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Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Collections in the VMI Archives are made available for noncommercial educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e80ceb18452f839f42d9b2a66ce9f649\"\u003eOversized case 10\u003c/physloc\u003e"],"physloc_tesim":["Oversized case 10"],"names_ssim":["Virginia Military Institute Archives","Lowry, Day"],"corpname_ssim":["Virginia Military Institute Archives"],"persname_ssim":["Lowry, Day"],"language_ssim":["English \n.    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Items with no date are generally placed at the end of each series.","History and Miscellaneous Photographs","Construction and End Donation to the Science Museum","Exhibitions","In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","This collection documents the history, exhibitions, and programming of the VMFA's Education and Outreach Department, and includes graphic materials, publicity, and exhibition object lists.","This series documents the history, construction, and various exhibitions of the VMFA's Artmobile program, and includes graphic materials along with exhibition information. ","In 1953, VMFA became one of the first museums in the world to have an Artmobile. Over the course of four decades, four different Artmobiles brought 59 different exhibitions to Virginia towns, ranging from Little Dutch Masters to African Textile Arts. While most of the objects came from VMFA's collection, some exhibitions featured works on loan from the Metropolitan Museum of Art, the Museum of Natural History, the Guggenheim Museum, and other institutions. Speakers offering lectures on a variety of art-related topics were also from some of the nation's leading universities and museums. Budgetary constraints and concerns about conserving and protecting works of art on the road eventually led to the program's end in 1994.","Exhibitions are listed as follows:","-Exhibition 1 - Little Dutch Masters (1953-1955)\n-Exhibition 2 - Art from Ancient Egypt (1955-1958)\n-Exhibition 3 - Painters of the Renaissance (1958-1961)\n-Exhibition 4 - Art Before Columbus (1961-1964)\n-Exhibition 5 - Twelve Portraits: Delacroix to Gauguin (Sept-Oct 1962)\n-Exhibition 6 - Art from the Ancient World (Nov 1962-Feb 1963)\n-Exhibition 7 - Landscape Painting 1650-1960 (Mar-May 1963)\n-Exhibition 8 - Dragons and Dynasties: Art from China (1963-1965)\n-Exhibition 9 - An American Sampler: Painting 1815-1865 (Feb-Jun 1964)\n-Exhibition 10 - Medieval Treasures (Sept 1964-Jan 1965)\n-Exhibition 11- Paris '20: The T. Catsby Jones Collection (Feb-Jun 1965)\n-Exhibition 12 - The Williams Collection (Sept 1965-Jan 1966)\n-Exhibition 13 - English Conversation Pieces (Feb-Jun 1966)\n-Exhibition 14 - American Indian Art/Northwest Coast (Sept 1966-Jan 1967)\n-Exhibition 15 - An Age of Elegance and Grandeur (Feb 1967-May 1968)\n-Exhibition 16 - Treasures from the Guggenheim Museum (Sept 1966-Jan 1967)\n-Exhibition 17 - Treasures from the Whitney Museum (Feb 1967-Sept 1968)\n-Exhibition 18 - Art from the Ancient World (Sept 1966-Jan 1967)\n-Exhibition 19 - The Human Figure in Art (Feb 1967-Jan 1968)\n-Exhibition 20 - Japanese Art (Feb 1968-May 1969)\n-Exhibition 21 - A Wyeth Portrait (Feb 1968-Dec 1969)\n-Exhibition 22 - American Folk Art (Sept 1968-May 1970)\n-Exhibition 23 - Late Italian Painting (Feb-May 1969)\n-Exhibition 24 - Byzantine Treasures (Sept 1968-May 1969)\n-Exhibition 25 - Images in Wood (Sept-Dec 1969)\n-Exhibition 26 - Randolph Macon Woman's College Collection (Sept-Dec 1969)\n-Exhibition 27 - The Prints of James McNeill Whistler (Fall 1969-Spring 1970)\n-Exhibition 28 - The Art of India (Fall 1970-Spring 1972)\n-Exhibition 29 - African Art (Sept-Dec 1970)\n-Exhibition 30 - Encounter I: Space (Sept 1970-May 1971)\n-Exhibition 31 - Encounter II: Color (Sept 1972-Feb 1974)\n-Exhibition 32 - Treasures in Miniature (Feb-Dec 1972)\n-Exhibition 33 - Art Nouveau (Sept 1972 - May 1974)\n-Exhibition 34 - Images of Reality (Feb 1973-Feb 1974)\n-Exhibition 35 - Symbols of Myth - Melanesian Art (Sept 1973-Dec 1974)\n-Exhibition 36 - Paintings of the American Scene: Hopper, Burchfield and Marsh (Jan 1974-May 1975)\n-Exhibition 37 - The Art of the Goldsmith (Sept 1974-Dec 1976)\n-Exhibition 38 - The Independent Spirit in American Painting (Sept-Dec 1975)\n-Exhibition 39 - The Nature of Landscape (Sept 1975-Dec 1976)\n-Exhibition 40 - Masterpieces of Pre-Columbian Art (Feb-May 1976)\n-Exhibition 41 - Idea Into Image: Sculpture (Sept 1975-Dec 1977)\n-Exhibition 42 - American Marine Painting (Feb-Dec 1977)\n-Exhibition 43 - Symbols of Faith (Feb 1977-May 1978)\n-Exhibition 44 - Art of the American West (Sept 1977-Dec 1978)\n-Exhibition 45 - Art and the Archaeologist (Feb 1978-May 1979)\n-Exhibition 46 - African Textile Arts (Sept 1979-Dec 1980)\n-Exhibition 47 - Secrets (Sept 1979-May 1981)\n-Exhibition 48 - Images of America: Impact of the Thirties (Feb 1980-Dec 1981);\n-Exhibition 49 - Furniture of the United States: The First 100 Years (1981)\n-Exhibition 50 - Patterns (Sept 1981-May 1982)\n-Exhibition 51 - Interior/Exterior (Mar 1982-June 1984)\n-Exhibition 52 - Realities (Sept 1982-May 1985)\n-Exhibition 53 - Illusion: Art and the Moving Image (Jan 1984-May 1987)\n-Exhibition 54 - Reflections (Sept 1985-Dec 1988)\n-Exhibition 55 - Choices Artists Make: Selections of American Art (Sept 1985-May 1987)\n-Exhibition 56 - Fragments (Feb 1988-May 1990)\n-Exhibition 57 - Craft Now: Breaking Boundaries (Sept 1988-June 1991)\n-Exhibition 58 - Expressions: The Human Face in Art (Apr 1989-Dec 1991)\n-Exhibition 59 - The Art of Graphic Design (Feb 1991-Jun 1993)\n-Exhibition 60 - Introducing Virginia Architecture (Sept 1992-May 1994)","This series documents the projects, participants, artwork, and program catalogs for the Children's Art Resource Center, the first classroom for children's art learning set in the original North Wing of the VMFA, between 1989-2003.","The series documents the programming and activities of the Educational Resource Room at the VMFA from 1999-2005, and includes photographic and promotional materials.","The series photographically documents the various lectures and symposia held at the VMFA from 1994-2010.","The series documents the Studio Classes for Teen program from 1999-2009, and includes photographic prints, contact sheets, and class programs.","This series documents the events and programming of the VMFA Family Open House program.","The series photographically documents various events and programs held at the VMFA from the 1960s through 2009.","The series documents the work of the State Services/TEAMS Department from 1950-2009, and includes photographs and slides of exhibition objects, installations, and State Services catalogs.","This series documents the various studio art classes held at the VMFA's Robinson House from 1950-1989, and includes photographic prints and slides.","This series documents the various classes held at the Studio School, aka the HealthSouth Visual Arts Center on Grove Avenue, and includes contact sheets, photographic prints, and class catalogs.","This series documents the various Teachers Workshops, institutes, and programs held at the VMFA from 1994-2005, and includes photographic prints, contact sheets, slides, and event programs.","This series documents the studio art programs, special exhibitions, and printed materials created by the Children's Studio for the benefit of children and their families, and includes photographic prints, slides, and program catalogs.","This series documents the events and programming of the VMFA's Three Days in March High School Residency Program, in which junior and senior high school students and teachers from communities across Virginia explore the museum and its objects through galleries encounters, artists workshops, tours, performances and other cultural activities. The series includes photographic prints, contact sheets, slides, and event programs.","This series documents the various concerts held in different areas of the VMFA, from 1950-2005, and includes photographic prints, contact sheets, and programs.","This series documents the various performances held at the Virginia Museum Theatre from 1955-1989 and includes photographic prints of the theatre interior and performances, contact sheets, newspaper clippings, and playbills.","The collection is subject to all copyright laws. Transmission or reproduction of materials is protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","This collection documents the history of the various Education and Outreach initiatives, comprising everything from the VMFA's Artmobile program to art classes, lectures and symposia to family open houses, and includes photographic prints, slides, programs, and related ephemera.","Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts","English \n.    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VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRecords of the Events Department (PH-02). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Records of the Education and Outreach Department (PH-01). VMFA Archives, Richmond, Virginia.","Records of the Events Department (PH-02). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. 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Catsby Jones Collection (Feb-Jun 1965)\n-Exhibition 12 - The Williams Collection (Sept 1965-Jan 1966)\n-Exhibition 13 - English Conversation Pieces (Feb-Jun 1966)\n-Exhibition 14 - American Indian Art/Northwest Coast (Sept 1966-Jan 1967)\n-Exhibition 15 - An Age of Elegance and Grandeur (Feb 1967-May 1968)\n-Exhibition 16 - Treasures from the Guggenheim Museum (Sept 1966-Jan 1967)\n-Exhibition 17 - Treasures from the Whitney Museum (Feb 1967-Sept 1968)\n-Exhibition 18 - Art from the Ancient World (Sept 1966-Jan 1967)\n-Exhibition 19 - The Human Figure in Art (Feb 1967-Jan 1968)\n-Exhibition 20 - Japanese Art (Feb 1968-May 1969)\n-Exhibition 21 - A Wyeth Portrait (Feb 1968-Dec 1969)\n-Exhibition 22 - American Folk Art (Sept 1968-May 1970)\n-Exhibition 23 - Late Italian Painting (Feb-May 1969)\n-Exhibition 24 - Byzantine Treasures (Sept 1968-May 1969)\n-Exhibition 25 - Images in Wood (Sept-Dec 1969)\n-Exhibition 26 - Randolph Macon Woman's College Collection (Sept-Dec 1969)\n-Exhibition 27 - The Prints of James McNeill Whistler (Fall 1969-Spring 1970)\n-Exhibition 28 - The Art of India (Fall 1970-Spring 1972)\n-Exhibition 29 - African Art (Sept-Dec 1970)\n-Exhibition 30 - Encounter I: Space (Sept 1970-May 1971)\n-Exhibition 31 - Encounter II: Color (Sept 1972-Feb 1974)\n-Exhibition 32 - Treasures in Miniature (Feb-Dec 1972)\n-Exhibition 33 - Art Nouveau (Sept 1972 - May 1974)\n-Exhibition 34 - Images of Reality (Feb 1973-Feb 1974)\n-Exhibition 35 - Symbols of Myth - Melanesian Art (Sept 1973-Dec 1974)\n-Exhibition 36 - Paintings of the American Scene: Hopper, Burchfield and Marsh (Jan 1974-May 1975)\n-Exhibition 37 - The Art of the Goldsmith (Sept 1974-Dec 1976)\n-Exhibition 38 - The Independent Spirit in American Painting (Sept-Dec 1975)\n-Exhibition 39 - The Nature of Landscape (Sept 1975-Dec 1976)\n-Exhibition 40 - Masterpieces of Pre-Columbian Art (Feb-May 1976)\n-Exhibition 41 - Idea Into Image: Sculpture (Sept 1975-Dec 1977)\n-Exhibition 42 - American Marine Painting (Feb-Dec 1977)\n-Exhibition 43 - Symbols of Faith (Feb 1977-May 1978)\n-Exhibition 44 - Art of the American West (Sept 1977-Dec 1978)\n-Exhibition 45 - Art and the Archaeologist (Feb 1978-May 1979)\n-Exhibition 46 - African Textile Arts (Sept 1979-Dec 1980)\n-Exhibition 47 - Secrets (Sept 1979-May 1981)\n-Exhibition 48 - Images of America: Impact of the Thirties (Feb 1980-Dec 1981);\n-Exhibition 49 - Furniture of the United States: The First 100 Years (1981)\n-Exhibition 50 - Patterns (Sept 1981-May 1982)\n-Exhibition 51 - Interior/Exterior (Mar 1982-June 1984)\n-Exhibition 52 - Realities (Sept 1982-May 1985)\n-Exhibition 53 - Illusion: Art and the Moving Image (Jan 1984-May 1987)\n-Exhibition 54 - Reflections (Sept 1985-Dec 1988)\n-Exhibition 55 - Choices Artists Make: Selections of American Art (Sept 1985-May 1987)\n-Exhibition 56 - Fragments (Feb 1988-May 1990)\n-Exhibition 57 - Craft Now: Breaking Boundaries (Sept 1988-June 1991)\n-Exhibition 58 - Expressions: The Human Face in Art (Apr 1989-Dec 1991)\n-Exhibition 59 - The Art of Graphic Design (Feb 1991-Jun 1993)\n-Exhibition 60 - Introducing Virginia Architecture (Sept 1992-May 1994)\u003c/p\u003e","\u003cp\u003eThis series documents the projects, participants, artwork, and program catalogs for the Children's Art Resource Center, the first classroom for children's art learning set in the original North Wing of the VMFA, between 1989-2003.\u003c/p\u003e","\u003cp\u003eThe series documents the programming and activities of the Educational Resource Room at the VMFA from 1999-2005, and includes photographic and promotional materials.\u003c/p\u003e","\u003cp\u003eThe series photographically documents the various lectures and symposia held at the VMFA from 1994-2010.\u003c/p\u003e","\u003cp\u003eThe series documents the Studio Classes for Teen program from 1999-2009, and includes photographic prints, contact sheets, and class programs.\u003c/p\u003e","\u003cp\u003eThis series documents the events and programming of the VMFA Family Open House program.\u003c/p\u003e","\u003cp\u003eThe series photographically documents various events and programs held at the VMFA from the 1960s through 2009.\u003c/p\u003e","\u003cp\u003eThe series documents the work of the State Services/TEAMS Department from 1950-2009, and includes photographs and slides of exhibition objects, installations, and State Services catalogs.\u003c/p\u003e","\u003cp\u003eThis series documents the various studio art classes held at the VMFA's Robinson House from 1950-1989, and includes photographic prints and slides.\u003c/p\u003e","\u003cp\u003eThis series documents the various classes held at the Studio School, aka the HealthSouth Visual Arts Center on Grove Avenue, and includes contact sheets, photographic prints, and class catalogs.\u003c/p\u003e","\u003cp\u003eThis series documents the various Teachers Workshops, institutes, and programs held at the VMFA from 1994-2005, and includes photographic prints, contact sheets, slides, and event programs.\u003c/p\u003e","\u003cp\u003eThis series documents the studio art programs, special exhibitions, and printed materials created by the Children's Studio for the benefit of children and their families, and includes photographic prints, slides, and program catalogs.\u003c/p\u003e","\u003cp\u003eThis series documents the events and programming of the VMFA's Three Days in March High School Residency Program, in which junior and senior high school students and teachers from communities across Virginia explore the museum and its objects through galleries encounters, artists workshops, tours, performances and other cultural activities. The series includes photographic prints, contact sheets, slides, and event programs.\u003c/p\u003e","\u003cp\u003eThis series documents the various concerts held in different areas of the VMFA, from 1950-2005, and includes photographic prints, contact sheets, and programs.\u003c/p\u003e","\u003cp\u003eThis series documents the various performances held at the Virginia Museum Theatre from 1955-1989 and includes photographic prints of the theatre interior and performances, contact sheets, newspaper clippings, and playbills.