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
Letters, writings and notes, art works, printed material and photographs.
Brief resumes, a genealogy of Van Ness' family and a citation from Beaver Country Day School for "Meritorious Service"; correspondence from family members, colleagues and friends includes 5 letters from Victor D'Amico and the Progressive Education Association regarding her participation in upcoming events; extensive notes and writings by Van Ness and others regarding art education theory and practice and a brief history of Beaver Country Day School written by Van Ness in 1981; teaching files, undated and 1932-1944, containing course outlines, exams and class assignments for courses taught at BCDS;
a notebook describing the dimensions, locations and types of various picture frames; a card file describing paintings by Van Ness; figure drawings, still lifes, contour drawings and charcoal studies done when she was a student; studies of people done in preparation for paintings, portrait sketches and 2 sketches of Van Ness done by her students; photographs of Van Ness, her family, models (for paintings), colleagues and teachers (includes a photo of Philip Hale and Edmund Tarbell, ca. 1905-1980), numerous photos of paintings by Van Ness, ca. 1910-1980, and photos of drawings by her students.
Printed materials include 2 articles by Van Ness on art education published in ART EDUCATION TODAY (1939) and HIGH SCHOOL JOURNAL (1940); exhibition catalogs, announcements, clippings and an essay by Hilla Rebay entitled "The Beauty of Non-Objectivity."
Biographical / Historical:
Painter, educator; Chesnut Hill, Mass. Founder and head of the Art Department at Beaver Country Day School in Chestnut Hill (1921-1949). She studied child and adolescent behavior as applied to art education practice. Through articles, essays and presentations she advocated a more vital and integral role for art education in overall curriculum strategy.
Provenance:
Donated 1983 by Van Ness's daughters Mary Crocker and Silvia Martin.
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.
Topic:
Art -- Study and teaching -- United States Search this
Biographical documents; correspondence; diaries; writings; photographs; and printed material. Included are letters to and from Lilla Cabot Perry, and selected letters to and from her husband Thomas Sergeant Perry and daughter Margaret Perry from family members, artists, writers, poets and friends. Correspondents include: Bernard Berenson, Henry James, James Russell Lowell, Claude Monet, Edwin Arlington Robinson, and Edmund Charles Tarbell. Also included are French identification cards for Lilla Cabot Perry and her husband, 1897; diaries of Lilla Cabot Perry, 1874?/1875, 1886, and of Thomas Perry, 1887-1894; guest book of Thomas and Margaret Perry; poems, and "Reminiscences of Claude Monet" by Lilla Cabot Perry; typed commentary by Edwin Arlington Robinson for the jacket of Perry's THE JAR OF DREAMS, with notes by her; "Reminiscences of Edwin Arlington Robinson" by Margaret Perry; inscribed photographs of Henry James and James Russell Lowell, and a signed photograph of Claude Monet; an obituary of Perry; and a Memorial Exhibition catalog.
Biographical / Historical:
Impressionist painter and author; Boston, Mass., Giverny, France, and Hancock, N.H.; b. 1848; d. 1933. Thomas Sergeant Perry, author, educator; Boston, Mass., Giverny, France, and Hancock, N.H. Lilla Cabot Perry studied painting at Cowles Art School in Boston with Dennis Miller Bunker and Robert Vonnoh, and in Paris at the Julian and Colarossi academies, and at Alfred Stevens' studio. She had a house in Giverny, France and introduced numerous American artists, who came to Giverny to paint, to her neighbor, Claude Monet. She wrote several books of poetry including FROM THE GARDEN OF HELLAS, THE HEART OF THE WEED and THE JAR OF DREAMS. In 1874, she married Thomas Sergeant Perry, a tutor in French and German at Harvard University and later an instructor in English. He was also the author of several books. The Perrys had three daughters, Margaret, Alice, and Edith. Alice married Joseph Clark Grew, a diplomat who was United States ambassador to Turkey and Japan, and undersecretary of state.
