GUIDE to the FULLER-HIGGINSON FAMILY PAPERS a Large Part Of
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Fuller Genealogy
Digitized by the Internet Archive in 2008 with funding from IVIicrosoft Corporation http://www.archive.org/details/fullergenealogy04full aP\/ C. TKfi NEW YORK PUBLIC LIBRARY ASTOR, LENOX )i SOMK Fri.T.F.R (".EXKA l.( ; I S IS r.i i, XKWTox i-Ti.i.i-.i.; i:i.i/..\iii-. 1 II \i;i.uriM.\i WII.I.IA.M HVSI.or iri.l.KK IKSSK KR.WKI.IN l-ri.l.l'.K GENEALOGY OF SOME DESCENDANTS OF THOMAS FULLER OF WOBURN COMPILED BY WILLIAM HYSLOP FULLER OF PALMER. MASS. TO WHICH IS ADDED SUPPLEMENTS TO VOLUMES I. II, III PREVIOUSLY COMPILED AND PUBLISHED PRINTED FOR THE COMPILER 1919 THE NEW YORK tiljD£n foundations' FULLER GENEALOGIES COMPILED AND FOR SALE BY WILLIAM H. FULLER 23 School Street, Palmer, Mass. VOLUME I. Some Descendants of Edward Fuller of the Mayflower. I volume 8 vo., cloth, 25 illustrations, 306 pp. Now only sold as part of the set of 4 volumes. Price, $20.00 for the Set. postpaid. VOLUME IL Some Descendants of Dr. Samuel Fuller of the Mayflower. 1 volume 8 vo., cloth, 31 illustrations, 263 pp. Price, postpaid, $5.00. VOLUME III. Some Descendants of Captain Matthew Fuller, also of John Fuller of Newton, John Fuller of Lynn, John Fuller of Ipswich, and Robert Fuller of Dorchester and Dedham, with supplements to Volumes I and II. 8 vo., cloth, 14 illustrations, 325 pp. Price $5.00, postpaid. VOLUME IV. /Some Descendants of Thomas Fuller of Woburn, with Supplements to the previous volumes. Price $6.00, postpaid. PREFACE In compiling the "Genealogy of Some Descendants of Thomas Fuller of Woburn," I have been greatly assisted by the work of the late Elizabeth Abercrombie, whose volume is an authority on the genealogy of the descendants of Joseph^ Fuller, No. -
American Paintings, Furniture & Decorative Arts
AMERICAN PAINTINGS, FURNITURE & DECORATIVE ARTS INCLUDING PROPERTY FROM THE COLLECTION OF FRANK AND CLAIRE TRACY GLASER Tuesday, October 8, 2019 NEW YORK AMERICAN PAINTINGS, FURNTURE & DECORATIVE ARTS INCLUDING PROPERTY FROM THE COLLECTION OF FRANK AND CLAIRE TRACY GLASER AUCTION Tuesday, October 8, 2019 at 10am EXHIBITION Friday, October 4, 10am – 5pm Saturday, October 5, 10am – 5pm Sunday, October 6, Noon – 5pm LOCATION Doyle 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalog: $10 The Marian Sulzberger Heiskell & Andrew Heiskell Collection Doyle is honored to present The Marian Sulzberger Heiskell and Andrew Heiskell Collection in select auctions throughout the Fall season. A civic leader and philanthropist, Marian championed outdoor community spaces across AMERICAN New York and led a nonprofit organization responsible for restoring the 42nd Street theatres. She was instrumental in the 1972 campaign PAINTINGS, SCULPTURE & PRINTS to create the Gateway National Recreation Area, a 26,000-acre park with scattered beaches and wildlife refuges around the entrance to the New York-New Jersey harbor. For 34 years, she worked as a Director of The New York Times, where her grandfather, father, husband, brother, nephew and grand-nephew served as successive publishers. Her work at the newspaper focused on educational projects. In 1965, Marian married Andrew Heiskell, the Chairman of Time Inc., whose philanthropies included the New York Public Library. The New York Times The New York Property from The Marian Sulzberger Heiskell and Andrew Heiskell Collection comprises lots 335-337, 345-346, 349, 354 in the October 8 auction. Additional property from the Collection will be offered in the sales of Fine Paintings (Oct 15), Prints & Multiples (Oct 22), English & Continental Furniture & Old Master Paintings (Oct 30), Impressionist & Modern Art (Nov 6), Post-War & Contemporary Art (Nov 6), Books, Autographs & Maps (Nov 12), Bill Cunningham for Doyle at Home (Nov 26) and Photographs (Dec 11). -
Annual Report July 2018–June 2019 Contents
