DOCSLIB.ORG

(Ogden-Jones) Peter Papers MS-22 Introduction Caroline

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(Ogden-Jones) Peter Papers MS-22 Introduction Caroline Tudor Place Manuscript Collection Caroline (Ogden-Jones) Peter Papers MS-22 Introduction Caroline (Ogden-Jones) Peter (1894-1965) was the wife of Armistead Peter 3rd (1896- 1983). With her husband she established the foundation to preserve Tudor Place, its collections, and its grounds. These papers were a part of the estate Armistead Peter placed under the auspices of the Carostead Foundation, Incorporated, in 1966; the name of the foundation was changed to Tudor Place Foundation, Incorporated, in 1987. Use and rights of the papers are controlled by the Foundation. The collection was processed and the register prepared by Anne Webb, the Foundation archivist. This document was reformatted by Emily Rusch and revised by Tudor Place archivist Wendy Kail in 2020. Tudor Place Historic House & Garden | 1644 31st Street NW | Washington, DC 20007 | Telephone 202-965-0400 | www.tudorplace.org 1 Tudor Place Manuscript Collection Caroline (Ogden-Jones) Peter Papers MS-22 Biographical Sketch Caroline (Ogden-Jones) Peter (1894-1965) was born in Paris on December 26, 1894, the daughter of Suzanne (Earle) Ogden-Jones (1862-1954) and Mahlon Ogden-Jones (1849-1900). She grew up in Europe and the United States; she attended the Potomac School in McLean, Virginia, and the Holton-Arms School in Bethesda, Maryland. Summers were spent in France; her mother eventually maintained homes in France, New York City, and Washington, D.C. During World War I she attended nursing school at Johns Hopkins University and worked as a nurse’s aide for the American Red Cross at the Debarkation Hospital Number 1 in Hoboken, New Jersey, and Debarkation Hospital Number 3 on Hoffman Island [off Staten Island], New York. In 1921 she married Armistead Peter 3rd (1896-1983) and in 1922 their daughter Anne Custis Peter was born in Paris, where Armistead Peter 3rd was studying art. The young family remained based in Paris, but travelled extensively. When Caroline (Ogden-Jones) Peter’s father-in- law, Armistead Peter, Jr., (1870-1960), and mother-in-law, Anna (Williams) Peter (1872-1961), separated in 1923, Caroline (Ogden-Jones) and Armistead Peter 3rd returned to the United States to help supervise household affairs at Tudor Place. Although they maintained a separate residence of their own, with her husband she oversaw life at Tudor Place and helped manage their family farm in Cambridge, New York. Caroline (Ogden-Jones) Peter retained a lifelong interest in music and art and traveled widely with her husband. During World War II she worked in Washington, D.C., for the Red Cross in a volunteer supervisory position, and was head of the nurse’s aides at Georgetown Hospital; she continued such work after the war at Mount Alto Hospital. After the death of her mother in 1954, Caroline (Ogden-Jones) Peter carefully distributed her stepfather Paul Wayland Bartlett's (1865-1925) sculpture to museums throughout the United States. When she and her husband moved into Tudor Place to live permanently after the death of Armistead Peter, Jr., she participated in refurbishing the house. She and her husband established the foundation to insure the upkeep of the house and grounds after their deaths. Caroline (Ogden-Jones) Peter died in 1965. Tudor Place Historic House & Garden | 1644 31st Street NW | Washington, DC 20007 | Telephone 202-965-0400 | www.tudorplace.org 2 Tudor Place Manuscript Collection Caroline (Ogden-Jones) Peter Papers MS-22 Scope and Content Caroline (Ogden-Jones) Peter’s papers include approximately 15 linear feet of personal and business correspondence, financial records, subject files, diaries, and scrapbook material spanning the dates 1900 to 1965. The bulk of the material occurs between 1915 and 1960. The personal correspondence is from family members, including her mother, husband, daughter, and friends ranging from soldiers she nursed during World War I to social acquaintances of later life. A large proportion of the business correspondence concerns the distribution of Paul Wayland Bartlett's sculptures to museums throughout the United States during the period 1955-65. Financial records include personal bills and receipts as well as account books and household accounts