Provenance:
Lent for microfilming 1992 by Colby College Library, Special Collections.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
3.6 Linear feet ((ca. 900 items on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1887-1977
Scope and Contents:
Correspondence, including a letter received from Edmund Tarbell; diaries; photographs of Pearson, her family, and her art work; 87 sketches and drawings; prints by Stanley Woodward and Daniel Brewster; a 1908 record of art sales; student notebooks and lecture notes; critiques of her work; scrapbooks; and printed material.
Biographical / Historical:
Painter; Rockport, Mass.
Provenance:
Lent for microfilming 1982 by the Rockport Art Association.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
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:
Sidney C. Woodward papers, 1823-1963, bulk 1915-1932. Archives of American Art, Smithsonian Institution.
Letters received mostly from her friends, artists Edmund Tarbell and Bela Lyon Pratt of Boston, for whom she worked as a model during 1907-1908. Also included are a few clippings and a photograph of a Tarbell painting ("Girl Reading") for which West modelled.
Biographical / Historical:
Artists' model.
Provenance:
Donated 1971 by Larry Curry, a Los Angeles art historian who collected the material from West.
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:
Artists' models -- Massachusetts -- Boston Search this
Artists' models -- Massachusetts -- Boston Search this
The papers of Boston painter Edmund Charles Tarbell measure 7 linear feet and date from circa 1855-circa 2000, bulk 1885-1938. The collection includes biographical material, correspondence, writings, diaries, personal business records, printed material, photographs, albums, glass plate negatives, and a scrapbook.
Scope and Contents:
The papers of Boston painter Edmund Charles Tarbell measure 7 linear feet and date from circa 1855-circa 2000, bulk 1885-1938. The collection includes biographical material, correspondence, writings, diaries, personal business records, printed material, photographs, albums, glass plate negatives, and a scrapbook.
Biographical material includes a detailed timeline, honorary degree, award certificates, business cards, lists of awards and paintings, sketches, handbooks for organizations, and other documents.
There are three subseries of correspondence: Edmund Charles Tarbell's correspondence, his wife Emeline Tarbell's correspondence, and his daughter Josephine Tarbell Ferrell's correspondence. The first subseries includes Edmund Tarbell's correspondence with artists, museums and arts organizations. Notable correspondents include Frank W. Benson, William Merritt Chase, Henry Clay Frick, Philip Leslie Hale, August F. Jaccaci, Lilla Cabot Perry, and many others. The letters to his brother-in-law Augustus "Gus" Nickerson and sister Nellie Sophia are also significant for their information about his time studying abroad. The bulk of Emeline Tarbell's correspondence consists of letters from her husband regarding his time as a student in Paris. There are letters from her mother and siblings as well. Josephine Tarbell Ferrell's correspondence with people concerns her efforts to preserve the Tarbell house in New Hampshire as a memorial to her father.
Writings include a small amount of material by Edmund C. Tarbell, such as annotated appointment calendars, a notebook, assorted lists and notes, but most of the material in the series consists of other people's writings about the artist. Writing by others include drafts of a biography about Tarbell by his daughter Josephine Tarbell Ferrell and a typescript draft of "About the Artist Edmund C. Tarbell: Recollections of a Daughter" by Mercie Tarbell Clay. There is also a cookbook that was probably Emeline Souther's, before her marriage to Tarbell.
There are four diaries: two diaries by Emeline Tarbell, one diary by Josephine Tarbell Ferrell and another by Mercie Tarbell Clay.
Personal business records consist of account books, bills, receipts, checkbooks, estate papers, a ledger, and a deed. Some of the material belonged to Emeline Tarbell.
Printed material includes exhibition catalogs, announcements, event invitations, magazines, books, and newspaper clippings, mostly about Edmund Charles Tarbell.
There is one scrapbook of clippings of artwork and articles on Tarbell.
Photographic material consists of albums, photographs, glass plate negatives, and nitrate negatives of Edmund Charles Tarbell, his studio, family, friends, exhibition installations, and artwork. There are extensive photographs of the Tarbell family and the house in New Castle, New Hampshire.
Arrangement:
This collection is arranged as 8 series.