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection documents the history, exhibitions, and programming of the VMFA's Education and Outreach Department, and includes graphic materials, publicity, and exhibition object lists.","This series documents the history, construction, and various exhibitions of the VMFA's Artmobile program, and includes graphic materials along with exhibition information. ","In 1953, VMFA became one of the first museums in the world to have an Artmobile. Over the course of four decades, four different Artmobiles brought 59 different exhibitions to Virginia towns, ranging from Little Dutch Masters to African Textile Arts. While most of the objects came from VMFA's collection, some exhibitions featured works on loan from the Metropolitan Museum of Art, the Museum of Natural History, the Guggenheim Museum, and other institutions. Speakers offering lectures on a variety of art-related topics were also from some of the nation's leading universities and museums. Budgetary constraints and concerns about conserving and protecting works of art on the road eventually led to the program's end in 1994.","Exhibitions are listed as follows:","-Exhibition 1 - Little Dutch Masters (1953-1955)\n-Exhibition 2 - Art from Ancient Egypt (1955-1958)\n-Exhibition 3 - Painters of the Renaissance (1958-1961)\n-Exhibition 4 - Art Before Columbus (1961-1964)\n-Exhibition 5 - Twelve Portraits: Delacroix to Gauguin (Sept-Oct 1962)\n-Exhibition 6 - Art from the Ancient World (Nov 1962-Feb 1963)\n-Exhibition 7 - Landscape Painting 1650-1960 (Mar-May 1963)\n-Exhibition 8 - Dragons and Dynasties: Art from China (1963-1965)\n-Exhibition 9 - An American Sampler: Painting 1815-1865 (Feb-Jun 1964)\n-Exhibition 10 - Medieval Treasures (Sept 1964-Jan 1965)\n-Exhibition 11- Paris '20: The T. Catsby Jones Collection (Feb-Jun 1965)\n-Exhibition 12 - The Williams Collection (Sept 1965-Jan 1966)\n-Exhibition 13 - English Conversation Pieces (Feb-Jun 1966)\n-Exhibition 14 - American Indian Art/Northwest Coast (Sept 1966-Jan 1967)\n-Exhibition 15 - An Age of Elegance and Grandeur (Feb 1967-May 1968)\n-Exhibition 16 - Treasures from the Guggenheim Museum (Sept 1966-Jan 1967)\n-Exhibition 17 - Treasures from the Whitney Museum (Feb 1967-Sept 1968)\n-Exhibition 18 - Art from the Ancient World (Sept 1966-Jan 1967)\n-Exhibition 19 - The Human Figure in Art (Feb 1967-Jan 1968)\n-Exhibition 20 - Japanese Art (Feb 1968-May 1969)\n-Exhibition 21 - A Wyeth Portrait (Feb 1968-Dec 1969)\n-Exhibition 22 - American Folk Art (Sept 1968-May 1970)\n-Exhibition 23 - Late Italian Painting (Feb-May 1969)\n-Exhibition 24 - Byzantine Treasures (Sept 1968-May 1969)\n-Exhibition 25 - Images in Wood (Sept-Dec 1969)\n-Exhibition 26 - Randolph Macon Woman's College Collection (Sept-Dec 1969)\n-Exhibition 27 - The Prints of James McNeill Whistler (Fall 1969-Spring 1970)\n-Exhibition 28 - The Art of India (Fall 1970-Spring 1972)\n-Exhibition 29 - African Art (Sept-Dec 1970)\n-Exhibition 30 - Encounter I: Space (Sept 1970-May 1971)\n-Exhibition 31 - Encounter II: Color (Sept 1972-Feb 1974)\n-Exhibition 32 - Treasures in Miniature (Feb-Dec 1972)\n-Exhibition 33 - Art Nouveau (Sept 1972 - May 1974)\n-Exhibition 34 - Images of Reality (Feb 1973-Feb 1974)\n-Exhibition 35 - Symbols of Myth - Melanesian Art (Sept 1973-Dec 1974)\n-Exhibition 36 - Paintings of the American Scene: Hopper, Burchfield and Marsh (Jan 1974-May 1975)\n-Exhibition 37 - The Art of the Goldsmith (Sept 1974-Dec 1976)\n-Exhibition 38 - The Independent Spirit in American Painting (Sept-Dec 1975)\n-Exhibition 39 - The Nature of Landscape (Sept 1975-Dec 1976)\n-Exhibition 40 - Masterpieces of Pre-Columbian Art (Feb-May 1976)\n-Exhibition 41 - Idea Into Image: Sculpture (Sept 1975-Dec 1977)\n-Exhibition 42 - American Marine Painting (Feb-Dec 1977)\n-Exhibition 43 - Symbols of Faith (Feb 1977-May 1978)\n-Exhibition 44 - Art of the American West (Sept 1977-Dec 1978)\n-Exhibition 45 - Art and the Archaeologist (Feb 1978-May 1979)\n-Exhibition 46 - African Textile Arts (Sept 1979-Dec 1980)\n-Exhibition 47 - Secrets (Sept 1979-May 1981)\n-Exhibition 48 - Images of America: Impact of the Thirties (Feb 1980-Dec 1981);\n-Exhibition 49 - Furniture of the United States: The First 100 Years (1981)\n-Exhibition 50 - Patterns (Sept 1981-May 1982)\n-Exhibition 51 - Interior/Exterior (Mar 1982-June 1984)\n-Exhibition 52 - Realities (Sept 1982-May 1985)\n-Exhibition 53 - Illusion: Art and the Moving Image (Jan 1984-May 1987)\n-Exhibition 54 - Reflections (Sept 1985-Dec 1988)\n-Exhibition 55 - Choices Artists Make: Selections of American Art (Sept 1985-May 1987)\n-Exhibition 56 - Fragments (Feb 1988-May 1990)\n-Exhibition 57 - Craft Now: Breaking Boundaries (Sept 1988-June 1991)\n-Exhibition 58 - Expressions: The Human Face in Art (Apr 1989-Dec 1991)\n-Exhibition 59 - The Art of Graphic Design (Feb 1991-Jun 1993)\n-Exhibition 60 - Introducing Virginia Architecture (Sept 1992-May 1994)","This series documents the projects, participants, artwork, and program catalogs for the Children's Art Resource Center, the first classroom for children's art learning set in the original North Wing of the VMFA, between 1989-2003.","The series documents the programming and activities of the Educational Resource Room at the VMFA from 1999-2005, and includes photographic and promotional materials.","The series photographically documents the various lectures and symposia held at the VMFA from 1994-2010.","The series documents the Studio Classes for Teen program from 1999-2009, and includes photographic prints, contact sheets, and class programs.","This series documents the events and programming of the VMFA Family Open House program.","The series photographically documents various events and programs held at the VMFA from the 1960s through 2009.","The series documents the work of the State Services/TEAMS Department from 1950-2009, and includes photographs and slides of exhibition objects, installations, and State Services catalogs.","This series documents the various studio art classes held at the VMFA's Robinson House from 1950-1989, and includes photographic prints and slides.","This series documents the various classes held at the Studio School, aka the HealthSouth Visual Arts Center on Grove Avenue, and includes contact sheets, photographic prints, and class catalogs.","This series documents the various Teachers Workshops, institutes, and programs held at the VMFA from 1994-2005, and includes photographic prints, contact sheets, slides, and event programs.","This series documents the studio art programs, special exhibitions, and printed materials created by the Children's Studio for the benefit of children and their families, and includes photographic prints, slides, and program catalogs.","This series documents the events and programming of the VMFA's Three Days in March High School Residency Program, in which junior and senior high school students and teachers from communities across Virginia explore the museum and its objects through galleries encounters, artists workshops, tours, performances and other cultural activities. The series includes photographic prints, contact sheets, slides, and event programs.","This series documents the various concerts held in different areas of the VMFA, from 1950-2005, and includes photographic prints, contact sheets, and programs.","This series documents the various performances held at the Virginia Museum Theatre from 1955-1989 and includes photographic prints of the theatre interior and performances, contact sheets, newspaper clippings, and playbills."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials is protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials is protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_0c57d0b02550ce103a9488d9e8a697cf\"\u003eThis collection documents the history of the various Education and Outreach initiatives, comprising everything from the VMFA's Artmobile program to art classes, lectures and symposia to family open houses, and includes photographic prints, slides, programs, and related ephemera.\u003c/abstract\u003e"],"abstract_tesim":["This collection documents the history of the various Education and Outreach initiatives, comprising everything from the VMFA's Artmobile program to art classes, lectures and symposia to family open houses, and includes photographic prints, slides, programs, and related ephemera."],"names_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"language_ssim":["English \n.    "],"total_component_count_is":16,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:40:09.069Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_468","ead_ssi":"virmu_repositories_2_resources_468","_root_":"virmu_repositories_2_resources_468","_nest_parent_":"virmu_repositories_2_resources_468","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_468.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/468","title_filing_ssi":"Education and Outreach (PH-01)","title_ssm":["Education and Outreach Photo Archives"],"title_tesim":["Education and Outreach Photo Archives"],"unitdate_ssm":["1950-2010"],"unitdate_inclusive_ssm":["1950-2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["PH-01","/repositories/2/resources/468"],"text":["PH-01","/repositories/2/resources/468","Education and Outreach Photo Archives","Art, American -- 20th century -- Virginia","Art -- Virginia -- Richmond -- Exhibition techniques -- History","Art museum visitors","Art -- Exhibitions.","Artists","Art.","Teenagers.","Art museums","Lectures","art education","Children","The collection is organized into three series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.","History and Miscellaneous Photographs","Construction and End Donation to the Science Museum","Exhibitions","In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","This collection documents the history, exhibitions, and programming of the VMFA's Education and Outreach Department, and includes graphic materials, publicity, and exhibition object lists.","This series documents the history, construction, and various exhibitions of the VMFA's Artmobile program, and includes graphic materials along with exhibition information. ","In 1953, VMFA became one of the first museums in the world to have an Artmobile. Over the course of four decades, four different Artmobiles brought 59 different exhibitions to Virginia towns, ranging from Little Dutch Masters to African Textile Arts. While most of the objects came from VMFA's collection, some exhibitions featured works on loan from the Metropolitan Museum of Art, the Museum of Natural History, the Guggenheim Museum, and other institutions. Speakers offering lectures on a variety of art-related topics were also from some of the nation's leading universities and museums. Budgetary constraints and concerns about conserving and protecting works of art on the road eventually led to the program's end in 1994.","Exhibitions are listed as follows:","-Exhibition 1 - Little Dutch Masters (1953-1955)\n-Exhibition 2 - Art from Ancient Egypt (1955-1958)\n-Exhibition 3 - Painters of the Renaissance (1958-1961)\n-Exhibition 4 - Art Before Columbus (1961-1964)\n-Exhibition 5 - Twelve Portraits: Delacroix to Gauguin (Sept-Oct 1962)\n-Exhibition 6 - Art from the Ancient World (Nov 1962-Feb 1963)\n-Exhibition 7 - Landscape Painting 1650-1960 (Mar-May 1963)\n-Exhibition 8 - Dragons and Dynasties: Art from China (1963-1965)\n-Exhibition 9 - An American Sampler: Painting 1815-1865 (Feb-Jun 1964)\n-Exhibition 10 - Medieval Treasures (Sept 1964-Jan 1965)\n-Exhibition 11- Paris '20: The T. Catsby Jones Collection (Feb-Jun 1965)\n-Exhibition 12 - The Williams Collection (Sept 1965-Jan 1966)\n-Exhibition 13 - English Conversation Pieces (Feb-Jun 1966)\n-Exhibition 14 - American Indian Art/Northwest Coast (Sept 1966-Jan 1967)\n-Exhibition 15 - An Age of Elegance and Grandeur (Feb 1967-May 1968)\n-Exhibition 16 - Treasures from the Guggenheim Museum (Sept 1966-Jan 1967)\n-Exhibition 17 - Treasures from the Whitney Museum (Feb 1967-Sept 1968)\n-Exhibition 18 - Art from the Ancient World (Sept 1966-Jan 1967)\n-Exhibition 19 - The Human Figure in Art (Feb 1967-Jan 1968)\n-Exhibition 20 - Japanese Art (Feb 1968-May 1969)\n-Exhibition 21 - A Wyeth Portrait (Feb 1968-Dec 1969)\n-Exhibition 22 - American Folk Art (Sept 1968-May 1970)\n-Exhibition 23 - Late Italian Painting (Feb-May 1969)\n-Exhibition 24 - Byzantine Treasures (Sept 1968-May 1969)\n-Exhibition 25 - Images in Wood (Sept-Dec 1969)\n-Exhibition 26 - Randolph Macon Woman's College Collection (Sept-Dec 1969)\n-Exhibition 27 - The Prints of James McNeill Whistler (Fall 1969-Spring 1970)\n-Exhibition 28 - The Art of India (Fall 1970-Spring 1972)\n-Exhibition 29 - African Art (Sept-Dec 1970)\n-Exhibition 30 - Encounter I: Space (Sept 1970-May 1971)\n-Exhibition 31 - Encounter II: Color (Sept 1972-Feb 1974)\n-Exhibition 32 - Treasures in Miniature (Feb-Dec 1972)\n-Exhibition 33 - Art Nouveau (Sept 1972 - May 1974)\n-Exhibition 34 - Images of Reality (Feb 1973-Feb 1974)\n-Exhibition 35 - Symbols of Myth - Melanesian Art (Sept 1973-Dec 1974)\n-Exhibition 36 - Paintings of the American Scene: Hopper, Burchfield and Marsh (Jan 1974-May 1975)\n-Exhibition 37 - The Art of the Goldsmith (Sept 1974-Dec 1976)\n-Exhibition 38 - The Independent Spirit in American Painting (Sept-Dec 1975)\n-Exhibition 39 - The Nature of Landscape (Sept 1975-Dec 1976)\n-Exhibition 40 - Masterpieces of Pre-Columbian Art (Feb-May 1976)\n-Exhibition 41 - Idea Into Image: Sculpture (Sept 1975-Dec 1977)\n-Exhibition 42 - American Marine Painting (Feb-Dec 1977)\n-Exhibition 43 - Symbols of Faith (Feb 1977-May 1978)\n-Exhibition 44 - Art of the American West (Sept 1977-Dec 1978)\n-Exhibition 45 - Art and the Archaeologist (Feb 1978-May 1979)\n-Exhibition 46 - African Textile Arts (Sept 1979-Dec 1980)\n-Exhibition 47 - Secrets (Sept 1979-May 1981)\n-Exhibition 48 - Images of America: Impact of the Thirties (Feb 1980-Dec 1981);\n-Exhibition 49 - Furniture of the United States: The First 100 Years (1981)\n-Exhibition 50 - Patterns (Sept 1981-May 1982)\n-Exhibition 51 - Interior/Exterior (Mar 1982-June 1984)\n-Exhibition 52 - Realities (Sept 1982-May 1985)\n-Exhibition 53 - Illusion: Art and the Moving Image (Jan 1984-May 1987)\n-Exhibition 54 - Reflections (Sept 1985-Dec 1988)\n-Exhibition 55 - Choices Artists Make: Selections of American Art (Sept 1985-May 1987)\n-Exhibition 56 - Fragments (Feb 1988-May 1990)\n-Exhibition 57 - Craft Now: Breaking Boundaries (Sept 1988-June 1991)\n-Exhibition 58 - Expressions: The Human Face in Art (Apr 1989-Dec 1991)\n-Exhibition 59 - The Art of Graphic Design (Feb 1991-Jun 1993)\n-Exhibition 60 - Introducing Virginia Architecture (Sept 1992-May 1994)","This series documents the projects, participants, artwork, and program catalogs for the Children's Art Resource Center, the first classroom for children's art learning set in the original North Wing of the VMFA, between 1989-2003.","The series documents the programming and activities of the Educational Resource Room at the VMFA from 1999-2005, and includes photographic and promotional materials.","The series photographically documents the various lectures and symposia held at the VMFA from 1994-2010.","The series documents the Studio Classes for Teen program from 1999-2009, and includes photographic prints, contact sheets, and class programs.","This series documents the events and programming of the VMFA Family Open House program.","The series photographically documents various events and programs held at the VMFA from the 1960s through 2009.","The series documents the work of the State Services/TEAMS Department from 1950-2009, and includes photographs and slides of exhibition objects, installations, and State Services catalogs.","This series documents the various studio art classes held at the VMFA's Robinson House from 1950-1989, and includes photographic prints and slides.","This series documents the various classes held at the Studio School, aka the HealthSouth Visual Arts Center on Grove Avenue, and includes contact sheets, photographic prints, and class catalogs.","This series documents the various Teachers Workshops, institutes, and programs held at the VMFA from 1994-2005, and includes photographic prints, contact sheets, slides, and event programs.","This series documents the studio art programs, special exhibitions, and printed materials created by the Children's Studio for the benefit of children and their families, and includes photographic prints, slides, and program catalogs.","This series documents the events and programming of the VMFA's Three Days in March High School Residency Program, in which junior and senior high school students and teachers from communities across Virginia explore the museum and its objects through galleries encounters, artists workshops, tours, performances and other cultural activities. The series includes photographic prints, contact sheets, slides, and event programs.","This series documents the various concerts held in different areas of the VMFA, from 1950-2005, and includes photographic prints, contact sheets, and programs.","This series documents the various performances held at the Virginia Museum Theatre from 1955-1989 and includes photographic prints of the theatre interior and performances, contact sheets, newspaper clippings, and playbills.","The collection is subject to all copyright laws. Transmission or reproduction of materials is protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","This collection documents the history of the various Education and Outreach initiatives, comprising everything from the VMFA's Artmobile program to art classes, lectures and symposia to family open houses, and includes photographic prints, slides, programs, and related ephemera.","Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts","English \n.    