Archives Directory for the History of Collecting in America
Archives related to: Avery, Samuel Putnam, 1822-1904
|title||Samuel Putnam Avery papers, 1857-1902.||repository||Archives of American Art|
|collection title||Correspondence, including letters, calling cards and sketches from American and European artists, among them Albert F. Bellows, Eugene Benson, Edwin H. Blashfield, Rosa Bonheur, Adolph W. Bouguereau, Samuel Colman, Clarence Cook, Jasper F. Cropsey, F. O. C.Darley, Charles F. Daubigny, John Du rand, Sanford R. Gifford, E. D. E. Greene, Augustus Hoppin, Victor Hugo, John La Farge, Jules Lefebvre, Jervis McEntee, Charles H. Moore, William S. Mount, Thomas A. Richards, Launt Thompson, Henry T. Tuckerman, and James McNeill Whistler; five diaries, 1871-1882, detailing annual buying trips to Europe; catalogs, clippings, and miscellaneous publications pertaining to the Avery Art Gallery.|
|extent||800 items (on 3 microfilm reels). reels NMM26, NMM26a, NMM27|
|formats||Catalogs Diaries Sketchbooks Correspondence Microfilm|
|access||Patrons must use microfilm copy.|
|title||Weitzel letter collection, 1863-1931.||repository||Archives of American Art|
|collection title||A letter to Robert W. de Forest of New York City from Elinor L. P. Lyon of Norwalk, Conn., stating her interest in the "Eagle picture" and making an offer to buy it (reel 2803); and two letters to James Reid Lambdin from Samuel Putnam Avery, discussing paintings, frames, dealers, etc. (reel 3091). |
|extent||3 items (on 2 partial microfilm reels) reels 2803 and 3091|
|access||Patrons must use microfilm copy.|
|acquisition information||These letters were originally catalogued under the names of their recipients.|
|title||Samuel Putnam Avery Diaries, 1871-1882||repository||The Metropolitan Museum of Art|
|collection title||Diaries, 1871-1882, document Avery's annual art-buying trips to Europe. They indicate purchases, commissions, sales and exchanges, including prices. Travel routes, ships, railroads, hotels and restaurants are noted, as are sights seen, chiefly art exhibitions, museums and art galleries. |
A running record of accounts is kept in the back of each volume, written back to front with the notebook held upside down. Among the contemporary artists, dealers, agents and collectors with whom Avery had contact are: William Agnew, W.A. Bouguereau, Colnaghi, R.W. De Forest, Durand-Ruel, Duveen Bros., J.L. Gérôme, Goupil & Co., J.T. Johnston, J.L.E. Meissonier, A.F.E. Menzel, J.P. Morgan, W.T. Richards, L.C. Tiffany, W.H. Vanderbilt, W.T. Walters, and J.A.M. Whistler.
Volumes cover years: 1. 1871-1872. 2. 1873-1874. 3. 1875-1876. 4. 1877-1879. 5. 1880-1882; Chronological arrangement.
Location and Call numbers
Watson Library Bookcage 201.9Av3 Av3 v.1 = 1871-1872
Watson Library Bookcage 201.9Av3 Av3 v.2 = 1873-1874
Watson Library Bookcage 201.9Av3 Av3 v.3 = 1875-1876
Watson Library Bookcage 201.9Av3 Av3 v.4 = 1877-1879
Watson Library Bookcage 201.9Av3 Av3 v.5 = 1880-1882
|extent||5 v. : bound in leather ; 18 cm|
|access||Contact repository for restrictions|
|acquisition information||Part Of Samuel Putnam Avery, 1822-1904, Papers, [ca. 1850]-1905|
|title||Samuel Putnam Avery Papers, [ca. 1850]-1905||repository||The Metropolitan Museum of Art|
|collection title||Collection includes Avery's diary referring to his travels in Europe, 1871-1882; a scrapbook of samples of his work; and autographs and sketches sent to Avery from such American and European artist friends as Edouard Detaille, Henri Lefort, W.J. Linton, W.H. Vanderbilt, J.G. Vibert, and J.A.M. Whistler. Catalogs and notes of Avery's works and art collections; editorials and resolutions in memory of Avery, 1905; and letters written to Avery's wife upon his death. Copies of children's books containing his illustrations and printed proof sheets of etchings designed by Avery.|
Some correspondence is in French
Location and Call Numbers
Watson Library Reference Z42.3A7 M48 v.4 LIB USE ONLY ---
Watson Library Reference Z42.3A7 M48 v.5 LIB USE ONLY ---
Watson Library Reference Z42.3A7 M48 v.6 LIB USE ONLY ---
Watson Library Bookcage MS 06 LIB USE ONLY
Watson Library Bookcage MS 07 LIB USE ONLY ---
Watson Library Bookcage MS 08 LIB USE ONLY ---
Watson Library Bookcage MS 09 LIB USE ONLY ---
Watson Library Bookcage MS 10 LIB USE ONLY
|extent||2 linear ft|
|formats||Diaries Scrapbooks Sketches|
|access||Contact repository for restrictions|
|title||S. P. Avery Collection||repository||New York Public Library, Manuscripts and Archives Division|
|collection title||The Avery Collection was formed by the New York art dealer Samuel Putnam Avery (1822-1904) and given to the New York Public Library in 1900. Avery's intention was to document the art of his own day and he attempted to secure one or more examples of the work of every contemporary artist whom he had met or of whom he had heard. The result was a collection of 17,775 etchings and lithographs, representing 978 artists. |
French printmakers are especially well represented, reflecting Avery's own taste and interests as well as the importance of French printmaking during the latter part of the 19th century, but the collection also includes works by German, Dutch, Belgian, Spanish, English and American artists.
