Frank E. Schoonover Manuscript Collection
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Finding Aid for the John Sloan Manuscript Collection
John Sloan Manuscript Collection A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum The John Sloan Manuscript Collection is made possible in part through funding of the Henry Luce Foundation, Inc., 1998 Acquisition Information Gift of Helen Farr Sloan, 1978 Extent 238 linear feet Access Restrictions Unrestricted Processed Sarena Deglin and Eileen Myer Sklar, 2002 Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum Related Materials Letters from John Sloan to Will and Selma Shuster, undated and 1921-1947 1 Table of Contents Chronology of John Sloan Scope and Contents Note Organization of the Collection Description of the Collection Chronology of John Sloan 1871 Born in Lock Haven, Pennsylvania on August 2nd to James Dixon and Henrietta Ireland Sloan. 1876 Family moved to Germantown, later to Philadelphia, Pennsylvania. 1884 Attended Philadelphia's Central High School where he was classmates with William Glackens and Albert C. Barnes. 1887 April: Left high school to work at Porter and Coates, dealer in books and fine prints. 1888 Taught himself to etch with The Etcher's Handbook by Philip Gilbert Hamerton. 1890 Began work for A. Edward Newton designing novelties, calendars, etc. Joined night freehand drawing class at the Spring Garden Institute. First painting, Self Portrait. 1891 Left Newton and began work as a free-lance artist doing novelties, advertisements, lettering certificates and diplomas. 1892 Began work in the art department of the Philadelphia Inquirer. -
Table of Contents
Table of Contents Welcome from the Dais ……………………………………………………………………… 1 Introduction …………………………………………………………………………………… 2 Background Information ……………………………………………………………………… 3 The Golden Age of Piracy ……………………………………………………………… 3 A Pirate’s Life for Me …………………………………………………………………… 4 The True Pirates ………………………………………………………………………… 4 Pirate Values …………………………………………………………………………… 5 A History of Nassau ……………………………………………………………………… 5 Woodes Rogers ………………………………………………………………………… 8 Outline of Topics ……………………………………………………………………………… 9 Topic One: Fortification of Nassau …………………………………………………… 9 Topic Two: Expulsion of the British Threat …………………………………………… 9 Topic Three: Ensuring the Future of Piracy in the Caribbean ………………………… 10 Character Guides …………………………………………………………………………… 11 Committee Mechanics ……………………………………………………………………… 16 Bibliography ………………………………………………………………………………… 18 1 Welcome from the Dais Dear delegates, My name is Elizabeth Bobbitt, and it is my pleasure to be serving as your director for The Republic of Pirates committee. In this committee, we will be looking at the Golden Age of Piracy, a period of history that has captured the imaginations of writers and filmmakers for decades. People have long been enthralled by the swashbuckling tales of pirates, their fame multiplied by famous books and movies such as Treasure Island, Pirates of the Caribbean, and Peter Pan. But more often than not, these portrayals have been misrepresentations, leading to a multitude of inaccuracies regarding pirates and their lifestyle. This committee seeks to change this. In the late 1710s, nearly all pirates in the Caribbean operated out of the town of Nassau, on the Bahamian island of New Providence. From there, they ravaged shipping lanes and terrorized the Caribbean’s law-abiding citizens, striking fear even into the hearts of the world’s most powerful empires. Eventually, the British had enough, and sent a man to rectify the situation — Woodes Rogers. In just a short while, Rogers was able to oust most of the pirates from Nassau, converting it back into a lawful British colony. -
New Exhibition the American Muse Debuts at the Nmai