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Items with no date are generally placed at the end of each series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003chead\u003eHistory and Miscellaneous Photographs\u003c/head\u003e\n    \u003c/list\u003e","\u003clist type=\"deflist\"\u003e\n      \u003chead\u003eConstruction and End Donation to the Science Museum\u003c/head\u003e\n    \u003c/list\u003e","\u003clist type=\"deflist\"\u003e\n      \u003chead\u003eExhibitions\u003c/head\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into three series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.","History and Miscellaneous Photographs","Construction and End Donation to the Science Museum","Exhibitions"],"prefercite_html_tesm":["\u003cp\u003eRecords of the Education and Outreach Department (PH-01). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRecords of the Events Department (PH-02). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Records of the Education and Outreach Department (PH-01). VMFA Archives, Richmond, Virginia.","Records of the Events Department (PH-02). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided."],"scopecontent_html_tesm":["\u003cp\u003eThis collection documents the history, exhibitions, and programming of the VMFA's Education and Outreach Department, and includes graphic materials, publicity, and exhibition object lists.\u003c/p\u003e","\u003cp\u003eThis series documents the history, construction, and various exhibitions of the VMFA's Artmobile program, and includes graphic materials along with exhibition information. \u003c/p\u003e\n","\u003cp\u003eIn 1953, VMFA became one of the first museums in the world to have an Artmobile. Over the course of four decades, four different Artmobiles brought 59 different exhibitions to Virginia towns, ranging from Little Dutch Masters to African Textile Arts. While most of the objects came from VMFA's collection, some exhibitions featured works on loan from the Metropolitan Museum of Art, the Museum of Natural History, the Guggenheim Museum, and other institutions. Speakers offering lectures on a variety of art-related topics were also from some of the nation's leading universities and museums. Budgetary constraints and concerns about conserving and protecting works of art on the road eventually led to the program's end in 1994.\u003c/p\u003e\n","\u003cp\u003eExhibitions are listed as follows:\u003c/p\u003e\n","\u003cp\u003e-Exhibition 1 - Little Dutch Masters (1953-1955)\n-Exhibition 2 - Art from Ancient Egypt (1955-1958)\n-Exhibition 3 - Painters of the Renaissance (1958-1961)\n-Exhibition 4 - Art Before Columbus (1961-1964)\n-Exhibition 5 - Twelve Portraits: Delacroix to Gauguin (Sept-Oct 1962)\n-Exhibition 6 - Art from the Ancient World (Nov 1962-Feb 1963)\n-Exhibition 7 - Landscape Painting 1650-1960 (Mar-May 1963)\n-Exhibition 8 - Dragons and Dynasties: Art from China (1963-1965)\n-Exhibition 9 - An American Sampler: Painting 1815-1865 (Feb-Jun 1964)\n-Exhibition 10 - Medieval Treasures (Sept 1964-Jan 1965)\n-Exhibition 11- Paris '20: The T. Catsby Jones Collection (Feb-Jun 1965)\n-Exhibition 12 - The Williams Collection (Sept 1965-Jan 1966)\n-Exhibition 13 - English Conversation Pieces (Feb-Jun 1966)\n-Exhibition 14 - American Indian Art/Northwest Coast (Sept 1966-Jan 1967)\n-Exhibition 15 - An Age of Elegance and Grandeur (Feb 1967-May 1968)\n-Exhibition 16 - Treasures from the Guggenheim Museum (Sept 1966-Jan 1967)\n-Exhibition 17 - Treasures from the Whitney Museum (Feb 1967-Sept 1968)\n-Exhibition 18 - Art from the Ancient World (Sept 1966-Jan 1967)\n-Exhibition 19 - The Human Figure in Art (Feb 1967-Jan 1968)\n-Exhibition 20 - Japanese Art (Feb 1968-May 1969)\n-Exhibition 21 - A Wyeth Portrait (Feb 1968-Dec 1969)\n-Exhibition 22 - American Folk Art (Sept 1968-May 1970)\n-Exhibition 23 - Late Italian Painting (Feb-May 1969)\n-Exhibition 24 - Byzantine Treasures (Sept 1968-May 1969)\n-Exhibition 25 - Images in Wood (Sept-Dec 1969)\n-Exhibition 26 - Randolph Macon Woman's College Collection (Sept-Dec 1969)\n-Exhibition 27 - The Prints of James McNeill Whistler (Fall 1969-Spring 1970)\n-Exhibition 28 - The Art of India (Fall 1970-Spring 1972)\n-Exhibition 29 - African Art (Sept-Dec 1970)\n-Exhibition 30 - Encounter I: Space (Sept 1970-May 1971)\n-Exhibition 31 - Encounter II: Color (Sept 1972-Feb 1974)\n-Exhibition 32 - Treasures in Miniature (Feb-Dec 1972)\n-Exhibition 33 - Art Nouveau (Sept 1972 - May 1974)\n-Exhibition 34 - Images of Reality (Feb 1973-Feb 1974)\n-Exhibition 35 - Symbols of Myth - Melanesian Art (Sept 1973-Dec 1974)\n-Exhibition 36 - Paintings of the American Scene: Hopper, Burchfield and Marsh (Jan 1974-May 1975)\n-Exhibition 37 - The Art of the Goldsmith (Sept 1974-Dec 1976)\n-Exhibition 38 - The Independent Spirit in American Painting (Sept-Dec 1975)\n-Exhibition 39 - The Nature of Landscape (Sept 1975-Dec 1976)\n-Exhibition 40 - Masterpieces of Pre-Columbian Art (Feb-May 1976)\n-Exhibition 41 - Idea Into Image: Sculpture (Sept 1975-Dec 1977)\n-Exhibition 42 - American Marine Painting (Feb-Dec 1977)\n-Exhibition 43 - Symbols of Faith (Feb 1977-May 1978)\n-Exhibition 44 - Art of the American West (Sept 1977-Dec 1978)\n-Exhibition 45 - Art and the Archaeologist (Feb 1978-May 1979)\n-Exhibition 46 - African Textile Arts (Sept 1979-Dec 1980)\n-Exhibition 47 - Secrets (Sept 1979-May 1981)\n-Exhibition 48 - Images of America: Impact of the Thirties (Feb 1980-Dec 1981);\n-Exhibition 49 - Furniture of the United States: The First 100 Years (1981)\n-Exhibition 50 - Patterns (Sept 1981-May 1982)\n-Exhibition 51 - Interior/Exterior (Mar 1982-June 1984)\n-Exhibition 52 - Realities (Sept 1982-May 1985)\n-Exhibition 53 - Illusion: Art and the Moving Image (Jan 1984-May 1987)\n-Exhibition 54 - Reflections (Sept 1985-Dec 1988)\n-Exhibition 55 - Choices Artists Make: Selections of American Art (Sept 1985-May 1987)\n-Exhibition 56 - Fragments (Feb 1988-May 1990)\n-Exhibition 57 - Craft Now: Breaking Boundaries (Sept 1988-June 1991)\n-Exhibition 58 - Expressions: The Human Face in Art (Apr 1989-Dec 1991)\n-Exhibition 59 - The Art of Graphic Design (Feb 1991-Jun 1993)\n-Exhibition 60 - Introducing Virginia Architecture (Sept 1992-May 1994)\u003c/p\u003e","\u003cp\u003eThis series documents the projects, participants, artwork, and program catalogs for the Children's Art Resource Center, the first classroom for children's art learning set in the original North Wing of the VMFA, between 1989-2003.\u003c/p\u003e","\u003cp\u003eThe series documents the programming and activities of the Educational Resource Room at the VMFA from 1999-2005, and includes photographic and promotional materials.\u003c/p\u003e","\u003cp\u003eThe series photographically documents the various lectures and symposia held at the VMFA from 1994-2010.\u003c/p\u003e","\u003cp\u003eThe series documents the Studio Classes for Teen program from 1999-2009, and includes photographic prints, contact sheets, and class programs.\u003c/p\u003e","\u003cp\u003eThis series documents the events and programming of the VMFA Family Open House program.\u003c/p\u003e","\u003cp\u003eThe series photographically documents various events and programs held at the VMFA from the 1960s through 2009.\u003c/p\u003e","\u003cp\u003eThe series documents the work of the State Services/TEAMS Department from 1950-2009, and includes photographs and slides of exhibition objects, installations, and State Services catalogs.\u003c/p\u003e","\u003cp\u003eThis series documents the various studio art classes held at the VMFA's Robinson House from 1950-1989, and includes photographic prints and slides.\u003c/p\u003e","\u003cp\u003eThis series documents the various classes held at the Studio School, aka the HealthSouth Visual Arts Center on Grove Avenue, and includes contact sheets, photographic prints, and class catalogs.\u003c/p\u003e","\u003cp\u003eThis series documents the various Teachers Workshops, institutes, and programs held at the VMFA from 1994-2005, and includes photographic prints, contact sheets, slides, and event programs.\u003c/p\u003e","\u003cp\u003eThis series documents the studio art programs, special exhibitions, and printed materials created by the Children's Studio for the benefit of children and their families, and includes photographic prints, slides, and program catalogs.\u003c/p\u003e","\u003cp\u003eThis series documents the events and programming of the VMFA's Three Days in March High School Residency Program, in which junior and senior high school students and teachers from communities across Virginia explore the museum and its objects through galleries encounters, artists workshops, tours, performances and other cultural activities. The series includes photographic prints, contact sheets, slides, and event programs.\u003c/p\u003e","\u003cp\u003eThis series documents the various concerts held in different areas of the VMFA, from 1950-2005, and includes photographic prints, contact sheets, and programs.\u003c/p\u003e","\u003cp\u003eThis series documents the various performances held at the Virginia Museum Theatre from 1955-1989 and includes photographic prints of the theatre interior and performances, contact sheets, newspaper clippings, and playbills.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection documents the history, exhibitions, and programming of the VMFA's Education and Outreach Department, and includes graphic materials, publicity, and exhibition object lists.","This series documents the history, construction, and various exhibitions of the VMFA's Artmobile program, and includes graphic materials along with exhibition information. ","In 1953, VMFA became one of the first museums in the world to have an Artmobile. Over the course of four decades, four different Artmobiles brought 59 different exhibitions to Virginia towns, ranging from Little Dutch Masters to African Textile Arts. While most of the objects came from VMFA's collection, some exhibitions featured works on loan from the Metropolitan Museum of Art, the Museum of Natural History, the Guggenheim Museum, and other institutions. Speakers offering lectures on a variety of art-related topics were also from some of the nation's leading universities and museums. Budgetary constraints and concerns about conserving and protecting works of art on the road eventually led to the program's end in 1994.","Exhibitions are listed as follows:","-Exhibition 1 - Little Dutch Masters (1953-1955)\n-Exhibition 2 - Art from Ancient Egypt (1955-1958)\n-Exhibition 3 - Painters of the Renaissance (1958-1961)\n-Exhibition 4 - Art Before Columbus (1961-1964)\n-Exhibition 5 - Twelve Portraits: Delacroix to Gauguin (Sept-Oct 1962)\n-Exhibition 6 - Art from the Ancient World (Nov 1962-Feb 1963)\n-Exhibition 7 - Landscape Painting 1650-1960 (Mar-May 1963)\n-Exhibition 8 - Dragons and Dynasties: Art from China (1963-1965)\n-Exhibition 9 - An American Sampler: Painting 1815-1865 (Feb-Jun 1964)\n-Exhibition 10 - Medieval Treasures (Sept 1964-Jan 1965)\n-Exhibition 11- Paris '20: The T. Catsby Jones Collection (Feb-Jun 1965)\n-Exhibition 12 - The Williams Collection (Sept 1965-Jan 1966)\n-Exhibition 13 - English Conversation Pieces (Feb-Jun 1966)\n-Exhibition 14 - American Indian Art/Northwest Coast (Sept 1966-Jan 1967)\n-Exhibition 15 - An Age of Elegance and Grandeur (Feb 1967-May 1968)\n-Exhibition 16 - Treasures from the Guggenheim Museum (Sept 1966-Jan 1967)\n-Exhibition 17 - Treasures from the Whitney Museum (Feb 1967-Sept 1968)\n-Exhibition 18 - Art from the Ancient World (Sept 1966-Jan 1967)\n-Exhibition 19 - The Human Figure in Art (Feb 1967-Jan 1968)\n-Exhibition 20 - Japanese Art (Feb 1968-May 1969)\n-Exhibition 21 - A Wyeth Portrait (Feb 1968-Dec 1969)\n-Exhibition 22 - American Folk Art (Sept 1968-May 1970)\n-Exhibition 23 - Late Italian Painting (Feb-May 1969)\n-Exhibition 24 - Byzantine Treasures (Sept 1968-May 1969)\n-Exhibition 25 - Images in Wood (Sept-Dec 1969)\n-Exhibition 26 - Randolph Macon Woman's College Collection (Sept-Dec 1969)\n-Exhibition 27 - The Prints of James McNeill Whistler (Fall 1969-Spring 1970)\n-Exhibition 28 - The Art of India (Fall 1970-Spring 1972)\n-Exhibition 29 - African Art (Sept-Dec 1970)\n-Exhibition 30 - Encounter I: Space (Sept 1970-May 1971)\n-Exhibition 31 - Encounter II: Color (Sept 1972-Feb 1974)\n-Exhibition 32 - Treasures in Miniature (Feb-Dec 1972)\n-Exhibition 33 - Art Nouveau (Sept 1972 - May 1974)\n-Exhibition 34 - Images of Reality (Feb 1973-Feb 1974)\n-Exhibition 35 - Symbols of Myth - Melanesian Art (Sept 1973-Dec 1974)\n-Exhibition 36 - Paintings of the American Scene: Hopper, Burchfield and Marsh (Jan 1974-May 1975)\n-Exhibition 37 - The Art of the Goldsmith (Sept 1974-Dec 1976)\n-Exhibition 38 - The Independent Spirit in American Painting (Sept-Dec 1975)\n-Exhibition 39 - The Nature of Landscape (Sept 1975-Dec 1976)\n-Exhibition 40 - Masterpieces of Pre-Columbian Art (Feb-May 1976)\n-Exhibition 41 - Idea Into Image: Sculpture (Sept 1975-Dec 1977)\n-Exhibition 42 - American Marine Painting (Feb-Dec 1977)\n-Exhibition 43 - Symbols of Faith (Feb 1977-May 1978)\n-Exhibition 44 - Art of the American West (Sept 1977-Dec 1978)\n-Exhibition 45 - Art and the Archaeologist (Feb 1978-May 1979)\n-Exhibition 46 - African Textile Arts (Sept 1979-Dec 1980)\n-Exhibition 47 - Secrets (Sept 1979-May 1981)\n-Exhibition 48 - Images of America: Impact of the Thirties (Feb 1980-Dec 1981);\n-Exhibition 49 - Furniture of the United States: The First 100 Years (1981)\n-Exhibition 50 - Patterns (Sept 1981-May 1982)\n-Exhibition 51 - Interior/Exterior (Mar 1982-June 1984)\n-Exhibition 52 - Realities (Sept 1982-May 1985)\n-Exhibition 53 - Illusion: Art and the Moving Image (Jan 1984-May 1987)\n-Exhibition 54 - Reflections (Sept 1985-Dec 1988)\n-Exhibition 55 - Choices Artists Make: Selections of American Art (Sept 1985-May 1987)\n-Exhibition 56 - Fragments (Feb 1988-May 1990)\n-Exhibition 57 - Craft Now: Breaking Boundaries (Sept 1988-June 1991)\n-Exhibition 58 - Expressions: The Human Face in Art (Apr 1989-Dec 1991)\n-Exhibition 59 - The Art of Graphic Design (Feb 1991-Jun 1993)\n-Exhibition 60 - Introducing Virginia Architecture (Sept 1992-May 1994)","This series documents the projects, participants, artwork, and program catalogs for the Children's Art Resource Center, the first classroom for children's art learning set in the original North Wing of the VMFA, between 1989-2003.","The series documents the programming and activities of the Educational Resource Room at the VMFA from 1999-2005, and includes photographic and promotional materials.","The series photographically documents the various lectures and symposia held at the VMFA from 1994-2010.","The series documents the Studio Classes for Teen program from 1999-2009, and includes photographic prints, contact sheets, and class programs.","This series documents the events and programming of the VMFA Family Open House program.","The series photographically documents various events and programs held at the VMFA from the 1960s through 2009.","The series documents the work of the State Services/TEAMS Department from 1950-2009, and includes photographs and slides of exhibition objects, installations, and State Services catalogs.","This series documents the various studio art classes held at the VMFA's Robinson House from 1950-1989, and includes photographic prints and slides.","This series documents the various classes held at the Studio School, aka the HealthSouth Visual Arts Center on Grove Avenue, and includes contact sheets, photographic prints, and class catalogs.","This series documents the various Teachers Workshops, institutes, and programs held at the VMFA from 1994-2005, and includes photographic prints, contact sheets, slides, and event programs.","This series documents the studio art programs, special exhibitions, and printed materials created by the Children's Studio for the benefit of children and their families, and includes photographic prints, slides, and program catalogs.","This series documents the events and programming of the VMFA's Three Days in March High School Residency Program, in which junior and senior high school students and teachers from communities across Virginia explore the museum and its objects through galleries encounters, artists workshops, tours, performances and other cultural activities. The series includes photographic prints, contact sheets, slides, and event programs.","This series documents the various concerts held in different areas of the VMFA, from 1950-2005, and includes photographic prints, contact sheets, and programs.","This series documents the various performances held at the Virginia Museum Theatre from 1955-1989 and includes photographic prints of the theatre interior and performances, contact sheets, newspaper clippings, and playbills."