file. The term "correspondence" in this series, therefore, refers not only to incoming and outgoing letters but also to accounting and consignment records, reports (such as inventory lists), artists' résumés, exhibition lists, price lists, and other miscellaneous notes. In cases where a certain type of "correspondence" was originally filed separately from other material of this kind, and represents a significant amount of material, that material is filed in a separate folder (e.g., Accounting and Consignment Records).

Generally, arrangement of photographs in this series follows the system outlined under Organization and Arrangement, with some notable exceptions. Photographs of works of art by Gaston Lachaise and Elie Nadelman were originally arranged in a numbering system that is fairly consistent, and this basic original order has been retained. Also, for large groups of photographs of works of art, such as those by Gaston Lachaise, Joseph Stella, and John Henry Bradley Storrs, the gallery filed photographs by media in which the work of art was created; such delineations are reflected in the final arrangement.

The gallery maintained a collection of negatives, primarily of works of art by artists found in Series 1: Artist Files, in addition to other artists not represented there. There is also a small number of negatives of installation shots. The negatives are arranged alphabetically by artist name, with unknown artists at the beginning, and are stored, for preservation reasons, in containers separate from other records in the series. Negative numbers found on the original sleeves have been transcribed onto the paper enclosures now housing the negatives, so that they may be matched to prints in Series 1: Artist Files, in cases where prints exist. An appendix provides an alphabetical list of artists whose work is represented in the negative collection. In some cases, names of artists are incomplete because of insufficient information on the original negative sleeves.

See Appendix A for a list of artists represented in the negatives of works of art found in Series 1.
Appendix A: Artists Represented in Negatives of Works of Art:
Albright, Ivan

[Allston]

Anderson, Lennart

Andrejevic, Milet

Anshutz, Thomas Pollock

Aponovich, James

Bailey, William

Ballaine, G.

Balthus

Barye

Bazelon, Cecile Gray

Beauchamp

Beckwith

Bell, E.

Bell, Leland

Bellows, George

Benton, Thomas Hart

Bernard

Birch, Thomas

[Blauvelk]

Bluemner, Oscar

Blythe, David Gilmour

Bolles, Jesse H.

Bouvier, August

Bradford, William

Branchard, Emile Pierre

Brassaï

Bratby, John

Breckenridge, Hugh H.

Bricher, A. T.

Brook, Alexander

Brown, John George

Burchfield, Charles

Burra, Edward

Carles, Arthur B.

Carlsen

Cartier-Bresson, Henri

Charkow, Natalie

Chase, William Merritt

Chiriani, Richard

Civitico, Bruno

Clark, Alson Skinner

Codman, Charles

Cohen, Frederick

Cole, Thomas

Coleman, Glenn O.

Conrad, Kramer

Cornell, Joseph

Cropsey, Jasper Francis

Currier, [J. Frank]

Dallman, Daniel

Dalou, Jules

Dasburg, Andrew

Daugherty, James Henry

[Davidson]

Davidson, Jo

Davies, Arthur B.

Davis, Stuart

Dawson, Manierre

Degas, Edgar

De Kooning, Willem

Demuth, Charles

Dewing, Thomas Wilmer

Dickinson, Preston

Diederich, William Hunt

[Dix, Otto]

Du Bois, Guy Péne

Duchamp, Marcel

Duveneck, Frank

Eaton

Edmonson, Will

[Eilshemius]

Epstein, [Sir Jacob]

Erlebacher, Martha Mayer

Evans, Walker

Fellini

Fisher, M.

Fiske, Gertrude

Flannagan, John Bernard

Forbes, Charles

Frazier, John Robinson

Freckelton, Sondra

Frieseke, Frederick C.

Gallatin, A. E.

Gay, Walter

Gifford, R. Swain

Gifford, Sanford Robinson

Gignoux, R.

Glackens, William J.

Gleizes, Albers

Goodnough, Robert

Goodwin, Arthur Clifton

Gorky, Arshile

Gorsline

Graham, John

Graham, William

Grant

Grausman, Philip

Graves, Morris

Groz

Guglielmi, Louis

Guillaume

Halsall

Han, Raymond

Hardy, DeWitt

Hart, William

Hartley, Marsden

Hartman, Bertram C.

Harvey, Anne

Hatke, Walter

Hawthorne, Charles Webster

Heade, Martin Johnson

Henri, Robert

Hill, T.

