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Nathaniel Prentice Banks

Artist:
Robert William Vonnoh, 17 Sep 1858 - 28 Dec 1933  Search this
Sitter:
Nathaniel Prentice Banks, 1816 - 1894  Search this
Medium:
Oil on canvas
Dimensions:
Stretcher: 126.4 × 80.6cm (49 3/4 × 31 3/4")
Type:
Painting
Date:
1887
Topic:
Interior  Search this
Printed Material\Newspaper  Search this
Nathaniel Prentice Banks: Male  Search this
Nathaniel Prentice Banks: Law and Law Enforcement\Lawyer  Search this
Nathaniel Prentice Banks: Politics and Government\US Congressman\Massachusetts  Search this
Nathaniel Prentice Banks: Politics and Government\Governor\Massachusetts  Search this
Nathaniel Prentice Banks: Military\Army\Officer\General  Search this
Nathaniel Prentice Banks: Politics and Government\US Congressman\Speaker of the House  Search this
Nathaniel Prentice Banks: Business and Finance\Businessperson\Executive\Railroad  Search this
Nathaniel Prentice Banks: Military\Army\Officer\Civil War\Union  Search this
Nathaniel Prentice Banks: Politics and Government\State Legislator\Massachusetts  Search this
Portrait  Search this
Credit Line:
Owner: U.S. House of Representatives
Object number:
2005.106.021
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm45b427258-8cd9-41d7-a2ea-ce7636ae5391
EDAN-URL:
edanmdm:npg_2005.106.021

Man in a Top Hat, Smoking a Cigar

Artist:
Robert William Vonnoh, 17 Sep 1858 - 28 Dec 1933  Search this
Sitter:
Unidentified Man  Search this
Medium:
Pencil and pastel on grey-surfaced paper
Dimensions:
13.1 x 9.6 cm (5 3/16 x 3 3/4" ), Estimate
Type:
Drawing
Date:
late 19th Century
Topic:
Equipment\Smoking Implements\Cigar  Search this
Costume\Headgear\Hat\Top hat  Search this
Unidentified Man: Male  Search this
Portrait  Search this
Credit Line:
Owner: National Gallery of Art
Website: www.nga.gov
Object number:
2015.19.857
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4eaec6814-1053-46ba-a787-5e90817a422e
EDAN-URL:
edanmdm:npg_2015.19.857

Cadet (Unidentified Boy)

Artist:
Robert William Vonnoh, 17 Sep 1858 - 28 Dec 1933  Search this
Sitter:
Unidentified Boy  Search this
Medium:
Pencil and white chalk with scratched-out lights on blue scratch board
Dimensions:
18.6 x 11.6 cm (7 5/16 x 4 9/16" ), Estimate
Type:
Drawing
Date:
late 19th Century
Topic:
Costume\Headgear\Hat\Cap  Search this
Home Furnishings\Furniture\Seating\Bench  Search this
Costume\Footwear\Boots  Search this
Unidentified Boy: Male  Search this
Portrait  Search this
Credit Line:
Owner: National Gallery of Art
Website: www.nga.gov
Object number:
2015.19.858
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm42bf52de4-edd5-4e58-9ea2-ce9a8259575a
EDAN-URL:
edanmdm:npg_2015.19.858

