DOCSLIB.ORG

The Treatment of Two Overdoor Paintings by Francois Boucher

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Treatment of Two Overdoor Paintings by Francois Boucher 1996 A I C PAINTINGS SPECIALTY GROUP POSTPRINTS Papers Presented at the Twenty-Fourth Annual Meeting of the American Institute for Conservation Norfolk, Virginia June 14-15, 1996 Compiled by Kenneth Bé The 1996 AIC Paintings Specialty Group Post-Prints is published by the Paintings Specialty Group (PSG) of the American Institute for Conservation of Historic and Artistic Works (AIC). These paper have not been edited and are published as received from the authors. Responsibility for the methods and/or materials described herein rests solely with the contributors. These should not be considered official statements of the Paintings Specialty Group or of the American Institute for Conservation. The Paintings Specialty Group is an approved division of the American Institute for Conservation of Historic and Artistic Works but does not necessarily represent AIC policies or opinions. The 1996 AIC Paintings Specialty Group Post-Prints is distributed to members of the Paintings Specialty Group as of 1996. Additional copies may be purchased from the AIC, 1717 K Street, NW, Suite 301, Washington DC, 20006. TABLE OF CONTENTS Brigid Sullivan 1 Reviving the Tomb: Recovery of Mural Paintings in General Grant National Monument Steven Erisoty and Susan Duhl 11 The Collaborative Treatment of Edith Emerson's Scenes of Philadelphia Wall Mural Catherine S. Myers 14 A Discussion of Mural Painting Technique: Constantino Brumidi's Paintings at the United States Capitol Julie K. Barten 19 The Recovery of Fra Filippo Lippi's Four Saints: Reclaiming an Abandoned Transfer Barbara R. Luck 27 Virginian Luxuries/Portrait of a Man David Goist 28 Treatment of Virginian Luxuries/Portrait of a Man Rustin Levenson 35 Loose Lining Elma O'Donoghue 37 The Treatment of Two Overdoor Paintings by François Boucher Norman E. Muller 54 Herri met de Bles's Road to Calvary in Context Serena Urry 62 Material and Technical Analyses of a Portrait of Eleonora of Toledo by Agnolo Bronzino and Workshop Lydia Vagts 68 "A very wonderfull Performance:" The Paintings of John Singleton Copley in America REVIVING THE TOMB: RECOVERY OF MURAL PAINTINGS IN GENERAL GRANT NATIONAL MONUMENT Despite a presidency marked by graft and corruption, Grant remained a larger-than-life hero to the American people as the savior of the republic during the Civil War. When Grant died in 1885, the scale of public mourning was immense. The newly formed General Grant National Memorial Association organized a subscription campaign to raise money for a tomb on a grand scale to commemorate the General. The competition for design of the tomb was awarded to John Duncan. The plan was ambitious, and heavily influenced by tombs of other great military leaders, most notably, the tombs of Napoleon and Mausoleus, the 4th century Greek ruler of Asia Minor. Construction of the tomb began in 1891, and was completed in 1897. (Fig. 1) An estimated 150,000 people attended the state funeral, and Grant's Tomb became a popular tourist attraction as well as a favorite promenade and picnic area along the plaza and in nearby Riverside Park. Increasingly heavy use took its toll in the level of upkeep and appearance of the tomb. By the mid-1930's, in a joint effort by the WPA and the Memorial Association, the Tomb received a major renovation, including commissioning wall paintings for the two plain white circular rooms, behind the crypt oculus. These rooms, known as "reliquary rooms", had been designed especially by Duncan to house the battle flags and regimental colors of Grant's military campaigns displayed in massive glass and decorative iron octagonal cases. William Dean Fausett, a young man just starting his art career, was commissioned to design and paint a dignified and appropriate mural that would enhance rather than deflect attention away from the flag cases which were to remain the central focus of the reliquary rooms. He completed the work between 1936-1938. No color photograph remains of the finished 1938 appearance, but available black and white photos of both rooms show a classical frieze of warriors at the top, a map area in the middle band showing the locations of Battles in the Civil War, and a trompe l'oeuil architectural dado below. One room depicts the battles of the northern states, while the other depicts the southern campaigns. The tomb was renovated again in 1970-71 by the National Park Service. The silk and painted silk flags which had been on display for nearly 75 years were badly deteriorated, and finally removed from the tomb along with the flag cases. Perhaps in an effort to make Grant more man than myth, the park modernized the reliquary rooms by overpainting the West room red and the East room blue, and bolting blown up photo panels to the walls to interpret Grant's life. Over time, Grant's Tomb became a target of