Barnard, George Grey
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Real Estate Record and Builders Guide Founded March 21, 1868, by CLINTON W
Real Estate Record and Builders Guide Founded March 21, 1868, by CLINTON W. SWEET Devoted to Real Estate, Building Construction and Building Management in the Metropolitan District Published Every Saturday by THE RECORD AND GUIDE COMPANY FRANK E. PERLEY, President and Editor; W. D. HADSELL, Vice-President; J. W. FRANK, Secretary-Treasurer Entered aa second daaa matter November 8, 1879, at the Post Office at New York. N. T., under the Act of March 3. 1879. Copyright, 1920, by The Record and Guide Company 119 West 40th Street, New York (Telephone: Bryant 4800) VOL. CV 250. A ropY NO. 19 (2721) NEW YORK, MAY 8, 1920 {12.00 A TEAB AdTertisins Index AdTertlsIng Index Page Page j A B See Electric Elevator.4th Cover Newins, Harvey B ..600 i Ackerly, Orville B., & Son 600 TiABLE OF CONTENTS. New York Edison Co., The 623 ! Adler, Ernest N 600 New York Title & Mortgage Co. .602 ; Alliance Realty Co 600 .... 603 Niewenhous Bros., Inc ....627 . Altmayer, Leon S 2d Cover Noyes Co., Chas. F Front Cover i American Bureau of R. E 600 Opposei Federal Tax on Real Estate to Pay Ogden & Clarkson Corp 2d Cover \ Ames & Co 2cl Cover 605 OReilly & Dahn 2d Cover Amy & Co., A. V 2d Cover Orr & Co., John C ^6^'i < Anderson & Co., James S 600 Mayor iHylan Appoints Committee on Housing Armstrong, John 600 fiO.S Payton, Jr., Co., Philip A.... ..612 ! Aspromonte & Son, L. S 627 Pease & Elliman Front Cover • Atlantic Terra Cotta Co 616 Joseph P. Day's Twenty-fifth Anniversary Cele Pflomm, F. -
A Mechanism of American Museum-Building Philanthropy
A MECHANISM OF AMERICAN MUSEUM-BUILDING PHILANTHROPY, 1925-1970 Brittany L. Miller Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Departments of History and Philanthropic Studies, Indiana University August 2010 Accepted by the Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. ____________________________________ Elizabeth Brand Monroe, Ph.D., J.D., Chair ____________________________________ Dwight F. Burlingame, Ph.D. Master’s Thesis Committee ____________________________________ Philip V. Scarpino, Ph.D. ii ACKNOWLEDGEMENTS In the same way that the philanthropists discussed in my paper depended upon a community of experienced agents to help them create their museums, I would not have been able to produce this work without the assistance of many individuals and institutions. First, I would like to express my thanks to my thesis committee: Dr. Elizabeth Monroe (chair), Dr. Dwight Burlingame, and Dr. Philip Scarpino. After writing and editing for months, I no longer have the necessary words to describe my appreciation for their support and flexibility, which has been vital to the success of this project. To Historic Deerfield, Inc. of Deerfield, Massachusetts, and its Summer Fellowship Program in Early American History and Material Culture, under the direction of Joshua Lane. My Summer Fellowship during 2007 encapsulated many of my early encounters with the institutional histories and sources necessary to produce this thesis. I am grateful to the staff of Historic Deerfield and the thirty other museums included during the fellowship trips for their willingness to discuss their institutional histories and philanthropic challenges. -
Joan of Arc" in the Artistic Development of Anna Hyatt Huntington
Syracuse University SURFACE The Courier Libraries Fall 1975 The Significance of the questrianE Monument "Joan of Arc" in the Artistic Development of Anna Hyatt Huntington Myrna Garvey Eden Follow this and additional works at: https://surface.syr.edu/libassoc Part of the American Art and Architecture Commons Recommended Citation Eden, Myrna Garvey. "The Significance of the questrianE Monument 'Joan of Arc' in the Artistic Development of Anna Hyatt Huntington." The Courier 12.4 (1975): 3-12. This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. JOAN OF ARC Bronze, 11.4 times life. 1915. Riverside Drive and 93rd Street, New York, New York. Anna Hyatt Huntington, Sculptor THE COURIER SYRACUSE UNIVERSITY LIBRARY ASSOCIATES VOLUME XII, NUMBER 4 Table of Contents Fall 1975 Page The Significance of the Equestrian Monument "Joan of Arc" in the Artistic Development of Anna Hyatt Huntington. 3 Myrna Garvey Eden The Sculpture of Anna Hyatt Huntington in the Syracuse University Art Collection. 13 Myrna Garvey Eden Clara E. Sipprell: American Photographer, In Memoriam 29 Ruth-Ann Appelhof News of the Library and Library Associates 33 Portrait of Anna Hyatt Huntington from Beatrice G. Proske's Archer M. Huntington, New York, Hispanic Society of America, 1963. Courtesy of Hispanic Society of America. The Significance of the Equestrian Monument "Joan of Arc" In the Artistic Development of Anna Hyatt Huntington by Myrna Garvey Eden The manuscript collection of Anna Hyatt Huntington, sculptor, 1876-1973, left to the George Arents Research Library at Syracuse University by Mrs. -