Missing Title
Series 1: Biographical Material, 1862-circa 1980, bulk 1884-1938 (0.4 linear feet; Boxes 1, 8, 18, OV 9)
Series 2: Correspondence, 1877-circa 1993, bulk 1883-1930 (1.1 linear feet; Boxes 1-2)
Series 3: Writings, circa 1880-circa 2000 (0.2 linear feet; Box 2)
Series 4: Diaries, 1887-1938 (0.3 linear feet; Box 2)
Series 5: Personal Business Records, 1889-circa 1951 (0.3 linear feet; Boxes 2-3)
Series 6: Printed Material, 1877-1979 (1.7 linear feet; Boxes 3-4, 8, OV 10-15)
Series 7: Scrapbook, circa 1902-circa 1916 (0.2 linear feet; Box 8)
Series 8: Photographic Material, circa 1845-circa 1990 (2.7 linear feet; Boxes 4-8, 16-17, MGP 1, MGP 5)
Biographical / Historical:
Edmund Charles Tarbell (1862-1938) was a painter and educator based in Boston, Massachusetts and New Hampshire.
Edmund Charles Tarbell was born in West Groton, Massachusetts. His parents were Mary Sophia and Edmund Whitney Tarbell. His father died from typhoid fever during the Civil War. After his father's death and his mother's remarriage, Tarbell and his sister Nellie Sophia are raised by his paternal grandparents. Tarbell studied at the School of the Museum of Fine Arts, Boston (the Museum School), where he studied under the painter Otto Grundmann, and the Académie Julian in Paris, France, where he studied under Gustave-Rodolphe Boulanger and Jules-Joseph Lefebvre. Tarbell was in Europe from 1884 to 1886. In addition to his time at the Académie in Paris, he studied the Old Master paintings and Impressionism. He also traveled to London, Brussels, Frankfurt, Venice, and Munich, among other places.
After returning from Europe, Tarbell settled in Dorchester, Massachusetts and worked as a painter and illustrator. Tarbell married Emeline Souther in 1888. They had four children together and his family members were often the models for his paintings. Tarbell bought a summer house in New Castle, New Hampshire in 1905, where he and his wife would eventually retire.
Tarbell taught at the Museum School in Boston from 1889-1913 and later became the head of the Corcoran School of Art from 1918 to 1926. Tarbell and his close friend Frank W. Benson were both members of the Ten American Painters, a group of American Impressionist painters who held exhibitions together. He was considered the leader of the Boston Impressionists and had tremendous influence on his students, who were referred to as "Tarbellites." Tarbell was also the president of The Guild of Boston Artists from 1914 to 1924.
Tarbell exhibited frequently and his paintings are often in the American Impressionist style. While his wife and children were often the subject of his paintings, he also made numerous portraits of men of prestige, such as noted industrialists and presidents. He won numerous awards and received an honorary doctorate for painting from Dartmouth College. Tarbell was a juror in several important international exhibitions and world fairs such as the Louisiana Purchase Exposition (1904) and the Panama–Pacific International Exposition (1915). Furthermore, Tarbell was a member of various arts organizations such as the Tavern Club, the Players Club, and the National Academy of Design.
Tarbell died in New Castle, New Hampshire in 1938.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel N68-103) including circa 75 unidentified and undated photographs, mostly of Tarbell's work and exhibitions, six exhibition catalogs in which his work appears, clippings, a sketch by Tarbell dated 1883, and a letter from Edward Redfield to "Mary." Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Mrs. John Schaffer (Mary Tarbell), daughter of Edmund Tarbell, lent material for microfilming in 1968. Tarbell's granddaughter, Mary Josephine Ferrell Cannon donated papers in 1989 and William P. Tarbell, Tarbell's great-grandson, donated several additions to the papers in 2017 and 2018.
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.
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.
Citation:
Edmund Charles Tarbell papers, circa 1855-circa 2000, bulk 1885-1938. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.
Trowbridge, Alexander Buell, 1868-1950 Search this
Extent:
2.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Prints
Sketches
Sketchbooks
Place:
Mexico -- description and travel
Date:
circa 1878-1982
Summary:
The papers of painter and frame maker Hermann Dudley Murphy measure 2.8 linear feet and date from circa 1878-1982. Found are biographical materials, correspondence, writings, personal business records, printed materials, a scrapbook, photographs, and original artworks, including sketchbooks.