for both Tudor Place and their property in Cambridge, New York. Subject files include menus and guest lists for entertaining. Tudor Place Historic House & Garden | 1644 31st Street NW | Washington, DC 20007 | Telephone 202-965-0400 | www.tudorplace.org 3 MS-22 Box 1 Folder 1 Correspondence ND 2 Correspondence 1905 3 Correspondence 1918 4 Correspondence 1918-1919 5 Correspondence 1919 6 Correspondence 1920 7 Correspondence: Engagement and Marriage Dec 1920 8 Correspondence: Engagement and Marriage Dec 1920 9 Correspondence: Engagement and Marriage Jan 1921 10 Correspondence: Engagement and Marriage Feb 1921 11 Notebook: Wedding Gifts 1920-1921 12 Newspaper Clippings: Wedding Feb 1921 13 Postcards: The Church of the Transfiguration [“Little Church Around ND The Corner”] 14 Wedding Invitation Feb 1921 Tudor Place Historic House & Garden | 1644 31st Street NW | Washington, DC 20007 | Telephone 202-965-0400 | www.tudorplace.org 4 MS-22 Box 2 Folder 1 Correspondence: Engagement and Marriage Feb 1921 2 Correspondence: Engagement and Marriage Mar-May 1921 3 Correspondence Mar-Nov 1921 4 Correspondence Dec 1921 5 Correspondence 1922 6 Correspondence: Birth of Anne Custis Peter 1922 7 Correspondence 1924 8 Correspondence: Third Asiatic Expedition of the American Museum 1924-1925, of Natural History in Cooperation with the American Asian Association scattered and Asia Magazine 9 Correspondence 1925 10 Correspondence: Death of Paul Wayland Bartlett 1925 11 Correspondence 1926 12 Correspondence 1927 13 Correspondence 1928 14 Correspondence 1929 15 Correspondence 1930 16 Correspondence 1932 17 Correspondence 1933 18 Correspondence 1934 19 Correspondence Ca.1935 20 Correspondence 1935-1937 21 Correspondence 1938-1939 Tudor Place Historic House & Garden | 1644 31st Street NW | Washington, DC 20007 | Telephone 202-965-0400 | www.tudorplace.org 5 22 Correspondence 1940-1941 Tudor Place Historic House & Garden | 1644 31st Street NW | Washington, DC 20007 | Telephone 202-965-0400 | www.tudorplace.org 6 MS-22 Box 3 Folder 1 Correspondence 1942-1944 2 Correspondence: Edith Looker 1950-1955 3 Correspondence 1951 4 Correspondence 1953 5 Correspondence 1956 6 Correspondence 1957-1958 7 Correspondence: Gift, Samuel Franklin Emmons Papers Apr-Dec 1958 to the Library of Congress 8 Correspondence 1959 9 Correspondence 1960 10 Correspondence 1961 11 Correspondence 1962 12 Correspondence 1963 13 Correspondence 1964 14 Correspondence: Invitations 1964-1965 15 Correspondence ND; Jan-Feb 1965 Tudor Place Historic House & Garden | 1644 31st Street NW | Washington, DC 20007 | Telephone 202-965-0400 | www.tudorplace.org 7 MS-22 Box 4 Folder 1 Correspondence Apr-May 1965 2 Correspondence Jun-Sep 1965 3 Correspondence: Christmas Cards ND; 1963- 1964 4 Correspondence: Post Cards ND 5 Correspondence: Ray Chapman Andrews 1924 6 Correspondence: Paul Wayland Bartlett ND; 1922- 1924 7 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Aug 1918 8 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Sep 1918 9 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Oct 1-15, 1918 10 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Oct 15-31, 1918 11 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Nov 1918 Tudor Place Historic House & Garden | 1644 31st Street NW | Washington, DC 20007 | Telephone 202-965-0400 | www.tudorplace.org 8 MS-22 Box 5 Folder 1 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett ND; Feb 1919 2 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett May 1919 3 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Jun 1919 4 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Jul 1919 5 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett May-Jul 1920 6 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Oct 1920 7 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Nov-Dec 1920 8 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Jan-May 1921 9 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Jul 1921 Tudor Place Historic House & Garden | 1644 31st Street NW | Washington, DC 20007 | Telephone 202-965-0400 | www.tudorplace.org 9 MS-22 Box 6 Folder 1 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Aug 1921 2 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Sep 1921 3 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Oct 1921 4 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Nov 1921 5 