'A Baby's Unconsciousness' in Sculpture: Modernism, Nationalism
Emily C. Burns ‘A baby’s unconsciousness’ in sculpture: modernism, nationalism, Frederick MacMonnies and George Grey Barnard in fin-de-siècle Paris In 1900 the French critic André Michel declared the US sculpture on view at the Exposition Universelle in Paris as ‘the affirmation of an American school of sculpture’.1 While the sculptors had largely ‘studied here and … remained faithful to our salons’, Michel concluded, ‘the influence of their social and ethnic milieu is already felt in a persuasive way among the best of them’.2 How did Michel come to declare this uniquely American school? What were the terms around which national temperament – what Michel describes as a ‘social and ethnic milieu’ – was seen as manifest in art? Artistic migration to Paris played a central role in the development of sculpture in the United States in the late nineteenth and early twentieth centuries. Hundreds of US sculptors trained in drawing and modelling the human figure at the Ecole des beaux-arts and other Parisian ateliers.3 The circulation of people and objects incited a widening dialogue about artistic practice. During the emergence of modernism, debates arose about the relationships between tradition and innovation.4 Artists were encouraged to adopt conventions from academic practice, and subsequently seek an individuated intervention that built on and extended that art history. Discussions about emulation and invention were buttressed by political debates about cultural nationalism that constructed unique national schools.5 In 1891, for example, a critic bemoaned that US artists were imitative in their ‘thoughtless acceptance of whatever comes from Paris’.6 By this period, US artists were coming under fire for so fully adopting French academic approaches that their art seemed inextricably tied to its foreign model. -
Central Park West
CENTRAL PARK WEST- WEST 73rd - 7 *• t h STREET HISTORIC DISTRICT DESIGNATION REPORT 1977 City of New York Abraham D. Beams, Mayor Landmarks Preservation Commission Beverly Koss Spatt, Chairman Horrls Ketchum, Jr., Vlc©-Chairman Commissioners Margaret Beyer Stephen S. Lash Elisabeth Colt Hawthorne E. Lee George R. Collins Marie V. McGovern William J. Conklin Paul E. Parker, Jr. Barbara lee Dlamonsteln WEST 73*STREET fTMTHlE DAKOTA, iT-WEST TO^T^STREET HISTORIC DISTRICT CENTRAL PAES MANHATTAN DESIGNATED JULY 12, 1977 0E3I0NATC0 tAHOMARR SOUMOARIfS A*£ A* CU«8 UWI Landmarks Preservation Commission July 12, 1977, Number 8 LP-096<» CENTRAL PARK WEST - WEST 73rd - 7*«th STREET HISTORIC DISTRICT BOUNDARIES The property bounded by the western curb line of Central Park West, the northern curb line of West 73rd Street, the eastern curb line of Columbus Avenue and the southern curb line of West 7*»th Street, Manhattan. TESTIMONY AT THE PUBLIC HEARINGS On May 10, 1977, the Landmarks Preservation Commission held a public hearing on this area which is now proposed as an Historic District (Item No. 8). The hearing had been duly advertised In accordance with the provisions of law. Seven persons spoke In favor of the proposed designation. There were no speakers In opposition to designation. -1 HISTORICAL AND ARCHITECTURAL INTRODUCTION The site of the Central Park West - West 73rd-7*»th Street Historic District originally formed part of the farm of Richard Somerlndyck, whose family owned much of the land along the Upper West Side In the late 18th century. Although the farmland had b«en subdivided into lots by 1835, construction did not begin on this block until the l880s, Interest in the Upper West Side as a residential district began to grow In the late 1860s. -
History and Genealogy of Samuel Clark, Sr., and His
ALLEN COUNTY PUBLIC LIBRARY Gc 929.2 833 01733 8671 C556c REYNOLDS HISTORICAL 1151116 GENEALOGY COLLECTION : T H I S T O R T GENEALOGYT OF SAMUEL CLARK, Sr.. AND HIS DESCENDANTS FROM 1636-1891 — 255 YEARS. BY REV. EDGAR W. CLARK, A. M., IP^I^JL, ILL. ' My boast is not, that I deduce mj- birth From loins enthroned, and rulers of the earth; But higher far my proud pretensions rise — The son of parents passed into the skies." — Cowper. ST. LOUIS, MO. NIXO>f-JONES PRINTING CO. July, li59l. COAX OK ARIVLS." Arm's of Clarks, Buckland's Toussaint, County Devon, England. "Arms, Erm., a lion rampant Az., or. chief sa., or leopard's face arg. — between two cross-crosslets or — CREST, a demi lion gu. collard or, on the shoulder an