Hirst, Claude R.

Hitchcock

Hohwiller, L. M.

Hopper, Edward

Horton, William S.

Johnson, David

Johnson, Eastman

Johnson, Lester

Jones, Bern

Kane, John

Karfunkle, David

Kelly, L.

Kensett, John Frederick

Klee, Paul

Klimt, Gustav

Kline, Franz

Knaths, Karl

[Kresch]

Kruger, Louise

Kuhn, Walt

Kuniyoshi, Yasuo

Lachaise, Gaston

Laderman, Gabriel

Lawrence, Jacob

Lawson, Ernest

Lechay, Myron

Leibowitz, Leonard

Leutz

Levinson, Abraham F.

Ligare, David

Lipchitz

Luks, George

MacDonald-Wright, Stanton

MacMonnies, Frederick William

Manolo

Manship, Paul

Manzu

Marin, John

Martin, Homer D.

Matthiasdottir, Louisa

Matulka, Jan

Maurer, Alfred Henry

McFee Henry

McIlvain, Isabel

Melchers

Metcalf, Willard Leroy

Mills

[Morandi, Giovanni]

Muybridge, Eadweard

Müller, Jan

Muller, Lisa

Myers, Jerome

Nadelman, Elie

Nakian, Reuben

Nevelson, Louise

Newman, A. L.

Nick, George Bentley

Of, George F.

O'Keeffe, Georgia

Orozco, José Clemente

Peterson, Jane

Peto, John Frederick

Pfreim, Bernard

Picasso, Pablo

Piccolo, Richard

Pollet, Joseph

Pollock, Jackson

Poor, H.

Powers, Hiram

Prendergast, Maurice Brazil

Price

Prior, William Matthew

Quin, Langdon

Raiselis, Richard

Ream, C. P.

Reid, Robert

Richards, William Trost

Rimmer, William

Robinson, T. W.

Rodin, Auguste

Romero, Orozco

Rummelspacher

Russell, Morgan

Ryan, Richard

[Ryder, Albert Pinkham]

Saint-Gaudens, Augustus

Salemme, Antonio

Salemme, Attilio

Sargent, John Singer

Schamberg, Morton L.

Schiele, Egon

Schmidt, Edward

Schultz, E. N.

Scott, J. W. A.

Shahn, Ben

Shaw, Sidney Dale

Sheeler, Charles

Shinn, Everett

Sklarski, Bonnie

Sloan, John

Smith, Hope

Staples, W. L.

Steene

Steichen, Edward

Stella, Joseph

Storrs, John Henry Bradley

Stuart, Frederick, T.

Suba, Miklos

Tamayo, Rufino

Tanguy, Yves

Tanner, Henry Ossawa

Taylor, Henry Fitch

Tillim, Sidney

Touster, Irwin

Turner, Helen

Twachtman, John Henry

Urness, Scott

[V., F.]

Van Beest

Van Everen, Jay

Vedder, Elihu

Vespignani

Vonnoh, Robert William

Walcutt, William

[Wall]

Weber, Max

Weir, Julian Alden

Weiss, George

Whistler, James McNeill

Whittredge, Worthington

Wiesenfeld, Paul

Woking

Wood, Thomas Waterman

Wyant, A. H.

Wyeth, Andrew

Zorach, [William]
Collection Restrictions:
The collection is open for research. Use 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:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.robeschg, Series 1
See more items in:
Robert Schoelkopf Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91abedf45-34c2-49e3-b4eb-079833b500d7
EDAN-URL:
ead_component:sova-aaa-robeschg-ref13

Anshutz, Thomas Pollock, General

Collection Creator:
Robert Schoelkopf Gallery  Search this
Container:
Box 1, Folder 16
Type:
Archival materials
Date:
1980, undated
Collection Restrictions:
The collection is open for research. Use 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:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Robert Schoelkopf Gallery records
Robert Schoelkopf Gallery records / Series 1: Artist Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9753e6b77-7d62-4e05-b7f1-3636f19d3082
EDAN-URL:
ead_component:sova-aaa-robeschg-ref26

The Seeker in the Marshes : illustrated by the Philadelphia Sketch Club; presented to Mr. W. Moylan Lansdale club historian by his fellow members, 1889