vandalism and graffiti. Various campaigns of graffiti removal were undertaken, some with disastrous results to the integrity of the stone. Brigid Sullivan Collections Conservation Branch Northeast Cultural Resources Center, National Park Service 400 Foot of John Street Lowell, MA 01852-1195 1 The tomb took on a neglected, almost derelict appearance. It was this appearance combined with increasing structural deterioration both inside and out, that prompted a law suit against the National Park Service brought by the descendants of General Grant, who threatened to have the remains removed to the family cemetery in Galena, Illinois. In the wake of negative publicity surrounding the deterioration of Grant's Tomb, The Park Service received a special congressional appropriation of several million dollars for the total restoration and rehabilitation of Grant's Tomb in 1993. As early as 1979, tests for feasibility of removing the overpaint and recovering the murals were undertaken by conservators at the request of the National Park Service. Initial 1979 tests were executed by conservator Bernard Rabin, and in 1993, Rustin Levenson Art Conservation and Associates was contracted to undertake further cleaning tests to determine if the mural painting beneath could be recovered, and to gather information as to its condition (Fig. 2). In the test areas, the 1938 painting appeared to be sound, although somewhat dirty and abraded. (Fig. 3). Based on these findings, the Mural Paintings Recovery Project was approved, and the exhibit panels removed from the wall for work to begin in the winter of 1994. The panels had been attached to the wall with molly bolts in plastic sheathing, leaving considerable damage to the wall surface. In some cases, there were blisters on the wall surface due to both the insertion and removal of the screw bolts that crumbled the plaster beneath. Also visible were out-of-plane patches over bolt holes where a brass railing had once been attached. The plastic molly sheaths were unable to be removed safely without additional damage, and were therefore pushed back into the wall with a punch and hammer. As much as possible, blistered areas were pushed back into plane using a mallet over thick paper to protect the surface. In preparation for the project, cross-section and polarized light microscopy of submitted paint samples was conducted by Susan Buck at SPNEA to identify paint layer sequence, pigments and binders. Paint samples were cast in polyester resin cubes and ground for cross-section microscopy at 125X and 250X. Binding media were identified through florescent staining techniques specific for carbohydrates, proteins, saturated and unsaturated oils and lipids. From canvas substrates to the topcoat, six layers were evident. The final layer in the first generation proved to be a thin coat of natural resin varnish, which we felt might assist us in removing the second generation layers of two primer coats and pigmented topcoats. All layers proved to be oil emulsion paints, and pigments identified with polarized light microscopy were iron pigments, titanium white, whiting and carbon black. In both rooms, only the red topcoat contained red and white lead. We were ready to begin, and assembled a team of both in-house and contract objects, paintings and architectural conservators and NYU Program interns to complete the project. A network of traction cracks was present in several areas of the wall, most notably, in the bottom gray band and lower portion of the wall which may have been due to applying the topcoat before the thick primer had completely dried. We found in early tests that acetone and ethanol swelled the topcoat so that it could be removed by scraping with a plastic edged tool, but it proved to be difficult to control the action of the solvent on the surface of the Fausett painting during this process. The solvent penetrated quickly through the cracks and scarred the surface of the 1938 painting beneath in a distracting crackelure pattern. We needed a solvent system that would swell the topcoat but would not cut through to the original painting. In addition, because the paint contained lead, we needed a removal system that would not 2 produce hazardous airborne particulates that would require full lead abatement safety procedures. Senior Paintings Conservator Harriet Irgang of Rustin Levenson Art Conservation Associates, our consultant throughout the 2-year project, tested solvent gels of various polarity to increase contact time of the solvent on the surface while minimizing saturation through to the original paint layer. Based on these tests, she recommended an ethanol gel based on a Wolbers formulation containing ethanol, xylene, distilled water, Ethomeen C25 as a cationic surfactant, and Carbopol 941 as the polymer thickening agent to remove the exceptionally dense lead-bearing red topcoat in the West Reliquary Room. Each room had a band of gray paint below the cornice molding and above the marble baseboard.
