Descendant Report Wm Frothingham
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Henry Stevens Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/ft258003k1 No online items Finding Aid for the Henry Stevens Papers, ca. 1819-1886 Processed by Saundra Taylor and Christine Chasey; machine-readable finding aid created by Caroline Cubé UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2002 The Regents of the University of California. All rights reserved. Finding Aid for the Henry Stevens 801 1 Papers, ca. 1819-1886 Finding Aid for the Henry Stevens Papers, ca. 1819-1886 Collection number: 801 UCLA Library, Department of Special Collections Manuscripts Division Los Angeles, CA Contact Information Manuscripts Division UCLA Library, Department of Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Telephone: 310/825-4988 (10:00 a.m. - 4:45 p.m., Pacific Time) Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ Processed by: Saundra Taylor and Christine Chasey Encoded by: Caroline Cubé Text converted and initial container list EAD tagging by: Apex Data Services Online finding aid edited by: Josh Fiala, May 2003 © 2002 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Henry Stevens Papers, Date (inclusive): ca. 1819-1886 Collection number: 801 Creator: Stevens, Henry, 1819-1886 Extent: 71 boxes (35.5 linear ft.) Repository: University of California, Los Angeles. Library. Department of Special Collections. Los Angeles, California 90095-1575 Abstract: Henry Stevens (1819-1886) was a London bookseller, bibliographer, publisher, and an expert on early editions of the English Bible and early voyages and travels to America. -
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. -
William Bentley
WILLIAM BENTLEY (1759-1819), before 1826 James Frothingham (1786-1864) copy after his own composition oil on canvas 27 1/4 x 22 1/4 (69.22 x 56.50) Bequest of Hannah Armstrong Kittredge, 1917 Weis 10 Hewes Number: 8 Ex. Coll.: Possibly commissioned by Hannah Pippen Hodges (1768-1837); to her daughter Hannah Hodges Kittredge (1793-1877); to her daughter, the donor (1834-1916). Exhibitions: ‘Dr. Bentley’s Salem: Diary of a Town,’ Essex Institute, Salem, Mass., 1977. Publications: ‘Dr. Bentley’s Salem: Diary of a Town,’ Historical Collections of the Essex Institute 113 (July 1977): 34. Stefanie Munsing Winkelbauer, ‘William Bentley: Connoisseur and Print Collector,’ in Georgia B. Barnhill, ed., Prints of New England (Worcester: American Antiquarian Society, 1991), 22. The Reverend William Bentley was a noted bibliophile, scholar, historian, and linguist. He was the minister of the East Church (Unitarian) in Salem, Massachusetts, from 1783 to his death in 1819. In his remarkable diaries, the manuscripts of which are preserved at the American Antiquarian Society, Bentley recorded local and national events, shipping news, church business, scientific theories, and town gossip.1 He can be considered Salem’s first archivist, recording scraps of genealogical information and town history in his diary. He also commissioned several portraits of prominent New England leaders, most of which were copied after well-known canvases, and placed these replicas in his ‘cabinet.’ Bentley graduated from Harvard College in 1777 and, with a talent for languages, tutored Greek and Latin there while looking for a church position. After moving to Salem, Bentley began to contribute political and social commentary to the Salem Register. -
Vital Records of Danvers, Massachusetts, to the End of The
iii 1 1! The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924092203623 VITAL RECORDS OF D A N V E R S MASSACHUSETTS TO THE END OF THE YEAR I 849 VOLUME II. MARRIAGES AND DEATHS PUBLISHED BY THE ESSEX INSTITUTE SALEM, MASS. 1910 NEWCOMB & GAUSS Printers SRlem, Massachusetts ABBREVIATIONS a.—age. ait.—about. 6. —bom. ie/.—befoie. 6et —between. dp.—baptized. 6ur,—buried. c. s. I.—First Congregational Church records (Salem Village), Danvers. o. R. 2.—South Congregational Church records (Middle Precinct), Peabody. c. B. 3. —First Baptist Church records, Danvers. c. s. 4.—Universalist Church records, Peabody. c. B. 5.—First Unitarian Church records, Peabody. o. «. 