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Oct 1922 6 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Nov 1922 7 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett Dec 1922 8 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett 1924 9 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett 1925 10 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett 1926 11 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett 1930 12 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett ND; 1928 13 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett 1928-1932 14 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett ND Tudor Place Historic House & Garden | 1644 31st Street NW | Washington, DC 20007 | Telephone 202-965-0400 | www.tudorplace.org 10 MS-22 Box 7 Folder 1 Correspondence: Suzanne (Earle) Ogden-Jones Emmons Bartlett
Load more

Recommended publications
  • Was the Thir
    Tudor Place Manuscript Collection Paul Wayland Bartlett Papers MS-19 Introduction Paul Wayland Bartlett (1865-1925) was the third husband of Suzanne (Earle) Ogden-Jones Emmons Bartlett (1862-1954), the mother of Caroline (Ogden-Jones) Peter (1894-1965), wife of Armistead Peter 3rd (1896-1983) of Tudor Place. Suzanne (Earle) Ogden-Jones Emmons Bartlett retained all of her third husband’s papers and acted as his artistic executrix, organizing exhibitions of his work and casting some of his pieces to raise money for a memorial studio. Suzanne (Earle) Ogden-Jones Emmons Bartlett gave the bulk of her husband’s papers to the Library of Congress, but correspondence from Paul Wayland Bartlett’s father Truman Howe Bartlett (1835-1922), fellow artists, and business correspondence regarding various commissions, bills and receipts, news clippings, and printed material remained in her possession. This material spans the years 1887-1925, primarily between 1899 and 1920. Caroline (Ogden-Jones) Peter gave numerous pieces of her stepfather’s sculpture to museums around the country; the remaining papers and works of art were left at her death to her husband Armistead Peter 3rd. These papers were a part of the estate Armistead Peter placed under the auspices of the Carostead Foundation, Incorporated, in 1966; the name of the foundation was changed to Tudor Place Foundation, Incorporated, in 1987. Use and rights of the papers are controlled by the Foundation. The collection was processed by Anne Webb, the Foundation's archivist, and James Kaser, a project archivist hired through a National Historical Publications and Records Commission grant in 1992.
    [Show full text]
  • 2425 Hermon Atkins Macneil, 1866
    #2425 Hermon Atkins MacNeil, 1866-1947. Papers, [1896-l947J-1966. These additional papers include a letter from William Henry Fox, Secretary General of the U.S. Commission to the International Exposition of Art and History at Rome, Italy, in 1911, informing MacNeil that the King of Italy, Victor Emmanuel III, is interested in buying his statuette "Ai 'Primitive Chant", letters notifying MacNeil that he has been made an honorary member of the American Institute of Architects (1928) and a fellow of the AmRrican Numismatic Society (1935) and the National Sculpture Society (1946); letters of congratulation upon his marriage to Mrs. Cecelia W. Muench in 1946; an autobiographical sketch (20 pp. typescript carbon, 1943), certificates and citations from the National Academy of Design, the National Institute of Arts and letters, the Architectural League of New York, and the Disabled American Veterans of the World War, forty-eight photographs (1896+) mainly of the artist and his sculpture, newspaper clippings on his career, and miscellaneous printed items. Also, messages of condolence and formal tri­ butes sent to his widow (1947-1948), obituaries, and press reports (1957, 1966) concerning a memorial established for the artist. Correspondents include A. J. Barnouw, Emile Brunet, Jo Davidson, Carl Paul Jennewein, Leon Kroll, and many associates, relatives, and friends. £. 290 items. Maim! entry: Cross references to main entry: MacNeil, Hermon Atkins, 1866-1947. Barnouw, Adrian Jacob, 1877- Papers, [1896-l947J-1966. Brunet, Emile, 1899- Davidson, Jo, 1883-1951 Fox, William Henry Jennewein, Carl Paul, 1890- Kroll, Leon, 1884- Muench, Cecelia W Victor Emmanuel III, 1869-1947 See also detailed checklists on file in this folder.