Among the French artists, the collection is particularly rich in etchings by Adolphe Appian, Félix Bracquemond, Félix Buhot, Leopold Flameng, Charles Jacque, Jules Jacquemart, Charles Méryon, A.P. Martial and Paul Adolphe Rajon. For example, there are more than four hundred etchings by Jacque, as well as original drawings by the artist and lithographs and wood engravings after Jacque's designs. Also included are clichés-verre by Jean-Baptiste-Camille Corot, Charles-François Daubigny, Jean-François Millet and Théodore Rousseau, and an important group of etchings and lithographs by Edouard Manet.
The English prints include a large number of etchings by Sir Francis Seymour Haden and a fine set of J.M.W. Turner's Liber Studiorum. Remarkable among Avery's strong holdings of the prints of Francisco Goya is a set of fine early impressions of the Caprichos, purchased from the collection of Dante Gabriel Rossetti. Among American artists are major groups of prints by James Abbott McNeill Whistler and Mary Cassatt. Early lithographs in the collection include works by Alois Senefelder, the inventor of lithography, as well as works by Karl Friedrich Schinkel, Wilhelm Reuter, Pierre Nolasque Bergeret, Thomas Barker of Bath, and many others.
Avery formed close personal friendships with many of these artists, and some of the prints include manuscript notes indicating the state, rarity, and edition size as well as friendly dedications to the collector. Such information is not commonly available for 19th century prints and these inscriptions were clearly made at Avery's own personal instigation. The collection includes many rare or unique proofs
MDE (New York Public Library) (Weitenkampf, F. S. P. Avery collection of prints and art books)
|extent||17,775 etchings and lithographs|
|access||See repository for restrictions|
|acquisition information||Gift of Samuel Putnam Avery, 1900.|
|title||Avery Family Collection, 1891-1966 (bulk 1939-1940).||repository||The Brooklyn Museum Libraries and Archives|
|collection title||Material created and collected by Emma P. Avery Welcher in the process of research, primarily during 1939-40, on her grandfather, Samuel P. Avery. Includes correspondence with institutions and individuals, notes, and a photograph of Mrs. Samuel P. Avery with George Walter Vincent Smith. Also includes several letters from Avery to author Erastus Dow Palmer.|
Biographical and Historical Note
Samuel P. Avery (1822-1904), was an art dealer and collector in Hartford, Connecticut. His son, Samuel P. Avery, Jr. (1847-1920), was an important donor to the Brooklyn Museum.
Brooklyn Special Collections
SCR N200 Av45 C69
|extent||.25 linear ft.|
|formats||Correspondence Notes Photographs|
|access||Permission of Librarian/Archivist required.|
|acquisition information||Gifts of Mrs. H.L. Kleinfield (April 23, 1996), and Amy Ogden Welcher (1990).|
|title||Paul Wayland Bartlett papers, 1887-1925.||repository||Archives of American Art|
|collection title||Correspondence with family, artists, and others, 1887-1925; legal and financial documents, 1887-1925; printed materials, 1888-1925; sketches, drawings, and blueprints, undated 1916-1920; and certificates, 1915-1918. |
Correspondence consists of a chronological series, 1887-1925, containing letters and postcards from John White Alexander, Samuel P. Avery, William A. Clark, Frank Edwin Elwell, John Flanagan, Daniel Chester French, Henry-Bonnard Bronze Company, Gorham Company, J. Scott Hartley, John LaFarge (undated), Charles Loring, Frederick MacMonnies, Charles Sprague Pearce, Auguste Rodin, Frederic Wellington Ruckstull, Augustus Saint-Gaudens, and scattered letters from other nineteenth century artists regarding the execution of works, commissions, exhibitions and expositions in Paris and the United States, among them the Louisiana Purchase Exposition (1904) and the Exposition Universale (1899-1900), and Bartlett's illness and death in 1925.
The remainder of the correspondence, arranged by subject, includes letters from Bartlett's father, Truman Howe Bartlett, 1899-1913, many written from Boston where he taught in the architecture department of MIT, or from New Hampshire where he kept a studio, and letters to Paul regarding his father's entry in the National Cyclopedia of American Biography, 1925; correspondence with the American Club of Paris, 1903-1906, regarding Bartlett's membership; correspondence with the International Society of Sculptors, Painters and Gravers, 1905-1907 (some from Joseph Pennell) regarding exhibitions; correspondence regarding commissions, including Lafayette, McClellan, General Warren, Library of Congress and other statues; postcards from artists, 1892-1895; and miscellaneous letters.
Legal documents relate to the Lafayette statue, 1900, and also include Bartlett's death certificate. Financial records, 1899-1922, consist of bank statements, checkbooks, bills and receipts for casting, photography, dues and rent.
Clippings and a scrapbook deal with Bartlett's Lafayette statue. Other printed material includes articles on various Bartlett sculptures and other sculptors, exhibition catalogs, passes and announcements, yearbooks from the American Club of Paris, 1905-1909, and material from the American Art Association of Paris, including a 20 p. booklet by Bartlett giving the history of the group, and an invitation, 1906, to an auction to benefit the victims of the San Francisco earthquake.
Also included are sketches by Bartlett and his father, undated and ca. 1913; oversized drawings, plans and prints for monuments, statues, and the Capitol ceiling, undated and 1916-1920; postcards depicting Bartlett's sculpture; and certificates from the National Academy of Design and the Panama Pacific International Exposition.
Language Note: Some correspondence is in French.
Bio / His Notes:
Sculptor and portraitist; Paris, France and Washington, D.C. Bartlett was born in Connecticut and raised in France where he entered the Ecole des Beaux Arts and also studied under Emmanual Fremiet and Auguste Rodin. His early sculpture focused on animals and his piece "Bear Tamer" was presented to the Metropolitan Museum of Art in 1891 and exhibited in the World's Columbian Exposition in 1893. After 1895, he produced a number of public monuments, sculptures, and historical portraits including the figures of Columbus and Michelangelo for the Main Reading Room of the Library of Congress, the Lafayette statue presented to France, and the pediment for the House wing of the U.S. Capitol. Bartlett died in Paris of blood poisoning on September 20, 1925.