Creator:
Lansdale, William Moylan, 1842-1926  Search this
Names:
Philadelphia Sketch Club  Search this
Anshutz, Thomas Pollock, 1851-1912  Search this
Blaikie, J. G.  Search this
Cariss, Henry T., 1850-1903  Search this
Clark, William J., 1840-1889  Search this
Deitz, Carl S.  Search this
Dunk, Walter M., b. 1855  Search this
English, Frank F., 1854-1922  Search this
Faber, Ludwig E., 1855-1913  Search this
Hensel, John C.  Search this
Huston, Clair Aubrey, b. 1857  Search this
Lummis, F. E.  Search this
Moran, Peter, 1841-1914  Search this
Neely, Joseph, Jr.  Search this
Noll, W. C.  Search this
Paine, Birdsall D.  Search this
Pitts, Frederick L.  Search this
Poore, Henry Rankin, 1859-1940  Search this
Porter, William A. (William Arnold), 1844-1909  Search this
Schell, Frank Cresson, 1857-1942  Search this
Schell, Frederic B.  Search this
Seiss, C. Few  Search this
Stephens, Charles H., 1855?-1931  Search this
Stern, Max, 1903-1980  Search this
Taylor, J. Madison  Search this
Thomson, William J.  Search this
Uhle, Bernhard  Search this
Extent:
1 Volume ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Volumes
Date:
1889
Scope and Contents:
Volume presented to W. Moylan Lansdale, historian of the Philadelphia Sketch Club, containing 32 original drawings and prints by members of the Philadelphia Sketch Club, illustrating Daniel L. Dawson's text, "Seeker in the Marshes." The illustrations, in order of appearance, are signed: Frederic B. Schell, Walter M. Dunk, Frederick L. Pitts, Bernhard Uhle, J. B. Blaike, Charles H. Stephens, Joseph Neely, Jr., W. C. Noll, Thomas Anshutz, Covington Few Seiss, Max Stern, _ Day (possibly Joseph R. Day, Frank M. Day, or Arthur Day), Carl Dietz, Ludwig. E. Faber, Birdsall D. Paine, Frank F. English, Henry T. Cariss, R.E. Lummis, F. B. or possibly E. B. (possibly Edmund B. Bensell or Franklin Dullin Biscoe), Peter Moran, F. Cresson Schell, William A. Porter, W. J. Clark Jr., John C. Hensel, J. Madison Taylor, Henry R. Poore, Aubrey Huston, and William J. Thomson.
Publication, Distribution, Etc. (Imprint):
Philadelphia, Pa.: Philadelphia Sketch Club, 1889
Provenance:
Lent for microfilming 2002 by Christine Rendell, who received it from her aunt by marriage, Mrs. Elizabeth Jones. Jones was Lansdale's grandaughter. Jones received the volume from her mother, Lansdale's daughter, Maria Lansdale.
Occupation:
Artists -- Pennsylvania -- Philadelphia  Search this
Identifier:
AAA.lanswmay
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ee323cdd-6672-4585-8d25-495fbc09d6c1
EDAN-URL:
ead_collection:sova-aaa-lanswmay

Alexander Francis Harmer papers and Alexander Francis Harmer Trust records

Creator:
Harmer, Alexander Francis, 1856-1925  Search this
Names:
Anshutz, Thomas Pollock, 1851-1912  Search this
Eakins, Thomas, 1844-1916  Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1882-1985
Scope and Contents:
Alexander Franis Harmer papers include: letters, 1882-1920, to Harmer from artists Frank Stephens, Thomas Eakins (illustrated; providing instructions on how to make a camera), and Thomas Anshutz (writing about the Pennsylvania Academy of the Fine Arts), also curator Hector Alliot, Captain John G. Bourke, Editor of "The Land of Sunshine," Charles F. Lumis, attorney Joseph D. Redding, George Wharton James, J.L. Wallace, and others; photographs, negatives, slides, and reproductions of works of art by Harmer, a photograph of Harmer, and photographs possibly of his studio; published biographies of Harmer and other printed material; Library of Congress copyright registrations for paintings, 1906; and periodicals, with illustrations by Harmer, including seven issues of "The Land of Sunshine," "The Magazine of California and the West," 1895-1899, the "Overland Monthly," March 1896, and "The Californian, Illustrated Magazine" September and October 1893.
Records, 1954-1985, of the Alexander Francis Harmer Trust include correspondence; conservation records; inventories; financial statements; deeds and emendations; minutes of trustees meetings; photocopies of Santa Barbara Historical Society Registration Data Sheets concerning works of art on loan from the Harmer Trust, notes and miscellany.
Biographical / Historical:
Painter; Santa Barbara, Calif. Harmer is known for his paintings and illustrations of frontier life in Southern Calif.
Provenance:
Donated 2002 by Florence Weston Harmer, daughter-in-law of Alexander Francis Harmer via her executor, Linda C. Weston .
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:
Artists -- California  Search this
Identifier:
AAA.harmalex
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98f31f980-696c-402a-a87d-6c3d6f0752fa
EDAN-URL:
ead_collection:sova-aaa-harmalex