Load more

Recommended publications
  • Boston Massacre, 1770
    Boston Massacre, 1770 1AUL REVERE’S “Boston Massacre” is the most famous and most desirable t of all his engravings. It is the corner-stone of any American collection. This is not because of its rarity. More than twenty-five copies of the original Revere could be located, and the late Charles E. Goodspeed handled at least a dozen. But it commemorated one of the great events of American history, it was engraved by a famous artist and patriot, and its crude coloring and design made it exceedingly decorative. The mystery of its origin and the claims for priority on the part of at least three engravers constitute problems that are somewhat perplexing and are still far from being solved. There were three prints of the Massacre issued in Massachusetts in 1770, as far as the evidence goes — those by Pelham, Revere, and Mulliken. The sequence of the advertisements in the newspapers is important. The Boston Ez’ening Post of March 26, 1770, carried the following advertisement, “To be Sold by Edes and Gill (Price One Shilling Lawful) A Print, containing a Representation of the late horrid Massacre in King-street.” In the Boston Gazette, also of March 26, I 770, appears the same advertisement, only the price is changed to “Eight Pence Lawful Money.” On March 28, 1770, Revere in his Day Book charges Edes & Gill £ ç for “Printing 200 Impressions of Massacre.” On March 29, 770, 1 Henry Pelham, the Boston painter and engraver, wrote the following letter to Paul Revere: “THuRsD\y I\IORNG. BosToN, MARCH 29, 10.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • USING the WOODMERE ART MUSEUM AS a CASE STUDY a Thesis Submitted To
    THE ORIGIN, PRESENT, AND FUTURE OF REGIONAL ART MUSEUMS — USING THE WOODMERE ART MUSEUM AS A CASE STUDY A Thesis Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS by Hua Zhang May 2021 Thesis Approvals: Linda Earle, Thesis Advisor, Art History Department James Merle Thomas, Second Reader, Art History Department ABSTRACT This paper uses the Woodmere Art Museum in Philadelphia as a case study to examine the origins and institutional evolution of American regional art museums, identify some of the challenges they currently face, and the important civic and cultural roles they play in their communities. The chapter “Origins” provides a basic overview of Woodmere’s founding and history and considers how, within an American context, such museums eventually evolved from private galleries to publicly engaged nonprofit organizations over the course of the twentieth century as their missions, stakeholders, and audiences evolved. Like other regional art museums that demonstrate the same model, Woodmere’s regional identity and its focus on local art deepen the ties between itself and the community it serves and creates cultural resonances that make regional art museums an irreplaceable part of the American museum industry. However, small regional art museums face important challenges as their finances are more vulnerable, and they must deal with some of the same social, institutional, and ethical issues faced by larger public- facing institutions with a smaller pool of resources. The chapter “Present Challenges” looks at the need to develop sustainable management and financial structures and inclusive strategies to understand and build on audience relationships as a way to survive and grow.