Location of Original:
Originals returned to Tudor Place Foundation, Inc. after microfilming.
Loc. of Assoc. Material:
Additional Paul Wayland Bartlett papers also located at: Library of Congress, Manuscript Division.
|extent||5.0 linear ft. (on 4 microfilm reels) reel 4899-4902|
|access||Patrons must use microfilm copy. Literary rights retained by Tudor Place Foundation, Inc.|
|finding aid||A finding aid prepared by the Tudor Place Foundation, Inc. is available on reel 4899 and in AAA offices.|
|acquisition information||Lent for microfilming by the Tudor Place Foundation, Inc., 1994. The Tudor Place Foundation inherited the papers in 1994 with the estate of Armistead Peter III of Tudor Place. Peter III was married to Caroline, the daughter of Bartlett's wife by her first marriage to Mahlon Odgen-Jones. After Bartlett's death in 1925, Suzanne cared for his papers, and donated the bulk of them to the Library of Congress in 1954. The papers she retained passed on to Caroline, and at her death to Armistead Peter III.|
|title||William Trost Richards papers, 1848-1920.||repository||Archives of American Art|
|collection title||Family and professional correspondence, writings, business files, printed material, photographs, and other miscellaneous materials documenting the career of landscape and seascape painter William Trost Richards. |
Correspondence files date from 1851 to 1917 and include family correspondence between Richards and his wife Anna as well as with their children. Of note are letters written by William Trost Richards to his wife while he was in Europe, which include many illustrations of his travels. Also found is general correspondence of a personal and professional nature between Richards and friends, artists, art dealers, and collectors, many of whom played a prominent role in Philadelphia society. Correspondents include Fidelia Bridges, George Cochran Lambdin, William H. Willcox, art dealer Samuel Putnam Avery, and President of the Pennsylvania Academy of Fine Arts Edward Coates. Also found are numerous letters to and from his major patron and collector, George Whitney, and from his friend and patron, Elias Lyman Magoon. Items of note in the miscellaneous correspondence include, an 1877 letter from Thomas Eakins, an 1881 letter from Alexander Lawrie, and an 1883 letter from Charles Lanman.
Writings include essays written by Richards, homemade magazines written and illustrated by the Richards family, and writings by his wife Anna and others. Business files contain financial, legal, and real estate records, and printed material contains an exhibition catalog from 1976, news clippings, and event programs. Miscellany found in this collection include artwork by others, and inventory of paintings by others, compiled by Richards, and an interview transcript with Miriam Thayer Richards. Photographs include images of Richards, his wife Anna, and their home in Newport, Rhode Island.
Bio / His Notes:
Marine and landscape painter; Newport, R.I. and Germantown, Pa.
|extent||1.8 linear ft. (on 5 microfilm reels) reels 2296-2299, & 3470|
|formats||Correspondence Writings Business Papers Printed Materials Photographs|
|access||The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.|
|finding aid||Electronic finding aid available at http://www.aaa.si.edu/collections/findingaids/richwill.htm|
|acquisition information||The bulk of the collection was donated in 1980 by Mrs. James B. Conant, Richards's granddaughter, and microfilmed on Reels 2296-2299 upon receipt. The inventory of paintings by other artists was donated by Victor Spark in 1954 and microfilmed on Reel 3470. The collection was fully processed and a finding aid prepared by Erin Corley in 2005 as part of the Terra Foundation for American Art Digitization Project. Previously microfilmed and unmicrofilmed gift portions were merged, arranged, and described in accordance with archival standards.|
|title||Albert Rosenthal papers, 1860-1940.||repository||Archives of American Art|
|collection title||Correspondence, printed material, and photographs relating to Rosenthal's work, primarily as a portrait painter and collector of American art and artists' papers. Some material pertains to Rosenthal's father, the engraver Max Rosenthal. |
Included are: biographical notes and articles by and about Rosenthal and his father, Max; writings by Albert about his father; and reproductions of Albert's work.
Rosenthal's research material on early American art consists of articles on artists, notes about portrait painters, typescript copies of letters of or about early American artists, among them Rembrandt Peale, G.P.A. Healy, and John Rampage, several original letters, including 5 from John Quincy Adams Ward to various people, and one from Ben Silliman to Asher B. Durand, and an engraved copy of a letter from Ben Franklin to Mr. Strahan, July 5, 1775.
Other material includes files on Rosenthal's portraits of French officers who served in the American Revolution; Gilbert Stuart's (George) Washington portraits, 1922-1923; the Rodin Museum in Philadelphia (includes correspondence with Jules Mastbaum, the founder of the museum, and others, 1925-1932); Jean Antoine Houdon's busts of Washington and Lafayette, 1925-1932; Harry T. Peters' book "America on Stone", 1931; and on "Rosen-Thal," Albert's home that was originally the Huffinagle mansion in Buck's County, Pa.
There is voluminous business and other correspondence, 1860-1940, relating to Max, Louis, and Albert Rosenthal's work and to Albert's portraits of Supreme Court Justices. Among the diverse group of correspondents are: Samuel Putnam Avery, William Hunt Diederich, Charles Henry Hart, Sakakichi Hartmann, Oliver Wendell Holmes, A. Mitchell Palmer, Alfred Stieglitz, William Howard Taft, and J. Alden Weir.
Photographs are of Rosenthal's work and of unidentified portraits possibly by Rosenthal; reproductions of European paintings, miniatures, sculptures; and miscellaneous portraits by various artists.