FOR IMMEDIATE RELEASE May 2, 2013 Contact: Eric Brocklehurst Tel: (401) 851-8949 ext. 18 Email: [email protected] Website: www.americanillustration.org NEW EXHIBITION ‘THE AMERICAN MUSE’ DEBUTS AT THE NMAI NEWPORT, RI- Friday, May 24, the NMAI officially debuts its new exhibition, The American Muse. The exhibition is in homage to American women of the late 19th and early 20th centuries, and the illustrators who accurately portrayed the quintessential yet distinctly American feminine beauty that these women embodied. The American illustrators highlighted include Charles Dana Gibson, Harrison Fisher, and others of the greatest illustrators of the period, such as: Philip Boileau, MacClelland Barclay, Howard Chandler Christy, James Montgomery Flagg, Henry Hutt, Walter Granville Smith, Paul Stahr, and Albert Beck Wenzell. Each of these illustrators created their own prototypical image of ‘The American Woman.’ The public gave these illustrators’ artworks generic names as part of their respective oeuvre; The Gibson Girl and The Fisher Girl stand out as the most popular of all. These renditions of the illustrators’ ideal woman captured the increasingly independent spirit of American women. The illustrations both shaped and reflected American society and its notions of female beauty. Compared to women of previous eras, these women relished more freedoms, enjoyed greater opportunities in sports and education, and were at the vanguard of a time when women effected change through social and political movements on an unprecedented scale in Western culture. Also showing at the NMAI are Maxfield Parrish: The Retrospective, which has been extended due to popular demand through Fall 2013, and Howard Pyle & His Brandywine Students, showcasing the works of Howard Pyle, N.C. -
Christina Rossetti
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com ChristinaRossetti MackenzieBell,HellenaTeresaMurray,JohnParkerAnderson,AgnesMilne the g1ft of Fred Newton Scott l'hl'lll'l'l'llllftlill MMM1IIIH1I Il'l'l lulling TVr-K^vr^ lit 34-3 y s ( CHRISTINA ROSSETTI J" by thtie s-ajmis atjthoe. SPRING'S IMMORTALITY: AND OTHER POEMS. Th1rd Ed1t1on, completing 1,500 copies. Cloth gilt, 3J. W. The Athen-cum.— ' Has an unquestionable charm of its own.' The Da1ly News.— 'Throughout a model of finished workmanship.' The Bookman.—' His verse leaves on us the impression that we have been in company with a poet.' CHARLES WHITEHEAD : A FORGOTTEN GENIUS. A MONOGRAPH, WITH EXTRACTS FROM WHITEHEAD'S WORKS. New Ed1t1on. With an Appreciation of Whitehead by Mr, Hall Ca1ne. Cloth, 3*. f»d. The T1mes. — * It is grange how men with a true touch of genius in them can sink out of recognition ; and this occurs very rapidly sometimes, as in the case of Charles Whitehead. Several works by this wr1ter ought not to be allowed to drop out of English literature. Mr. Mackenzie Bell's sketch may consequently be welcomed for reviving the interest in Whitehead.' The Globe.—' His monograph is carefully, neatly, and sympathetically built up.' The Pall Mall Magaz1ne.—' Mr. Mackenzie Bell's fascinating monograph.' — Mr. /. ZangwiU. PICTURES OF TRAVEL: AND OTHER POEMS. Second Thousand. Cloth, gilt top, 3*. 6d. The Queen has been graciously pleased to accept a copy of this work, and has, through her Secretary, Sir Arthur Bigge, conveyed her thanks to the Author. -
'Gouache Painting' Materials List with Jim Minet
‘Gouache Painting’ Materials List With Jim Minet Here is my recommended list of the essential items you need for the very best watercolor experience. Brushes: Because gouache needs a slightly stiffer brush than regular watercolor, I recommend synthetic brushes. I do recommend Silver Brush short handle ‘Silver Silk 88’ brushes for gouache available at www.jerrysartarama.com and my second choice for gouache would be the short handle Silver White (by Silver Brush co) at Jerry’s or at www.dickblick.com Brush Type: A minimum of four watercolor brushes. 1. A large 1-inch flat wash brush (recommend – Silver White) 2. A medium-large ‘flat’ or ‘bright’ brush size 8 or 10 (recommend – Silver Silk 88) 3. A medium -small ‘flat’ or ‘bright’ brush size 4 or 6 (recommend- Silver Silk 88) 4. A round- brush size 4 (recommend Silver White) Paper – you can use either: • a glued block of 100 % Cotton 140 lb. cold or rough press watercolor paper, approximately 10x14 inch or larger. If it does not say ‘cotton’ then it is not. Or: • a couple large sheets of the same grade paper (this is a less expensive option that I recommend--sheets come in 22x30 inches. Cut it into 4 or 8 pieces) If you are not using a glued block, make sure to bring a drawing board to place your paper on. Any hard board, or inexpensive plastic or wood drawing board, not too large, will do, even a very firm piece of corrugated will do. Should not be too much bigger than the paper you will work on. -