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials is protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials is protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_0c57d0b02550ce103a9488d9e8a697cf\"\u003eThis collection documents the history of the various Education and Outreach initiatives, comprising everything from the VMFA's Artmobile program to art classes, lectures and symposia to family open houses, and includes photographic prints, slides, programs, and related ephemera.\u003c/abstract\u003e"],"abstract_tesim":["This collection documents the history of the various Education and Outreach initiatives, comprising everything from the VMFA's Artmobile program to art classes, lectures and symposia to family open houses, and includes photographic prints, slides, programs, and related ephemera."],"names_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"language_ssim":["English \n.    "],"total_component_count_is":16,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:40:09.069Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_468"}},{"id":"viw_repositories_2_resources_1039","type":"collection","attributes":{"title":"Louis Michel Eilshemius Papers","creator":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_1039#creator","type":"document_value","attributes":{"value":"Eilshemius, Louis M. (Louis Michel), 1864-1941","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_1039#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThree letters, 1937-1939, of Louis M. Eilshemius, American painter, to Michael Engle and to [?] Boyer, discussing personal affairs.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_1039#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_1039","ead_ssi":"viw_repositories_2_resources_1039","_root_":"viw_repositories_2_resources_1039","_nest_parent_":"viw_repositories_2_resources_1039","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_1039.xml","title_filing_ssi":"Eilshemius, Louis Michel Papers","title_ssm":["Louis Michel Eilshemius Papers"],"title_tesim":["Louis Michel Eilshemius Papers"],"unitdate_ssm":["1937-1939"],"unitdate_inclusive_ssm":["1937-1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 01070","/repositories/2/resources/1039"],"text":["SC 01070","/repositories/2/resources/1039","Louis Michel Eilshemius Papers","Artists","Artists--United States","Correspondence","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Louis Michel Eilshemius (February 4, 1864 - December 29, 1941) was an American painter, primarily of landscapes and nudes. Although he was academically trained, much of his work has the unself-aware character of naive art."," Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League in New York. He subsequently studied under Bouguereau at the Académie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life."," His early landscapes show the influence of the Barbizon school and of Corot, and also of George Inness and Albert Pinkham Ryder. It is Ryder whose work is especially recalled by the powerful rhythms of Eilshemius's paintings, rhythms the artist often reinforced by painting sinuous \"frames\" onto his pictures. His paintings of New York rooftops are as lyrical as his pastoral scenes."," He achieved little public recognition. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air."," Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his many eccentric, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures; thinking that perhaps the length of his name was an obstacle to success, he tried signing his paintings \"Elshemus\". On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: \"Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages\", as well as world-class athlete and marksman, \"Spirit-Painter Supreme\", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan."," He was not without supporters, however. He was championed by Marcel Duchamp, who \"discovered\" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Societe Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937."," Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941."," Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State. Further information about this individual or organization may be available in the Special Collections Research Center Wiki:  .","Three letters, 1937-1939, of Louis M. Eilshemius, American painter, to Michael Engle and to [?] Boyer, discussing personal affairs."," 3 items.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","Eilshemius, Louis M. (Louis Michel), 1864-1941","English"],"unitid_tesim":["SC 01070","/repositories/2/resources/1039"],"normalized_title_ssm":["Louis Michel Eilshemius Papers"],"collection_title_tesim":["Louis Michel Eilshemius Papers"],"collection_ssim":["Louis Michel Eilshemius Papers"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_ssm":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"creator_ssim":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"creator_famname_ssim":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"creators_ssim":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Purchase"],"access_subjects_ssim":["Artists","Artists--United States","Correspondence"],"access_subjects_ssm":["Artists","Artists--United States","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["0.01 Linear Foot"],"extent_tesim":["0.01 Linear Foot"],"genreform_ssim":["Correspondence"],"date_range_isim":[1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access:"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"bioghist_html_tesm":["\u003cp\u003eLouis Michel Eilshemius (February 4, 1864 - December 29, 1941) was an American painter, primarily of landscapes and nudes. Although he was academically trained, much of his work has the unself-aware character of naive art.\u003c/p\u003e\n","\u003cp\u003e Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League in New York. He subsequently studied under Bouguereau at the Académie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life.\u003c/p\u003e\n","\u003cp\u003e His early landscapes show the influence of the Barbizon school and of Corot, and also of George Inness and Albert Pinkham Ryder. It is Ryder whose work is especially recalled by the powerful rhythms of Eilshemius's paintings, rhythms the artist often reinforced by painting sinuous \"frames\" onto his pictures. His paintings of New York rooftops are as lyrical as his pastoral scenes.\u003c/p\u003e\n","\u003cp\u003e He achieved little public recognition. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air.\u003c/p\u003e\n","\u003cp\u003e Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his many eccentric, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures; thinking that perhaps the length of his name was an obstacle to success, he tried signing his paintings \"Elshemus\". On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: \"Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages\", as well as world-class athlete and marksman, \"Spirit-Painter Supreme\", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan.\u003c/p\u003e\n","\u003cp\u003e He was not without supporters, however. He was championed by Marcel Duchamp, who \"discovered\" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Societe Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937.\u003c/p\u003e\n","\u003cp\u003e Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941.\u003c/p\u003e\n","\u003cp\u003e Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State. Further information about this individual or organization may be available in the Special Collections Research Center Wiki: \u003cextref href=\"http://scdbwiki.swem.wm.edu/wiki/index.php/Eilshemius,_Louis_M._(Louis_Michel)\" title=\"Eilshemius, Louis M. (Louis Michel)\"\u003e\u003c/extref\u003e.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information:"],"bioghist_tesim":["Louis Michel Eilshemius (February 4, 1864 - December 29, 1941) was an American painter, primarily of landscapes and nudes. Although he was academically trained, much of his work has the unself-aware character of naive art."," Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League in New York. He subsequently studied under Bouguereau at the Académie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life."," His early landscapes show the influence of the Barbizon school and of Corot, and also of George Inness and Albert Pinkham Ryder. It is Ryder whose work is especially recalled by the powerful rhythms of Eilshemius's paintings, rhythms the artist often reinforced by painting sinuous \"frames\" onto his pictures. His paintings of New York rooftops are as lyrical as his pastoral scenes."," He achieved little public recognition. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air."," Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his many eccentric, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures; thinking that perhaps the length of his name was an obstacle to success, he tried signing his paintings \"Elshemus\". On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: \"Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages\", as well as world-class athlete and marksman, \"Spirit-Painter Supreme\", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan."," He was not without supporters, however. He was championed by Marcel Duchamp, who \"discovered\" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Societe Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937."," Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941."," Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State. Further information about this individual or organization may be available in the Special Collections Research Center Wiki:  ."],"prefercite_html_tesm":["\u003cp\u003eLouis Michel Eilshemius Papers, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e"],"prefercite_tesim":["Louis Michel Eilshemius Papers, Special Collections Research Center, Swem Library, College of William and Mary."],"scopecontent_html_tesm":["\u003cp\u003eThree letters, 1937-1939, of Louis M. Eilshemius, American painter, to Michael Engle and to [?] Boyer, discussing personal affairs.\u003c/p\u003e\n","\u003cp\u003e 3 items.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Three letters, 1937-1939, of Louis M. Eilshemius, American painter, to Michael Engle and to [?] Boyer, discussing personal affairs."," 3 items."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center","Eilshemius, Louis M. (Louis Michel), 1864-1941"],"corpname_ssim":["Special Collections Research Center"],"famname_ssim":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"language_ssim":["English"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T07:25:54.323Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_1039","ead_ssi":"viw_repositories_2_resources_1039","_root_":"viw_repositories_2_resources_1039","_nest_parent_":"viw_repositories_2_resources_1039","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_1039.xml","title_filing_ssi":"Eilshemius, Louis Michel Papers","title_ssm":["Louis Michel Eilshemius Papers"],"title_tesim":["Louis Michel Eilshemius Papers"],"unitdate_ssm":["1937-1939"],"unitdate_inclusive_ssm":["1937-1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 01070","/repositories/2/resources/1039"],"text":["SC 01070","/repositories/2/resources/1039","Louis Michel Eilshemius Papers","Artists","Artists--United States","Correspondence","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Louis Michel Eilshemius (February 4, 1864 - December 29, 1941) was an American painter, primarily of landscapes and nudes. Although he was academically trained, much of his work has the unself-aware character of naive art."," Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League in New York. He subsequently studied under Bouguereau at the Académie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life."," His early landscapes show the influence of the Barbizon school and of Corot, and also of George Inness and Albert Pinkham Ryder. It is Ryder whose work is especially recalled by the powerful rhythms of Eilshemius's paintings, rhythms the artist often reinforced by painting sinuous \"frames\" onto his pictures. His paintings of New York rooftops are as lyrical as his pastoral scenes."," He achieved little public recognition. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air."," Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his many eccentric, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures; thinking that perhaps the length of his name was an obstacle to success, he tried signing his paintings \"Elshemus\". On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: \"Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages\", as well as world-class athlete and marksman, \"Spirit-Painter Supreme\", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan."," He was not without supporters, however. He was championed by Marcel Duchamp, who \"discovered\" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Societe Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937."," Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941."," Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State. Further information about this individual or organization may be available in the Special Collections Research Center Wiki:  .","Three letters, 1937-1939, of Louis M. Eilshemius, American painter, to Michael Engle and to [?] Boyer, discussing personal affairs."," 3 items.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","Eilshemius, Louis M. (Louis Michel), 1864-1941","English"],"unitid_tesim":["SC 01070","/repositories/2/resources/1039"],"normalized_title_ssm":["Louis Michel Eilshemius Papers"],"collection_title_tesim":["Louis Michel Eilshemius Papers"],"collection_ssim":["Louis Michel Eilshemius Papers"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_ssm":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"creator_ssim":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"creator_famname_ssim":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"creators_ssim":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Purchase"],"access_subjects_ssim":["Artists","Artists--United States","Correspondence"],"access_subjects_ssm":["Artists","Artists--United States","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["0.01 Linear Foot"],"extent_tesim":["0.01 Linear Foot"],"genreform_ssim":["Correspondence"],"date_range_isim":[1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access:"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"bioghist_html_tesm":["\u003cp\u003eLouis Michel Eilshemius (February 4, 1864 - December 29, 1941) was an American painter, primarily of landscapes and nudes. Although he was academically trained, much of his work has the unself-aware character of naive art.\u003c/p\u003e\n","\u003cp\u003e Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League in New York. He subsequently studied under Bouguereau at the Académie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life.\u003c/p\u003e\n","\u003cp\u003e His early landscapes show the influence of the Barbizon school and of Corot, and also of George Inness and Albert Pinkham Ryder. It is Ryder whose work is especially recalled by the powerful rhythms of Eilshemius's paintings, rhythms the artist often reinforced by painting sinuous \"frames\" onto his pictures. His paintings of New York rooftops are as lyrical as his pastoral scenes.\u003c/p\u003e\n","\u003cp\u003e He achieved little public recognition. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air.