    [Show full text]
  • Carol, an Iconic Portrait of the Tudor Place Collection One Object That
    Carol, an iconic portrait of the Tudor Place collection One object that never fails to attract the attention of visitors is the portrait of a stylishly dressed and attractive woman that hangs prominently in the Tudor Place Dining Room (Figure 1). The woman depicted in the portrait is Caroline Ogden-Jones Peter (1894-1965), the wife of Armistead Peter 3rd, the last private owner of Tudor Place. Visitor are often surprised to learn that Mr. Peter was a skilled artist and was responsible for this portrait of his wife and muse as well as others found throughout the house. Completed late in the summer of 1925, this portrait reflects both Armistead Peter 3rd’s artistic abilities as well as the affection he felt for Caroline, whom he described in his book, Tudor Place, as “the one person in this world whom I loved and trusted completely.”1 He titled this portrait Carol, his preferred nickname for his wife (she in turn called him “Pete”), and the following year submitted it to the National Academy of Design in New York hoping it would be selected for the Winter Exhibition of 1926. The portrait was ultimately accepted for the exhibition and hung in close proximity to works by Childe Hassam and Guy Wiggins. The surviving archive of Peter family papers at Tudor Place provides important details about the creation of this portrait as well as its inclusion in the exhibition. Letters written during the summer of 1925, while Armistead was busily engaged in painting this portrait, provide a glimpse of his approach to portraiture.
    [Show full text]
  • The Inventory of the Truman Howe Bartlett Collection #1632
    The Inventory of the Truman Howe Bartlett Collection #1632 Howard Gotlieb Archival Research Center Bartlett, Truman Howe #1638 Preliminary Listing Box 1 I. Manuscripts. A. By THB, TS and holograph notes unless noted, n.d.; may include various drafts and fragments; printed materials [NOTE: AL = Abraham Lincoln]. 1. AAbout Brooks,@ holograph, 5 p., 2 drafts. [F. 1] 2. AAbraham Lincoln From A Physiognomical and Physical Point Of View,@ various drafts, approximately 20 p., TS and holograph notes; includes various fragments re: various AL photographs. [F. 1 - 2] 3. AAbraham Lincoln On Dorchester Heights,@ approximately 25 p. [F. 2] 4. AThe Antietam Pictures@ [re: AL; General John McClernand; Allan Pinkerton], 3 drafts, approximately 50 p. [F. 3] 5. AThe Cooper [Union] Institute Portrait Of Abraham Lincoln,@ 60 p., 2 drafts. 6. AThe Daguerreotype In America,@ 6 p. 7. AThe Derickson Photograph,@ 33 p. [F. 4] 8. AThe First And Last Portraits [of AL],@ holograph, 6 p. 9. AThe First Epochal Portrait Of Abraham Lincoln,@ 25 p. [F. 5] 10. AThe First Epoch In The Life Of Abraham Lincoln,@ 8 p. [F. 6] 11. AThe First Portrait Of Lincoln As President,@ 7 p. 12. AFrom Fifty-Plus On: Lincoln Doings,@ holograph, 8 p. 13. AThe Gettysburg Photographs of Abraham Lincoln,@ 23 p. 14. AThe Great Seated Portrait Of Abraham Lincoln,@ 3 p. 15. AThe Hesler Photograph [of AL],@ 13 p. 16. AThe History Of The First Epochal Portrait Of Abraham Lincoln,@ 15 p. [F. 7] 17. AThe History Of The Second Epochal Portrait Of Abraham Lincoln,@ 13 p. 18. AThe Inauguration Picture,@ 10 p.