6. —Baptist Church records, Peabody. o. a. 7. —^Records of the Salem Monthly Meeting, Society of Friends, now in possession of the Lynn Society. 0. R. 8.—Records of the Amesbury Monthly Meeting, Society of Friends. cA.—child. chn.—children. Co.—county. d.—daughter; day; died. Dea.—deacon. dup.—duplicate entry. a. R. I.—gravestone record, Wadsworth Cemetery, Summer street, Danvers. e. R. 2.—^gravestone record, Nurse private burial ground, off Pine street, Tapleyville. 4 ABBREVIATIONS 0. R. 3.—gravestone record, Endicott private burial ground, Dan- versport. 0. s. 4. —gravestone record, Preston Street Cemetery, Hathorne. o. R. 5.—gravestone record, Prince private burial ground. Spring street, Danvers. e. B. 6.—gravestone record, Putnam private burial ground, Hathorne. o. R. 7. —gravestone record, .Russell private burial ground, Dan- versport. -
American Voices
American Voices. Remarks on the Earlier History of Art History in the United States and the Reception of Germanic Art Historians1 Thomas DaCosta Kaufmann A wave of studies in the historiography of art history has recently swept over both sides of the Atlantic, bringing with it a vogue for scholarship on German art historians who were active in America.2 Much information has been accumulated as a result. 1.This paper was originally published in Ars, 42:1, 2009, 128-52. As stated in the first note to the original publication, it draws upon two lectures. The first was given as ‘The American Voice. Deutsche Kunsthistoriker im Exil in den Vereinigten Staaten’, given at the meeting of Deutscher Kunsthistorikerverband, Hamburg, Germany, 23 March 2001, and then in English as ‘German Art Historians in the United States and Paul Frankl’, Moravská Galerie, Brno, Czech Republic, 26 June 2001, and as ‘German Art Historians in the United States’, Speed Museum of Art, Louisville, Kentucky, 27 September 2001. This lecture has been published in slightly different form as ‘The American Voice. German Historians of Art and Architecture in Exile in the United States’, in Heaven and Earth. Festschrift for Karsten Harries, Wolkenkuckucksheim: Internationale Zeitschrift zur Theorie der Architektur, Vol. 12, No. 1, August 2007, http://www.tu- cottbus.de/theoriederarchitektur/Wolke/eng/Subjects/071/DaCostaKaufmann/dacosta- kaufmann.htm. The second lecture was given as the introduction to a symposium, ‘Pasts, Presents, Futures’, at Princeton University on 7 December 2007. The material presented in this paper has been considerably enlarged, however. In the initially publication I thanked Jennifer A. -
University Microfilms International 300 North Zeeb Road Ann Arbor
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3 ‘More for beauty than for rarity’: the key role of the Italian antiquarian market in the inception of American Classical art collections during the late-nineteenth century Francesca de Tomasi Introduction It is very surprising that there has been a buyer of such vases unless we assume that they were destined for some American museum; since everybody knows that the Americans, without any particular knowledge of art history and without leaving their country of origin, buy art on commission. They trust the archaeological knowledge of the people they appoint for the purchases. If this attitude were true it should be deplored. That is, those who should be in charge of the study and the conservation of the national cultural heritage procure its export abroad instead. Neither is it commendable to sell foreigners (even if Americans) mediocre objects as if they were works of art or monuments with a true value or archaeological interest (Chigi to Fiorelli, December, 1889).1 Although this excerpt is not from an official document but from a private letter addressed to the head of the Directorate General of Antiquities and Fine Arts by an employee of the office, the quotation above makes it clear that the idea that Americans were not able to understand and evaluate Classical art was taken for granted in late-nineteenth-century Italy and even pervaded state institutions. The statement shows how both the artistic taste and the connoisseurship of the American collectors were underestimated by Roman scholars when the collectors were first encountered at the end of the nineteenth century. -
