2017 Annual Report Special Collections Acquisitions List
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A Finding Aid to the Charles Henry Hart Autograph Collection, 1731-1918, in the Archives of American Art
A Finding Aid to the Charles Henry Hart Autograph Collection, 1731-1918, in the Archives of American Art Jayna M. Josefson Funding for the processing of this collection was provided by the Terra Foundation for American Art 2014 February 20 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 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Charles Henry Hart autograph collection, 1731-1918............................... 4 Series 2: Unprocessed Addition, 1826-1892 and undated..................................... 18 Charles Henry Hart autograph collection AAA.hartchar Collection -
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Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day -
Hart Family Photographs and Clipping
Hart family photographs and clipping 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 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Hart family photographs and clipping AAA.harthart Collection Overview Repository: Archives of American Art Title: Hart family photographs and clipping Identifier: AAA.harthart Date: 1865-[189-?] Creator: Hart family Extent: 11 Items ((on a partial microfilm reel)) Language: English . Administrative Information Acquisition Information Donated 1988 by Edward B. Sackett. Mrs. Seth C. Beach of Saginaw, Michigan, Sackett's great- grandmother, was a cousin of James McDougal Hart's aunt, Mrs. Robert J.S. Page of Flint, Michigan. Through these connections, the families were friendly. Sackett's grandfather -
Signature Drawings:’ Social Networks and Collecting Practices in Antebellum Albums
ABSTRACT Title of Document: ‘SIGNATURE DRAWINGS:’ SOCIAL NETWORKS AND COLLECTING PRACTICES IN ANTEBELLUM ALBUMS Joy Peterson Heyrman, Ph.D., 2008 Directed By: Professor Sally M. Promey, Department of Art History and Archaeology Characterized in their own time as “miniature and easily-attainable works of art,” drawings by American artists of the antebellum period were prized by fellow artists as mementi of friendship and by collectors as marks of the artist’s hand. This dissertation presents a broad examination of the social meanings and contemporary contexts of these quietly communicative works of art. Using archival and documentary evidence, it investigates rich spheres of activity in the “social lives” of drawings. Special qualities of the medium and particularities of drawings exchange informed their reception. In the public sphere of business and social transaction between artists and patrons, drawings functioned as “social currency,” building a community connected through gift-giving and competitive collecting. Albums of drawings reflected social networks and communicated the owner’s privileged access to artists who practiced that particularly intimate form of expression. Drawings were also displayed in the antebellum parlor, a private setting encoded with aspiration to personal refinement and social position. In that sphere, drawings served a didactic, regulatory function, presenting sentimental and moral themes that provided a visual buffer to the turbulent public history of the time. My study reveals that many of the drawings collected in antebellum albums were originals for images subsequently reproduced as giftbook illustrations or prints. This dissertation demonstrates that antebellum viewers perceived drawing and writing as aligned, complimentary modes of expression; similar motivations thus informed the collecting of drawings and autographs. -
1 Introduction Marianne North Was One of the Most Prominent Botanical
Introduction Marianne North was one of the most prominent botanical painters and plant hunters of the nineteenth century as well as a pioneering global traveler. However, despite 1RUWK¶V recognised importance as a botanical painter, plant hunter and traveler, relatively little of any critical/analytical substance has been written about her life and work from an art-historical or, indeed, scientific perspective. 1RUWK¶VSDLQWLQJVZHUH greatly admired during her own lifetime by eminent scientists such as Charles Darwin and Sir Joseph Hooker. Hooker, who was director of Kew Gardens at the opening of the gDOOHU\ EXLOW WR KRXVH D FRPSUHKHQVLYH FROOHFWLRQ RI 1RUWK¶V ZRUN WKHUH LQ the early 1880s, considered 1RUWK¶VSDintings to be extremely important to the botanical FRPPXQLW\+HZURWHLQWKHSUHIDFHWRWKH1RUWK*DOOHU\¶VFDWDORJXHWKDWLWLVµQRW possible to overrDWH>WKH1RUWK*DOOHU\¶V@ LQWHUHVWDQG LQVWUXFWLYHQHVV LQ FRQQHFWLRQ with the contents of the gardens, plant-KRXVHVDQGPXVHXPVDW.HZ¶>+Hmsley North Gallery Catalogue 1886: Preface].1 1RUWK¶V ZRUN DV D ERWDQLFDO SDLQWHU ZDV also championed during her lifetime by a number of fellow artists. One of these was the Australian botanical painter Ellis Rowan, whose work wasLQWKHYLHZRI5RZDQ¶V ELRJUDSKHU3DWULFLD)XOOHUWRQLQIOXHQFHGVWURQJO\E\1RUWK¶VRZQZRUNLQJPHWKRGV Furthermore, North was given personal encouragement by the painter Frederic Edwin Church of the Hudson River School, who QRWRQO\WRRNDQDYLG LQWHUHVWLQ1RUWK¶V 1 Hooker could easily have taken a different position in relation to the North Gallery. At the time of the 1RUWK *DOOHU\¶V RSHQLQJ LQ +RRNHU KDG GHFLGHG WR SURGXFH KLV VHFRQG DGGLWLRQ RI 6WHXGHO¶V Nomenclator Botanicus (1840), which, he believed, required drastic revision [Desmond 1998: p.262]. These revisions would have been highly time-consuming. -