    [Show full text]
  • 1876: Michelangelo and Rodin's Desires
    chapter 1 of David J. Getsy, Rodin: Sex and the Making of Modern Sculpture (New Haven and London: Yale University Press, 2010), 29-57. 1 8 7 6 MICHELANGELOANDRODIN’SDESIRES Rodin’s position as the reputed father of modern sculpture rests on two interdependent claims: first, that he introduced into the medium of sculp- ture a deeper capacity for a personalized, expressive style and, second, that his characteristic approach toward sculptural practice and subject matter revolved around a more frank and engaged exploration of the nude body as the site of emotional, and often sexualized, investment. Over the course of his long career, Rodin increasingly came to be seen as the sculptor who implied or displayed sexual passion as a means to unleash the evocative power of the human form, thus rescuing sculpture from the supposed life- less conventionality of previous statues.1 As Leo Steinberg remarked, “Nineteenth-century sculpture was Baudelaire’s ‘tiresome art,’ dedicated chiefly to conventional communal goals. Rodin restored to inward expe- rience what had been for at least a century a branch of public relations.”2 This refocusing on “inward experience” in sculpture centered, for Rodin, primarily on the nude. As I discussed in the Introduction, Rodin’s liber- ation of sculpture from convention came to be seen as an analogue or a symptom of the sexual liberty many ascribed to both his work and his persona. In what follows, I shall discuss Rodin’s early formulation of this agenda beginning in his pivotal year of 1876. Just before his first major recogni- 19 (facing page) Galleria dell’Accademia, Florence, in 1882 with Michelangelo’s David and plaster casts from the 1875 Michelangelo exhibition.
    [Show full text]
  • WALKING TOUR R E V O L U T I O N a R Y H a R T F O R D Explore the Historic Sites and Statues That Remind Walking Visitors of Hartford's Revolutionary Past
    CONNECTICUT'S OLD STATE HOUSE Hartford History & Art WALKING TOUR R e v o l u t i o n a r y H a r t f o r d Explore the historic sites and statues that remind Walking visitors of Hartford's revolutionary past. All of the stops on this walking tour are easily accessible and walking distance from the starting point: Tour Stops Connecticut's Old State House. CONNECTICUT'S OLD STATE HOUSE Stop #1 800 Main Street WADSWORTH ATHENEUM MUSEUM OF ART Stop #2 600 Main Street THE ANCIENT BURYING GROUND Stop #3 60 Gold Street BUSHNELL PARK Stop #4 1 Jewell Street Stop #1 Connecticut's Old State House 800 Main Street Welcome to Connecticut's Old State House! Completed in 1796, the building that you currently see before you replaced an earlier 1720 building that was used during the Revolutionary War. Meetings between George Washington and French commander Count Rochambeau took place on the grounds. This meeting was vital to securing French help in defeating the British. Served as the State Capitol from 1796-1878, serving as Hartford City Hall from 1878- 1915. Next Stop: Wadsworth Atheneum | 3 Minute Walk Stop #2 Wadsworth Atheneum 600 Main Street Image Credit: Wadsworth Atheneum Welcome to the Wadsworth Atheneum Museum of Art! Founded in 1842 by Daniel Wadsworth, one of the first major American art patrons. The oldest continuously-operating public art museum in the country. Site of Col. Jeremiah Wadsworth's home. He entertained George Washington on several occasions. In September 1780, he hosted a meeting between General Washington, the Marquis de Lafayette, General Henry Knox, and French commanders.
    [Show full text]
  • American Sculpture: Revolution to Rebellion
    American Sculpture: Revolution to Rebellion Alice Levi Duncan In 1976, as a celebration of the Bicentenary of the United States, the Whitney Museum of American Art presented an exhibition entitled Two Hundred Years of American Sculpture. The exhibition and accompanying catalogue focused on the origins and history of American sculpture from the political Revolution of 1776 to the artistic one of the late 20th century. The study incorporated the influences of native aboriginal art and folk art traditions on the devel- opment of an American art, while emphasizing the impor- tance of both academic and modern artistic activity originating in Europe. The exhibition and catalogue created new academic as well as collecting interest in this area of American art. It would be ludicrous to separate this branch of fine arts from “foreign influence” and then attempt to explain the quantity and quality of sculpture produced in the United States as an inevitable response to America’s growth. The extraordinary creativity and production of sculpture by American artists can only be appreciated once its depend- ence on European roots has been “forgiven”. The reliance on Europe for artistic training, technical support and critical approval did not diminish until after the Civil War. However the body of work produced from 1840-1940 is important as part of an international artistic movement and should not be considered a distant relation. The sculpture produced by American sculptors during that period was as accomplished artistically and technically as those from Europe, albeit the majority was primarily mainstream and not innovative in style or method. Yet this body of work, made by artists constantly seeking an American idiom, predicts the extraordinary artistic develop- ments that followed in the second half of the 20th Century, 1 which turned the international spotlight to one centered on Figure 1.
