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:
James Graham & Sons records, 1815, 1821, circa 1896-2011, bulk 1950s-1980s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Smithsonian Institution Collections Care Preservation Fund
The collection is open for research. Patrons must use microfilm copy.
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:
Milch Gallery records, 1911-1995. Archives of American Art, Smithsonian Institution.
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:
World House Galleries records, 1927-1991, bulk 1953-1980. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.
Files on ca. 150 American artists and art subjects, selected from Duveen's art reference files. Included are photographs of paintings in other collections, auction and exhibition catalogs, miscellaneous publications.
Files include: Francis Alexander, Washington Allston, William H. Bartlett, Ben-Zion, Thomas Birch, Joseph Blackburn, Ralph A. Blakelock, Charles F. Blauvelt, Peter Blume, Emile Branchard, Albertis D. O. Browere, John G. Brown, Jonathan Buddington, James E. Buttersworth, Carra, Dennis M. Carter, Mary Cassatt, George Catlin, Centurion, Paul Cezanne, Moura Chabor, Marc Chagall, T. Chambers, Jean Charlot, Thomas Cole, John Constable, George Cope, John S. Copley, Ralston Crawford, Jasper F. Cropsey, Arthur B. Davies, Charles Despiau, Roland Detre, Thomas R. Dibble, Enrico Donati, William Doriani, Thomas Doughty, Jessie Drew-Bear, Robert S. Duncanson, Dunlap, Asher B. Durand, George H. Durrie, Frank Duveneck, Evert Duyckinck, Thomas Eakins, Jacob Eichholtz, Louis M. Eilshemius, Charles L. Elliott, Robert Field, Emil Ganso, Pablo Gargallo, Jan Gelb, Paul Gillman, Christian Gullager, George H. Hall, Chester Harding, William M. Harnett, George Harvey, William J. Hays, George P. A. Healy, Edward L. Henry, John Hesselius, Edward Hicks, Thomas Hicks, Holland House, Charles Fevret de Saint-Memin, Winslow Homer, S. A. Hudson, Daniel Huntington, Henry Inman, George Inness, John W, Jarvis, Eastman Johnson, Henrietta Johnston, John Johnston, Hilde B. Kayn, Dikran K. Kelekian, Fitz Hugh Lane, Ernest Lawson, M. F. Lefferts, William R. Leigh, Abraham Lincoln, George B. Luks, Edward G. Malbone, Alfred H. Maurer, Louis Maurer, McKay, Alfred J. Miller, Louis C. Moeller, Samuel F. B. Morse, John Neagle, Donald Organ, Bass Otis, Walter Pach, Charles W. Peale, James Peale, Rembrandt Peale, William Penn, Enoch W. Perry, F. E. H. Philippoteaux, Charles P. Polk, T. B. Pope, Rufus Porter, William M. Prior, Walter Quirt, William T. Ranney, Reinhardt, Frederic Remington, Louisa Robins, Severin Roesen, Thomas P. Rossiter, Peter F. Rothermel, Charles M. Russell, Edward Savage, William Sawitzky, Nikol Schattenstein, Christian Schussele, D. Serres, James Sharples, Morris Shulman, John Smibert, Sergei Soudeikin, Haim Soutine, Frederick R. Spencer, Albert Stewart, Robert Street, William J. Strong, Gilbert Stuart, C. (Charles ?) Sullivan, Thomas Sully, Arthur F. Tait, G. Tirrell, John Trumbull, John Vanderlyn, Pieter Vanderlyn, William Von Schlegell, Samuel L. Waldo, Abraham Walkowitz, George Washington, Elbert Weinberg, Julian A. Weir, Thomas B. Welch, Adolph U. Wertmuller, Benjamin West, Anne Whitney, Arnold Wiltz, William E. Winner, S. Wood, and Thomas W. Wood.
The Saint-Memin, Stuart, B. West and Wertmuller files contain material from Albert Rosenthal relating to the above artists.
Arrangement:
Files are arranged alphabetically by artist and subject, rolls NDU1-NDU3; publications and other miscellany were filmed on rolls NDU4-NDU5.