Unmicrofilmed material (0.4 ft.) consists of miscellaneous photographs and reproductions
|extent||2.4 linear ft. (partially microfilmed on 4 reels) reels D34-D37|
|formats||Correspondence Printed Materials Photographs|
|access||Microfilmed portion must be consulted on microfilm. Use of unmicrofilmed portion requires an appointment.|
|finding aid||Finding aid available at Archives of American Art offices.|
|acquisition information||Donated by Albert Duveen, 1959. Duveen collected American artists' and art related papers with the intention of forming an American artists reference facility. He purchased at least some of Rosenthal's papers and much correspondence from the Albert Rosenthal Estate, and subsequently gave them to AAA upon its formation.|
|title||Thomas Prichard Rossiter and Rossiter family papers, 1840-1961.||repository||Archives of American Art|
|collection title||Letters, many from artists, to painter Thomas P. Rossiter, to his son, architect Ehrick Kensett Rossiter, and to other family members; and research material on Thomas Rossiter compiled by his granddaughter, Mrs. Edith Rossiter Bevan. In addition, there are several artists' letters unrelated to the Rossiter family.|
Letters to Thomas, undated and 1840-1870, are from Adam Badeau, John Britton, William Corcoran, Frederick Cozzens, Christopher Cranch, George W. Curtis, Timothy Dwight, Edward Everett, George P.A. Healy, Richard Morris Hunt, William Morris Hunt, John Jay, John F. Kensett, A. Gracie King, Benson J. Lossing, Louis Remy Mignot, George P. Morris, William H. Morris, George Peabody, Dwight W. Tryon, Henry T. Tuckerman, Nathaniel P. Willis, Richard Willis, and others. Also included are 4 letters of introduction for him from James Fenimore Cooper, John A. Dix, Benson Lossing, and Samuel F.B. Morse.
Letters to Rossiter's son, Ehrick Kensett Rossiter, undated and 1891-1930, are from Samuel P. Avery, Cecilia Beaux, Frank V. DuMond, William B. Faxon, Daniel C. French, Robert S. Gifford, Birge Harrison, Will H. Low, Harry S. Mowbray, Robert L. Newman, Dwight W. Tryon, Bernhardt Wall, Henry C. White, and Rufus F. Zogbaum. There are also a letter of introduction for Ehrick from Gari Melchers and a letter from John Sartain to Ehrick's wife.
Letters to Edith Rossiter Bevan (Mrs. W. T. Bevan), granddaughter of Thomas, undated and 1912-1940, are from William A. Coffin, John F. Folinsbee, Dorothy S. Harding, Will H. Low, Arthur N. MacDonald, R. McGill Mackall, Louis Rhead, and Sidney L. Smith. Also included are a biography of T.P. Rossiter and a checklist of his paintings compiled by Bevan, and a photograph of William A. Coffin signed to Kensett, 1905.
The collection also includes miscellaneous artists' letters, some unrelated to the Rossiters, including 5 to Gretta Smith of the Enoch Pratt Free Library, 1936-1951, from Alexander Archipenko, Rockwell Kent, Ralph M. Pearson, David Scott-Moncrieff, Otto Soglow, and Elizabeth Whitmore; 2 letters to Elizabeth Jordan, 1905, from Jay Hambidge, and Peter S.H. Newell; and 6 letters to various individuals from James C. Beckwith, Emma M. Cadwalader-Guild, William Coffin, Fanny Young Cory, Charles Dana Gibson, and Frederic Remington.
ADDITION: A scrapbook concerning Thomas Prichard Rossiter compiled by Edith R. Bevan, Rossiter’s granddaughter, containing biographical information; sketches by Rossiter of his family and other subjects; a sketch of Rossiter by Felix Octavius Carr Darley ; Bevan’s preliminary provenance research on Rossiter’s paintings as well as her notes on Rossiter’s life and work, including a list of Rossiter's paintings in public collections; photographs and reproductions of paintings; printed material and miscellany. Also included are an oil sketch of the portrait of the Rossiter family, now in the possession of Patti Ravenscroft; various ink and pencil sketches by Rossiter; a small sketchbook owned by Rossiter, which he took with him on a trip to Italy in 1943; and a dossier entitled "Checklist of Paintings by Thomas Prichard Rossiter 1818-1871," compiled by Bevan.
Bio / His Notes:
Thomas P. Rossiter, portrait painter; Ehrick Kensett, architect; Edith Rossiter Bevan, daughter of Ehrick and granddaughter of Thomas. Ehrick Kensett was named after Thomas's close friend, John Kensett, the painter.
|extent||0.5 linear ft. (on partial microfilm reel) D33|
|formats||Correspondence Research Files|
|access||September 2008 - COLLECTION IS BEING PROCESSED AND DIGITIZED AND IS CLOSED TO RESEARCHERS; PATRONS MUST USE MICROFILM COPY.|
|acquisition information||Donated 1957 by Mrs. W.T. Bevan, Rossiter's granddaughter and in 2007 by Patti Rossiter Ravenscroft, Rossiter's great great granddaughter.|
|title||Charles M. Kurtz papers, 1843-1990 (1884-1909).||repository||Archives of American Art|
|collection title||Primarily correspondence and printed material, but also diaries, legal and financial material, notes and writings, photographs, and works of art reflect Kurtz's involvement with the National Academy of Design, the art departments of the Southern, World's Columbian, St. Louis, International Universal (Paris), and Louisiana Purchase Expositions, the Buffalo Fine Arts Academy, and his activities as a collector and private dealer. |
Biographical material consists of reminiscences, certificates, and obituaries. There is approximately 15 ft. of professional and personal correspondence, dated 1843-1990. Of particular interest is correspondence with artists: Du Bois F. Hasbrouck, Robert Macaulay Stephenson and Patty Thum; administrators: Luigi Palma di Cesnola, Sara Hallowell, Halsey C. Ives and Charles Ward Rhodes; dealers: Samuel P. Avery, Alexander Reid, Charles Sedelmeyer; collectors: Thomas B. Clarke, John Wanamaker; organizations: American Art Association, Buffalo Fine Arts Academy, Pennsylvania Academy of the Fine Arts; family and friends, notably his wife, Julia Stephenson Kurtz, father, D.B. Kurtz and the Starkweather family.