Eliza Greatorex and Her Art Sisterhood in The
Women’s Studies, 39:518–535, 2010 Copyright © Taylor & Francis Group, LLC ISSN: 0049-7878 print / 1547-7045 online DOI: 10.1080/00497878.2010.490730 GWST0049-78781547-7045Women’sELIZA StudiesStudies, Vol. 39, No. 6, May 2010: pp.GREATOREX 0–0 AND HER ART SISTERHOOD IN THE COLLECTION OF MARTHA REED MITCHELL, 1863–1877 ElizaKatherine Greatorex E. Manthorne and Her Art Sisterhood KATHERINE E. MANTHORNE In the course of my research on the visual arts of the 1860s and 1870s I have come upon the names of many female artists, writers, activists, and collectors with whom I was unfamiliar, even after decades of work- ing in the field of American art. During this process, I became increas- ingly convinced that there existed a vast network composed of women who were widely recognized for their considerable accomplishments immediately after the Civil War but are now all but lost to us. To recover them, I had to rely almost exclusively on nineteenth century sources. How, I asked myself, was it possible that women whose suc- cesses were followed regularly in the pages of the New York Times or the Boston Evening Transcript could have fallen so completely out of sight? The fact that they were highly visible at one moment, and later almost completely invisible, could not be explained by historical amnesia alone. It was instead the result of a deliberate act of negation. The “Age of Promise” is the chronological window in which these women made their mark, deriving from the fact that it ran parallel to political Reconstruction (1863–1877) and took some of its impetus from the same hope for a democratic society that briefly allowed women as well as blacks to step out into the light before being pushed back into the shadows. -
Presidents Message
The Pibroch Official Journal of St. Andrew’s Society of Baltimore standrewsbaltimore.org October - November 2012 * Volume 206 Issue 6 * Stuart Blair Editor William Wallace Memorial Ceremony Druid Hill Park Baltimore Submitted by Al Schudel Sunday August 19, 2012, just after a nasty 2 week 90 to100 degree heat wave, we arrived at the hill on the west side of Druid Lake where stands the magnificent statue of William Wallace. There was a light breeze coming across the lake from east to west. The Baltimore City Pipe Band had arrived and was tuning up and the E.T.C. was drifting in. This was going to be a fine morning. We are here to celebrate the life of William Wallace who was thought to have been born in Elderslie, Scotland in 1272, so this year 2012, he has been known for 740 years. His main claim to fame is that it was in Lanark, in 1297 that he first took up arms to free Scotland from the yoke of the English. The parade was formed at 11:00 and the pipe band followed by 21 of our Lads carrying flags. They took their positions at the Monument, a brief welcome and history of the monument was given by Al Schudel, President Don Kerr gave the invocation, and Rod McCaslin our Historian gave the inspirational address on William Wallace. The pipe band played a lament and also Scots W’a Hae which we sang. Ralph Wallace brought greetings from Clan Wallace while Bud Howe and Jim Wallace snapped photos. Pipe Major Ed McFarland led the pipe band off followed by the ETC. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Hudec-Ahasver Pavol - (*1941); český fotograf; prišiel do Prahy zo Slovenska začiatkom 60. rokov, vyštudoval FAMU u profesora Jána Smoke a dal si pseudonym Ahasver; začal publikovať svoje fotografie a zaujal predovšetkým akty; v normalizačných časoch však nemohol publikovať, a preto sa uchýlil k zátišiam; po revolúcii usporiadal niekoľko výstav nielen v Čechách, ale aj vo Veľkej Británii; pozri fotografia slovenská; autoportrét http://www.webumenia.sk/dielo/SVK:SNG.UP-DK_1626 http://www.paladix.cz/clanky/pavel-hudec-ahasver-klasik-snbspdusi-tulaka.html (životopis) https://www.google.sk/search?q=Pavol+Hudec- Ahasver&espv=2&biw=1841&bih=990&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwi HurKR9p7PAhVLsxQKHYoJBaIQsAQIJg P. Hudec-Ahasver: Bez názvu (1969) Heslo HUDEC – HUI Strana 1 z 28 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia P. Hudec-Ahasver: Bez názvu (1960-1970) Heslo HUDEC – HUI Strana 2 z 28 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia P. Hudec-Ahasver: Úsmev (1960-1970) hudobná spoločnosť - pozri elegantná spoločnosť Heslo HUDEC – HUI Strana 3 z 28 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia A. Palamedesz: Hudobná spoločnosť s alegóriou Piatich zmyslov (hudobná spoločnosť, 1649) Heslo HUDEC – HUI Strana 4 z 28 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia G. van den Eeckhout: Hudobná spoločnosť (1652) Heslo HUDEC – HUI Strana 5 z 28 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia J. M. Molenaer: Hrajúci mladý muž žena (elegantná spoločnosť, 1630-1632) Heslo HUDEC – HUI Strana 6 z 28 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia G. van den Eeckhout: Hudobná spoločnosť (1652) Heslo HUDEC – HUI Strana 7 z 28 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia N. -