Biographical / Historical:
Albert Duveen was an art dealer and collector with offices in New York, N.Y., specializing in early American art. He was a cousin to Joseph Duveen (1869-1939), 1st Baron Duveen, president of Duveen Brothers art dealers.
Provenance:
Lent for microfilming 1958 by Duveen.
Restrictions:
The Archives does not own the original papers. Microfilmed materials must be consulted on microfilm.
Correspondence; photographs; index card files; books; pages from a notebook; artwork; notes and diagrams; and printed material.
Correspondence with Jean Leon Gerome Ferris, 1927-1928, Ferris's widow, 1930-1941, and others, 1926-1945, regarding Ferris's gift to the Smithsonian Institution of his prints, paintings, miscellaneous items, and works of art by his father Stephen James Ferris. Included are photos of Mrs. Ferris, Jean Leon Gerome Ferris's studio, 1939, and his brass vessel collection; 21 letters from artist Jean Leon Gerome to Stephen James Ferris (in French, 9 with translations), 1887-1903; a letter and a postcard from Gerome to J. L. G. Ferris, 1903; notes to the Ferrises from Gerome's widow, 1904; and an invitation to Gerome's memorial service, 1904.
Pages from a notebook, circa 1940, and a sketch by Tolman; a 1929 letter from Mantle Fielding, regarding miniatures by Gilbert Stuart; and correspondence between Roma Harlan and Tolman, while Tolman was Director of the National Collection of Fine Arts.
Card files on art collections, artists, dealers, collectors, sales transactions and lost paintings; photographs, mostly 1930s, of Tolman's family, dealers, collectors, galleries, places visited, Smithsonian buildings, scenes of Washington, D.C., works of art and miscellaneous subjects; the book " The Life and Works of Edward Greene Malbone, 1777-1807" by Tolman, 1958; letters, 1910-1948 and undated; notes and diagrams about color and painting; artwork, undated and 1921-1951, including etchings, prints, watercolor sketches, many produced as Christmas cards; printed material including newspaper clippings, 1910-1952 and two exhibition catalogs, 1920 and 1924. Also included are a catalog of works, undated, by Charles Gruppe, signed by Gruppe, and the book "Early American Portrait Painters in Miniature" by Theodore Bolton, 1921, signed by Tolman. A photograph of Tolman and Bolton seated, 1950, is attached to the cover page of the book.
Biographical / Historical:
Ruel P. Tolman (1878-1954) was a museum director and printmaker in Washington, D.C. Tolman was the Director of National Collection of Fine Arts, 1946-1948.
Provenance:
Card files and some photographs donated 1979 by Thomas M. Beggs, Tolman's successor as director of NCFA. Material on reels 2677 and 3480 transferred 1981 and 1986 from the Smithsonian American Art Museum. Additional unmicrofilmed material transferred 2006 and 2015 from SAAM/NPG library.
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:
Art museum directors -- Washington (D.C.) Search this
Letters to Newnam written in response to queries regarding portraits Newnam is painting or selling. Included are letters, 1937, from Victor Morris Tyler, Morris Tyler, and Constance Rourke regarding a Henry Inman portrait of John J. Audubon which Newnam wishes to copy; from Mildred Steinbach,1952, Asst. Librarian at the Frick Art Reference Library regarding portraits by Thomas Eakins of Frank Linton and Samuel Meyers; from Hannah J. Howell, 1952-3, Librarian at the Frick Art Reference Library regarding photographs of Gilbert Stuart's portraits of Edward Penington and Mrs. Penington; from Raymond Rubicam, 1955, regarding his purchase of a portrait by William K. Hewitt of his great uncle Jonathan Rubicam; also included is a photograph of the portrait; from Howell, 1957, thanking Newnam for a photo of a painting by Gustavus Hesselius; letters and a photograph regarding a portrait of Baroness Brudenell, 1966 and 1970; and a letter from Marguerite Coolbaugh, 1978, regarding a photograph of Abraham Lincoln.
Biographical / Historical:
Art dealer and portrait painter; Philadelphia, Pennsylvania.
Provenance:
Donated 1994 by Edward A. Newnam.