Requests for submissions of works of art are forms, and a few letters, returned by artists describing the works they wish to exhibit for the Southern Exposition, 1886, the St. Louis Expositions, 1893-1897, and exhibits of the Glasgow School at St. Louis, 1895, and at the Buffalo Fine Arts Academy, 1905. Forms are arranged by exposition, and thereunder alphabetically by artist.
Legal and financial material consists of agreements, a will, inventories and price lists of the Kurtz's collection, ledgers, 1877-1886, and lists of art related expenses, 1884-1919.
5 vol. of diaries, Mar. - May 1894, Jan. - Dec. 1897, Feb. 1899, Mar. 1899, and Jan. - Mar. 1901 contain detailed entries regarding travels, daily activities, art related events, and expenses. The Feb. 1899 volume describes a sale of paintings from Thomas Benedict Clarke's collection.
Notes and writings include drafts of "Art: Its Evolution, Influence and Mission," lecture notes, writings on theory, aesthetics, criticism, collecting, artists and other topics, short stories, comic operas and other compositions, address books, and exposition gallery plans. Twelve volumes of scrapbooks, 1878-1909, contain clippings of Kurtz's columns from the New York Star, Tribune and other papers, and clippings and printed material regarding the Southern and St. Louis Expositions, and the Buffalo Fine Arts Academy, and other art related clippings.
Extensive printed material includes catalogs for various exhibitions, mostly from New York galleries; catalogs for the sale of Kurtz's collection, 1910; clippings; catalogs and other material relating to the Southern, World's Columbian, St. Louis and Louisiana Purchase Expositions; calling cards; brochures; invitations; and programs.
Photographs are of Kurtz, his wife, and others, paintings in his collection, exposition buildings and installations. Some of the photographs were copied from glass plate negatives received with the collection.
REEL 4912: Notebook written by Charles Kurtz in 1891, and revised in 1895, chronicling the Glasgow School of Painters. Kurtz details the debut of this group of painters in London and Munich in 1890, discourses on the contemporary Scottish art world, describes the struggles and accomplishments of the School, and ends with extensive characterizations of the artists.
UNMICROFILMED: Material which was not microfilmed includes a D.B. and E.L. Kurtz letterpress book, 1877-1887; financial material, including cancelled checks and stubs, and an inventory of the library of Kathrine Woodford Simpson; miscellaneous writings by others; and printed material, including non-art related exposition publications, proof sheets for catalogs, National Academy Notes (1889) and Academy Notes, v.1-v.4 (1905-1909), reproductions of works of art, menus, including one for a dinner for Edwin Austin Abbey with a signed photogravure by Abbey and autographs of 19 attendees including James Smillie, Childe Hassam, and Herbert Vos (with caricature), 1902, and other miscellaneous printed matter.
Also, photographs of works of art, and a series of 12 photographs of young men and women taken by Guglielmo Pluschow; and art work, ca. 1876-1902, measuring 23 x 35.2 cm or smaller, including sketches, ink illustrations for Academy Notes, a lithograph by Robert J. Wickenden (signed), an engraving, 6 etchings, including 3 etched invitations to gallery openings of Mary Curtis Richardson, Benoni Irwin and others, a portrait of a man by Jay Hambidge (tempera on paper), and 1 landscape painting (oil on canvas).
|extent||27.6 linear ft. (partially microfilmed on 24 reels) reels 4804-4826 and 4912|
|formats||Correspondence Financial Records Photographs Diaries Inventories|
|access||Microfilmed portion must be consulted on microfilm. Use of unmicrofilmed portion requires an appointment. Reel 4912: Authorization to publish, quote, or reproduce must be obtained from: Yale Center for British Art, 1080 Chapel St., Box 2120 Yale Station, New Haven, Connecticut 06520.|
|finding aid||Online and in repository.|
|acquisition information||All but reel 4912 was donated in 1988 by Isabel Kurtz, daughter of Charles Kurtz, and by her estate through E.W. Dann Stevens, executor, l99l. Some of the correspondence was damaged by fire, and was photocopied for microfilming purposes. Microfilm copy of Kurtz's notebook (reel 4912) was given to AAA for duplication in 1994 by the Yale Center for British Art, which had received it as a gift from the Isabel Kurtz estate. Reel 4912: Original in the Yale Center for British Art New Haven, Connecticut.|
|title||Frank Weitenkampf letters, 1889-1942.||repository||Archives of American Art|
|collection title||Letters to Weitenkampf, mainly from artists and collectors concerning examples of their works in the library's collection. |
Among the correspondents are: John Taylor Arms, Samuel Putnam Avery, John W. Beatty, George Bellows, Frank W. Benson, George Biddle, James Britton, George Elmer Browne, Mary Cassatt, Royal Cortissoz, Frederick K. Detwiller, Olin Dows, Kerr Eby, Daniel C. French, Arnold Genthe, George O. Hart, Malvina Hoffman, Edward Hopper, Daniel Huntington, Rockwell Kent, Frederick Keppel, Richard Lahey, Will H. Low, Louis Lozowick, H. Siddons Mowbray, Frank A. Nankivell, Thomas W. Nason, Joseph Pennell, Preston Powers, Henry Ward Ranger, William T. Richards, John D. Rockefeller, Jr., Lessing J. Rosenwald,Peter F. Rothermel, William Sartain, George H. Smillie, James D. Smillie, Harry Sternberg, Albert Sterner, Lorado Taft, Abbott H. Thayer, Dwight W. Tryon, Douglas Volk, Olin L. Warner, John F. Weir, Julian A. Weir, Harry Wickey, Irving R. Wiles, Thomas W. Wood, Charles H. Woodbury, George H. Yewell, Mahonri M. Young, and others.
