Archives Directory for the History of Collecting in America
Archives related to: Emery, John J
|title||New Orphan Asylum for Colored Children Records, 1875-1967, n.d.(Mss 1059)||repository||Cincinnati History Library and Archives|
|collection title||This collection consists of eight boxes (3 cubic ft.) and holds the records of the New Orphan Asylum for Colored Youth (1875-1967). There are three series, 1. General Files, 1937-1965, n.d., 2. Children's Records, 1912-1967, and 3. Minutes and Building Fund Drive, 1875-1965.|
The first series contains a variety of documents, mainly reports and financial statements. Series 2, which is in box 2, holds cards for the children which contain the child's name, birth date and information on parents and family, if known. Series 3 are volumes of Minutes of the Board of Trustees, the Lady Managers and one volume on the Building Fund Drive in 1945-1947.
Every effort was made to note the names of children mentioned in the minutes, as well as the page that they appeared on. Box 8, volume 6, the 1945-1947 Building Fund Drive Journal of Receipts has some entries missing due to water damage.
The New Orphan Asylum for Colored Youth began in 1844 by Lydia P. Mott and through the work of an association of both white and African American men and women. This first association consisted of six white men, ten black men, four white women and eight black women. Salmon P. Chase worked for and secured its charter from the State of Ohio and the asylum opened its doors in a rented building on Ninth Street between Elm and Plum Streets in 1845. Shortly thereafter, Nicholas Longworth purchased the building and charged the asylum $12.50 in rent each month. The first board consisted of prominent Cincinnatians and included William Donaldson, John Woodson, Richard Phillips, Christian Donaldson, Reuben P. Graham, Richard Pullan, Charles Satchell, Louis P. Brax and John Liverpool. A board of Lady Managers was formed, consisting of ten women that supervised the conditions of the property and children.
There was also a Matron and Steward, often a married couple that lived at the asylum with the children. When conditions at the asylum deteriorated badly in the early 1850s due to lack of funds and improper care Levi Coffin and his wife Catherine White Coffin were the steward and matron for the years 1852-1853, helping to return order to the institution.
The land the building stood on was purchased in 1851 for $4400. Within a decade they had outgrown this building and in 1866 it was sold and six acres in Avondale at Van Buren and Melish Avenues were purchased for $11,000. The building on the Avondale property, which had been a freedman hospital during the Civil War, was remodeled and the asylum moved to the hills of Cincinnati.
In 1895 John J. and Joseph J. Emery donated $50,000 in the name of their father, Thomas Emery, to erect a new building on the property. In 1920 Thomas J. Emery's widow, Mary M. Emery, donated $25,000 for an addition to the building in his name.
There were no further improvements to the building until a building fund drive in 1945-1947. Homer E. Lunken, of the Lunkenheimer Company and Dr. Otto P. Geier, retired from the Cincinnati Milling Machine Company, headed the fund drive to raise $160,000. A new building was constructed with dorms for both boys and girls.
The orphanage closed in 1967 when the land was taken for the development of Interstate 71. Throughout its history the asylum cared for both orphans and children whose parents could not physically or economically care for them.
|extent||8 boxes (2.7 cubic feet)|
|formats||Administrative Records Financial Records Legal Papers Ephemera|
|access||Contact repository for restrictions and policies.|
|finding aid||In the repository and on the repository's Web site|
|acquisition information||Gift of the New Orphan Asylum Scholarship Foundation, July 18, 2005 (acc. 2005.170), c/o Tonda Card.|
|title||Millard F. Rogers, Jr. Collection #2 Mary M. Emery and Family||repository||Mariemont Preservation Foundation|
|collection title||This collection consists of materials gathered by Millard F. Rogers, Jr. for his book on the life of Mary M. Emery, Rich in Good Works. The bulk of the materials are copies of articles on Emery family members and their business and philanthropic giving along with copies of correspondence to and from Mary M. Emery; |
copies of the wills of Thomas J. and Mary M. Emery and other legal documents; and correspondence between Millard F. Rogers, Jr. and various organizations having archival items on Mary M. Emery. Duplicate photographic prints of most of the images in Rich in Good Works are included, plus a few extra images that were not used in the book.