Violet Oakley: Pennsylvania’S Premiere Muralist
1 VIOLET OAKLEY: PENNSYLVANIA’S PREMIERE MURALIST Susan Hamburger Paper and slide presentation Pennsylvania Historical Association October 14, 1995 [SLIDE 1] Violet Oakley--a versatile portraitist, illustrator, stained glass artisan, and muralist--earned a reputation as the first American woman artist to succeed in the predominantly-male architectural field of mural decoration. Her strong commitment to her religion and world peace influenced her art as well as her life. [SLIDE 2] Oakley was born in Bergen Heights, New Jersey, to the artistic family of Arthur Edmund Oakley and Cornelia Swain Oakley. Both of her grandfathers, George Oakley and William Swain, belonged to the National Academy of Design and two of her aunts studied painting in Munich with Frank Duveneck. She believed that her compulsion to draw was “hereditary and chronic.” She once commented that she must have been “a monk in some earlier state of existence....The abbesses and sisters were too busy nursing the sick and doing fine needleworks. I never heard of them illuminating manuscripts. I am quite sure I was a monk.” 1 The youngest of three children, Violet followed her sisters Cornelia and Hester in learning the acceptable feminine skills of poetry writing, piano playing, 2 and sketching. While Hester attended Vassar College, Violet’s asthma prevented her from obtaining a college education which her parents thought too rigorous for her physical condition. She never let the asthma impede her artistic education or career. In 1892, at the age of eighteen, Oakley commuted to New York City to study at the Art Students’ League with Irving R. -
Certified Products List
THE ART & CREATIVE MATERIALS INSTITUTE, INC. Street Address: 1280 Main St., 2nd Floor Mailing Address: P.O. Box 479 Hanson, MA 02341 USA Tel. (781) 293-4100 Fax (781) 294-0808 www.acminet.org Certified Products List March 28, 2007 & ANSI Performance Standard Z356._X BUY PRODUCTS THAT BEAR THE ACMI SEALS Products Authorized to Bear the Seals of The Certification Program of THE ART & CREATIVE MATERIALS INSTITUTE, INC. Since 1940, The Art & Creative Materials Institute, Inc. (“ACMI”) has been evaluating and certifying art, craft, and other creative materials to ensure that they are properly labeled. This certification program is reviewed by ACMI’s Toxicological Advisory Board. Over the years, three certification seals had been developed: The CP (Certified Product) Seal, the AP (Approved Product) Seal, and the HL (Health Label) Seal. In 1998, ACMI made the decision to simplify its Seals and scale the number of Seals used down to two. Descriptions of these new Seals and the Seals they replace follow: New AP Seal: (replaces CP Non-Toxic, CP, AP Non-Toxic, AP, and HL (No Health Labeling Required). Products bearing the new AP (Approved Product) Seal of the Art & Creative Materials Institute, Inc. (ACMI) are certified in a program of toxicological evaluation by a medical expert to contain no materials in sufficient quantities to be toxic or injurious to humans or to cause acute or chronic health problems. These products are certified by ACMI to be labeled in accordance with the chronic hazard labeling standard, ASTM D 4236 and the U.S. Labeling of Hazardous NO HEALTH LABELING REQUIRED Art Materials Act (LHAMA) and there is no physical hazard as defined with 29 CFR Part 1910.1200 (c). -
2001 Great Plains Prairie
2001 Great Plains Prairie Pronghorns Burrowing Owls Black-tailed Prairie Dog American Buffalo Painted Lady Butterfly 2001 Great Plains Prairie Western Meadowlark Badger Plains Spadefoot Eastern Short-horned Lizard Two-striped Grasshopper 2001 perf. 11¼x11 die cut 11 die cut 8½ vert. American Buffalo American Buffalo American Buffalo die cut 11¼ die cut 10½x11¼ American Buffalo American Buffalo Eagle Eagle United We Stand die cut 11¼ die cut 10½x10¾ die cut 9¾ vert., sq. corner die cut 9¾ vert., rd. corner United We Stand United We Stand United We Stand United We Stand 2001-03 George Washington die cut 11¼x11 die cut 10½x11 die cut 11¼x11¾, “2001” George Washington George Washington George Washington die cut 8½ vert., “2001” perf. 11¼, “2002” die cut 8½ vert., “2002” George Washington George Washington George Washington die cut 11¼x11, “2002” die cut 10½x11, “2002” die cut 11, “2003” George Washington