Henry T. Cariss papers

Creator:
Cariss, Henry T., 1850-1903  Search this
Names:
Philadelphia Sketch Club  Search this
Philadelphia Society of Etchers  Search this
Anshutz, Thomas Pollock, 1851-1912  Search this
Briscoe, Franklin D.  Search this
Deigendesch, Herman F., 1858-1921  Search this
Dunk, Walter M., b. 1855  Search this
Hahs, Philip B.  Search this
James, Frederick, 1845-1907  Search this
Poore, Henry Rankin, 1859-1940  Search this
Simon, Hermann  Search this
de Kosenko, Stephan, 1865-1932  Search this
Extent:
20 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
[ca. 1876-1900]
Scope and Contents:
Cariss family genealogy; three letters to Cariss, 1880-1900, from the Gibson Stained Glass Co, the Art Institute of Chicago, and the World's Columbian Exposition; a journal of his passage by sea to Europe with members of the Philadelphia Sketch Club; a photograph of Cariss; a watercolor, "Potatoe [sic] Gatherers" and an etching by Cariss; papers concerning his research for his painting, "The Oath of Allegiance at Valley Forge"; and a scrapbook containing photographs, newspaper clippings, prints, drawings, letters, and announcements about the Philadelphia Sketch Club and Cariss' artist friends Thomas Anshutz, Franklin D. Briscoe, Stephan de Kosenko, Herman Deigendesch, Walter M. Dunk, Philip B. Hahs, Frederick James, Henry R. Poore, Hermann Simon and others.
Biographical / Historical:
Painter, etcher; Philadelphia, Pa. President of Philadelphia Sketch Club and active member of Philadelphia Society of Etchers.
Provenance:
Lent for microfilming 1992 by Bill Patterson, who received the material from the family of a friend of Henry Carriss' only son, William Hyde Carris, to whom William had willed the papers.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Artists -- Pennsylvania -- Philadelphia  Search this
Etchers -- Pennsylvania -- Philadelphia  Search this
Painters -- Pennsylvania -- Philadelphia  Search this
Function:
Arts organizations -- Pennsylvania
Identifier:
AAA.carihenr
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9aa54309e-c676-42e4-b3d1-552b09fcbafd
EDAN-URL:
ead_collection:sova-aaa-carihenr

Photographs of Anshutz and His Studio

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 2, Folder 45
Type:
Archival materials
Date:
1913, undated
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.5: Photographs of Anshutz and Works of Art
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw927243f20-35b3-4589-b230-822f195a570d
EDAN-URL:
ead_component:sova-aaa-anshthom-ref100

Group Photograph, Philadelphia Sketch Club

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 2, Folder 47
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.5: Photographs of Anshutz and Works of Art
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99fab95e6-685a-46bd-ad25-6cce4c112bea
EDAN-URL:
ead_component:sova-aaa-anshthom-ref101

Drawings of Harper's Ferry

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 2, Folder 48
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.5: Photographs of Anshutz and Works of Art
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97c2d2e6c-4aad-4a05-9a42-22421810062b
EDAN-URL:
ead_component:sova-aaa-anshthom-ref102

Correspondence

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
0.2 Linear feet (Box 1)
Type:
Archival materials
Date:
circa 1870-1911 and 1942
Scope and Contents note:
This series includes correspondence with family members, fellow artists, and other personal and professional contacts. Early letters include letters from Anshutz to family while a student at the National Academy in the 1870s, and to his brother from Europe in 1892 and 1893. Letters from Anshutz to his wife, Effie, include many letters from Philadelphia in 1893 and 1894, and from a long river excursion in New Jersey in 1897. Letters from Anshutz to Frank Cresson Schell (1900-1903, 1911 and undated), a former student, discuss his own painting, Schell's artwork and the progress of his students at the Darby School. Correspondence dating from 1905 to 1911 consists of letters from various personal and professional contacts to Anshutz or to his wife. Several letters from clients refer to payments made for portraits. Other significant correspondents include the artists Charles Francis Browne (1908), David Wilson Jordan (1908), Francis Grafly (1910), Edward W. Redfield (1910), Malcolm Stewart (1909-1910), Samuel S. Fleisher (1911), and Daniel Garber (undated).