\u003c/p\u003e\n","\u003cp\u003e Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his many eccentric, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures; thinking that perhaps the length of his name was an obstacle to success, he tried signing his paintings \"Elshemus\". On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: \"Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages\", as well as world-class athlete and marksman, \"Spirit-Painter Supreme\", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan.\u003c/p\u003e\n","\u003cp\u003e He was not without supporters, however. He was championed by Marcel Duchamp, who \"discovered\" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Societe Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937.\u003c/p\u003e\n","\u003cp\u003e Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941.\u003c/p\u003e\n","\u003cp\u003e Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State. Further information about this individual or organization may be available in the Special Collections Research Center Wiki: \u003cextref href=\"http://scdbwiki.swem.wm.edu/wiki/index.php/Eilshemius,_Louis_M._(Louis_Michel)\" title=\"Eilshemius, Louis M. (Louis Michel)\"\u003e\u003c/extref\u003e.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information:"],"bioghist_tesim":["Louis Michel Eilshemius (February 4, 1864 - December 29, 1941) was an American painter, primarily of landscapes and nudes. Although he was academically trained, much of his work has the unself-aware character of naive art."," Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League in New York. He subsequently studied under Bouguereau at the Académie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life."," His early landscapes show the influence of the Barbizon school and of Corot, and also of George Inness and Albert Pinkham Ryder. It is Ryder whose work is especially recalled by the powerful rhythms of Eilshemius's paintings, rhythms the artist often reinforced by painting sinuous \"frames\" onto his pictures. His paintings of New York rooftops are as lyrical as his pastoral scenes."," He achieved little public recognition. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air."," Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his many eccentric, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures; thinking that perhaps the length of his name was an obstacle to success, he tried signing his paintings \"Elshemus\". On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: \"Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages\", as well as world-class athlete and marksman, \"Spirit-Painter Supreme\", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan."," He was not without supporters, however. He was championed by Marcel Duchamp, who \"discovered\" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Societe Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937."," Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941."," Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State. Further information about this individual or organization may be available in the Special Collections Research Center Wiki:  ."],"prefercite_html_tesm":["\u003cp\u003eLouis Michel Eilshemius Papers, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e"],"prefercite_tesim":["Louis Michel Eilshemius Papers, Special Collections Research Center, Swem Library, College of William and Mary."],"scopecontent_html_tesm":["\u003cp\u003eThree letters, 1937-1939, of Louis M. Eilshemius, American painter, to Michael Engle and to [?] Boyer, discussing personal affairs.\u003c/p\u003e\n","\u003cp\u003e 3 items.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Three letters, 1937-1939, of Louis M. Eilshemius, American painter, to Michael Engle and to [?] Boyer, discussing personal affairs."," 3 items."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center","Eilshemius, Louis M. (Louis Michel), 1864-1941"],"corpname_ssim":["Special Collections Research Center"],"famname_ssim":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"language_ssim":["English"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T07:25:54.323Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_1039"}},{"id":"vilxv_repositories_3_resources_94","type":"collection","attributes":{"title":"Moses J. Ezekiel papers","creator":{"id":"https://arvasarchive.org/catalog/vilxv_repositories_3_resources_94#creator","type":"document_value","attributes":{"value":"Ezekiel, Moses J. (Moses Jacob), 1844-1917","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vilxv_repositories_3_resources_94#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThe Moses J. Ezekiel papers consist of the papers of noted 19th century sculptor Moses J. Ezekiel, including: \u003cul\u003e\n\u003cli\u003eCorrespondence to VMI superintendent Edward W. Nichols and others (dated 1867-1917), some relating to the design of the Battle of New Market memorial sculpture Virginia Mourning Her Dead\u003c/li\u003e\n\u003cli\u003ePen and ink sketches by Ezekiel (approximately 67 items)\u003c/li\u003e\n\u003cli\u003eA typescript version of Ezekiel's autobiography\u003c/li\u003e\n\u003cli\u003eMemoirs from the Baths of Diocletian\u003c/li\u003e\n\u003cli\u003ePrint material\u003c/li\u003e\n\u003c/ul\u003e\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vilxv_repositories_3_resources_94#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vilxv_repositories_3_resources_94","ead_ssi":"vilxv_repositories_3_resources_94","_root_":"vilxv_repositories_3_resources_94","_nest_parent_":"vilxv_repositories_3_resources_94","ead_source_url_ssi":"data/oai/VMI/repositories_3_resources_94.xml","aspace_url_ssi":"http://ead.lib.virginia.edu/vivaxtf/view?docId=vmi/vilxv00043.xml","title_ssm":["Moses J. Ezekiel papers"],"title_tesim":["Moses J. Ezekiel papers"],"unitdate_ssm":["1867-1917"],"unitdate_inclusive_ssm":["1867-1917"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS.0010","/repositories/3/resources/94"],"text":["MS.0010","/repositories/3/resources/94","Moses J. Ezekiel papers","Sculptors—Virginia","Sculptors—Rome (Italy)","New Market Cadets","Virginia Military Institute—Buildings, structures, etc.","Virginia Military Institute—Class of 1866","Artists","Drawings (visual works)","The Moses J. Ezekiel papers digital collection","There are no restrictions","Chronological","Moses Jacob Ezekiel, the noted 19th century American Jewish sculptor, was born in Richmond, Virginia on October 28, 1844. One of 14 children of Jacob Ezekiel and Catherine de Castro, he had already started a mercantile career when he decided to attend college. Ezekiel entered VMI in September 1862, and during his VMI cadetship, took part in the Battle of New Market (May 15, 1864) and served in the trenches in defense of Richmond in the Spring of 1865.","Ezekiel graduated from VMI in 1866, and in 1867 began seriously to pursue his interest in art. He studied anatomy at the Medical College of Virginia and traveled to Cincinnati, Ohio where he studied at the Art School of J. Insco Williams and in the studio of T.D. Jones. In 1867 he sailed for Europe and entered the Royal Academy of Art in Berlin, Germany.","At the age of 29, Ezekiel won the prestigious Michel-Beer Prix de Rome for a bas relief entitled Israel. The prize money enabled him to travel to Rome, Italy where he established a studio and lived for the remainder of his life. Ezekiel executed nearly two hundred monuments in bronze and marble. Among his productions were the following:\n Busts of Lizst, Cardinal Hohenlohe, Eve, Homer, David, Judith, and Christ in the Tomb A statue of Mrs. Andrew W. White for Cornell University Madonna for the Church La Tivoli Faith for the Cemetery of Rome Apollo and Mercury in Berlin Robert E. Lee Stonewall Jackson Pan and Amor The Fountain of Neptune for the city of Netturno, Italy A bust of Lord Sherbrooke for St. Margaret, Westminister, London The Jefferson Monument for Louisville, Kentucky The Homer Group for the University of Virginia Virginia Mourning Her Dead for VMI Napoleon I at St. Helena A monument to Senator Daniel, Lynchburg, Virginia The Confederate Soldiers' Memorial at Arlington National Cemetery, Virginia Scores of other busts and reliefs \nEzekiel died in Italy on March 27, 1917, but because of World War I, his body was not returned to the United States until 1921. He is buried at the foot of the Confederate Memorial in Section 16 of Arlington National Cemetery, Virginia).","Rome July 23, 1904 \nMy dear Comrade and Friend. \nIn auld lang syne. \nI have again been prevented (by the retarded coming to Rome, of those who were to see my colossal statue of Mr. Drexel in clay before casting it in Bronze) from joining my old Cadet comrades in answering the last roll call and receiving the medal; which if still given to me, I should value above any earthly possession. After the Battle of New Market was over and we who survived answered the roll call on the field, I was in search of the wounded and found my room mate and comrade Thomas Jefferson lying on the floor of a hut quite exhausted and wounded in the breast. It was night and I was without shoes, as I had been all day and I went to the town of New Market and got a wagon and carried him to the house of Mrs. Clinedinst who gave me a bed for him on the ground floor- She had two daughters Anne and Lydie. It was Sunday night late when I got him into bed and from that time up to Tuesday night at about 11 o'clock I never left many cadets found both food and shelter was extremely kind to us all, and gave me every possible help for my friend. I always hoped to save Jefferson and that last evening when he asked me to read from St. John \"In my Father's house are many mansions\" \u0026 then began to wander in mind and thought I was his mother \u0026 then his sister \u0026 finally asked me to make a light, it was only then it dawned upon me that all hope was past and in his agony- as our gallant color bearer Evans was there with me I went up to call the family of Clinedinst (who had been as kind as it was possible for people to be all through those sad days) and they came down with candles in their hands whilst I had Jefferson in my arms, and he died. I washed and prepared him for burial and carried his mother a lock of his hair after we returned to Richmond.","As you want me to give you a kind of record of myself and according to the prospectus you sent I take pleasure in doing so. My parents were Jacob Ezekiel and Catherine de Castro\nMy grandparents Jacob de Castro \u0026 Hannah Pepper- Maternal and Michael Ezekiel  and Rebekah Israel - Paternal grandparents","My Parents were living in Richmond Va. when I was matriculated.","My Grandparents and great grandparents, are on my father's side buried in Philadelphia \u0026 on my mother's side in Richmond Va.","I was born in Richmond Va. Oct. 28, 1844.","Entered the V.M.I. the second year of the War and when back to reform the Corps, and graduated in the first class after the War. I gathered up in Lexington all the books and paintings I could find that had been dispersed by Hunter's Raid and reorganized the debating society, and gave the pictures later to the Letcher family and others, to whom they belonged. I was orderly sergeant of Company on the Intermediate lines below Richmond.","I was never a student at any institution before going to the V.M.I. But matriculated later and studied anatomy at the Richmond Medical College at night and from my 12th year on, kept books for my grandparents, and spent any spare hours in drawing \u0026 painting \u0026 modelling, never having a teacher of any kind, and it was then I modelled my Father's Bust which is still considered a good likeness.","I have I see given my War record first. But must add that I was slightly wounded in the Battle of New Market. But as the ball passed through my jacket and only grazed my breast, I took no notice of it. I was arrested and put in Castle Thunder in Richmond after the surrender, because I refused to take the oath of allegiance. About this time I wrote a letter which was published in all of the leading American papers, in which I denounced General Grant, comparing him to the worst Czars of Russia- for his famous or rather infamous Order No. 11, in which he prohibited any Jew in the U.S. Army having any concern in the Quarter Master's department. I do not now remember any more of it, than that I gathered the statistics \u0026 published them proving that the abuses in that department had not been done by Jews at all- and called upon all men in the United States of that persuasion or religion to vote for any man for the next President rather than for General Grant.","The General replied to my letter in the papers by deploring that he had ever published that Order No. 11 which he said he had given out upon information which be found out later was false. Meanwhile a secret carpet bag or political Yankee Committee in Richmond, sent me a letter saying that my life would be in danger if I stayed in Richmond after writing and publishing such a letter about General Grant their Hero: \u0026 this letter was forwarded to me, to Amelia County, at the Home of Mr. Garland Jefferson, the father of my dead comrade, where I had gone to carry the lock of hair of the dead boy to his mother. So I immediately on the receipt of that letter of intimidation jumped on to the first freight train that passed Amelia Courthouse \u0026 returned to Richmond. I went about my own affairs during the days, but coming home at night and passing 17th Street the concealed Ruffians fired at me from their concealment in the old market \u0026 let loose a shower of stones which smashed a number of windows, but left me unharmed. I reported at once to the Police Station in the bell house. But none of the gang were found \u0026 a second letter advising me to leave town came. But I took no notice of it, and so it all ended. As my Parents house had been rifled by the mob at the evacuation, and my Fathers store rooms of cotton and tobacco burned up, with the loss of an entire fortune of at least ¼ of million dollars, I staid at home, \u0026 with my youngest brother helped as well as we could to begin a little business and earn enough to live upon in a slender way, \u0026 when my father had again been able to start into a new business, I went West, and staid in Cincinnati a year, working for the first time in the studio of Mr. Jones (in 1868), a sculptor of some merit and well known there.","I then modelled my first statuette of \"Industry\", which was exhibited there, and the favorable criticism in the papers encouraged me penniless as I was to go abroad. I sold a breast pin I owned- which enabled me to travel second class to Berlin (in 1869) where I matriculated at the Royal Academy and passed the examination. In order to continue my studies I gave lessons in English in the mornings early- and drawing lessons at night, and spent the rest of the time at the academy, where I was elected by my Colleagues president of the Art Students league at the Academy. I also worked in the studio of Prof. [Siemernig] \u0026 then of Prof. Wolff and often worked In the open air or buildings in Berlin then in construction modelling heads and carytids and ornaments in order to earn an extra dollar. No one ever knew that I needed anything and I led a happy life all the same, and the Bohemian life of the student was mine also, to the fullest extent. I modelled then the ¾ life sized figure of Virginia Mourning her Dead and sent Mrs. General Lee a photo of it, as I was always in correspondence with that estimable wife of our Great Hero.","That statue I have always kept and it is now in my studio here, and is the model of the statue my brother cadets were good enough to unveil at the parade ground of our Alma Mater last year.","My finally gaining the Prix de Rome at the academy- and my being honored for my art works by the Duke of Saxe-Meiningen and the German Emperor and the Medal from the Art Society in Rome, my various works in America, England, France, Germany, Switzerland, and Russia are not subjects for my writing about: I have with all this the sincere regret that I have never been called upon in my own home Virginia, nor in the South, to execute a single work of art- excepting the one for my own comrades which links me forever with the Alma Mater, the V.M.I., where every stone, and every blade of grass is dear to me- and the name of Cadet of the V.M.I. the proudest and most honored title I can ever possess.","Of course my comrade I am writing this as a letter to you \u0026 not one for publication. You can glean from it any particulars you may