George Washington George Washington Atlas die cut 8½ vert., “2001” die cut 11 vert., “2003” Atlas Atlas 2001 We Give Thanks Diamond in the Square Lone Star Diabetes Roy Wilkins The Nobel Prize Peanuts Honoring Veterans Frida Kahlo Sunshine & Shadow James Madison Double Ninepatch Variation 2001 Venus Flytrap Yellow Trumpet Cobra Lily English Sundew Leonard Bernstein Lucille Ball Pan-American Exposition perf. 12, unwmk., dated “2001” perf. 12, unwmk., dated “2001” perf. 12, unwmk., dated “2001” Fast Lake Navigation Fast Express Automobile 2001 Woody Wagon Enrico Fermi Love Love Love die cut 11½x10¾ Love die cut 11¼ Love Love 2001-09 Eid die cut 11¼, dated “2001” die cut 11, dated “2002” Eid Eid Eid Eid Eid Eid 2001-03 Washington Landmarks U.S. -
Some Products in This Line Do Not Bear the AP Seal. Product Categories Manufacturer/Company Name Brand Name Seal
# Some products in this line do not bear the AP Seal. Product Categories Manufacturer/Company Name Brand Name Seal Adhesives, Glue Newell Brands Elmer's Extra Strength School AP Glue Stick Adhesives, Glue Leeho Co., Ltd. Leeho Window Paint Gold Liner AP Adhesives, Glue Leeho Co., Ltd. Leeho Window Paint Silver Liner AP Adhesives, Glue New Port Sales, Inc. All Gloo CL Adhesives, Glue Leeho Co., Ltd. Leeho Window Paint Sparkler AP Adhesives, Glue Newell Brands Elmer's Xtreme School Glue AP Adhesives, Glue Newell Brands Elmer's Craftbond All-Temp Hot AP Glue Sticks Adhesives, Glue Daler-Rowney Limited Rowney Rabbit Skin AP Adhesives, Glue Kuretake Co., Ltd. ZIG Decoupage Glue AP Adhesives, Glue Kuretake Co., Ltd. ZIG Memory System 2 Way Glue AP Squeeze & Roll Adhesives, Glue Kuretake Co., Ltd. Kuretake Oyatto-Nori AP Adhesives, Glue Kuretake Co., Ltd. ZIG Memory System 2Way Glue AP Chisel Tip Adhesives, Glue Kuretake Co., Ltd. ZIG Memory System 2Way Glue AP Jumbo Tip Adhesives, Glue EK Success Martha Stewart Crafts Fine-Tip AP Glue Pen Adhesives, Glue EK Success Martha Stewart Crafts Wide-Tip AP Glue Pen Adhesives, Glue EK Success Martha Stewart Crafts AP Ballpoint-Tip Glue Pen Adhesives, Glue STAMPIN' UP Stampin' Up 2 Way Glue AP Adhesives, Glue Creative Memories Creative Memories Precision AP Point Adhesive Adhesives, Glue Rich Art Color Co., Inc. Rich Art Washable Bits & Pieces AP Glitter Glue Adhesives, Glue Speedball Art Products Co. Best-Test One-Coat Cement CL Adhesives, Glue Speedball Art Products Co. Best-Test Rubber Cement CL Adhesives, Glue Speedball Art Products Co. -
Writers and Writings of Texas
PD Commons ^ s : . : ; ? UC-NRLF 250 535 7/3 7 / PD Books PD Commons PD Books PD Commons PD Books PD Commons WRITERS AND WRITINGS OF TEXAS COMPILED AND EDITED BY DAVIS FOUTE EAGLETON, M.A., Professor of English in Austin College AUTHOR OF The South and Its Literary Product; Sidney Lanier, Hit Character and Work; Progress of Literary Effort in the Lone Star State; $c. But count as the angels count, friend, and see What is the treasure I bring to thee! Mallie Moor* BROADWAY PUBLISHING COMPANY 835 Broadway, New York 1913 PD Books PD Commons Copyright, 1913, BY DAVIS FOUTE EAGLETON, M.A. To the Enthusiastic Interest and Co-operation of the Literature Classes of Austin College, Is Due, in a Large Measure, the Completion of this Endeavor to Disseminate and Perpetuate the Authorship of Texas 298662 PD Books PD Commons CONTENTS PAGE Foreword 4 Introductory Poem, "Texas" 4 Survey of the Field 7 The Declaration of Independence 17 Stephen Fuller Austin 21 Sam Houston 27 David Burnet 34 Mirabeau Lamar 39 Mrs. Maude Fuller Young .' 43 John H. Reagan 50 John Crittenden Duval 59 Mrs. Fannie Baker Darden 66 Judge W. T. G. Weaver 70 Richard Bennett Hubbard 79 Mrs. Bella French Swisher v 85 Mrs. Mollie Moore Davis 88 William Lawrence Chittenden . 98 ; Friench Simpson , 106 Mrs. M. M. Jouvenat no John P. Sjolander 115 Jacob Hayne Harrison 120 Mrs. Laura Bibb Foute 127 Mrs. Belle Hunt Shortridge 136 Howell Lake Piner 147 Garence Ousley 162 Jtsse Edward Grinstead 169 PD Books PD Commons PAGJ Sydney Porter 184 Mortimer Lewis Judd v 197 Miss Olive Huck 208 Paul Whitfield Horn 220 George Pattullo 228 Miss Katie Daffan 242 Harry Lee Marriner 257 Eugene P. -
Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists
1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works. -
Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T.