Three envelopes without letters may have contained illustrated letters, which were loaned to the archives for microfilming but later returned to the donor. A total of eighteen illustrated letters, which are no longer in the collection, can be viewed on microfilm reel 140.
Arrangement note:
Correspondence is arranged chronologically, with undated letters placed at the end of the group. Dates written on correspondence in pencil were transcribed from envelopes, which were then discarded, by Archives staff upon accession of the collection. Other notations may have also been made at that time.
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.anshthom, Series 1
See more items in:
Thomas Anshutz papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ecc8c056-e6b2-4322-af05-8b87ccb51736
EDAN-URL:
ead_component:sova-aaa-anshthom-ref15

Glass Plate Negatives

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
18 Glass negatives
Container:
Box MGP 2
Type:
Archival materials
Negatives
Glass negatives
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 5: Photographs / 5.2: Photographs by Thomas Anshutz
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9de913784-4b16-4cb4-ac2a-4b8210a26c05
EDAN-URL:
ead_component:sova-aaa-anshthom-ref151

Correspondence

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
circa 1870-1874
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 1: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ae743d59-4454-4d87-a476-9710d8b8f693
EDAN-URL:
ead_component:sova-aaa-anshthom-ref16

Writings

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
2 Folders (Box 1)
Type:
Archival materials
Date:
1880s, 1893
Scope and Contents note:
This series contains a notebook kept by Thomas Anshutz during a trip to Europe in 1892-1893. Contents include word games and French language exercises, five pages of sketches, one list of artwork, and a recipe for Spanish White. Also found is a list of contact information on letterhead for the Ladies Decorative Art Club of Philadelphia.
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.anshthom, Series 2
See more items in:
Thomas Anshutz papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98a6ab460-f1a1-43ed-8a44-538b2b450a1d
EDAN-URL:
ead_component:sova-aaa-anshthom-ref19

Travel Notebook

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 1, Folder 20
Type:
Archival materials
Date:
1893
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 2: Writings
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93c2027bf-7401-457b-8aa2-6693890c6c27
EDAN-URL:
ead_component:sova-aaa-anshthom-ref20

Contact List

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 1, Folder 21
Type:
Archival materials
Date:
circa 1880s
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 2: Writings
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a9b8bc67-fda9-4100-a72a-1caec357655b
EDAN-URL:
ead_component:sova-aaa-anshthom-ref21

Financial Records

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
1 Folder (Box 1)
Type:
Archival materials
Date:
1884-1910
Scope and Contents note:
This series consists of receipts for personal expenses and accounting notes relating to the Darby School, listing total enrollment and tuition for the years 1899-1902.
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.anshthom, Series 3
See more items in:
Thomas Anshutz papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91746c325-8df9-4d75-96fc-ff7919753287
EDAN-URL:
ead_component:sova-aaa-anshthom-ref23

Financial Records

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Container:
Box 1, Folder 22
Type:
Archival materials
Date:
1884-1910
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
See more items in:
Thomas Anshutz papers
Thomas Anshutz papers / Series 3: Financial Records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b93abb69-9b5f-4f29-bce8-6220ce378acd
EDAN-URL:
ead_component:sova-aaa-anshthom-ref24

Printed Material

Collection Creator:
Anshutz, Thomas Pollock, 1851-1912  Search this
Extent:
2 Folders (Box 1)
Type:
Archival materials
Date:
1884-1942 and undated
Scope and Contents note:
This series consists of clippings and other printed miscellany. Clippings include obituaries for Anshutz and his brother, Edward Anshutz, art reproductions, articles, and announcements relating to Thomas Anshutz's career. Other items include a pass to an 1884 exhibition and Thomas Anshutz's calling card.
Collection Restrictions:
The collection is open for research. Use of the originals requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.anshthom, Series 4
See more items in:
Thomas Anshutz papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c3512cc5-bd10-403f-afce-41377efe1857
EDAN-URL:
ead_component:sova-aaa-anshthom-ref26

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