    [Show full text]
  • Women of the Bible La Salle University Art Museum
    La Salle University La Salle University Digital Commons Art Museum Exhibition Catalogues La Salle University Art Museum 10-1984 Women of the Bible La Salle University Art Museum Daniel Burke F.S.C., Ph.D. La Salle University Follow this and additional works at: http://digitalcommons.lasalle.edu/exhibition_catalogues Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation La Salle University Art Museum and Burke, Daniel F.S.C., Ph.D., "Women of the Bible" (1984). Art Museum Exhibition Catalogues. 73. http://digitalcommons.lasalle.edu/exhibition_catalogues/73 This Book is brought to you for free and open access by the La Salle University Art Museum at La Salle University Digital Commons. It has been accepted for inclusion in Art Museum Exhibition Catalogues by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. I I WOMEN OF THE BIBLE La Salle University Art Museum October 8th - November 30th, 1984 cover illustration: "Jael" by Jan Saenredam (1597-1665), Dutch Engraving Women of the Bible The Old Testament heroines depicted here in prints and paint­ ings were (with the exception, of course, of Bathsheba and Delilah) faithful and patriotic women of strong religious conviction. As wives, mothers, prophetesses, or soldiers, they raised new genera­ tions for the fledgling nation of Israel, provided good management and diplomacy in peace, inspiration and leadership in war. Their strength and courage were awesome, at times even barbaric. But it is clear, that for their contemporaries, their ends— to provide for the family, serve God and his people, build the nation of Israel against tremendous odds— justified their means, even though those might on occasion include assassination, seduction, or deceit.
    [Show full text]
  • Download a PDF of Imagining the Boston Massacre
    Imagining the Boston Massacre Imagining the Boston Massacre asks students to consider images of the one of the most important and controversial events of the Revolutionary era. This lesson invites students to examine and interpret depictions of the Boston Massacre—the deadly confrontation between Bostonians and British troops on the evening of March 5, 1770—by examining contemporary engravings of the event by Henry Pelham and Paul Revere of Boston and Jonathan Mulliken of Newburyport, Massachusetts, as well as later versions of the same image. The goals of the lesson are for students to understand the importance contemporaries attached to the event, how the event reflected and shaped colonial resistance to British authority, and how powerful images can focus popular attention and shape political views. Like the other lessons in this series, Imagining the Boston Massacre asks students to go beyond obvious questions about the literal accuracy of images to consider them as valuable sources for understanding how artists and their audiences understood the events depicted. Suggested Grade Level Middle and High School Recommended Time Two +/- fifty minute class periods Objectives and Essential Questions At the conclusion of the lesson, students will: • understand how the artists and their audiences understood the events of March 5, 1770; • understand how the Boston Massacre contributed to the growth of Revolutionary sentiment by stirring popular outrage at the British army and the British ministry; • develop skills needed to analyze and interpret visual images through close comparison of similar, but not identical, images; and • understand how the publication of dramatic images reflects and shapes popular opinion.
    [Show full text]
  • A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
    A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W.
    [Show full text]
  • Ana Diéguez-Rodríguez the Artistic Relations Between Flanders and Spain in the 16Th Century: an Approach to the Flemish Painting Trade
    ISSN: 2511–7602 Journal for Art Market Studies 2 (2019) Ana Diéguez-Rodríguez The artistic relations between Flanders and Spain in the 16th Century: an approach to the Flemish painting trade ABSTRACT Such commissions were received by important workshops and masters with a higher grade of This paper discusses different ways of trading quality. As the agent, the intermediary had to between Flanders and Spain in relation to take care of the commission from the outset to paintings in the sixteenth century. The impor- the arrival of the painting in Spain. Such duties tance of local fairs as markets providing luxury included the provision of detailed instructions objects is well known both in Flanders and and arrangement of shipping to a final destina- in the Spanish territories. Perhaps less well tion. These agents used to be Spanish natives known is the role of Flemish artists workshops long settled in Flanders, who were fluent in in transmitting new models and compositions, the language and knew the local trade. Unfor- and why these remained in use for longer than tunately, very little correspondence about the others. The article gives examples of strong commissions has been preserved, and it is only networks among painters and merchants the Flemish paintings and altarpieces pre- throughout the century. These agents could served in Spanish chapels and churches which also be artists, or Spanish merchants with ties provide information about their workshop or in Flanders. The artists become dealers; they patron. would typically sell works by their business Last, not least it is necessary to mention the partners not only on the art markets but also Iconoclasm revolt as a reason why many high in their own workshops.