Curator; New York City. Chief of the Prints Division, New York Public Library.
|extent||1000 items (on partial microfilm reel) reel N3 (frames 230-1478) and N25 (frames 1369, 1381)|
|access||Patrons must use microfilm copy.|
|finding aid||List of correspondents available at AAA offices, filed New York Public Library, Manuscript Division.|
|acquisition information||Microfilmed 1956 by the Archives of American Art with other art-related papers in the Manuscript Division of the New York Public Library. Included in the microfilming project were selected papers of the Art Division and the Prints Division. Location of Original: Originals in the New York Public Library, Manuscript Division.|
|title||Evert Augustus Duyckinck papers, 1809-1878.||repository||Archives of American Art|
|collection title||Letters and documents of 19th century Americans, outstanding in literature and the arts. |
Correspondents include: Washington Allston, Alexander Anderson, John Audubon, Samuel P. Avery, John Warner Barber, Mathew B. Brady, John Casilear, Vincent Colyer, Christopher P. Cranch, Felix O. C. Darley, Daniel P. Huntington, Washington Irving, James J. Jarves, Charles Lanman, Charles Leslie,Benjamin Lossing, Samuel F. B. Morse, Rembrandt Peale, Thomas B. Read, Thomas A. Richards, Thomas B. Thorpe, William D. Washington, and Benjamin West.
Bio / His Notes:
Editor; New York City. Edited, with his brother George, Literary World, 1847, and published a journal with him, 1848-1853. Also, edited CYCLOPAEDIA OF AMERICAN LITERATURE, 1855.
|extent||300 items (on partial microfilm reel) reel N9 (frames 700-1435)|
|access||Patrons must use microfilm copy.|
|acquisition information||Microfilmed 1956 by the Archives of American Art with other art-related papers in the Manuscript Division of the New York Public Library. Included in the microfilming project were selected papers of the Art Division and the Prints Division. Location of Original: Originals in the New York Public Library, Manuscript Division|
|title||Lilly Martin Spencer papers, 1825-1971.||repository||Archives of American Art|
|collection title||REEL 131, frames 1-264: Family history; biographical material; ca. 50 photographs of Spencer and her paintings; M.A. thesis, "Lilly Martin Spencer: American Painter of the Nineteenth Century," by Ann Byrd Schumer; articles about her life and work, 1959; and a list of paintings owned by her granddaughter, Lillian Spencer Gates. |
REEL 131, frames 265-735: Ca. 100 letters from Spencer to her parents, Giles and Angelique Martin, written after her arrival in Cincinnati in 1841 until her mother's death in 1866, and ca. 150 letters from clients, agents, and friends regarding her early career, her marriage, her move to New York City, and later, to Newark, N.J. and to her domestic and artistic life in those cities. Also found are journals and clippings, 1857-1902; family histories; photographs; articles; clippings and a photograph related to her painting "Truth Unveiling Falsehood"; and material relating to her involvement in the women's literary association, Sorosis, ca. 1874-1887.
Among the correspondents are: Samuel Putnam Avery, Charles H. Brainard, Cyrus Butler, T. Apolson Cheney, Mary Mapes Dodge of Hearth and Home, Jessie Benton Fremont, Robert Green Ingersoll, Jenny Lind, Rembrandt Lockwood, Benson John Lossing, John Sartain, Elizabeth Cady Stanton, and Ella Wheeler Wilcox.
Bio / His Notes:
Portrait and genre painter; New York and Ohio. Lilly Martin Spencer was born Angelique Marie Martin November 22, 1822, in England to French parents, Giles and Angelique Martin, followers of the French social critic Charles Fournier. The family came to New York in 1830, moving to Marietta, Ohio in 1833, and in 1945, co-founded the communal settlement, Trumbull Phalanx, near Braceville, Ohio. Spencer returned to New York in 1848 after her marriage to Benjamin Spencer, and achieved much success as a painter while raising seven children and moving several times -- to Cincinnati and Columbus, Ohio, Newark, N.J., and Highlands and Poughkeepsie, N.Y. Spencer died May 22, 1902.
|extent||0.6 linear ft. (on 1 microfilm reel) reel 131|
|access||Patrons must use microfilm copy.|
|acquisition information||Material on reel 131, fr. 1-264, was lent for microfilming, and the remainder, fr. 265-735, donated 1971 by Lillian Spencer Gates, Spencer's granddaughter. Location of Original: Reel 131, fr. 1-264: Originals returned to lender, Lillian Spencer Gates, after microfilming.|
|title||Charles Alexander Nelson papers, 1850s-1930s (MssCol 2114)||repository||New York Public Library, Manuscripts and Archives Division|
|collection title||Collection consists of correspondence, manuscripts, legal and financial documents, reports, organizational records, scrapbooks, photographs, and printed matter that document Nelson's career. Bulk of the collection is correspondence, 1859-1930s, concerning his work in North Carolina after the Civil War, his positions at the Astor, Howard Memorial, Newberry, and Columbia College libraries, and his activities as a bibliographer, indexer and writer. Also, Nelson's papers from his years in New Bern, 1865-1876; Howard Memorial Library reports, 1889-1891; records, 1880s-1900s, of various organizations to which he belonged; writings including his history of Waltham, Mass.; and personal and miscellaneous materials.|
Biographical and Historical Note
Charles Alexander Nelson (1839-1933), librarian and bibliographer, was a Reconstruction administrator in New Bern, North Carolina, for a decade following the U.S. Civil War. He returned to the North in 1875 and worked until 1909 in various libraries. He published bibliographies, indexed books and organizational records, wrote articles, and was a founding member in 1876 of the American Library Association.