choose for your Biography, of which I shall want several copies, besides I do want to contribute my mite to the picture of General Scott Shipp, and am surprised that I was not asked to do so as an Alumnus.","There never was any one I admired more than I did our then Col. Shipp, and when in the battle of New Market, his horse was wounded and he was down, I could not help running to him, to ask if he was hurt \u0026 when he said \"no, go ahead\" I left him. Randolph too was shot when we were shoulder to shoulder. He had just said smiling, there's no use dodging boys, if a ball's going to hit you, it'll hit you anyway! When he fell, I thought he was dead. But I found him at night in the hospital.","And now let me tell you that it has been a real grief to me not to have been able to join either last year or this year in the Corps Ceremonies which were of such deep interest to me. But I am under contract to finish a monument this fall \u0026 place it in Fairmount Park Philadelphia \u0026 I have several other works to finish and deliver and I could not come home until I could bring the monument and place it in position. These are hard facts, and have interfered with what would have been nearest to my own heart. But you will now understand it all.","Your kind letter has been waiting a long time to be answered, and it only seems a few weeks to me, as my life here is so full and every day brings me visitors from home or elsewhere, and so many duties, that for a couple of months I have absolutely had to neglect pen and ink nolens volens so I throw myself upon your kind indulgence, and with the most sincere and affectionate greetings","I am always your comrade and friend \nMoses J. Ezekiel","18 Piazza Termini \nBaths of Diocletian \nRome","The VMI Archives also holds a  collection of photographs  related to Ezekiel. Included are images of Ezekiel, his studio in Rome, Italy, and various examples of his sculptures.","The Moses J. Ezekiel papers consist of the papers of noted 19th century sculptor Moses J. Ezekiel, including:\n Correspondence to VMI superintendent Edward W. Nichols and others (dated 1867-1917), some relating to the design of the Battle of New Market memorial sculpture Virginia Mourning Her Dead Pen and ink sketches by Ezekiel (approximately 67 items) A typescript version of Ezekiel's autobiography Memoirs from the Baths of Diocletian Print material","Includes letters to General Edward W. Nichols and Greenlee Letcher concerning Virginia Mourning Her Dead (New Market Monument) and the Stonewall Jackson statue at VMI. Also includes postcards sent primarily to family members, including Henry C. Ezekiel and Rebecca Ezekiel.","Autobiographical letter from Moses J. Ezekiel to VMI historian Joseph R. Anderson, Jr. In the letter, Ezekiel recounts his experience as a VMI cadet at the Battle of New Market on May 15, 1864 and his post-VMI career through July 1904. He discusses caring for his classmate Thomas G. Jefferson, who was mortally wounded in the Battle and expresses regret for missing VMI reunion at which New Market Medals were issued to veterans.","Drawing of the bronze statue of Anthony J. Drexel, the Philadelphia financier and the founder of Drexel University. The monument was commissioned by Drexel's partner, John H. Harjes of Paris, France and donated to the city of Philadelphia, Pennsylvania.","Drawing of Anton Alexander von Werner (1843-1915), a German historical painter known for painting scenes from the Franco Prussian War.","Drawing of Benjamin B. Hotchkiss (1826-1885), a leading American gunmaker and ordnance engineer. Moses J. Ezekiel molded a bust of Hotchkiss in clay and cast it in bronze in 1879.","A drawing of Bacchante, a classical figure from Greek and  Roman mythology that is priestess or female votary of Bacchus.","A drawing of Jesus Christ, based on the bronze torso.","Detail from marble sculpture, 1896, located in the Chapelle de Notre Dame de Consolation, Paris.","Drawing of the marble sculpture, 1896, located in the Chapelle de Notre Dame de Consolation, Paris.","Drawing of the Confederate Memorial monument in Arlington National Cemetery, Virginia.","Drawing shows the frieze that comprises part of the Confederate Memorial monument in Arlington National Cemetery, Virginia.","Drawing of the main figure of the Confederate Memorial monument in Arlington National Cemetery, Virginia.","Drawing of Eva Cattermole (1849-1896), known as \"Contessa Lara\" who was an Italian poet, writer, and friend of Moses J. Ezekiel.","A drawing of Daniel Collin, a German publisher whom Moses J. Ezekiel became friends with in Berlin, Germany.","A sketch of a clay model of proposed David G. Farragut monument. Moses J. Ezekiel created a model to enter in a competition in 1873, but his work was not chosen.","Drawing of Edith Lack, from Plymouth, England. She was the youngest daughter of a family that Moses J. Ezekiel met while traveling to Rome, Italy in 1874.","Drawing of Fanny Lewald, a German novelist and champion of women's rights.","Drawing of Fedor Encke, one of Moses J. Ezekiel's classmates at the Berlin Academy.","Drawing of Francis H. Smith who was VMI superintendent from 1839 to 1889. Moses J. Ezekiel knew him during his own cadetship.","Drawing of George Washington Custis Lee. Lee taught at VMI immediately after the Civil War and after the death in 1870 of his father, Robert E. Lee, who was President of Washington and Lee University, Lexington, Virginia.","A drawing of Gustav Adolf, Cardinal Prince of Hohenlohe-Schillingsfürst (1823-1896).","Drawing of guests inside Moses J. Ezekiel's studio.","Drawing of Israel, a bas relief, which was Moses J. Ezekiel's first significant work.","This drawing is of the bust of Jacob Ezekiel, Moses J. Ezekiel's father.","Jennie McGraw Fiske was a member of a prominent family who provided significant philanthropic support to Cornell University, New York. In 1904 the University commissioned Moses J. Ezekiel to produce this recumbent statue and it was completed in June 1907.","Drawing of John H. Harjes, a German born financier. Moses J. Ezekiel, a friend of the family, cast this bronze bust in 1881.","Drawing of Judas Maccabees, a Jewish military leader who was victorious in 165 B.C.","The Robert Gamble Cabell family of Richmond, Virginia were childhood friends of Moses J. Ezekiel. Two Cabell brothers attended VMI and both fought in the Battle of New Market with Ezekiel. William Cabell was one of the cadets killed in the battle.","Drawing of Lola Montez, a British born dancer and mistress of King Ludwig I of Bavaria. She settled in New York and appeared on stage in the United States. Moses J. Ezekiel saw a performance in Richmond, Virginia sometime before 1861.","Drawing of Nadine Helbig, a Russian born author who married Wofgang Helbig.","Drawing of Mammy Keziah, an Ezekiel family slave.","Drawing of Mammy Keziah, an Ezekiel family slave.","Drawing of Mammy Mary, a slave owned by the Ezekiel family during Moses J. Ezekiel's childhood. He refers to her in his memoirs as \"my mammy Mary.\"","Drawing of Mary Custis Lee (1806-1873) who was the great granddaughter of Martha Washington and the wife of Robert E. Lee.","Drawing of Mary Custis Lee (1806-1873) who was the great granddaughter of Martha Washington and the wife of Robert E. Lee.","Drawing of a crypt monument at Sage Chapel, Cornell University, New York.","Drawing of Mary Triplett of Richmond, Virginia. She was one of the \"belles\" of the city, along with Lizzy Cabell. She was the sister of Moses J. Ezekiel's fellow VMI cadet, John R. Triplett.","A drawing of a member of a German family with whom Moses J. Ezekiel was acquainted.","Drawing of Adolfo de Bosis and his wife. He was an Italian poet and lawyer who translated Shelley into Italian and edited the Review Il Convito.","Drawing of the wife of German publisher Daniel Collin.","Drawing of Nannie Whitmell Tunstall, the sister of John L. Tunstall, who attended VMI with Moses J. Ezekiel. In 1886, Ezekiel created a 16 by 21 inch marble intaglio bas-relief of Tunstall, made during her visit to Rome, Italy. The piece is owned by VMI.","Drawing of the Neptune statue Moses J. Ezekiel created for a fountain in Nettuno, Italy. The statue was destroyed during World War II.","Drawing of Otto von Bismarck, a Prussian statesman.","Drawing is likely of a slave in the Ezekiel household in Richmond, Virginia.  No further information is known at this time.","Drawing of Pan and Amor bas relief.","Drawing of Moses J. Ezekiel's proposed Robert E. Lee monument for a competition in 1886. Another sculptor's work was chosen and Ezekiel's concept was never executed.","Drawing of Robert Hausmann, a German cellist.","Drawing of Scott Shipp, VMI Class of 1859, who served as commandant and later as VMI's second superintendent. He was commandant during Moses J. Ezekiel's cadetship and was in command at the Battle of New Market.","Drawing of the Southern monument, which was one of the first monuments in the north dedicated to the Confederate soldier. It was commissioned by the Cincinnati, Ohio chapter of the United Daughters of the Confederacy.","This drawing is based on the photo of Stonewall Jackson known as the Chancellorsville photograph.","A drawing of the entrance to Moses J. Ezekiel's studio, Baths of Diocletian, Rome.","Drawing of cadet Thomas G. Jefferson who was mortally wounded at the Battle of New Market on May 15, 1864.","Drawing of \"White Lucy,\" who was a slave in Richmond, Virginia during Moses J. Ezekiel's childhood. When her owner threatened sale, Jacob Ezekiel intervened and she was given the job of seamstress in the Ezekiel home. The family later rented a house for her, and she made a living as a washerwoman and seamstress. She died circa 1866. Her surname does not appear in Ezekiel's memoirs.","This memorial publication was sent from Moses J. Ezekiel to VMI Superintendent Scott Shipp. The publication is annotated by Shipp.","Photograph of Robert E. Lee and of Lee's Farewell Address. This photograph was given to Moses J. Ezekiel by Mrs. Robert E. Lee.","Ezekiel family scrapbook possibly compiled by H. C. Ezekiel. The scrapbook contains documents, most pertaining to various members of the Ezekiel family. Many documents are from the Civil War era, 1863-1865.","Typescript titled \"Memoirs from the Baths of Diocletian.\"","Manuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information.","Manuscripts stacks","Virginia Military Institute Archives","Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927","Jefferson, Thomas G. (Thomas Garland), 1847-1864","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Drexel, Anthony Joseph, 1826-1893","Werner, Anton von, 1843-1915","Hotchkiss, Benjamin B., 1826-1885","Christ, Jesus, circa 6-4 B.C.E.-circa 30 C.E.","Lara, Contessa, 1849-1896","Lewald, Fanny, 1811-1889","Encke, Fedor, 1851-1936","Smith, Francis H. (Francis Henney), 1812-1890","Lee, George Washington Custis, 1832-1913","Ezekiel, Jacob, 1812-1899","Montez, Lola, 1818-1861","Helbig, Nadine, 1847-1915","Lee, Mary Custis, 1835-1918","White, Mary Outwater, 1836-1887","de Bosis, Adolfo, 1863-1924","Tunstall, Nannie Whitmell","Bismarck, Otto von, 1815-1898","Lee, Robert E. (Robert Edward), 1807-1870","Hausmann, Robert, 1852-1909","Shipp, Scott, 1839-1917","Jackson, Stonewall, 1824-1863","English"],"unitid_tesim":["MS.0010","/repositories/3/resources/94"],"normalized_title_ssm":["Moses J. Ezekiel papers"],"collection_title_tesim":["Moses J. Ezekiel papers"],"collection_ssim":["Moses J. Ezekiel papers"],"repository_ssm":["Virginia Military Institute Archives"],"repository_ssim":["Virginia Military Institute Archives"],"creator_ssm":["Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927"],"creator_ssim":["Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927"],"creator_persname_ssim":["Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927"],"creators_ssim":["Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927"],"access_terms_ssm":["Manuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information."],"access_subjects_ssim":["Sculptors—Virginia","Sculptors—Rome (Italy)","New Market Cadets","Virginia Military Institute—Buildings, structures, etc.","Virginia Military Institute—Class of 1866","Artists","Drawings (visual works)"],"access_subjects_ssm":["Sculptors—Virginia","Sculptors—Rome (Italy)","New Market Cadets","Virginia Military Institute—Buildings, structures, etc.","Virginia Military Institute—Class of 1866","Artists","Drawings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":["1 cubic feet 2 boxes"],"extent_tesim":["1 cubic feet 2 boxes"],"genreform_ssim":["Drawings (visual works)"],"date_range_isim":[1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917],"accessrestrict_html_tesm":["\u003cp\u003e\u003ca href=\"http://digitalcollections.vmi.edu/cdm/landingpage/collection/p15821coll18\"\u003eThe Moses J. Ezekiel papers digital collection\u003c/a\u003e\u003c/p\u003e","\u003cp\u003eThere are no restrictions\u003c/p\u003e"],"accessrestrict_heading_ssm":["Online Access","Conditions Governing Access"],"accessrestrict_tesim":["The Moses J. Ezekiel papers digital collection","There are no restrictions"],"arrangement_html_tesm":["\u003cp\u003eChronological\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Chronological"],"bioghist_html_tesm":["\u003cp\u003eMoses Jacob Ezekiel, the noted 19th century American Jewish sculptor, was born in Richmond, Virginia on October 28, 1844. One of 14 children of Jacob Ezekiel and Catherine de Castro, he had already started a mercantile career when he decided to attend college. Ezekiel entered VMI in September 1862, and during his VMI cadetship, took part in the Battle of New Market (May 15, 1864) and served in the trenches in defense of Richmond in the Spring of 1865.\u003c/p\u003e\n","\u003cp\u003eEzekiel graduated from VMI in 1866, and in 1867 began seriously to pursue his interest in art. He studied anatomy at the Medical College of Virginia and traveled to Cincinnati, Ohio where he studied at the Art School of J. Insco Williams and in the studio of T.D. Jones. In 1867 he sailed for Europe and entered the Royal Academy of Art in Berlin, Germany.\u003c/p\u003e\n","\u003cp\u003eAt the age of 29, Ezekiel won the prestigious Michel-Beer Prix de Rome for a bas relief entitled Israel. The prize money enabled him to travel to Rome, Italy where he established a studio and lived for the remainder of his life. Ezekiel executed nearly two hundred monuments in bronze and marble. Among his productions were the following:\n\u003cul\u003e\n\u003cli\u003eBusts of Lizst, Cardinal Hohenlohe, Eve, Homer, David, Judith, and Christ in the Tomb\u003c/li\u003e\n\u003cli\u003eA statue of Mrs. Andrew W. White for Cornell University\u003c/li\u003e\n\u003cli\u003eMadonna for the Church La Tivoli\u003c/li\u003e\n\u003cli\u003eFaith for the Cemetery of Rome\u003c/li\u003e\n\u003cli\u003eApollo and Mercury in Berlin\u003c/li\u003e\n\u003cli\u003eRobert E. Lee\u003c/li\u003e\n\u003cli\u003eStonewall Jackson\u003c/li\u003e\n\u003cli\u003ePan and Amor\u003c/li\u003e\n\u003cli\u003eThe Fountain of Neptune for the city of Netturno, Italy\u003c/li\u003e\n\u003cli\u003eA bust of Lord Sherbrooke for St. Margaret, Westminister, London\u003c/li\u003e\n\u003cli\u003eThe Jefferson Monument for Louisville, Kentucky\u003c/li\u003e\n\u003cli\u003eThe Homer Group for the University of Virginia\u003c/li\u003e\n\u003cli\u003eVirginia Mourning Her Dead for VMI\u003c/li\u003e\n\u003cli\u003eNapoleon I at St. Helena\u003c/li\u003e\n\u003cli\u003eA monument to Senator Daniel, Lynchburg, Virginia\u003c/li\u003e\n\u003cli\u003eThe Confederate Soldiers' Memorial at Arlington National Cemetery, Virginia\u003c/li\u003e\n\u003cli\u003eScores of other busts and reliefs\u003c/li\u003e\n\u003c/ul\u003e\nEzekiel died in Italy on March 27, 1917, but because of World War I, his body was not returned to the United States until 1921. He is buried at the foot of the Confederate Memorial in Section 16 of Arlington National Cemetery, Virginia).