    [Show full text]
  • National Foundation for Cancer Research 2012 Progress Report
    National Foundation for Cancer Research 2012 Progress Report NFCR MISSION STATEMENT The National Foundation for Cancer Research (NFCR) was founded in 1973 to support cancer research and public education relating to prevention, early diagnosis, better treatments and ultimately, a cure for cancer. NFCR promotes and facilitates collaboration among scientists to accelerate the pace of discovery from bench to bedside. NFCR is about Research for a Cure — cures for all types of cancer. T ABLE OF CONTENTS Architecture of Discovery ......................................1 Breaking The Code: Winning the War Against Cancer..............2 Metastasis Cancer’s Menacing Ballet: NFCR Research Center at University of Kansas Confronts Complexities of Metastasis .........4 Accelerating Discovery Research Highlights ......................6 First Whole Genome Sequencing of Multiple Pancreatic Cancer Patients at NFCR Center for Genomic Medicine .................14 7th Annual Szent-Györgyi Prize for Cancer Research..............15 China-U.S. Symposium: Future Direction of Global Collaboration.... 16 The Lucy Fund Research for a Cure ............................ 17 Taking Action Against Cancer .................................18 Extraordinary Support .......................................21 Legacy Society ..............................................24 2 | NFCR Research For a Cure ARCHITECTURE OF DISCOVERY The National Foundation for Cancer Research is an innovative cancer charity with a deep scientific base and a truly collaborative approach to cancer research reaching global dimensions. A leading research charity in the fight against cancer, since 1973 NFCR has spent over $300 million taking risks and funding pioneering research in angiogenesis, metastasis, targeted cancer therapies, chemoprevention, nanotechnology and bioinformatics. All this by providing the best scientists with both the “adventure” funding to discover, as well as sustained funding to actually translate those discoveries from bench to bedside.
    [Show full text]
  • Beyond Midnight
    March 2019 Number 97 American Antiquarian ALMANAC Society Piecing It All Together: Help Us Cross the Campaign Finish Line! Engraved bookplate of Paul Revere (Boston, no date). Beyond Midnight: Paul Revere s is abundantly evident in the photographs in these pages, the new addition to Antiquarian Hall is a sight to behold! The Exhibition to Tour planning,A prepping, and foundation pouring are behind us and an architectural gem is taking shape. The signature patinated copper Nationally (continued on pages 2-3) rawing on the Society’s unparalleled collection of Maintaining the Mechanics: printsD and books, the exhibition Beyond Midnight: Paul Revere The AAS Buildings & Grounds Department will tour nationally in 2019 and 2020, opening at the New- s Antiquarian Hall’s $20 million York Historical Society on construction project comes to an September 6, 2019. This in- end,A there will be sighs of gratification depth examination of Revere’s and relief throughout AAS, perhaps many skills as a craftsman will none as heartfelt as those of the shed new light on viewers’ Buildings & Grounds Department. understanding of this iconic For the past two years, the three-man colonial patriot. The show staff has ensured the safety and security illustrates the entrepreneurial of the collection, staff, and building, spirit of an early American while keeping a close watch on the artisan who stood at the comings and goings of a small army of (continued on page 4) contractors and construction workers. (continued on pages 6-7) 2 (Piecing It All Together...continued from page 1) panels are now in place, giving the building a distinctive and enticing façade on Park Avenue.
