John Neagle, ca. 1825-1827, to the theater manager Francis Courtney Wemyss (1797-1859), Philadelphia, regarding Neagle's busy schedule, his portrait in progress of the actor William Macready (PAFA), that years' exhibition at the PAFA, his portrait of the actor Junius Brutus Booth (Museum of the City of New York), and that he cannot undertake Wemyss's portrait anywhere but in his own studio.
John Neagle, 25 September 1826, to the publisher Mathew Carey (1760-1839), Philadelphia, regarding compiling a list of names and addresses which includes the painter Thomas Sully, the engravers Gideon Fairman, Peter Maverick, James B. Longacre, and Hugh Bridport.
John Neagle, 24 January 1827, to the publisher Mathew Carey (1760-1839), Philadelphia, regarding the amicable settlement of a dispute through arbitration, and mentions Joseph Hopkinson (1770-1842), President of the Pennsylvania Academy of the Fine Arts, and the painter Thomas Sully.
John Neagle, 26 March 1827, to the publisher Mathew Carey (1760-1839), Philadelphia, regarding Neagle requests the prominent publisher, who has made a solicitation to the artist, what the cost of a church pew will be.
John Neagle, 9 June 1830, to the publisher Mathew Carey (1760-1839), Philadelphia, regarding Carey's, a prominent Irish Catholic, "Society for bettering the condition of the Roman Catholics" and Neagle's desire to become a member.
John Neagle, 22 July 1843, to Joseph H. Hedges, Philadelphia, regarding acquiring an autograph of Washington Allston, to which Neagle directs him to either of the painters Thomas Sully or Samuel Finley Breese Morse.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
This series consists of the business and personal correspondence of Edith Gregor Halpert and the Downtown Gallery. For the most part, this series is general business correspondence concerning routine activities of the Downtown Gallery, including the American Folk Art Gallery and the Daylight Gallery, both operated by the Downtown Gallery on the same premises. Included are correspondence with clients, employees, other galleries, and colleagues concerning sales, loans, purchases, appraisals, and so forth; arrangements for shipping, framing, photography, reproduction permissions, and insurance; and gallery housekeeping and improvements, ordering of supplies, and other administrative concerns.
Also included is personal correspondence of Edith Gregor Halpert. There are letters and greeting cards from nieces, nephews, and other relatives; correspondence with longtime friends, including some who were art collectors, museum curators, or museum directors; and correspondence concerning upkeep and improvement of her Newtown, Connecticut, country home and entertaining there.
See Appendix A for a list of selected correspondents from Series 1
Letters (with enclosures) are arranged chronologically, with those of the same date alphabetized by name of correspondent; undated material is arranged alphabetically, followed by unidentified correspondents and letters bearing illegible signatures.
Box numbers provided in the Container Listing are approximate.
Appendix A: List of Selected Correspondents in Series 1:
Names and titles indicated in this list are those that appear on the letters. Where appropriate, terms have been standardized and cross-referencing provided. Because filing is not always consistent, researchers are advised to check both the name of an individual and the institution that he or she represented.
Abate Associates, Inc., 1956
Abbot and Land, 1965
Abbot, B. Vincent, 1944
Abbot, Bernice, 1957
Abbot, John E., 1945, 1948
Abbot Laboratories, 1950, 1952
ABC Employment Agency, 1951
Richard Abel and Co., Inc., 1968
Abendroth, Robert W., 1966-1967
Abercrombie and Fitch Co., 1962
Abilene Museum of Fine Arts, undated, 1949, 1954
Abingdon Square Painters, 1965
Abraham and Straus, 1930, 1960, 1965-1966, 1968
Abraham, Mae C., 1965
Abrahamsen, Mrs. David, 1962
Abramowitz, M., 1958
Harry N. Abrams, Inc., 1958-1960, 1965-1966, 1968-1969
[incomplete; without signature], undated, 1953, 1961, 1967, 1968
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
The Downtown Gallery records are owned by the Archives of American Art, Smithsonian Institution. Rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws. Prior to publishing information regarding sales transactions, researchers are responsible for obtaining written permission from both artist and purchaser involved. If it cannot be established after a reasonable search whether an artist or purchaser is living, it can be assumed that the information may be published sixty years after the date of sale.
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
Funding for the processing, microfilming and digitization of the microfilm of this collection was provided by the Henry Luce Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Henson Family papers, which date from 1818 to 1943 and measure 0.18 linear feet, document the activities of Tobias Henson and his descendants. The papers are comprised of booklets, correspondence, legal documents, and receipts.