Annual Report July 2018–June 2019 Contents MHS by the Numbers ii Year in Review 1 Impact: National History Day 2 Acquisition Spotlight 4 Why the MHS? 7 New Acquisitions 8 In Memoriam: Amalie M. Kass 10 LOCATION What’s the Buzz around the MHS? 12 1154 Boylston Street Boston, MA 02215 Financials 14 CONTACT Donors 16 Tel: 617.536.1608 Fax: 617.859.0074 Trustees and Overseers 21 VISITOR INFORMATION Fellows 22 Gallery Hours: Mon., Wed., Thu., Fri., and Sat.: 10:00 am Committees 26 to 4:00 pm Tue.: 10:00 am to 7:00 pm Library Hours: The mission of the Massachusetts Historical Society is to promote Mon., Wed., Thu., and Fri.: 9:00 am understanding of the history of Massachusetts and the nation by to 4:45 pm collecting and communicating materials and resources that foster Tue.: 9:00 am to 7:45 pm Sat.: 9:00 am to 3:30 pm historical knowledge. SOCIAL AND WEB @MHS1791 @MassachusettsHistoricalSociety Cover: Ruth Loring by by Sarah Gooll Putnam, circa 1896–1897. Above: Show-and-tell with the staff of the Office of Attorney General Maura Healey, before the event Robert www.masshist.org Treat Paine’s Life and Influence on Law, December 11, 2018 i BY THE Year in Review FY2019 NUMBERS Reaching out, thinking big, and making history—what a year it has been for the MHS! RECORD-BREAKING We welcomed new staff and new Board members, connected with multiple audiences, processed 152 linear ACQUIRED LINEAR FEET OF MANUSCRIPT MATERIAL feet of material, welcomed researchers from around the world, and broke fundraising records at our new 1GALA 352 Making History Gala all while strategizing about our future. -
Tyrannyofdocs Fulltext
THEATRE LIBRARY ASSOCIATION Founded in 1937, Theatre Library Association supports librarians and archivists affiliated with theatre, dance, performance studies, popular enter- tainment, motion picture and broadcasting collections. TLA promotes profes- sional best practices in acquisition, organization, access and preservation of performing arts resources in libraries, archives, museums, private collections, and the digital environment. By producing publications, conferences, panels, and public events, TLA fosters creative and ethical use of performing arts ma- terials to enhance research, live performance, and scholarly communication. Theatre Library Association meets annually to conduct its business in the fall of each year. It presents a plenary and related programming during the annual meeting of the American Society for Theatre Research, and fre- quently cooperates with other professional and scholarly organizations in the sponsorship of symposia, events, and publications. Theatre Library Association publishes BROADSIDE, an online newsletter, and Performing Arts Resources, a monograph series, as well as conference com- pendia. It is governed by a constitution which provides for officers and an execu- tive board of directors elected by the membership. OFFICERS AND BOARD MEMBERS, 2011 Kenneth Schlesinger, President Diana King Lehman College/CUNY University of California, Los Angeles Nancy Friedland, Vice President Stephen Kuehler Columbia University Harvard University David Nochimson, Executive Francesca Marini Secretary Stratford Shakespeare -
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. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from themicrofilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300North Zeeb Road. Ann Arbor. Ml 48106-1346USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. “I HATE PRETTY WORK”: MADELINE YALE WYNNE AND THE AMERICAN CRAFT REVIVAL by Jessica H. -
IMAGES of SLAVERY: George Fuller's Depictions of the Antebellum South Sarahbums
IMAGES OF SLAVERY: George Fuller's Depictions of the Antebellum South SarahBums Fig. 1. George Fuller. NEGROSWAITING AT THE DEPOT. Late December, 1857. Pencil on paper. This drawing and all others in this article, which are being illustratedhere for thefirst time, are from a sketchbookmeasuring 512 by 103/4"inches, in a private collection. T HREETIMES IN THE I850s, George Fuller (1822- Fuller was no stranger to the life of the itinerant 1884)visited the Deep South, in each case remaining portrait artist. During the 1840s this native of Deerfield, there for several months. His primary motive was to Massachusetts, was almost constantly on the move, seek fresh opportunities for portrait commissions in painting faces in various parts of New England and areas where the competition might reasonably be sup- western New York State. It was simply necessary posed less fierce than in New York, Fuller's adopted business, for the most part routine and often dull. The city during the decade.' Southern states, however, opened up surprising new avenues of experience to the Yankee painter. He re- SARAH BURNS, Assistant Professorin the School of Fine corded those in memoranda, in letters to Arts at Indiana University, has written several articles experiences on nineteenth-centurypainting, including "A Study of family and friends in the North, and in a fascinating the Life and Poetic Vision of George Fuller (1822- sketchbook containing his impressions of slave life. 1884)" published in the Autumn, 1981, issue of the Fuller used this sketchbook in Montgomery, Ala- JOURNAL. bama, during the winter of 1857-1858. The cardboard- The American Art Journal/Summer 1983 35 x ; bound pad, measuring 5V2 by 103/4 inches, contains *?? '; . -