Scope and Contents:
The papers of painter and frame maker Hermann Dudley Murphy measure 2.8 linear feet and date from circa 1878-1982. Found are biographical materials, correspondence, writings, personal business records, printed materials, a scrapbook, photographs, and original artworks, including sketchbooks.
The bulk of the papers focus on the later part of Herman Dudley Murphy's career. Specifically, correspondence focuses on the sale of still-life paintings and sketches and sketchbooks are mostly from Murphy's travels through Europe and Mexico from the 1920s to the 1930s. Correspondents include Mary Ogden Abbott, Edwin S. Barrie, Maurice Prendergast, Chauncey Ryder, Theodore Sizer, Edmund Tarbell, Alexander Trowbridge, and Vose Gallery among others. Personal business records comment on the sale of works of art from 1897 until 1944. Printed materials include clippings and exhibition catalogs spanning Murphy's career. One scrapbook contains photos and printed materials. Photographs and snapshots are of Hermann Dudley Murphey and family, family travels, and works of art and frames. Artwork consists of loose sketches, prints, and sketchbooks.
Arrangement:
This collection is arranged as 8 series.
Missing Title
Series 1: Biographical Materials, 1887-circa 1940 (Box 1; 7 folders)
Series 2: Correspondence, circa 1890-1962 (Box 1; 0.3 linear feet)
Series 3: Writings and Notes, circa 1900-1942 (Box 1; 7 folders)
Series 4: Personal Business and Financial Records, 1897-1944 (Box 1; 0.2 linear feet)
Series 5: Printed Material, 1889-1982 (Box 1-2; 0.9 linear feet)
Series 6: Scrapbook, circa 1910 (Box 2; 1 folder)
Series 7: Photographs, circa 1878-circa 1950 (Box 2; 0.2 linear feet)
Series 8: Artwork, 1892-circa 1940 (Box 2-4; 0.8 linear feet)
Biographical / Historical:
Hermann Dudley Murphy (1867-1945) was a painter and frame maker active in Boston, Massachusetts.
Hermann Dudley Murphy was born in Massachusetts in 1867. He studied art under Edmund Tarbell at the Boston Museum School and later in Paris at the Académie Julian. His early career focused on portraiture and landscape painting. While in Paris, Murphy learned to make frames for artworks. After exhibiting at the 1913 Armory Show, Murphy rejected Modernism and painted still-life. He was known for his Tonalist style and his floral still-life paintings which included objects d'art such as Chinese ceramics, bronze statues, and textiles. Additionally, Murphy taught art classes at the Harvard School of Architecture and the Worcester Art Museum School.
Murphy married Caroline Bowles Murphy with whom he had two children, Carlene and Dudley Murphy. After Caroline died, he married artist Nellie Littlehale. With Nellie, he shared an interest in deck-seat canoeing. Murphy died in 1945.
Provenance:
The collection was donated in 1985 by Alexander B. and Dudley D. B. Samoiloff, grandsons of Hermann Dudley Murphy.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of Boston painter, teacher, critic, and writer Philip Leslie Hale measure 7.4 linear feet and date from 1818 to 1962, with the bulk of the material dating from 1877 to 1939. Biographical information; correspondence with family, friends, and colleagues, including many artists; sketches and 9 sketchbooks; writings; printed material; and photographs document the artist's career and personal life. The collection also includes research materials and catalogs compiled by Albert J. Kennedy for a never-published Philip Leslie Hale memorial volume.
Scope and Contents note:
The papers of Boston painter, teacher, critic, and writer Philip Leslie Hale measure 7.4 linear feet and date from 1818 to 1962, with the bulk of the material dating from 1877 to 1939. Biographical information; correspondence with family, friends, and colleagues, including many artists; sketches and 9 sketchbooks; writings; printed material; and photographs document the artist's career and personal life. The collection also includes research materials and catalogs compiled by Albert J. Kennedy for a never-published Philip Leslie Hale memorial volume.