Nathaniel Prentiss Banks

Artist:
Robert William Vonnoh, 17 Sep 1858 - 28 Dec 1933  Search this
Sitter:
Nathaniel Prentice Banks, 1816 - 1894  Search this
Medium:
Oil on canvas
Dimensions:
125.6cm x 79.9cm (49 7/16" x 31 7/16"), Sight
Type:
Painting
Date:
1887
Topic:
Interior  Search this
Nathaniel Prentice Banks: Male  Search this
Nathaniel Prentice Banks: Law and Law Enforcement\Lawyer  Search this
Nathaniel Prentice Banks: Politics and Government\US Congressman\Massachusetts  Search this
Nathaniel Prentice Banks: Politics and Government\Governor\Massachusetts  Search this
Nathaniel Prentice Banks: Military\Army\Officer\General  Search this
Nathaniel Prentice Banks: Politics and Government\US Congressman\Speaker of the House  Search this
Nathaniel Prentice Banks: Business and Finance\Businessperson\Executive\Railroad  Search this
Nathaniel Prentice Banks: Military\Army\Officer\Civil War\Union  Search this
Nathaniel Prentice Banks: Politics and Government\State Legislator\Massachusetts  Search this
Portrait  Search this
Credit Line:
Owner: U.S. Capitol
Object number:
DC230020
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4da11f662-814b-487a-90f1-615a785f9fb8
EDAN-URL:
edanmdm:npg_DC230020

Vonnoh, Robert William, Photographs of Works of Art

Collection Creator:
Robert Schoelkopf Gallery  Search this
Container:
Box 19, Folder 46
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Robert Schoelkopf Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary 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.
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
EDAN-URL:
ead_component:sova-aaa-robeschg-ref666

Bessie Potter Vonnoh papers

Creator:
Vonnoh, Bessie Potter, 1872-1955  Search this
Names:
Vonnoh, Robert William, 1858-1933  Search this
Carter, Charles M., 1853-1929  Search this
French, Daniel Chester, 1850-1931  Search this
French, William M. R. (William Merchant Richardson), 1843-1914  Search this
Garland, Hamlin, 1860-1940  Search this
Hughes, Rupert, 1872-1956  Search this
Huntington, Archer M., 1870-1955  Search this
Mead, Larkin G. (Larkin Goldsmith), 1835-1910  Search this
Raffaëlli, Jean François, 1850-1924  Search this
Skinner, Cornelia Otis, 1901-  Search this
Vezin, Charles, 1858-1942  Search this
Extent:
0.8 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
circa 1860-1991
bulk 1890-1955
Summary:
The papers of sculptor Bessie Potter Vonnoh measure 0.8 linear feet and date from circa 1860 to 1991, with the bulk of material dating from 1890 to 1955. The scattered papers document the personal life and career of Bessie Potter Vonnoh, and, to a lesser degree, her husband, painter Robert William Vonnoh. Found within the papers are Vonnoh family correspondence, including letters between Bessie and Robert, and professional and personal correspondence, primarily Bessie's. The collection also contains scattered biographical materials, photographs of the Vonnohs, a photograph album, photographs of artwork, clippings, exhibition catalogs, and other printed material.
Scope and Content Note:
The papers of sculptor Bessie Potter Vonnoh measure 0.8 linear feet and date from circa 1860 to 1991, with the bulk of material dating from 1890 to 1955. The scattered papers document the personal life and career of Bessie Potter Vonnoh, and, to a lesser degree, her husband, painter Robert William Vonnoh. Found within the papers are Vonnoh family correspondence, including letters between Bessie and Robert, and primarily Bessie's professional and personal correspondence. There is one folder of correspondence of Robert William Vonnoh. Bessie's correspondents include Daniel Chester French, Hamlin Garland, Rupert Hughes, Archer Huntington, Larkin G. Mead, Jean Francois Raffaelli, Cornelia Otis Skinner, and others. Robert's correspondents include Charles M. Carter, Daniel Chester French, William M. R. French, and Charles Vezin. The collection also contains scattered biographical materials, photographs of Bessie Potter Vonnoh and Robert William Vonnoh, a photograph album, photographs of artwork, clippings, exhibition catalogs, and other printed material.
Arrangement:
The collection is arranged into 4 series:

Series 1: Biographical Material, 1922-1955 (Box 1; 5 folders)

Series 2: Correspondence, circa 1863-1985 (Box 1; 11 folders)

Series 3: Photographs, circa 1860-1950 (Box 1-2; 0.4 linear feet)