A Study of Art Unions in the United States of America in the Nineteenth Century
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1990 A Study of Art Unions in the United States of America in the Nineteenth Century Jane Aldrich Dowling Adams Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/828 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. A STUDY OF ART UNIONS IN THE UNITED STATES OF AMERICA IN THE NINETEENTH CENTURY JANE ALDRICH DOWLING ADAMS BS, Carnegie-Mellon University, 1954 Submitted to the Faculty of the School of the Arts Virginia Commonwealth University in Partial Fulfillment of the Requirements for the Degree Master of Arts I RICHMOND, VIRGINIA April 1990 Acknowledgments Jean Ashton, Thomas Dunnings and Mary Carey, New Yor~ Historical Society Library; Gloria Deak, New York Public Library Art Division; Barbara Reed and Claudia Yatsevitch, Sherman Art Library, Dartmouth College; Virginia Close, Gloria Densmore, Marcy Bouton and Nancy Markee, Baker Library, Dartmouth College; Polly Gould, Howe Library, Hanover, NH; Shirlee Mitchell, Hanover, NH, Anneliese Harding, Goethe Institute, Boston; Sue W. Reed, Boston Museum of Fine Arts Print Division; Sally Pierce, Boston Athenaeum Print Department; Wendy Marcus, Roberta Zonghi and Giuseppe Bisaccia, Boston Public Library; Bob Brown, Archives of American Art, Boston; Steven B. Jareckie, Worcester Art Museum; Mary Ellen Goeke, Pat Rutledge and Mona Chapin, Cincinnati Art Museum; James Hunt, Claire Passero, Melissa Hermann, Cincinnati Public Library; Frances Forman, Cincinnati Historical Society Library; Molly Carver, Sandusky Public Library; Helen Hansen, Follet House Museum Library, Sandusky; Anne Steinfeldt, Chicago Historical Society Library, Wilson S. -
Chapter 1: Introduction…………………………………………………………………………1
The Pennsylvania State University The Graduate School Department of Art History THE HADRIANIC TONDI ON THE ARCH OF CONSTANTINE: NEW PERSPECTIVES ON THE EASTERN PARADIGMS A Dissertation in Art History by Gerald A. Hess © 2011 Gerald A. Hess Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2011 The dissertation of Gerald A. Hess was reviewed and approved* by the following: Elizabeth Walters Dissertation Advisor Chair of Committee Associate Professor of Art History Brian Curran Professor of Art History Craig Zabel Associate Professor of Art History Head, Department of Art History Donald Redford Professor of Classics and Mediterranean Studies *Signatures are on file in the Graduate School. ii Abstract This dissertation is a study of the impact of eastern traditions, culture, and individuals on the Hadrianic tondi. The tondi were originally commissioned by the emperor Hadrian in the second century for an unknown monument and then later reused by Constantine for his fourth century arch in Rome. Many scholars have investigated the tondi, which among the eight roundels depict scenes of hunting and sacrifice. However, previous Hadrianic scholarship has been limited to addressing the tondi in a general way without fully considering their patron‘s personal history and deep seated motivations for wanting a monument with form and content akin to the prerogatives of eastern rulers and oriental princes. In this dissertation, I have studied Hadrian as an individual imbued with wisdom about the cultural and ruling traditions of both Rome and the many nations that made up the vast Roman realm of the second century. -
Rodolfo Lanciani's Dismissal
Dixon, S M 2016 Rodolfo Lanciani’s Dismissal. Bulletin of the History of Archaeology, Bofulletin 26(1): 8, pp. 1–10, DOI: http://dx.doi.org/10.5334/bha-592 the History of Archaeology RESEARCH PAPER Rodolfo Lanciani’s Dismissal Susan M. Dixon This essay deals with an episode in the career of classical archaeologist Rodolfo Lanciani (1845–1929), director of excavations of the Roman Forum from c. 1877 to 1886. Despite his success as a scholar and excavator, the Italian government dismissed him from the archaeological service for improprieties in 1890. The major charges against Lanciani reveal the tensions between the city of Rome and the Italian state on issues related to owning, caring for, and displaying the nation’s antiquities. Significant social, economic, and political changes in the decades after