\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Moses Jacob Ezekiel, the noted 19th century American Jewish sculptor, was born in Richmond, Virginia on October 28, 1844. One of 14 children of Jacob Ezekiel and Catherine de Castro, he had already started a mercantile career when he decided to attend college. Ezekiel entered VMI in September 1862, and during his VMI cadetship, took part in the Battle of New Market (May 15, 1864) and served in the trenches in defense of Richmond in the Spring of 1865.","Ezekiel graduated from VMI in 1866, and in 1867 began seriously to pursue his interest in art. He studied anatomy at the Medical College of Virginia and traveled to Cincinnati, Ohio where he studied at the Art School of J. Insco Williams and in the studio of T.D. Jones. In 1867 he sailed for Europe and entered the Royal Academy of Art in Berlin, Germany.","At the age of 29, Ezekiel won the prestigious Michel-Beer Prix de Rome for a bas relief entitled Israel. The prize money enabled him to travel to Rome, Italy where he established a studio and lived for the remainder of his life. Ezekiel executed nearly two hundred monuments in bronze and marble. Among his productions were the following:\n Busts of Lizst, Cardinal Hohenlohe, Eve, Homer, David, Judith, and Christ in the Tomb A statue of Mrs. Andrew W. White for Cornell University Madonna for the Church La Tivoli Faith for the Cemetery of Rome Apollo and Mercury in Berlin Robert E. Lee Stonewall Jackson Pan and Amor The Fountain of Neptune for the city of Netturno, Italy A bust of Lord Sherbrooke for St. Margaret, Westminister, London The Jefferson Monument for Louisville, Kentucky The Homer Group for the University of Virginia Virginia Mourning Her Dead for VMI Napoleon I at St. Helena A monument to Senator Daniel, Lynchburg, Virginia The Confederate Soldiers' Memorial at Arlington National Cemetery, Virginia Scores of other busts and reliefs \nEzekiel died in Italy on March 27, 1917, but because of World War I, his body was not returned to the United States until 1921. He is buried at the foot of the Confederate Memorial in Section 16 of Arlington National Cemetery, Virginia)."],"odd_html_tesm":["\u003cp\u003eRome July 23, 1904\u003cbr\u003e\nMy dear Comrade and Friend.\u003cbr\u003e\nIn auld lang syne.\u003cbr\u003e\nI have again been prevented (by the retarded coming to Rome, of those who were to see my colossal statue of Mr. Drexel in clay before casting it in Bronze) from joining my old Cadet comrades in answering the last roll call and receiving the medal; which if still given to me, I should value above any earthly possession. After the Battle of New Market was over and we who survived answered the roll call on the field, I was in search of the wounded and found my room mate and comrade Thomas Jefferson lying on the floor of a hut quite exhausted and wounded in the breast. It was night and I was without shoes, as I had been all day and I went to the town of New Market and got a wagon and carried him to the house of Mrs. Clinedinst who gave me a bed for him on the ground floor- She had two daughters Anne and Lydie. It was Sunday night late when I got him into bed and from that time up to Tuesday night at about 11 o'clock I never left many cadets found both food and shelter was extremely kind to us all, and gave me every possible help for my friend. I always hoped to save Jefferson and that last evening when he asked me to read from St. John \"In my Father's house are many mansions\" \u0026amp; then began to wander in mind and thought I was his mother \u0026amp; then his sister \u0026amp; finally asked me to make a light, it was only then it dawned upon me that all hope was past and in his agony- as our gallant color bearer Evans was there with me I went up to call the family of Clinedinst (who had been as kind as it was possible for people to be all through those sad days) and they came down with candles in their hands whilst I had Jefferson in my arms, and he died. I washed and prepared him for burial and carried his mother a lock of his hair after we returned to Richmond.\u003c/p\u003e\n","\u003cp\u003eAs you want me to give you a kind of record of myself and according to the prospectus you sent I take pleasure in doing so. My parents were Jacob Ezekiel and Catherine de Castro\nMy grandparents Jacob de Castro \u0026amp; Hannah Pepper- Maternal and Michael Ezekiel  and Rebekah Israel - Paternal grandparents\u003c/p\u003e\n","\u003cp\u003eMy Parents were living in Richmond Va. when I was matriculated.\u003c/p\u003e\n","\u003cp\u003eMy Grandparents and great grandparents, are on my father's side buried in Philadelphia \u0026amp; on my mother's side in Richmond Va.\u003c/p\u003e\n","\u003cp\u003eI was born in Richmond Va. Oct. 28, 1844.\u003c/p\u003e\n","\u003cp\u003eEntered the V.M.I. the second year of the War and when back to reform the Corps, and graduated in the first class after the War. I gathered up in Lexington all the books and paintings I could find that had been dispersed by Hunter's Raid and reorganized the debating society, and gave the pictures later to the Letcher family and others, to whom they belonged. I was orderly sergeant of Company on the Intermediate lines below Richmond.\u003c/p\u003e\n","\u003cp\u003eI was never a student at any institution before going to the V.M.I. But matriculated later and studied anatomy at the Richmond Medical College at night and from my 12th year on, kept books for my grandparents, and spent any spare hours in drawing \u0026amp; painting \u0026amp; modelling, never having a teacher of any kind, and it was then I modelled my Father's Bust which is still considered a good likeness.\u003c/p\u003e\n","\u003cp\u003eI have I see given my War record first. But must add that I was slightly wounded in the Battle of New Market. But as the ball passed through my jacket and only grazed my breast, I took no notice of it. I was arrested and put in Castle Thunder in Richmond after the surrender, because I refused to take the oath of allegiance. About this time I wrote a letter which was published in all of the leading American papers, in which I denounced General Grant, comparing him to the worst Czars of Russia- for his famous or rather infamous Order No. 11, in which he prohibited any Jew in the U.S. Army having any concern in the Quarter Master's department. I do not now remember any more of it, than that I gathered the statistics \u0026amp; published them proving that the abuses in that department had not been done by Jews at all- and called upon all men in the United States of that persuasion or religion to vote for any man for the next President rather than for General Grant.\u003c/p\u003e\n","\u003cp\u003eThe General replied to my letter in the papers by deploring that he had ever published that Order No. 11 which he said he had given out upon information which be found out later was false. Meanwhile a secret carpet bag or political Yankee Committee in Richmond, sent me a letter saying that my life would be in danger if I stayed in Richmond after writing and publishing such a letter about General Grant their Hero: \u0026amp; this letter was forwarded to me, to Amelia County, at the Home of Mr. Garland Jefferson, the father of my dead comrade, where I had gone to carry the lock of hair of the dead boy to his mother. So I immediately on the receipt of that letter of intimidation jumped on to the first freight train that passed Amelia Courthouse \u0026amp; returned to Richmond. I went about my own affairs during the days, but coming home at night and passing 17th Street the concealed Ruffians fired at me from their concealment in the old market \u0026amp; let loose a shower of stones which smashed a number of windows, but left me unharmed. I reported at once to the Police Station in the bell house. But none of the gang were found \u0026amp; a second letter advising me to leave town came. But I took no notice of it, and so it all ended. As my Parents house had been rifled by the mob at the evacuation, and my Fathers store rooms of cotton and tobacco burned up, with the loss of an entire fortune of at least ¼ of million dollars, I staid at home, \u0026amp; with my youngest brother helped as well as we could to begin a little business and earn enough to live upon in a slender way, \u0026amp; when my father had again been able to start into a new business, I went West, and staid in Cincinnati a year, working for the first time in the studio of Mr. Jones (in 1868), a sculptor of some merit and well known there.\u003c/p\u003e\n","\u003cp\u003eI then modelled my first statuette of \"Industry\", which was exhibited there, and the favorable criticism in the papers encouraged me penniless as I was to go abroad. I sold a breast pin I owned- which enabled me to travel second class to Berlin (in 1869) where I matriculated at the Royal Academy and passed the examination. In order to continue my studies I gave lessons in English in the mornings early- and drawing lessons at night, and spent the rest of the time at the academy, where I was elected by my Colleagues president of the Art Students league at the Academy. I also worked in the studio of Prof. [Siemernig] \u0026amp; then of Prof. Wolff and often worked In the open air or buildings in Berlin then in construction modelling heads and carytids and ornaments in order to earn an extra dollar. No one ever knew that I needed anything and I led a happy life all the same, and the Bohemian life of the student was mine also, to the fullest extent. I modelled then the ¾ life sized figure of Virginia Mourning her Dead and sent Mrs. General Lee a photo of it, as I was always in correspondence with that estimable wife of our Great Hero.\u003c/p\u003e\n","\u003cp\u003eThat statue I have always kept and it is now in my studio here, and is the model of the statue my brother cadets were good enough to unveil at the parade ground of our Alma Mater last year.\u003c/p\u003e\n","\u003cp\u003eMy finally gaining the Prix de Rome at the academy- and my being honored for my art works by the Duke of Saxe-Meiningen and the German Emperor and the Medal from the Art Society in Rome, my various works in America, England, France, Germany, Switzerland, and Russia are not subjects for my writing about: I have with all this the sincere regret that I have never been called upon in my own home Virginia, nor in the South, to execute a single work of art- excepting the one for my own comrades which links me forever with the Alma Mater, the V.M.I., where every stone, and every blade of grass is dear to me- and the name of Cadet of the V.M.I. the proudest and most honored title I can ever possess.\u003c/p\u003e\n","\u003cp\u003eOf course my comrade I am writing this as a letter to you \u0026amp; not one for publication. You can glean from it any particulars you may choose for your Biography, of which I shall want several copies, besides I do want to contribute my mite to the picture of General Scott Shipp, and am surprised that I was not asked to do so as an Alumnus.\u003c/p\u003e\n","\u003cp\u003eThere never was any one I admired more than I did our then Col. Shipp, and when in the battle of New Market, his horse was wounded and he was down, I could not help running to him, to ask if he was hurt \u0026amp; when he said \"no, go ahead\" I left him. Randolph too was shot when we were shoulder to shoulder. He had just said smiling, there's no use dodging boys, if a ball's going to hit you, it'll hit you anyway! When he fell, I thought he was dead. But I found him at night in the hospital.\u003c/p\u003e\n","\u003cp\u003eAnd now let me tell you that it has been a real grief to me not to have been able to join either last year or this year in the Corps Ceremonies which were of such deep interest to me. But I am under contract to finish a monument this fall \u0026amp; place it in Fairmount Park Philadelphia \u0026amp; I have several other works to finish and deliver and I could not come home until I could bring the monument and place it in position. These are hard facts, and have interfered with what would have been nearest to my own heart. But you will now understand it all.\u003c/p\u003e\n","\u003cp\u003eYour kind letter has been waiting a long time to be answered, and it only seems a few weeks to me, as my life here is so full and every day brings me visitors from home or elsewhere, and so many duties, that for a couple of months I have absolutely had to neglect pen and ink nolens volens so I throw myself upon your kind indulgence, and with the most sincere and affectionate greetings\u003c/p\u003e\n","\u003cp\u003eI am always your comrade and friend\u003cbr\u003e\nMoses J. Ezekiel\u003c/p\u003e\n","\u003cp\u003e18 Piazza Termini\u003cbr\u003e\nBaths of Diocletian\u003cbr\u003e\nRome\u003c/p\u003e"],"odd_heading_ssm":["Transcription"],"odd_tesim":["Rome July 23, 1904 \nMy dear Comrade and Friend. \nIn auld lang syne. \nI have again been prevented (by the retarded coming to Rome, of those who were to see my colossal statue of Mr. Drexel in clay before casting it in Bronze) from joining my old Cadet comrades in answering the last roll call and receiving the medal; which if still given to me, I should value above any earthly possession. After the Battle of New Market was over and we who survived answered the roll call on the field, I was in search of the wounded and found my room mate and comrade Thomas Jefferson lying on the floor of a hut quite exhausted and wounded in the breast. It was night and I was without shoes, as I had been all day and I went to the town of New Market and got a wagon and carried him to the house of Mrs. Clinedinst who gave me a bed for him on the ground floor- She had two daughters Anne and Lydie. It was Sunday night late when I got him into bed and from that time up to Tuesday night at about 11 o'clock I never left many cadets found both food and shelter was extremely kind to us all, and gave me every possible help for my friend. I always hoped to save Jefferson and that last evening when he asked me to read from St. John \"In my Father's house are many mansions\" \u0026 then began to wander in mind and thought I was his mother \u0026 then his sister \u0026 finally asked me to make a light, it was only then it dawned upon me that all hope was past and in his agony- as our gallant color bearer Evans was there with me I went up to call the family of Clinedinst (who had been as kind as it was possible for people to be all through those sad days) and they came down with candles in their hands whilst I had Jefferson in my arms, and he died. I washed and prepared him for burial and carried his mother a lock of his hair after we returned to Richmond.","As you want me to give you a kind of record of myself and according to the prospectus you sent I take pleasure in doing so. My parents were Jacob Ezekiel and Catherine de Castro\nMy grandparents Jacob de Castro \u0026 Hannah Pepper- Maternal and Michael Ezekiel  and Rebekah Israel - Paternal grandparents","My Parents were living in Richmond Va. when I was matriculated.","My Grandparents and great grandparents, are on my father's side buried in Philadelphia \u0026 on my mother's side in Richmond Va.","I was born in Richmond Va. Oct. 28, 1844.","Entered the V.M.I. the second year of the War and when back to reform the Corps, and graduated in the first class after the War. I gathered up in Lexington all the books and paintings I could find that had been dispersed by Hunter's Raid and reorganized the debating society, and gave the pictures later to the Letcher family and others, to whom they belonged. I was orderly sergeant of Company on the Intermediate lines below Richmond.","I was never a student at any institution before going to the V.M.I. But matriculated later and studied anatomy at the Richmond Medical College at night and from my 12th year on, kept books for my grandparents, and spent any spare hours in drawing \u0026 painting \u0026 modelling, never having a teacher of any kind, and it was then I modelled my Father's Bust which is still considered a good likeness.","I have I see given my War record first. But must add that I was slightly wounded in the Battle of New Market. But as the ball passed through my jacket and only grazed my breast, I took no notice of it. I was arrested and put in Castle Thunder in Richmond after the surrender, because I refused to take the oath of allegiance. About this time I wrote a letter which was published in all of the leading American papers, in which I denounced General Grant, comparing him to the worst Czars of Russia- for his famous or rather infamous Order No. 11, in which he prohibited any Jew in the U.S. Army having any concern in the Quarter Master's department. I do not now remember any more of it, than that I gathered the statistics \u0026 published them proving that the abuses in that department had not been done by Jews at all- and called upon all men in the United States of that persuasion or religion to vote for