Biographical materials include financial and legal records; personal documents, such as educational records and biographical notes; printed material; and notes concerning art classes and teaching. Also included are scattered letters, invitations, schoolwork, and notebooks from his youth. Ten notebooks contain sketches, along with some class notes and essays.
Family, general, and business correspondence document the personal and professional life of Philip Leslie Hale and, to a lesser extent, several of his relatives. Family correspondence includes Hale's exchanges with various relatives, and some of their correspondence with others. General correspondence with friends, colleagues, and other artists is both personal and professional in nature. Correspondents include Theodore Butler, Kenyon Cox, Nancy Hale, William H. Hart, and Edmund C. Tarbell. Business correspondence concerns many aspects of Hale's career. Correspondents include students, arts institutions, models, and publishers.
Writings by Philip L. Hale consist of lectures on anatomy, art history, and various art topics; miscellaneous articles; notes on artists, esthetics and philosophy either for classroom use or his writings; character sketches, a play, poems, and political writings.
Artwork consists of 9 sketchbooks and loose sketches in pencil and ink of heads, figures, anatomical studies, landscapes, and miscellaneous subjects. A much smaller number of pastels, prints, and oil sketches are included. This series also includes a few items by other artists.
Research files and catalogs, compiled from 1932 to 1939 by Hale's friend Albert J. Kennedy for a never-published memorial volume, include extensive correspondence and notes of interviews with friends, relatives, colleagues, former students, and models recording their reminiscences of Hale. Kennedy collected exhibition catalogs and a variety of other printed material, along with biographical and genealogical information, and photographs of Hale's work. Many of his research notes consist of handwritten transcriptions of published articles by and about Hale.
Printed material about Philip L. Hale includes articles, reviews, and miscellaneous newspaper clippings mentioning him or containing reproductions of his work. Printed items by Hale consist of art reviews, miscellaneous articles on art topics, copies of his columns that appeared in Arcadia: A Journal Devoted to Music, Art and Literature, and the text of a speech.
The majority of photographs record works of art, mainly by Philip L. Hale, and also by Lilian Westcott Hale, Robert Payne, and Edmund C. Tarbell. Personal photographs include images of Hale, his relatives, and friends. There are also several group portraits of the 1915 Panama-Pacific Exhibition Jury, a group portrait with students, views of Hale at work in his studio and in the classroom, pictures of a summer house, and landscapes.
Arrangement note:
The collecion is arranged as 7 series:
Missing Title
Series 1: Biographical Materials, 1875-1939 (0.4 linear feet; Box 1)
Series 2: Correspondence, 1818-1944 (2 linear feet; Boxes 1-3)
Series 3: Writings, circa 1910-1930 (0.8 linear feet; Boxes 3-4)
Series 4: Artwork, circa 1870-1930 (0.4 linear feet; Box 4)
Series 5: Memorial Book, circa 1862-1962 (2.8 linear feet; Boxes 4-8, OV 9)
Series 6: Printed Material, 1883-1951 (8 folders; Box 7)
Series 7: Photographic Material, 1868-1931 (12 folders; Box 7)
Biographical/Historical note:
Philip Leslie Hale (1865-1931) was the son of prominent Unitarian minister and well-known author, Edward Everett Hale. Members of this distinguished old Boston family included such ancestors as Revolutionary War hero Nathan Hale, influential preacher Lyman Beecher, educator Catherine Beecher, and Harriet Beecher Stowe, author of Uncle Tom's Cabin. From a young age Philip's talent and interest in drawing was encouraged by his parents, especially his mother. An older artist sister, Ellen Day Hale (1855-1940) and an aunt, Susan Hale (1834-1910), a trained painter, provided Philip with his first art lessons.
Family tradition and expectations decreed that after completing studies at the Boston Latin School and Roxbury Latin School, Hale would attend Harvard. After passing Harvard's entrance examination, as required by his father, Philip was free to pursue art. He enrolled in the School of the Museum of Fine Arts, Boston, in the fall of 1883, where he was an early pupil of Edmund C. Tarbell. The following year he continued his studies in New York at the Art Students League under J. Alden Weir and Kenyon Cox.