the establishment of the new nation fueled the tensions. During the pinnacle of his career in the mid-1880s, Palombi 2006: 42), and Carlo Ludovico Visconti (1828–1894), Rodolfo Lanciani (1845–1929) made significant from a long line of papal commissioners of antiquities discoveries in the Roman Forum and beyond. As the state- (Palombi 2006: 45–46; Lanciani 1894b; Ridley 1992: appointed director of excavations in Rome, he had led the 142–150). With Visconti, Lanciani explored Portus, then campaign that exposed the entire Forum from the Temple owned by Prince Alessandro Torlonia (1800–1886), of Concord to the Colosseum down to the level of the Via a member of the prominent family of papal bankers Sacra, and uncovered, if not fully explored, most of the (Dyson 2006: 39–40). -
MUSE, Volumes 36, 37 & 38, 2002-2004
MVSE VOLUMES THIRTY -S IX , THIRTY-SEVEN & THIRTY-EIGHT 2002 - 200 4 Annual of the Museum of Art and Archaeology University of Missouri MVSE Volumes Thirty-Six, Thirty-Seven & Thirty-Eight 2002-2004 Annual of the Museum of Arc and Archaeology University of Missouri Jane Biers editor Stephanie Lyons graphic design © 2008 by the Curators of the University of Missouri ISSN 0077-2194 ISBN 0-910501-34-3 The Museum of Arc and Archaeology is open from 9:00 a.m. to 4:00 p.m. Tuesday through Friday and from noon to 4:00 p.m. Saturday and Sunday. Admission is free. The Museum is closed on Mondays, from December 25 through January 1, and on University of Missouri holidays: Marcin Luther King Day, Memorial Day, Independence Day, Labor Day, Thanksgiving Day, and the Friday following. Guided tours are available, if scheduled two weeks in advance. The Museum Store is open from 10:00 a.m. to 4:00 p.m. Tuesday through Friday and from noon to 4:00 p.m. Saturday and Sunday. Back issues of Muse are available for purchase. See http://maa.missouri.edu. Cover: Portrait of an empress. Roman, marble, mid-third century C.E. Weinberg and Gilbreath-McLorn Museum Fund, acc. no. 2004.1. TABLE OF CONTENTS Activities 2002-2004 Jane Biers 7 Drumming/or the Divine A Female Tympanon Player from Cyprus Erin Walcek Averett 14 A Unique Gorgon Bird in Missouri William R. Biers 29 Revealing a Roman Artemis John Tristan Barnes 35 The Identity Crisis of a Roman Empress Benton Kidd 44 The Icons ofAndres Serrano tlrina Hans 67 t Gladys D. -
Rome's Role in Imperial Propaganda and Policy, 293-324 Ce
ROME’S ROLE IN IMPERIAL PROPAGANDA AND POLICY, 293-324 CE ROMA, AUCTRIX IMPERII? ROME’S ROLE IN IMPERIAL PROPAGANDA AND POLICY FROM 293 CE UNTIL 324 CE By JOHN M. FABIANO, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree Master of Arts McMaster University © Copyright by John Fabiano, September 2013 McMaster University MASTER OF ARTS (2013) Hamilton, Ontario (Classics) TITLE: Roma, Auctrix Imperii? Rome’s Role in Imperial Propaganda and Policy from 293 CE until 324 CE AUTHOR: John Fabiano, B.A. (University of Toronto) SUPERVISOR: Professor M. Beckmann NUMBER OF PAGES: xiii, 198 i Abstract By the early fourth century Rome was more than a thousand years old and the historical caput mundi was, accordingly, steeped in long established traditions. It was these historical traditions and memories that served as paradigms for understanding present circumstances. One such paradigm was the relationship between Rome and her emperors. Traditionally, monarchical power was the antithesis of the Roman Republican model, yet Augustus uniquely altered this model and established a new acceptable paradigm wherein the emperor was the princeps civitatis and the patron to all Romans. This imperial patronage was characterized primarily by the commissioning of public buildings in the Urbs and the maintenance of Rome’s cults and traditions. Therefore, Rome was inextricably intertwined with the legitimacy, success (or failure), and longevity of an emperor’s reign. Throughout the third century, however, Rome was plagued by manifold crises and the paradigmatic relationship between Rome and her rulers began to break down, such that some scholars have suggested that from 293 CE and the establishment of the tetrarchy Rome became increasingly manifest wherever the emperors were, with the city itself becoming nothing more than a peripheral concern.