etoille, in the paw a baton sa. — Motto : " VICTOR MORTALIS EST." 1151116 — PREFACE. The author is well aware that this little volume can con- tain but a small part of the very numerous descendants of Samuel Clark. Some of the branches of the family he has not been able to discover and trace, but he trusts the fami- lies given will lead to a further knowledge of those fully as important but not known to him. He hereby solicits anv information and corrections any one may be able to give, and if sufficient to warrant it, he will publish a new edition or an addenda. This has been a gradual gathering of more than twenty years, and a work of love. To confirm and gather the his- torical parts, he has spent some days in the Astor Library, New Yoik City, the Historical Library, Newark, N. -
A Finding Aid to the George Grey Barnard Papers, Circa 1860-1969, Bulk 1880-1938, in the Archives of American Art
A Finding Aid to the George Grey Barnard Papers, circa 1860-1969, bulk 1880-1938, in the Archives of American Art Kathleen Brown Funding for the processing and digitization 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. August 03, 2009 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 note.............................................................................................. 2 Scope and Contents note................................................................................................ 3 Arrangement note............................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Biographical Material, circa 1888-1955..................................................... 4 Series 2: Correspondence, -
HISTORY O.R· COOPERSTOWN
HISTORY o.r· COOPERSTOWN A History of Cooperstown including ···THE CHRONICLES OF COOPERSTO\VN'' By James Fenimore Cooper "THE HISTORY OF COOPERSTO\VNP 1839 - 1886 Bv., Samuel M. Shaw "THE HISTORY OF COOPERSTO\iVN'. 1886 - 1929 By \\T alter R. Littell 1 9 2 9 COP.'YRf:GHT 1929 llv THE FREEMAN'S. JotrRNAL CoMPANY Printed in Coopersto,vn, tJ. S. A. by The Freeman's Journal Company To Edfror and Village Statesman for over half a century In grateful appreciation of the words of kindly encouragement and wise council 7.c 1h·ich he gave us in our youth and of the inestimable service he rendered this com -niunity this book is affectionately dedicated. PUBLISHERS' FORE\VORD This ·volume is presented to the public for the pur pose of providing a complete and adequate historical record of the village of Cooperstown. It has been nearly half a century since any chronological record of the community life has been compiled and it is in the minds of the publishers that it ,vill fill a present need as ,vell as serving to preserve the record for coming generations and future historians. To carry on the vvork so well begun by former historians no one better qualified than Mr. Littell could have been selected on account of his long period of ob servation of the passing events of the village jn his connection with our local ne,vspapers. vVe have felt it more or less our duty to carry on this ·work because of the long time in vvhich the Free man's.Journal has reflected the affairs of the village, now 121 years; and because the previous edition of the History was compiled by Samuel M. -
USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #1 *********** (Rev
USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #1 *********** (Rev. 8-86) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM NATIONAL HISTORIC LANDMARK NOMINATION FORM 1. Name of Property historic name: Atalaya and Brookgreen Gardens other name/site number: 2. Location street & number: U.S. Highway 17 not for publication: N/A city/town: Murrells Inlet vicinity: X state: SC county: Georgetown code: 043 zip code: 29576 3. Classification Ownership of Property: private Category of Property: district Number of Resources within Property: Contributing Noncontributing _10_ buildings _1_ sites _5_ structures _0_ objects 16 Total Number of contributing resources previously listed in the National Register: 9 Name of related multiple property listing: N/A USDI/NPS NRHP Registration Form Atalaya and Brookgreen Gardens Page #2 4. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that this ___ nomination ___ req'uest for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ___ meets ___ does not meet the National Register Criteria. __ See continuation sheet. Signature of certifying official Date State or Federal agency and bureau In my opinion, the property ___ meets ___ does not meet the National Register criteria. __ See continuation sheet. Signature of commenting or other official Date State or Federal agency and bureau 5. National Park Service Certification I, hereby certify that this property is: entered in the National Register __ See continuation sheet. -