Rich in Good Works is available at the Mariemont Preservation Foundation. The book summarizes Mary M. Emery’s life, starting with some family history of her parents and the beginnings of the Emery family fortunes through the death of her husband, Thomas J. Emery and the subsequent disbursement of the Emery fortune through charitable donations.
Particular attention is given to the planning and building of Mariemont, Ohio and the Edgecliff collection of paintings given to the Cincinnati Art Museum. Most of the material in this collection is copyrighted by other institutions, a list of the copyright holders’ contact information (where known) follows. The contact information is current as of October, 2007.
|extent||3 boxes, 10.5 linear inches.|
|formats||Research Files Reproductions Business Papers Correspondence Financial Records|
|access||Contact repository for restrictions and policies.|
|title||M. Knoedler & Co. records, approximately 1848-1971||repository||The Getty Research Institute|
|collection title||The records of M. Knoedler & Co. document the business of the prominent American art dealer from the mid-19th century to 1971, when the Knoedler Gallery was acquired by Armand Hammer. The archive traces the development of the once provincial American art market into one of the world's leading art centers and the formation of the private art collections that would ultimately establish many of the nation's leading art museums, such as the Frick Collection and the National Gallery of Art. |
It brings to the foreground the business side of dealing as artworks shuttled back and forth among Knoedler, fellow dealers, and collectors, documenting developments in art connoisseurship, shifting tastes, the changing role of art in American society, and the essential role of private collectors in the formation of public American art collections.
The records provide insight into broader economic, social and cultural histories and the nation's evolving sense of place in the world. The Knoedler Gallery became one of the main suppliers of old master and post-Impressionist paintings in the United States. Financial records of the firm provide crucial provenance information on the large number of artworks in American museums that were sold by the gallery. The archive includes stock books, sales books and commission books; correspondence with collectors, artists, art dealers and other associates; photographs of the artworks sold by the gallery; records from the firm's offices in London, Paris and other cities; exhibition files; framing and restoration records, and records of the firm's Print Department.
Selected portions of the archive have been digitized and made available online. Connect to selected digitized portions of the archive.
Arranged in 14 series:
Series I. Stock books;
Series II. Sales books;
Series III. Commission books;
Series IV. Inventory cards;
Series V. Receiving and shipping records;
Series VI. Correspondence;
Series VII. Photographs;
Series VIII. Exhibition files;
Series IX. American Department records;
Series X. Framing and restoration records;
Series XI. Print Department records;
Series XII. Other financial records;
Series XIII. Library cards, scrapbooks, and research materials;
Series XIV. Knoedler family papers
M. Knoedler & Co. was a successor to the New York branch of Goupil & Co., an extremely dynamic print-publishing house founded in Paris in 1827. Goupil's branches in London, Berlin, Brussels, and The Hague, as well as New York, expanded the firm's market in the sale of reproductive prints.
The firm's office in New York was established in 1848. In 1857, Michael Knoedler, an employee of Goupil and a manager for the firm, bought out the interests in the firm's New York branch, conducted the business under his own name, and diversified its activities to include the sale of paintings. Roland Knoedler, Michael's son, took over the firm in 1878 and with Charles Carstairs opened galleries in Paris and London.
In 1928, the management of the firm passed to Roland's nephew Charles Henschel, Carman Messmore, Charles Carstairs and Carstairs' son Carroll. In 1956 Henschel died, and E. Coe Kerr and Roland Balaÿ, Michael Knoedler's grandson, took over. In 1971 the firm was sold to businessman and collector Armand Hammer. The gallery closed in November 2011.
|extent||3042.6 linear feet (5550 boxes, 17 flat file folders).|
|formats||Auction Catalogs Business Records Correspondence Financial Records Ephemera|
|access||Open for use by qualified researchers, with the following exceptions. Boxes 77, 262-264, 1308-1512, 1969-1974, 3592-3723 are restricted due to fragility. Box 4468 is restricted until 2075.|
|contact information||Contact gallery's archivist|
|finding aid||At the Getty Research Institute and over their website.|
|acquisition information||Acquired in 2012.|