    [Show full text]
  • ADDRESS: 1523 CHESTNUT ST Name of Resource: Love Building Proposed Action: Designation Property Owner: 1523 Chestnut Associates
    ADDRESS: 1523 CHESTNUT ST Name of Resource: Love Building Proposed Action: Designation Property Owner: 1523 Chestnut Associates Nominator: Center City Residents’ Association Staff Contact: Meredith Keller, [email protected] OVERVIEW: This nomination proposes to designate the Love Building at 1523 Chestnut Street and list it on the Philadelphia Register of Historic Places. The nomination contends that the property satisfies Criteria for Designation A and J. Under Criteria A and J, the nomination contends that the property is significant for its association with the Red Rose Girls, an enclave of notable female artists important in LGBTQ history that included Jessie Willcox Smith, Elizabeth Shippen Green, Violet Oakley, and others. The nomination contends that the women maintained studios in the building during their formative years as artists and became significant contributors to the golden age of American illustration at a time when Philadelphia served as a national center for that industry. STAFF RECOMMENDATION: The staff recommends that the nomination demonstrates that the property at 1523 Chestnut Street satisfies Criteria for Designation A and J. 1. ADDRESS OF HISTORIC RESOURCE (must comply with an Office of Property Assessment address) Street address: 1523 Chestnut Street Postal code: 19102 2. NAME OF HISTORIC RESOURCE Historic Name: The Love Building Current Name: Unknown 3. TYPE OF HISTORIC RESOURCE Building Structure Site Object 4. PROPERTY INFORMATION Condition: excellent good fair poor ruins Occupancy: occupied vacant under construction unknown Current use: Commercial 5. BOUNDARY DESCRIPTION Please attach a narrative description and site/plot plan of the resource’s boundaries. 6. DESCRIPTION Please attach a narrative description and photographs of the resource’s physical appearance, site, setting, and surroundings.
    [Show full text]
  • Annual , Water Color
    ANNUAL , ANNUAL MEMBE~SHIP WATER COLOR JN AND THE PENNSYLVANIA ACADEMY "MINIATURE · OF THE FINE ARTS EXH.IBITIONS Annual members are such persons as contribute $10 annually for the maintenance of the Academy. ,;t i;t LIFE MEMBERSHIP CATALOGUE f{ - _,........ Life members are those who contribute the sum -~·- of $100. Annual and life members are admitted to all the public exhibitions and lectures at the Academy, have a right to use its library, subject to the regula­ tions of the institution, and receive an admission ticket. They have all the privileges of stock­ holders except the right to vote. Checks may be sent to George H. McFadden, Treasurer, at the Academy. FORM OF BEQU~T I giale, Jeoise anJ bequeath to "The Pennsgl­ oania Academy of the Fine Arts"·············-····· Dollars In trust lo invest and keep lrtPesieJ anJ appiJ, the income only to the maintenance of the The Pennsylvania Academy said Academ_y. of the Fine Arts 1914 MOST OF THE WORK IN THIS EXHI­ BITION IS FOR SALE AT STUDIO PRICES. INFORMATION IN REGARD TO SALES MAY BE HAD FROM THE SALES-MAN­ AGER OR FROM ANY ATTENDANT IN THE GALLERIES OR AT THE OFFICE. DUPLICATE PRINTS OF ETCHINGS CAN, IN MOST CASES, BE SUPPLIED. THE PENNSYL V ANJA ACADEMY OF THE FINE ARTS FOUNDED 1805 • THE PHILADELPHIA WATER COLOR CLUB The Schools of The Pennsylvania Academy THE PENNSYLVANIA SOCIETY o.f the Fine Arts train students in painting, OF MINIATURE PAINTERS sculpture and illustrating. The success achieved by the Schools is testified to by the number of artists of great reputation CATALOGUE OF THE TWELFTH who recelved their training in them.
    [Show full text]
  • A Finding Aid to the Violet Oakley Papers, 1841-1981, in the Archives of American Art
    A Finding Aid to the Violet Oakley Papers, 1841-1981, in the Archives of American Art Judy Ng Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee. 2014 December 29 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 3 Scope and Contents........................................................................................................ 3 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Biographical Materials, 1841-1970........................................................... 5 Series 2: Correspondence, 1857-1979...................................................................
    [Show full text]