In early 1887, Hale went to Paris, adopted a bohemian lifestyle, and studied at the Ecole des Beaux-Arts and the Académie Julian. He became friends with fellow students Theodore Butler and William Howard ("Peggy") Hart. In the summer of 1888, the three made their first trip to Giverny, where they were among the first Americans to experiment with Impressionism. They met other American artists, including Theodore Robinson, John Leslie Breck, and Theodore Wendel, who also had been drawn to Giverny by the presence of Claude Monet. Hale returned to Boston in the summer of 1890, but was soon drawn back to Paris to be with his sweetheart Katharine Kinsella. He spent the summers of 1891-1893 continuing his experiment with Impressionism in Giverny, and during that period traveled to London, Paris, and Spain, periodically returning home and to the family's Rhode Island summer place.
In 1893 Hale began teaching cast drawing at the School of the Museum of Fine Arts, Boston, where he remained on the faculty until his death in 1931. Eventually he became the chief instructor of drawing, and also offered courses in life drawing, artistic anatomy, and art history. Hale also taught at the Worcester Art Museum (1898-1910), the Pennsylvania Academy of the Fine Arts (1913-1928), and Boston University (1926-1928).
Hale's first solo exhibition, held in 1899 at Durand-Ruel Galleries in New York City, consisted of Impressionist paintings and pastels that received mixed reviews. In subsequent years his work became increasingly academic and focused on figure paintings and portraits. He exhibited frequently in national and international shows, won numerous medals and prizes, and was elected an Associate National Academician of the National Academy of Design in 1917.
In 1902, Hale married former student, Lilian Westcott, a painter and portraitist whose success during some periods eclipsed that of her husband.
Philip Leslie Hale, like many of his relatives, was a noted writer and speaker. His column "Art in Paris" appeared regularly in the Canadian-based periodical Arcadia: A Journal Devoted to Music, Art and Literature between 1892 and 1893 and discussed Impressionism, Post-Impressionism, and Symbolism. Hale regularly contributed art columns, reviews, and miscellaneous articles to the Boston Daily Advertiser, Boston Commonwealth, Boston Herald, and Boston Evening Transcript during the first decade of the twentieth century.
Hale's teaching stressed the importance of learning Old Master's techniques. He had a life-long interest in Vermeer, and as a writer and critic he generated quite a bit of enthusiasm for that artist among the figurative painters of the Boston School, his own students, and others. Jan Vermeer of Delft, a highly regarded monograph by Philip Leslie Hale - the first on the subject published in the United States - appeared in 1913. He wrote several other books on art subjects, and his services as a lecturer on art topics were sought after by a variety of organizations both locally and nationally.
Philip Leslie Hale died following emergency surgery in Dedham, Massachusetts, on February 2, 1931.
Related Archival Materials note:
The Archives of American Art also holds a separately cataloged collection of Philip Leslie Hale drawings on microfilm reel 3766 and two collections related to the Hale family, including the Ellen Hale and Hale family papers and the Edward Everett Hale letter to an unidentified person.
Provenance:
The Philip Leslie Hale papers were donated to the Archives of American Art in 1962 by the artist's daughter, Nancy Hale Bowers. Additionally, notes written by Mrs. Nathan Hale were donated by Lilian Westcott Hale in 1963.
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.
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.
Occupation:
Art teachers -- Massachusetts -- Boston Search this
Art critics -- Massachusetts -- Boston Search this
A chronology and biography prepared by Barker's daughter, Eleanor Barker McCargar, entitled "Biographical Sketch of My Mother"; correspondence, 1890-ca. 1985, including letters from Lucy to her family, some written during her travels abroad, and other family correspondence, letters to Lucy from friends and teachers, among them Philip Hale and Edmund Tarbell; letters to Eleanor regarding her mother; and other miscellaneous correspondence; sketchbooks; color photographs of Barker's paintings; biographical materials; clippings; a photocopy of a catalog for the Portland Society of Art's 1936 annual exhibition,1936; and a video, Lucy Hayward Barker, 1892-1948 : American Impressionist Portrait Painter, by appraiser James B. Byrnes.