    [Show full text]
  • Connecticut Project Helper
    Connecticut Project Helper Resources for Creating a Great Connecticut Project From the Connecticut Colonial Robin and ConneCT Kids! Connecticut State Symbols Famous Connecticut People Connecticut Information and Facts Famous Connecticut Places Connecticut Outline Map Do-it-Yourself Connecticut Flag Six Connecticut Project Ideas Connecticut Postcard and more…. www.kids.ct.gov What Makes a Great Connecticut Project? You! You and your ability to show how much you have learned about Connecticut. So, the most important part of your project will not be found in this booklet. But, we can help to give you ideas, resources, facts, and information that would be hard for you to find. Some students are good at drawing and art, some students are good at writing reports, and some students are good at crafts and other skills. But that part of the project will be only the beginning. A great Connecticut Project will be the one where you have become a Connecticut expert to the best of your abilities. Every State in the United States has a special character that comes from a unique blend of land, people, climate, location, history, industry, government, economy and culture. A great Connecticut Project will be the one where you can answer the question: "What makes Connecticut special?" In addition to this booklet, you should look for Connecticut information in your school library or town library. There are many online resources that can be found by doing internet searches. The more you find, the easier it will be to put together that Great Connecticut Project! The Connecticut Project Helper is produced and distributed by The ConneCT Kids Committee, and is intended for educational purposes only.
    [Show full text]
  • List of Exhibitions Held at the Corcoran Gallery of Art from 1897 to 2014
    National Gallery of Art, Washington February 14, 2018 Corcoran Gallery of Art Exhibition List 1897 – 2014 The National Gallery of Art assumed stewardship of a world-renowned collection of paintings, sculpture, decorative arts, prints, drawings, and photographs with the closing of the Corcoran Gallery of Art in late 2014. Many works from the Corcoran’s collection featured prominently in exhibitions held at that museum over its long history. To facilitate research on those and other objects included in Corcoran exhibitions, following is a list of all special exhibitions held at the Corcoran from 1897 until its closing in 2014. Exhibitions for which a catalog was produced are noted. Many catalogs may be found in the National Gallery of Art Library (nga.gov/research/library.html), the libraries at the George Washington University (library.gwu.edu/), or in the Corcoran Archives, now housed at the George Washington University (library.gwu.edu/scrc/corcoran-archives). Other materials documenting many of these exhibitions are also housed in the Corcoran Archives. Exhibition of Tapestries Belonging to Mr. Charles M. Ffoulke, of Washington, DC December 14, 1897 A catalog of the exhibition was produced. AIA Loan Exhibition April 11–28, 1898 A catalog of the exhibition was produced. Annual Exhibition of the Work by the Students of the Corcoran School of Art May 31–June 5, 1899 Exhibition of Paintings by the Artists of Washington, Held under the Auspices of a Committee of Ladies, of Which Mrs. John B. Henderson Was Chairman May 4–21, 1900 Annual Exhibition of the Work by the Students of the CorCoran SChool of Art May 30–June 4, 1900 Fifth Annual Exhibition of the Washington Water Color Club November 12–December 6, 1900 A catalog of the exhibition was produced.
    [Show full text]
  • A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
    This page intentionally left blank This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 by Dorothy W. Phillips Curator of Collections The Corcoran Gallery of Art, Washington D.G. 1973 Library of Congress Catalogue Card Number N 850. A 617 Designed by Graham Johnson/Lund Humphries Printed in Great Britain by Lund Humphries Contents Foreword by Roy Slade, Director vi Introduction by Hermann Warner Williams, Jr., Director Emeritus vii Acknowledgments ix Notes on the Catalogue x Catalogue i Index of titles and artists 199 This page intentionally left blank Foreword As Director of the Corcoran Gallery of Art, I am pleased that Volume II of the Catalogue of the American Paintings in the Corcoran Gallery of Art, which has been in preparation for some five years, has come to fruition in my tenure. The second volume deals with the paintings of artists born between 1850 and 1910. The documented catalogue of the Corcoran's American paintings carries forward the project, initiated by former Director Hermann Warner Williams, Jr., of providing a series of defini• tive publications of the Gallery's considerable collection of American art. The Gallery intends to continue with other volumes devoted to contemporary American painting, sculpture, drawings, watercolors and prints. In recent years the growing interest in and concern for American paint• ing has become apparent.