After Whistler: the Artist & His Influence on American Painting
LINDA MERRILL Emory University Art History Department Atlanta, Georgia 30322 404.727-0514 [email protected] Education University of London (University College), England PhD, History of Art, 1985 Dissertation: “The Diffusion of Aesthetic Taste: Whistler and the Popularization of Aestheticism, 1875– 1881.” Advisor: William H. T. Vaughan. Marshall Scholarship, 1981–84, awarded by the Marshall Plan Commemoration Commission of Great Britain for postgraduate study. Smith College, Northampton, Massachusetts AB, English, 1981. Summa cum laude, Phi Beta Kappa, with Highest Honors in English, 1981. Employment Emory University, Atlanta Senior Lecturer and Director of Undergraduate Studies in Art History, Fall 2016—present Lecturer and Director of Undergraduate Studies in Art History, Fall 2013-16 Freer Gallery of Art/Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C. Guest curator, with Dr. Robyn Asleson, of The Lost Symphony: Whistler and the Perfection of Art, January 16— May 30, 2016. Global Fine Art Award for Best Thematic Impressionist/Modern Exhibition 2016. National Endowment for the Humanities, Office of the Chairman, Washington, D.C. Humanities Administrator, November 2006–April 2007 (temporary appointment). High Museum of Art, Atlanta Margaret and Terry Stent Curator of American Art, 1998–2000 Freer Gallery of Art, Smithsonian Institution, Washington, D.C. Curator of American Art, 1997–98; Associate Curator of American Art, 1990–97; Assistant Curator of American Art, 1985–90. Hood College, Frederick, Maryland, Department of Art History Visiting Assistant Professor in Art History, Spring 1991, 1985–86. Publications Books After Whistler: The Artist & His Influence on American Painting. New Haven: Yale University Press and the High Museum of Art, 2003. -
Faces of the League Portraits from the Permanent Collection
THE ART STUDENTS LEAGUE PRESENTS Faces of the League Portraits from the Permanent Collection Peggy Bacon Laurent Charcoal on paper, 16 ¾” x 13 ¾” Margaret Frances "Peggy" Bacon (b. 1895-d. 1987), an American artist specializing in illustration, painting, and writing. Born in Ridgefield, Connecticut, she began drawing as a toddler (around eighteen months), and by the age of 10 she was writing and illustrating her own books. Bacon studied at the Art Students League from 1915-1920, where her artistic talents truly blossomed under the tutelage of her teacher John Sloan. Artists Reginald Marsh and Alexander Brook (whom she would go on to marry) were part of her artistic circle during her time at the League. Bacon was famous for her humorous caricatures and ironic etchings and drawings of celebrities of the 1920s and 1930s. She both wrote and illustrated many books, and provided artworks for many other people’s publications, in addition to regularly exhibiting her drawings, paintings, prints, and pastels. In addition to her work as a graphic designer, Bacon was a highly accomplished teacher for over thirty years. Her works appeared in numerous magazine publications including Vanity Fair, Mademoiselle, Harper’s Bazaar, Vogue, Dial, the Yale Review, and the New Yorker. Her vast output of work included etchings, lithographs, and her favorite printmaking technique, drypoint. Bacon’s illustrations have been included in more than 64 children books, including The Lionhearted Kitten. Bacon’s prints are in the collections of the Whitney Museum of American Art, the Brooklyn Museum, and the Museum of Modern Art, all in New York. -
The Progressive Context of the Nebraska Capitol the Collaboration of Goodhue and Tack