West 73Rd-74Th Street Historic District
C E N T R A L P A R K W E S T - W E S T 7 3 r d 7 4 t h S T R E E T H I S T 0 R I C D I S T R I C T D E S I G N A T I 0 N R E P 0 R T 1977 City of New York Abraham D. Beame, Mayor Landmarks Preservation Commission Beverly Moss Spatt, Chairman Morris Ketchum, Jr. , Vice-Chairman Commissioners Margaret Beyer Stephen S, Lash Elisabeth Coit Hawthorne E. Lee George R. Collins Marie V, McGovern Wi 11 iam J. Conk! in Paul E. Parker, Jr. Barbaralee Diamonstein Landmarks Preservation Commission July 12, 1977, Number 8 LP-0964 CENTRAL PARK WEST - WEST 73rd - 74th STREET HISTORIC DISTRICT BOUNDARIES The property bounded by the western curb line of Central Park West, the northern curb line of West 73rd Street, the eastern curb line of Columbus Avenue and the southern curb line of West 74th Street, Manhattan. TESTIMONY AT THE PUBLIC HEARlNGS On May 10, 1977, the Landmarks Preservation Commission held a public hearing on this area which is now proposed as an Historic District (Item No. 8). The hearing had been duly advertised in accordance with the provisions of law. Seven persons spoke in favor of the proposed designation. There were no speakers in opposition to designation. -1- HISTORICAL AND ARCHITECTURAL INTRODUCTION The site of the Central Park West - West 73rd-74th Street Historic District originally formed part of the farm of Richard Somerindyck, whose family owned much of the land along the Upper West Side in the late 18th century. -
No 15 Oct 20
The Oil Can The Award Winning Newsletter of the Cooperstown Rotary Club Vol. 87, No. 15— October 20, 2009 He designed our village library building... Ernest Flagg, architect extraordinary veryone here, Iʹm certain, has walked down Main Street in Cooperstown, and admired the beautiful Village Li‐ brary Building, which also houses the Cooperstown Art E Association and the Village Offices. But have you ever wondered who designed it? Somehow, I never did until very re‐ cently, when I learned that its architect was named Ernest Flagg. What I found surprised me. Ernest Flagg was not just a gifted ar‐ chitect, who designed important American buildings. He was also a social reformer, who helped improve the lives of New York Cityʹs urban poor. He was a city planner, who influenced todayʹs New York City skyline. And he designed what was at the time the tallest building in the world. So what was he doing in a small vil‐ lage in upstate New York? Ernest Flagg was born in Brooklyn in 1857, the son of an Episco‐ pal clergyman who had become an itinerant portrait painter, as well as a speculative land developer. The family was not without its connections. One of Ernestʹs aunts had married Cornelius Van‐ derbilt; his sister Louise married Charles Scribner, the publisher. In 1872, at the age of fifteen, Ernest left school to become an office boy on Wall Street, and two years later ‐‐ with his older brother Jared ‐‐ he opened a small business selling salt codfish at New Yorkʹs Fulton Fish Market. For a time he lived in some of the filthy, ill‐lit, badly ventilated tenements of the Lower West Side. -
Brooklyn All Souls
George G. Barnard, Noted Sculptor Was Working on Rainbow Arch, Peace Memorial When Stricken April 7 George Grey Barnard, noted sculptor, died yesterday of heart disease in the Harkness Pavilion of the Columbia-Presbyterian Center at the age of 74. He had been ailing there since April 7. The Metropolitan Museum of Art yesterday announced that on May 14, it would open the new Cloisters In Fort Tryon Park, a museum of medieval art and architecture with the nucleus pieces collected by Mr. Barnard and sold by him to John D. Rockefeller Jr. for $650,000 in 1925. His death left uncompleted the most ambitious work of his career—the Rainbow Arch, a 100-foot peace memorial standing in plaster model stage in a Third Avenue Railway powerhouse at 216th St. and the Harlem River. Mr. Barnard had planned to sell his private art collection to procure funds to complete the memorial In marble. Well Known in Brooklyn Although Mr. Barnard lived and worked in Manhattan, he was well known in Brooklyn. He was a close friend of the Rev. Cornelius Greenway, pastor of All Souls Universalist Church, to which he presented notable examples of his art. On Nov. 11, 1930, Mr. Barnard gave All Souls Church the sculptor's model of one of his most famous bronzes, "Brotherly Love." Appearing in person to present the model, the sculptor preached on "Sermons in Stone." A five-foot bas-relief, "The Descent From the Cross," was presented to All Souls Church by Mr. Barnard on Dec. 20, 1931. He said at the time that the gift was a token of his friendship for Mr.