|extent||5 linear feet|
|formats||Correspondence Manuscript Legal Papers Financial Records Photographs|
|access||Apply in Special Collections Office for admission to the Manuscripts and Archives Division|
|finding aid||Collection guide available in repository and on internet: http://catnyp.nypl.org/search?/.b3398545/.b3398545/1,1,1,B/l856~b3398545&FF=&1,0,,1,0|
|acquisition information||Received from Mrs. Reinhard A Wetzel, 1937.|
|title||Francis Seymour Haden correspondence, 1864-1902 (MssCol 1276)||repository||New York Public Library, Manuscripts and Archives Division|
|collection title||Collection consists of letters, 1881-1902, from Haden to Samuel P. Avery; letters, 1890-1894, from Philippe Zilken to Avery; and letters to Auguste Delatre, Parisian printer of etchings.|
Biographical and Historical Note
Francis Seymour Haden (1818-1910) was an English etcher and surgeon.
Entire collection available on microfilm; New York Public Library.
|extent||.15 linear foot (1 v.)|
|access||Apply in Special Collections Office.|
|title||Mount family papers, 1823-1900||repository||The Brooklyn Museum Libraries and Archives|
|collection title||The portfolio contains a collection of correspondence of the brothers William S. Mount, Robert Nelson Mount, Henry S. Mount, Thomas S. Mount, and Shepard Alonzo Mount, wwith each other and with family friends and connections. Other respondents include Elizabeth A. Burnet Mount (Mrs. Shepard A.), Charles S. Seabury (married Ruth H. Mount), Julia A. Mount (mother), Benjamin F. Thompson, Delia Hawkins (cousin), Samuel P. Avery, Charles A. Doane, A. K. Russell, Robert Gilmor, D. Appleton, and Mary K. Pennick. |
Topics include personal and family activities; career plans, including information on the art work, training and commissions of William, Shepard, and Henry Mount, and National Academy of Design exhibitions; financial affairs; and topical issues such as politics, plays, and concerts. Correspondence with Benjamin Thompson concerns research for his history of Long Island and includes biogrpahical and geneological information on Mount family members.
The collection also contains some business records of Thomas S. Mount, attorney, including licenses, bills, resolutions, and legal correspondence. Also included are clippings, photographs of Thomas S. Mount and Wiliam S. Mount, an advertising flyer for W. S. Mount's lithograph of "The Power of Music," sign painting instructions, a poem by Shepard A. Mount, and transcripts of letters from the Theodore Stebbins Collection.
Several members of the Mount family of Stony Brook, Long Island, New York, most notably William S. Mount, were known as artists.
Mount family papers, 1823-1900, The Brooklyn Museum Library Collections.
|extent||.25 linear ft.,|
|formats||Correspondence Business Papers Clippings Photographs Financial Records|
|access||Contact repository for restrictions and policies.|
|finding aid||Arranged by name in randomly-numbered folders.|
|acquisition information||11/02/1992 Mount family papers, 1823-1900 Lawrence Fleischman, Chairman, Kennedy Galleries gift accessioned 11/02/1992|
|title||Samuel Putnam Avery Scrapbooks, 1861-1902||repository||The Metropolitan Museum of Art|
|collection title||Miscellaneous newspaper clippings on art sales, announcements, programs, etc. relating to Avery's gallery in New York City.|
Biography or History
Avery was an American wood-engraver, art dealer, collector and philanthropist. In 1864 he turned his engraving practice over to Isaac Pesoa, his former apprentice, and became one of the first art dealers in the United States.
Location / Call No.
Watson Library Bookcage 106.4 Av3 Q v.1
Watson Library Bookcage 106.4 Av3 Q v.2
Watson Library Bookcage 106.4 Av3 Q v.3
|extent||3 v. ; 33-36 cm|
|access||Contact repository for restrictions and policies.|
|title||James Oliver Account Books, 1865-1868, 1872-1890.||repository||The New-York Historical Society|
|collection title||Account books, 1865-1868 and 1872-1890, address book, ca. 1965, and a notebook of copied signatures of prominent painters, undated, of New York City painting restorer James Oliver. Account books record charges and payments for restoration work on individual paintings, frequently identified by painter or title. Oliver's clients included Samuel Putnam Avery, M. Knoedler & Co., restaurateur Lorenzo Delmonico, Blakeslee & Co., and New York art dealer Samuel L. Lowenherz. Address book contains names and addresses of Oliver's clients in the New York area and abroad. Also present is a volume containing the signatures of prominant painters of the day copied in pencil.|
Avery, Samuel Putnam, 1822-1904.
Delmonico, Lorenzo C., 1813-1881.
Lowenherz, Samuel L.
Blakeslee & Co.
M. Knoedler & Co.
Biographical and Historical Notes
Painting restorer of New York City.
New-York Historical Society
BV Oliver, James
|extent||5 v. Microfilm copy available, see Miscellaneous Microfilm reel #46.|
|formats||Account Books Microfilm|
|access||open to qualified researchers at The New-York Historical Society; patrons must use microfilm.|
|acquisition information||Gift of Wendell Davis, Sep. 7, 1954.|
|title||Office of the Secretary records, 1870-[ongoing].||repository||The Metropolitan Museum of Art|
|collection title||Records comprise correspondence and subject files created by the Secretary and General Counsel, Trustees and several past Directors of The Metropolitan Museum of Art. |
This material relates to all aspects of Museum operations and administration including: acquisition of artworks through purchase, gift and bequest, exhibitions, building maintenance and construction, relations with City and State agencies, drafting and negotiating contracts, managing litigation, cultural property issues, legal and business affairs, grants and corporate donations. Files documenting the tenures of each Secretary of the Museum are included.