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for 1995 THE PROGRESSIVE CONTEXT OF THE NEBRASKA CAPITOL THE COLLABORATION OF GOODHUE AND TACK Frederick C. Luebke University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Luebke, Frederick C., "THE PROGRESSIVE CONTEXT OF THE NEBRASKA CAPITOL THE COLLABORATION OF GOODHUE AND TACK" (1995). Great Plains Quarterly. 993. https://digitalcommons.unl.edu/greatplainsquarterly/993 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE PROGRESSIVE CONTEXT OF THE NEBRASKA CAPITOL THE COLLABORATION OF GOODHUE AND TACK FREDERICK C. LUEBKE Augustus Vincent Tack (1870-1949) was the first of eight artists who executed murals in the Nebraska state capitol.l His involvement began in fall 1923, when he was asked by the architect, Bertram Grosvenor Goodhue (1869- 1924), to plan a program of mural decora tions for the governor's suite of offices, located in the first part of the capitol to be com pleted. His murals were installed four years later, and the rooms were opened to the pub lic on 1 January 1928. Tack's work was thus conceived, executed, and installed several years before the construction of the capitol Frederick C. Luebke is Charles J. Mach Professor of FIG. -
American Painters of Yesterday and Today
la k^Md §fi/Cat^iuLo /p/ Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/americanpaintersOOsheriala 2 a. DC U ^^ a w u o I a I— u X I' < o a o u. ^> iPijdA) AMERICAN PAINTERS OF YESTERDAY AND TODAY BY FREDERIC FAIRCHILD SHERMAN NEW YORK PRIVATELY PRINTED MCMXIX •• . ) • Copyright, 1919, by Frederic Fairchild Sherman Libra; TO MY FRIEND DOROTHEA A. DREIER HCQ •J 459278 CONTENTS PAGE Miniature Landscapes by J. Francis Murphy ... 3 The Landscape of Dwight W. Tryon 13 Four Figure Pictures by George Fuller 21 Early Oil Paintings by Winslow Homer 29 Figure Pictures by Wyatt Eaton 39 Arthur B. Davies 47 Early Genre Pictures by Harry W. Watrous . 55 Benjamin West 63 Vll ILLUSTRATIONS J. FRANCIS MURPHY The River Farm Frontispiece PAGE Twilight 6 Late September 6 Golden Autumn 8 DWIGHT W. TRYON Glastonbury Meadows 14 Cernay La Ville 14 Early Morning, September 16 Twilight, November 18 GEORGE FULLER The Romany Girl 22 Winifred Dysart 22 The Quadroon 22 Psyche 22 WINSLOW HOMER Haymaking 29 The Song of the Lark 30 A French Farm 30 Prout's Neck 34 ix WYATT EATON Portrait of William Cullen Bryant 40 Ariadne 4^ Lassitude 4* Reverie 4* ARTHUR B. DAVIES Girl at the Fountain 50 The Violin Girl 50 Clothed in Dominion S^ HARRY W. WATROUS L'Addition 56 The Guitar Player 5^ Records S^ Lost S^ BENJAMIN WEST Portrait of John Sedley 64 Portrait of a Gentleman 66 The Envoys Returning from the Promised Land 68 Presentation of the Queen of Sheba at the Court of King Solomon 68 MINIATURE LANDSCAPES BY J. -
Exhibition History 1919-1998
Exhibitions at The Phillips Collection, 1919-1998 [Excerpted from: Passantino, Erika D. and David W. Scott, eds. The Eye of Duncan Phillips: a collection in the making. Washington D.C.: The Phillips Collection, 1999.] This document includes names and dates of exhibitions created by and/or shown at The Phillips Collection. Most entries also include the number of works in each show and brief description of related published materials. 1919 DP.1919.1* "A Group of Paintings From the Collection of our Fellow Member Duncan Phillips. Century, New York. May 18-June 5. 30 works. Partially reconstructed chklst. 1920 DP.1920.1* "Exhibition of Selected Paintings from the Collections of Mrs. D. C. Phillips and Mr. Duncan Phillips of Washington." Corcoran, Washington, D.C. Mar. 3-31. 62 works. Cat. DP.1920.2* "A Loan Exhibition from the Duncan Phillips Collection." Knoedler, New York. Summer. 36 works. Chklst. PMAG.1920.3* "Selected Paintings from the Phillips Memorial Art Gallery." Century, New York. Nov. 20, 1920-Jan. 5, 1921. 43 works (enlarged to 45 by Dec. 20). Cat. 1921 Phillips organized no exhibitions in 1921, spending most of his time preparing for the opening of his gallery. He showed his collection by scheduled appointment only. 1922 PMAG.1922. [Opening Exhibition]. Main Gallery. Feb. 1-opening June 1, 1922. Partially reconstructed chklst. PMAG.1922.1* "Exhibition of Oil Paintings by American Artists Loaned by the Phillips Memorial Art Gallery, Washington, D.C." L.D.M. Sweat Memorial Art Museum, Portland, Maine. Feb. 4-15. 22 works. Cat. PMAG.1922.2 "Second Exhibition of the Phillips Memorial Art Gallery." Main Gallery.