Biographical / Historical:
Painter; Maine. An American Impressionist portrait painter, Barker studied with Edmund Tarbell, Philip Hale and Frank Benson at the Museum of Fine Arts, Boston School. From 1898 to until her marriage to Roy Barker in 1906 she had a studio in Boston. After marriage and motherhood, she resumed her career in 1929 in Presque Isle, Maine.
Provenance:
Donated by Eleanor Barker McCargar, Barker's daughter, 1993-1994. Additions are expected.
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.
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.
The papers of marine painter, illustrator, writer and art instructor Stanley Woodward date from 1875-1970, bulk 1905-1970, and measure 6.6 linear feet. Found within the papers are biographical materials, family and personal correspondence, seventeen diaries, notes, notebooks and other writings, business records, a scrapbook and printed material including exhibition announcements and catalogs; and photographs of Woodward, members of his family, friends, his studio, and artwork. Files containing letters, clippings, and photographs concern actresses including Janis Carter, Linda Darnell, Bette Davis, and Eleanor Powell. Writings include drafts of Woodward's book Adventure in Marine Painting.
Scope and Content Note:
The papers of marine painter, illustrator, writer and art instructor Stanley Woodward date from 1875-1970, bulk 1905-1970, and measure 6.6 linear feet. Found within the papers are biographical materials, artworks, family and personal correspondence, seventeen diaries, notes, notebooks and other writings, business records, a scrapbook and printed material including exhibition announcements and catalogs; and photographs of Woodward, members of his family, friends, and his studio. Files containing letters, clippings, and photographs concern actresses including Janis Carter, Linda Darnell, Bette Davis, and Eleanor Powell. Writings include drafts of Woodward's book Adventure in Marine Painting.
Biographical material includes miscellaneous accounts of Woodward's life, cards and certificates of membership in various organizations including the Massachusetts Society of the Sons of the American Revolution, the Salmagundi Club, and the Academic Artist Association, military records of his service in both World Wars, and scattered artwork. A file concerning Woodward's portrait of Abraham Lincoln contains letters primarily discussing a reproduction of the portrait in The Boston Globe and the painting's eventual sale, in addition to notes, clippings, an ink drawing, and a photographic negative of the drawing.
Correspondence is between various family members, but also includes letters to Woodward from colleagues including Harrison Cady, Eleanor Parke Custis, Ralph Fabri, Chauncey F. Ryder, and Howard E. Smith. There are also scattered letters from other artists including Gifford Beal, Mary Butler, Gordon Grant, Norman Kent, Hobart Nichols, Thornton Oakley, Edmund Tarbell, and Anthony Thieme. Correspondence primarily concern his painting career, and includes lists of art work and financial material.
Artwork consists of a sketchbook and three sketches.
Files concerning actresses reflect Woodward's life-long friendship with former teenaged neighbor Bette Davis, who later introduced Woodward and his art work to her show business friends. The files contain letters, clippings, and photographs of actresses Janis Carter, Linda Darnell, Bette Davis, Laraine Day, Madaline Lee, Ida Lupino, Eleanor Powell, and Alexis Smith.
Seventeen diaries contain relatively detailed daily entries describing Woodward's art-related activities, experiences during World War II, and various travels, including a trip to Los Angeles to be a house guest of Bette Davis and visit her on the set of the motion picture Elizabeth and Essex. The 1905 diary contains photographs of Woodward's school friends.
Notes, notebooks, and writings include lists of art works, exhibition guest books, and miscellaneous writings by Woodward including drafts of his book Adventure in Marine Painting.
Business records include an auction catalog, account books for the sale of Woodward's book and art work, and miscellaneous receipts. Records of art classes taught by Woodward include lists of participants, accounts of fees paid, and printed advertisements.
A scrapbook containing clippings and exhibition announcements and catalogs illustrates Woodward's early interests and art-related activities.
Additional printed material consists of clippings, copies of the U. S. Air Corps Magazine The Rip Chord for which Woodward did the cover illustrations, prospectuses with annotations of titles and prices of art work, exhibition announcements and catalogs, reproductions of art work, a booklet, and brochures for books and for art schools. Miscellaneous printed material includes reproductions of a photograph of Woodward's father, Frank E. Woodward, and a program for an event honoring Dr. T. Tertius Noble.