Series 4: Printed Material, 1901-1991 (Box 2; 9 folders)
Biographical Note:
Bessie Potter Vonnoh (1872-1955) was born in St. Louis, Missouri to Alexander and Mary McKenney Potter. In 1874, after the death of her father, her family moved to Chicago. Also at this time, she suffered from a series of illnesses that she did not recover from until she was ten. In school she enjoyed clay-modeling class and decided at an early age that she wanted to be a sculptor. Beginning in 1890 she studied with Lorado Taft at the Art Institute of Chicago and later became one of his assistants (known as the "White Rabbits") for the World's Columbian Exposition of 1893. She was also given her own commission for the Illinois building at the fair. After this success, Vonnoh opened her own studio in Chicago and made plaster figurines of society women, friends, and their children. She visited New York and took her first trip to Paris in 1895, visiting the studios of many eminent sculptors such as Auguste Rodin. Her work was influenced by the American Impressionist movement, depicted in one of her most famous works, Young Mother. This piece was exhibited in the National Sculpture Society exhibition of 1898 and led to several public sculpture commissions.

In 1899 Bessie Potter Vonnoh moved to New York City and married Impressionist painter, Robert William Vonnoh (1858-1933). They lived in New York and maintained a summer home in Lyme, Connecticut. During her career she received many awards for her works at international exhibitions, including two bronze medals at the Paris Exposition in 1900. Other landmark events included a solo exhibition at the Brooklyn Museum in 1913 and membership into the National Academy of Design in 1921 - the first female sculptor accepted as a permanent member. Vonnoh's work was very well received by the public, and in the 1920s she began working on a larger scale, creating large fountains, such as the Frances Hodgson Burnett Memorial Fountain in Central Park, New York, and other decorative garden figures. Robert Vonnoh died in 1933 and, in 1948, she married Dr. Edward Keyes. Bessie Potter Vonnoh died in New York City in 1955 at the age of 82.
Provenance:
The collection was donated in 1995 by Lulette Jenness Thompson, a cousin of Bessie Potter Vonnoh.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Bessie Potter Vonnoh papers are owned by the Archives of American Art, Smithsonian Institution. Literary 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.
Topic:
Artist couples  Search this
Painters -- New York (State) -- New York  Search this
Landscape painters -- New York (State) -- New York  Search this
Portrait painters -- New York (State) -- New York  Search this
Women sculptors -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Bessie Potter Vonnoh papers, circa 1860-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.vonnbess
See more items in:
Bessie Potter Vonnoh papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-vonnbess
Additional Online Media:

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 Robert Schoelkopf Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary 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.
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
EDAN-URL:
ead_component:sova-aaa-robeschg-ref13

Seven special exhibitions : from December 10, 1914, to January 3, 1915 : paintings by George Bellows, paintings by Charles Warren Eaton, paintings by Jane Peterson, paintings by Robert Vonnoh, paintings by Charles H. Woodbury, sculpture by Bessie Potter Vonnoh, etchings by Earl H. Reed

Author:
Art Institute of Chicago  Search this
Subject:
Bellows, George 1882-1925  Search this
Eaton, Charles Warren 1857-1937  Search this
Peterson, Jane 1876-1965  Search this
Vonnoh, Robert William 1858-1933  Search this
Woodbury, Charles H (Charles Herbert) 1864-1940  Search this
Vonnoh, Bessie Potter 1872-1955  Search this
Reed, Earl H (Earl Howell) 1863-1931  Search this
Physical description:
[46] p. : ill. ; 20 cm
Type:
Exhibitions
Date:
1914
1914?]
20th century
19th century
Topic:
Art, American  Search this
Call number:
N6510 .S49 1914
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_477759

The Mill, (painting)

Painter:
Vonnoh, Robert William 1858-1933  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Madron Gallery Chicago Illinois
Date:
1864
Topic:
Landscape--River  Search this
Architecture exterior--Industry--Mill  Search this
Control number:
IAP 8E100001
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_437853

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