Scope and Contents:
This collection documents the activities of Tobias Henson and his descendants between 1818 and 1943. It contains materials related to the Hensons' financial and legal activities. Included in the collection are booklets, correspondence, deeds and titles, legal documents, and receipts.
The papers are organized into four series. The content of each series is arranged alphabetically. The series are arranged as follows:
Series I: Financial Records
Series II: Legal Records
Series III: Printed Materials
Series IV: Miscellaneous
The collection is arranged by series: 1) Financial Records, 2) Legal Records, 3) Printed Materials, 4) Miscellaneous.
The history of the Hensons begins with the family's patriarch, Tobias Henson. Mr. Henson was a slave in the Washington, DC area during the 18th and 19th centuries and, given his family's history, it is apparent that he was a man with an ambitious mission: to attain the American dream. He had two tasks to accomplish if he were to see his dream realized. First he had to gain freedom for himself and his family. Second he had to purchase property upon which he could build a home, and from which he could earn a living.
He took the first step in 1813 when he purchased himself from his slave master, thus gaining his freedom. Next he purchased his wife, Elizabeth. In April of 1832 Mr. Henson purchased his daughter Matlinda Smith and her three children. In May of the following year he purchased his second daughter Mary Anderson.
With these purchases, Tobias Henson became a slaveholder, with his wife and children his slaves. Ever resourceful, Mr. Henson used this to his advantage; he rented out his daughters for income and used them as collateral for loans. With the income he generated, he purchased the freedom of his other family members. In fact, he used his daughters, Matlinda and Mary, as collateral for a loan he acquired to purchase Mary's freedom.
In addition to purchasing his freedom in 1813, Tobias Henson entered into an agreement to buy land in the Anacostia section of Washington, DC. The land, named the Ridge, consisted of twenty-four acres located in the Congress Heights section of Anacostia. He made payments on the Ridge until 1826, at which time he made the final payment and became the legal owner. Initially Mr. Henson farmed the land, but as his family grew he subdivided the acreage so that the members of his family could experience their own American dream.
Over the subsequent decades members of the Henson family continued to purchase land in the area surrounding the Ridge; at one point they were one of the largest landowners in the Anacostia section of Washington, DC. The family maintained residence on various parts of the land from the time of its purchase until the middle of the 20th century. Title records filed with the District of Columbia show that, in 1931, the portion of the Ridge that Tobias Henson gave to his grandson, Richard Smith, was still in possession of his descendants. But that was the exception. Most of the Henson family's real estate was either sold or "taken" by the government under the auspices of eminent domain. Just a decade after this title was filed, the federal government made plans to take what remained of the Ridge.
The family did all they could to save the legacy of Tobias Henson. They contacted local and federal government officials in an attempt to stave off what would amount to the destruction of an important piece of black history dating from antebellum Washington, DC. When they had exhausted all of the possibilities, they made a last ditch appeal to First Lady Eleanor Roosevelt. In a 1943 letter they pleaded,
At the present there are some thirteen or fourteen families living on this land, which is still designated as the Ridge, and with only one or two exceptions, these families are the direct descendants of Tobian [sic] Henson…we do not feel that taking our homes will aid in the War Effort or in the Ideals of Democracy.
Unfortunately, their plea went unanswered; the land was taken by the government and the houses thereon where razed.
Anacostia Historical Society Records.
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Hearts and hands : the influence of women & quilts on American society / concept by Pat Ferrero ; essay by Elaine Hedges ; photographic and quilt research, selection, and captions by Julie Silber and Pat Ferrero
A Fall 1889 catalog for William Parry's Pomona Nurseries which sold fruit and vegetable root stock and seedlings - strawberries, blackberries, raspberries, grapes, currants, gooseberries, mulberries, apricots, rhubarb, asparagus, apple, peach, pear, cherry. He also sold ornamental grasses, evergreen trees, decidious shade trees, magnolias, vines, flowering shrubs and hedges. It features a color lithographic frontis piece illustrating a peach. The catalogue cover notes that Parry, who played a part in the cultivation of pear trees, grew fruits for market as well as plants for sale. See http://www.mbamericana.com/Pomona%20Nurseries.htm
Trade catalog and price lists
Black and white images
1 piece; 1 box
Type of material:
Parry, New Jersey, United States
Topic (Romaine term):
Foods and beverage products and processing equipment (including brewing; distilleries; beer; wine; etc.) Search this