Photographs are of Woodward, family members, friends connected with the U. S. Army Air Force including Jack Dempsey, Woodward's studio, and art work. Three albums contain photographs of art classes and Woodward painting outdoors at various locations including Laguna Beach and Palm Springs, California, St. Augustine, Florida, and Rockport, Massachusetts. A third album also contains photographs of notable friends including Janis Carter, Jeanne Craine, Bette Davis, Rita Hayworth, and Gary Merrill.
Arrangement:
The collection is arranged into 10 series. Each series is arranged chronologically.
Missing Title
Series 1: Biographical Material, 1918-1968 (Boxes 1, 8; 15 folders)
Series 2: Artwork, circa 1920s (Boxes 1; 2 folders)
Series 3: Correspondence, 1910-1969 (Boxes 1-3; 2.9 linear feet)
Series 4: Files Concerning Actresses, 1931-1970 (Boxes 4, 8; 0.75 linear feet)
Series 5: Diaries, 1905-1969 (Boxes 4-5; 10 folders)
Series 6: Notes, Notebooks, and Writings, 1915-1969 (Boxes 5, 8; 21 folders)
Series 7: Business Records, 1924-1969 (Boxes 5-6; 15 folders)
Series 8: Scrapbook, 1875-1919 (Box 6; 1 folder)
Series 9: Printed Material, 1916-1970 (Boxes 6-7; 0.75 linear feet)
Series 10: Photographs, 1920-1969 (Boxes 7-8, OV 9; 11 folders)
Biographical Note:
Stanley Wingate Woodward was born on December 11, 1890, in Malden, Massachusetts, son of Alice E. (Colesworthy) and Frank E. Woodward. He was one of eight children and a twin of Sidney, who later became an art dealer and critic.
In 1909, Woodward graduated from Malden High School and the family moved to Wellesley Hills. He studied at the Eric Pape School of Art, the School of the Boston Museum of Fine Arts, and the Pennsylvania Academy of the Fine Arts. He left school to serve in France as a Corporal in the Field Artillery 28th Division during World War I. After the war, he settled in Ogunquit, Maine, and became a free lance illustrator for Collier's and the Christian Science Monitor, where his brother Sidney was art editor.
In 1925, he held his first solo show of marine oils at Casson Galleries, Boston, where his twin brother Sidney was manager. He was encouraged to continue painting the ocean after the entire exhibition sold out.
Woodward married Ruth Brainerd in 1926 and they settled in Newton, Massachusetts, where they were neighbors to a young Bette Davis, who had recently graduated from high school. Woodward maintained contact with the actress for the rest of his life, and through Ms. Davis, he befriended other show business personalities.
During the 1930s, Woodward taught painting at the Woodward Outdoor Painting School of Rockport, Massachusetts, at the University of North Carolina at Chapel Hill, at the Ringling School of Art in Sarasota, Florida, and at the Laguna Beach School in California. In 1937, he established his residence and studio in Rockport, Massachusetts.
Woodward served as an Air Corps captain and director of camouflage training at McChord Field in Tacoma, Washington, during World War II. In 1947, he published a book on painting techniques entitled Adventure in Marine Painting. He was also the author of Marine Paintings in Oil and Water Color.
Woodward was a member of the Chicago Society of Etchers, the Concord Art Association, the Print Makers Society of California, the Boston Society of Water Color Painters, Allied Artists of America, the Guild of Boston Artists, the North Shore Art Association, the American Water Color Society, the Grand Central Galleries Association, and the Rockport Art Association. His work is in the collections of the Boston Museum of Fine Arts, Bowdoin College, Amherst College, Lehigh University, and the Prudential Life Insurance Collection.
Stanley Wingate Woodward died on March 21, 1970 in Gloucester, Massachusetts.
Provenance:
The Stanley Woodward papers were donated in two installments in 1973 by Stanley Woodward's daughter, Patricia Woodward Smith.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference 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:
Edmund Charles Tarbell papers, circa 1855-circa 2000, bulk 1885-1938. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.