    [Show full text]
  • FRENCH SCULPTURE CENSUS / RÉPERTOIRE DE SCULPTURE FRANÇAISE BARTLETT, Paul Wayland New Haven, Connecticut, United States 1865
    FRENCH SCULPTURE CENSUS / RÉPERTOIRE DE SCULPTURE FRANÇAISE BARTLETT, Paul Wayland New Haven, Connecticut, United States 1865 - Paris 1925 Apothéose de la Démocratie, modèle en plâtre du fronton, partie droite Apotheosis of Democracy Pediment, plaster model, right section 1916 plaster relief Acc. No.: Credit Line: Given to the United States Government by Mrs. Armistead Peter III Photo credit: ph. Architect of the Capitol © Artist : Washington, D.C., District of Columbia, United States Capitol / US Senate www.visitthecapitol.gov Provenance (Pediment: 1911-1914, Bartlett modeled the figures in Paris, France, and Washington, D.C. 1914-1916, they were carved in Georgia White marble by the Piccirilli Brothers of New York City) Plaster model: The three sections of the plaster models from which the pediment was carved were given to the United States Government in March 1963 by Mrs. Armistead Peter III, a stepdaughter of the artist. They are displayed in the Capitol terminal of the subway leading to the Rayburn House Office Building. Bibliography Architect of the Capitol's website, http://www.aoc.gov/capitol-hill/other-sculpture/apotheosis- democracy-pediment, 9 February 2016 1978 Capitol Art in the United States Capitol, prepared by the Architect of the Capitol, under the direction of the Joint Committee on the Library, Washington, United States Government Printing Office, 1978, p. 362 Comment Architect of the Capitol website (accessed 9 February 2016): "Peace Protecting Genius," an allegorical group consisting of two figures, fills the center of the pediment. An armed female figure representing Peace stands erect, draped in a mantle that almost completely hides her breastplate and coat of mail.
    [Show full text]
  • Waterbury Connecticut
    Presenting Waterbury Connecticut Honorable Neil M. O’Leary, Mayor Waterbury Development Corporation Dr. James F. Nardozzi, Interim CEO 16 October 2017 Table of Contents Item Page • Why Waterbury? 3 • Waterbury’s Top 10 o Proposed Site 4 o Tax Abatements 10 o Labor Force & Wages 11 o Education 12 o Location & Transportation 22 o History/Diversity 31 o Arts & Culture & Recreation 41 o Housing 70 o Demographics 75 o Healthcare 81 o Connectivity & Infrastructure 83 o Water & Air Quality 87 o Works Cited 88 Presenting Waterbury Connecticut 2 Presenting Waterbury Connecticut 3 Proposed Site The Proposed Site consists of a total acreage of 103.78. This site is one mile long located to the east of the Naugatuck River. The site is made up of thirty-five properties. This area is divided into two zones: CA and CBD. The CA zone is for Commercial Arterial and CBD is Center Business District. Eleven of the 35 properties are zoned CBD. The majority of the buildings consist of former industrial properties. The buildings along Thomaston Avenue consist of restaurants, garages, and other commercial buildings. Overview from New England Presenting Waterbury Connecticut 4 Connecticut The following map shows the Proposed Site in the context of the surrounding towns and cities. Proposed Site- Greater Waterbury Context Waterbury Presenting Waterbury Connecticut 5 Proposed Site Presenting Waterbury Connecticut 6 *The following chart shows the thirty-five properties that comprise the 103.78 acreage Proposed Site. Address Owner Size Structure Zone Yankee Gas 1 story building Jackson Street Service Company 8 acres built 1958 CA State of CT Department of Transportation office of Rights of 99 Jackson Street Way 2.36 acres Vacant Land CA JRD Properties 1 story building Jackson Street LLC 3.39 acres built 1978 CBD Davis Ave 1 story built 195 Freight Street Greenwich LLC 1.86 acres 1948 CBD 185 freight Street 1 story built 185 Freight Street Inc.
    [Show full text]