In addition, there is substantial original documentation created by: former Directors of the Museum, including Luigi Palma di Cesnola, Caspar Purdon Clarke, Edward Robinson, Herbert E. Winlock; past Trustees, including: John Taylor Johnston, Henry Gurdon Marquand, Robert W. De Forest, and J. Pierpont Morgan; and key curatorial and administrative staff.
Biography or History
The Metropolitan Museum of Art was founded in 1870 in New York City by a group of businessmen, financiers, artists and collectors. On April 13 of that year the New York State Legislature granted an Act of Incorporation "for the purpose of establishing and maintaining in said City a Museum and Library of Art, of encouraging and developing the Study of the Fine Arts, and the application of Art to manufacture and natural life, of advancing the general knowledge of kindred subjects, and to that end of furnishing popular instruction and recreations." Railroad executive John Taylor Johnston served as the institution’s first President. Luigi Palma di Cesnola was appointed the first Director in 1879.
The Office of the Secretary was established concurrently with the founding of the Museum, and is the central repository for official Trustee records, administrative correspondence and legal files of the Museum’s General Counsel. The Secretary is a member of the Museum staff who performs administrative duties under the general direction of the President or as may be assigned by the Chairman or Board of Trustees.
The Secretary is responsible for coordinating and recording the proceedings of meetings the Board of Trustees and Trustee committees. The Secretary attends to official correspondence, has custody of and preserves the corporate seal and the archives, and oversees the legal affairs of the Museum.
The following have served as Secretary of the Museum: William J. Hoppin (1874-1877), Luigi Palma di Cesnola (1877-1904), Robert W. DeForest (1904-1913), Henry W. Kent (1913-1940), George Lauder Greenway (1941-1942), Dudley T. Easby, Jr. (1945-1969), Ashton Hawkins (1969-1987), Linden Havemeyer Wise (1987-1992), Sharon H. Cott (1992-present).
[Title of item], [date], [folder title], Office of the Secretary Records, The Metropolitan Museum of Art Archives.
Most materials in English; French, Italian, German and other languages are represented as well.
|extent||2500 linear feet.|
|formats||Correspondence Subject Files Administrative Records Financial Records Legal Papers|
|access||Consult Archives staff regarding permission to quote or reproduce.|
|finding aid||npublished index and folder level database; access restricted to Archives staff only.|
|acquisition information||Transferred from Office of the Secretary.|
|title||Daniel Huntington Study Portrait Collection, ca. 1870-1890||repository||The New-York Historical Society|
|collection title||Two years after Daniel Huntington's death, his son Charles Richards Huntington (1847-1915) presented the New-York Historical Society with a collection of 141 portrait photographs used by his father "for his study of the subjects painted by him." |
Each of the men (and the single woman, Mary McCrea Stuart) in the collection is represented by one or more portrait photographs which had been blown-up to life-size dimensions, sometimes made from a previously existing negative or one made of an earlier photograph. In the case of sitters who died before the advent of paper photography, images were taken from daguerreotypes. The enlargements were mounted on a stiff paperboard and roughly trimmed almost to the shape of the subject's head.
Each of the portraits has the sitter's surname in pencil on the verso; some have a shorthand clue to an occupation, profession, title, or institutional affiliation. These annotations, if contemporary to Huntington or his son, have been transcribed in the box and folder list that follows.
Many of the photographs have a puncture at their top, most likely from the nail Huntington used to tack them up in view of his easel.
The sitters are familiar to students of nineteenth-century New York: they include prominent bankers, merchants, industrialists, educators, financiers, generals, lawyers, judges, politicians, government officials, and men of the cloth.
The photographs are generally not dated. Several note that they were made from daguerreotypes and a few mention particular photographers, or are mounted on the backs of printed boards from photographers' studios.
The images that are dated range from the 1870s (Henry Potter) to the 1890s (Kelly, Gracie, Schurz, and Sheldon). Photographers mentioned are Bogardus (Adams, Arthur) and Sarony (Tilden), with one annotated by Huntington as having been taken in his studio (Sherman). Eight of the portraits are mounted on the verso of stamped boards from the Rockwood Studio (Brown, Gracie, Johnston, Henry Potter, Taft, and Weir) or Kurtz (Dodge Sr. and Hostetter) in New York.
In addition, the portrait of Henry Codman Potter is mounted on the verso of a large photograph of Calvary Baptist Church, on West Twenty-third Street.
Oil portraits of these sitters are now in the New York Chamber of Commerce Collection at the New York State Museum, the Smithsonian Institution, Metropolitan Museum of Art, the American Museum of Natural History, New York Public Library, Harvard University, Vassar College, and West Point Museum, among other institutions.
The New-York Historical Society owns more than twenty portraits painted by Huntington. Other portraits remain in private collections, including those of social clubs, hospitals, corporations, and the families who commissioned them from the artist.
Daniel Huntington (1814-1906) was educated at Hamilton College. He studied panting with Samuel Morse and Henry Inman in New York City. He primarily painted portraits and landscapes. Huntington was president of the National Academy of Design, and Vice-President of the Metropolitan Museum of Art.
This collection should be cited as: Daniel Huntington Study Portrait Photographs, PR 256, Department of Prints, Photogaphs, and Architectural Collections, The New-York Historical Society.
Call Phrase: PR 256
|extent||0.42 Linear feet (141 photographs, 12 folders)|
|access||Open to qualified researchers|
|acquisition information||Gift of Charles R. Huntington, April 9, 1908.|
|title||Scrapbook of reproductions of photographs of paintings||repository||The Metropolitan Museum of Art|
|collection title||248 p. : 219 ill. ; 36 cm|
Includes one photograph of 368 Fifth Avenue, New York, with signs for Ortgies & Co., Fifth Avenue Art Galleries, S.P. Avery, Jr
Pages 90-248 blank
|access||Also available as electronic reproduction. New York, N.Y. : Thomas J. Watson Library, 2013|