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:
Portrait painters -- Pennsylvania -- Philadelphia Search this
Art dealers -- Pennsylvania -- Philadelphia Search this
54 photographs of 32 Gilbert Stuart portraits in private and public collections in Ireland accompanied by Mount's description of each portrait, including sitter, the size, the date if known, the collection in which it was found, and a critique of the work.
Biographical / Historical:
Art historian.
Provenance:
Donated 1962 by Charles Mount.
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.
1.4 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1903-1957
Scope and Contents:
Personal and research correspondence, artwork; writings; and photographs.
Correspondence consists of eight letters from McIntyre's uncle, William Macbeth, regarding business at the Macbeth Gallery, 1909; letters of condolence upon the death of Robert Macbeth, 1940; a letter to McIntyre from Francis Peabody Colburn enclosing a photograph of himself; letters from Jon Corbino and from William James, both with photographic portraits; a letter to Benhaim Newhouse from Albert Rosenthal about Henry Inman; research correspondence for MARTIN JOHNSON HEADE (1949), 1944-1950; correspondence with McIntyre's mother, wife and relatives, 1903-1930; and correspondence with E.P. Richardson concerning various donations made to the Archives of American Art. Art work includes 3 sketchbooks, ca. 1946-1957, containing pencil sketches of Vermont and other locales, and a watercolor sketch. Photographs include snapshots of McIntyre with family and friends, one photograph each of Felicia Meyer Marsh, (wife of Reginald Marsh), Maud Morgan, and Morgan's husband Patrick Morgan, all circa 1940. Writings include typescripts of articles; lectures and notes; and material on portraits by Gilbert Stuart.
Biographical / Historical:
Art dealer and art historian, New York, N.Y. President and director of the Macbeth Gallery and nephew of William Macbeth.
Provenance:
Donated incrementally between 1955-1962 by McIntyre and the McIntyre Estate.
Occupation:
Art dealers -- New York (State) -- New York Search this
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Index card files, ca. 8 feet, on bibliographies, American artists and collectors, European artists, and addresses; research files for an uncompleted Ph.D. thesis on American artist, John Gadsby Chapman, who lived 1808-1889, containing correspondence, notes, writings, and about 100 photographs and photostats of Chapman's letters and work; notes for an article on Gilbert Stuart's portraits of George Washington; clippings, a biographical sketch on Campbell, and miscellany.
ADDITION: Files on artists, arranged alphabetically, containing notes, correspondence and printed material.
Biographical / Historical:
Museum curator at the National Gallery of Art; Washington, D.C. The subject of his extensive research, John Gadsby Chapman, was a landscape, history and portrait painter, also a wood engraver and illustrator.
Provenance:
Donated 1979 by Campbell's widow, Priscilla Campbell, and in 1979 and 1990 as a transfer from the National Gallery of Art.
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.
Papers of Courtney Campbell concerning a Gilbert Stuart portrait of Thomas Jefferson, owned, authenticated, and restored by Campbell and his brother, portrait painter Orland Campbell. Includes:
correspondence, a manuscript, notes, rough sketches by Orland Campbell of the portrait, printed material, photographs of works of art.
Provenance:
Mrs. Margaret Friedman is the daughter of Courtney Campbell. She and her mother, Mrs. Courtney Campbell, jointly gave this collection.
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.
Bulliet, C. J. (Clarence Joseph), 1883-1952 Search this
Container:
Box 22, Folder 100
Type:
Archival materials
Date:
1940
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:
The C. J. Bulliet papers, circa 1888-1959. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact References Services for more information.
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:
Edgar P. Richardson papers, 1814-1996, bulk 1921-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact References Services for more information.
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:
Edgar P. Richardson papers, 1814-1996, bulk 1921-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
History of modern painting from Baudelaire to Bonnard; the birth of a new vision: the Honfleur school, Impressionism, Neo-Impressionism, Symbolism, Post-Impressionism. Introduction by Herbert Read. Historical and biographical notes [by] Jean Leymarie. Translated by Stuart Gilbert
Romanesque painting from the eleventh to the thirteenth century: Mural painting, by André Grabar. Book illumination, by Carl Nordenfalk. [Translated by Stuart Gilbert