any man for the next President rather than for General Grant.","The General replied to my letter in the papers by deploring that he had ever published that Order No. 11 which he said he had given out upon information which be found out later was false. Meanwhile a secret carpet bag or political Yankee Committee in Richmond, sent me a letter saying that my life would be in danger if I stayed in Richmond after writing and publishing such a letter about General Grant their Hero: \u0026 this letter was forwarded to me, to Amelia County, at the Home of Mr. Garland Jefferson, the father of my dead comrade, where I had gone to carry the lock of hair of the dead boy to his mother. So I immediately on the receipt of that letter of intimidation jumped on to the first freight train that passed Amelia Courthouse \u0026 returned to Richmond. I went about my own affairs during the days, but coming home at night and passing 17th Street the concealed Ruffians fired at me from their concealment in the old market \u0026 let loose a shower of stones which smashed a number of windows, but left me unharmed. I reported at once to the Police Station in the bell house. But none of the gang were found \u0026 a second letter advising me to leave town came. But I took no notice of it, and so it all ended. As my Parents house had been rifled by the mob at the evacuation, and my Fathers store rooms of cotton and tobacco burned up, with the loss of an entire fortune of at least ¼ of million dollars, I staid at home, \u0026 with my youngest brother helped as well as we could to begin a little business and earn enough to live upon in a slender way, \u0026 when my father had again been able to start into a new business, I went West, and staid in Cincinnati a year, working for the first time in the studio of Mr. Jones (in 1868), a sculptor of some merit and well known there.","I then modelled my first statuette of \"Industry\", which was exhibited there, and the favorable criticism in the papers encouraged me penniless as I was to go abroad. I sold a breast pin I owned- which enabled me to travel second class to Berlin (in 1869) where I matriculated at the Royal Academy and passed the examination. In order to continue my studies I gave lessons in English in the mornings early- and drawing lessons at night, and spent the rest of the time at the academy, where I was elected by my Colleagues president of the Art Students league at the Academy. I also worked in the studio of Prof. [Siemernig] \u0026 then of Prof. Wolff and often worked In the open air or buildings in Berlin then in construction modelling heads and carytids and ornaments in order to earn an extra dollar. No one ever knew that I needed anything and I led a happy life all the same, and the Bohemian life of the student was mine also, to the fullest extent. I modelled then the ¾ life sized figure of Virginia Mourning her Dead and sent Mrs. General Lee a photo of it, as I was always in correspondence with that estimable wife of our Great Hero.","That statue I have always kept and it is now in my studio here, and is the model of the statue my brother cadets were good enough to unveil at the parade ground of our Alma Mater last year.","My finally gaining the Prix de Rome at the academy- and my being honored for my art works by the Duke of Saxe-Meiningen and the German Emperor and the Medal from the Art Society in Rome, my various works in America, England, France, Germany, Switzerland, and Russia are not subjects for my writing about: I have with all this the sincere regret that I have never been called upon in my own home Virginia, nor in the South, to execute a single work of art- excepting the one for my own comrades which links me forever with the Alma Mater, the V.M.I., where every stone, and every blade of grass is dear to me- and the name of Cadet of the V.M.I. the proudest and most honored title I can ever possess.","Of course my comrade I am writing this as a letter to you \u0026 not one for publication. You can glean from it any particulars you may choose for your Biography, of which I shall want several copies, besides I do want to contribute my mite to the picture of General Scott Shipp, and am surprised that I was not asked to do so as an Alumnus.","There never was any one I admired more than I did our then Col. Shipp, and when in the battle of New Market, his horse was wounded and he was down, I could not help running to him, to ask if he was hurt \u0026 when he said \"no, go ahead\" I left him. Randolph too was shot when we were shoulder to shoulder. He had just said smiling, there's no use dodging boys, if a ball's going to hit you, it'll hit you anyway! When he fell, I thought he was dead. But I found him at night in the hospital.","And now let me tell you that it has been a real grief to me not to have been able to join either last year or this year in the Corps Ceremonies which were of such deep interest to me. But I am under contract to finish a monument this fall \u0026 place it in Fairmount Park Philadelphia \u0026 I have several other works to finish and deliver and I could not come home until I could bring the monument and place it in position. These are hard facts, and have interfered with what would have been nearest to my own heart. But you will now understand it all.","Your kind letter has been waiting a long time to be answered, and it only seems a few weeks to me, as my life here is so full and every day brings me visitors from home or elsewhere, and so many duties, that for a couple of months I have absolutely had to neglect pen and ink nolens volens so I throw myself upon your kind indulgence, and with the most sincere and affectionate greetings","I am always your comrade and friend \nMoses J. Ezekiel","18 Piazza Termini \nBaths of Diocletian \nRome"],"prefercite_html_tesm":["\u003cp\u003eMoses J. Ezekiel papers, 1867-1917. MS 0010. VMI Archives, Virginia Military Institute, Lexington, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Moses J. Ezekiel papers, 1867-1917. MS 0010. VMI Archives, Virginia Military Institute, Lexington, Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003eThe VMI Archives also holds a \u003ca href=\"http://digitalcollections.vmi.edu/cdm/ref/collection/p15821coll7/id/3746\"\u003ecollection of photographs\u003c/a\u003e related to Ezekiel. Included are images of Ezekiel, his studio in Rome, Italy, and various examples of his sculptures.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The VMI Archives also holds a  collection of photographs  related to Ezekiel. Included are images of Ezekiel, his studio in Rome, Italy, and various examples of his sculptures."],"scopecontent_html_tesm":["\u003cp\u003eThe Moses J. Ezekiel papers consist of the papers of noted 19th century sculptor Moses J. Ezekiel, including:\n\u003cul\u003e\n\u003cli\u003eCorrespondence to VMI superintendent Edward W. Nichols and others (dated 1867-1917), some relating to the design of the Battle of New Market memorial sculpture Virginia Mourning Her Dead\u003c/li\u003e\n\u003cli\u003ePen and ink sketches by Ezekiel (approximately 67 items)\u003c/li\u003e\n\u003cli\u003eA typescript version of Ezekiel's autobiography\u003c/li\u003e\n\u003cli\u003eMemoirs from the Baths of Diocletian\u003c/li\u003e\n\u003cli\u003ePrint material\u003c/li\u003e\n\u003c/ul\u003e\u003c/p\u003e","\u003cp\u003eIncludes letters to General Edward W. Nichols and Greenlee Letcher concerning Virginia Mourning Her Dead (New Market Monument) and the Stonewall Jackson statue at VMI. Also includes postcards sent primarily to family members, including Henry C. Ezekiel and Rebecca Ezekiel.\u003c/p\u003e","\u003cp\u003eAutobiographical letter from Moses J. Ezekiel to VMI historian Joseph R. Anderson, Jr. In the letter, Ezekiel recounts his experience as a VMI cadet at the Battle of New Market on May 15, 1864 and his post-VMI career through July 1904. He discusses caring for his classmate Thomas G. Jefferson, who was mortally wounded in the Battle and expresses regret for missing VMI reunion at which New Market Medals were issued to veterans.\u003c/p\u003e","\u003cp\u003eDrawing of the bronze statue of Anthony J. Drexel, the Philadelphia financier and the founder of Drexel University. The monument was commissioned by Drexel's partner, John H. Harjes of Paris, France and donated to the city of Philadelphia, Pennsylvania.\u003c/p\u003e","\u003cp\u003eDrawing of Anton Alexander von Werner (1843-1915), a German historical painter known for painting scenes from the Franco Prussian War.\u003c/p\u003e","\u003cp\u003eDrawing of Benjamin B. Hotchkiss (1826-1885), a leading American gunmaker and ordnance engineer. Moses J. Ezekiel molded a bust of Hotchkiss in clay and cast it in bronze in 1879.\u003c/p\u003e","\u003cp\u003eA drawing of Bacchante, a classical figure from Greek and  Roman mythology that is priestess or female votary of Bacchus.\u003c/p\u003e","\u003cp\u003eA drawing of Jesus Christ, based on the bronze torso.\u003c/p\u003e","\u003cp\u003eDetail from marble sculpture, 1896, located in the Chapelle de Notre Dame de Consolation, Paris.\u003c/p\u003e","\u003cp\u003eDrawing of the marble sculpture, 1896, located in the Chapelle de Notre Dame de Consolation, Paris.\u003c/p\u003e","\u003cp\u003eDrawing of the Confederate Memorial monument in Arlington National Cemetery, Virginia.\u003c/p\u003e","\u003cp\u003eDrawing shows the frieze that comprises part of the Confederate Memorial monument in Arlington National Cemetery, Virginia.\u003c/p\u003e","\u003cp\u003eDrawing of the main figure of the Confederate Memorial monument in Arlington National Cemetery, Virginia.\u003c/p\u003e","\u003cp\u003eDrawing of Eva Cattermole (1849-1896), known as \"Contessa Lara\" who was an Italian poet, writer, and friend of Moses J. Ezekiel.\u003c/p\u003e","\u003cp\u003eA drawing of Daniel Collin, a German publisher whom Moses J. Ezekiel became friends with in Berlin, Germany.\u003c/p\u003e","\u003cp\u003eA sketch of a clay model of proposed David G. Farragut monument. Moses J. Ezekiel created a model to enter in a competition in 1873, but his work was not chosen.\u003c/p\u003e","\u003cp\u003eDrawing of Edith Lack, from Plymouth, England. She was the youngest daughter of a family that Moses J. Ezekiel met while traveling to Rome, Italy in 1874.\u003c/p\u003e","\u003cp\u003eDrawing of Fanny Lewald, a German novelist and champion of women's rights.\u003c/p\u003e","\u003cp\u003eDrawing of Fedor Encke, one of Moses J. Ezekiel's classmates at the Berlin Academy.\u003c/p\u003e","\u003cp\u003eDrawing of Francis H. Smith who was VMI superintendent from 1839 to 1889. Moses J. Ezekiel knew him during his own cadetship.\u003c/p\u003e","\u003cp\u003eDrawing of George Washington Custis Lee. Lee taught at VMI immediately after the Civil War and after the death in 1870 of his father, Robert E. Lee, who was President of Washington and Lee University, Lexington, Virginia.\u003c/p\u003e","\u003cp\u003eA drawing of Gustav Adolf, Cardinal Prince of Hohenlohe-Schillingsfürst (1823-1896).\u003c/p\u003e","\u003cp\u003eDrawing of guests inside Moses J. Ezekiel's studio.\u003c/p\u003e","\u003cp\u003eDrawing of Israel, a bas relief, which was Moses J. Ezekiel's first significant work.\u003c/p\u003e","\u003cp\u003eThis drawing is of the bust of Jacob Ezekiel, Moses J. Ezekiel's father.\u003c/p\u003e","\u003cp\u003eJennie McGraw Fiske was a member of a prominent family who provided significant philanthropic support to Cornell University, New York. In 1904 the University commissioned Moses J. Ezekiel to produce this recumbent statue and it was completed in June 1907.\u003c/p\u003e","\u003cp\u003eDrawing of John H. Harjes, a German born financier. Moses J. Ezekiel, a friend of the family, cast this bronze bust in 1881.\u003c/p\u003e","\u003cp\u003eDrawing of Judas Maccabees, a Jewish military leader who was victorious in 165 B.C.\u003c/p\u003e","\u003cp\u003eThe Robert Gamble Cabell family of Richmond, Virginia were childhood friends of Moses J. Ezekiel. Two Cabell brothers attended VMI and both fought in the Battle of New Market with Ezekiel. William Cabell was one of the cadets killed in the battle.\u003c/p\u003e","\u003cp\u003eDrawing of Lola Montez, a British born dancer and mistress of King Ludwig I of Bavaria. She settled in New York and appeared on stage in the United States. Moses J. Ezekiel saw a performance in Richmond, Virginia sometime before 1861.\u003c/p\u003e","\u003cp\u003eDrawing of Nadine Helbig, a Russian born author who married Wofgang Helbig.\u003c/p\u003e","\u003cp\u003eDrawing of Mammy Keziah, an Ezekiel family slave.\u003c/p\u003e","\u003cp\u003eDrawing of Mammy Keziah, an Ezekiel family slave.\u003c/p\u003e","\u003cp\u003eDrawing of Mammy Mary, a slave owned by the Ezekiel family during Moses J. Ezekiel's childhood. He refers to her in his memoirs as \"my mammy Mary.\"\u003c/p\u003e","\u003cp\u003eDrawing of Mary Custis Lee (1806-1873) who was the great granddaughter of Martha Washington and the wife of Robert E. Lee.\u003c/p\u003e","\u003cp\u003eDrawing of Mary Custis Lee (1806-1873) who was the great granddaughter of Martha Washington and the wife of Robert E. Lee.\u003c/p\u003e","\u003cp\u003eDrawing of a crypt monument at Sage Chapel, Cornell University, New York.\u003c/p\u003e","\u003cp\u003eDrawing of Mary Triplett of Richmond, Virginia. She was one of the \"belles\" of the city, along with Lizzy Cabell. She was the sister of Moses J. Ezekiel's fellow VMI cadet, John R. Triplett.\u003c/p\u003e","\u003cp\u003eA drawing of a member of a German family with whom Moses J. Ezekiel was acquainted.\u003c/p\u003e","\u003cp\u003eDrawing of Adolfo de Bosis and his wife. He was an Italian poet and lawyer who translated Shelley into Italian and edited the Review Il Convito.\u003c/p\u003e","\u003cp\u003eDrawing of the wife of German publisher Daniel Collin.\u003c/p\u003e","\u003cp\u003eDrawing of Nannie Whitmell Tunstall, the sister of John L. Tunstall, who attended VMI with Moses J. Ezekiel. In 1886, Ezekiel created a 16 by 21 inch marble intaglio bas-relief of Tunstall, made during her visit to Rome, Italy. The piece is owned by VMI.\u003c/p\u003e","\u003cp\u003eDrawing of the Neptune statue Moses J. Ezekiel created for a fountain in Nettuno, Italy. The statue was destroyed during World War II.\u003c/p\u003e","\u003cp\u003eDrawing of Otto von Bismarck, a Prussian statesman.\u003c/p\u003e","\u003cp\u003eDrawing is likely of a slave in the Ezekiel household in Richmond, Virginia.  No further information is known at this time.\u003c/p\u003e","\u003cp\u003eDrawing of Pan and Amor bas relief.\u003c/p\u003e","\u003cp\u003eDrawing of Moses J. Ezekiel's proposed Robert E. Lee monument for a competition in 1886. Another sculptor's work was chosen and Ezekiel's concept was never executed.\u003c/p\u003e","\u003cp\u003eDrawing of Robert Hausmann, a German cellist.\u003c/p\u003e","\u003cp\u003eDrawing of Scott Shipp, VMI Class of 1859, who served as commandant and later as VMI's second superintendent. He was commandant during Moses J. Ezekiel's cadetship and was in command at the Battle of New Market.\u003c/p\u003e","\u003cp\u003eDrawing of the Southern monument, which was one of the first monuments in the north dedicated to the Confederate soldier. It was commissioned by the Cincinnati, Ohio chapter of the United Daughters of the Confederacy.\u003c/p\u003e","\u003cp\u003eThis drawing is based on the photo of Stonewall Jackson known as the Chancellorsville photograph.\u003c/p\u003e","\u003cp\u003eA drawing of the entrance to Moses J. Ezekiel's studio, Baths of Diocletian, Rome.\u003c/p\u003e","\u003cp\u003eDrawing of cadet Thomas G. Jefferson who was mortally wounded at the Battle of New Market on May 15, 1864.\u003c/p\u003e","\u003cp\u003eDrawing of \"White Lucy,\" who was a slave in Richmond, Virginia during Moses J. Ezekiel's childhood. When her owner threatened sale, Jacob Ezekiel intervened and she was given the job of seamstress in the Ezekiel home. The family later rented a house for her, and she made a living as a washerwoman and seamstress. She died circa 1866. Her surname does not appear in Ezekiel's memoirs.\u003c/p\u003e","\u003cp\u003eThis memorial publication was sent from Moses J. Ezekiel to VMI Superintendent Scott Shipp. The publication is annotated by Shipp.\u003c/p\u003e","\u003cp\u003ePhotograph of Robert E. Lee and of Lee's Farewell Address. This photograph was given to Moses J. Ezekiel by Mrs. Robert E. Lee.\u003c/p\u003e","\u003cp\u003eEzekiel family scrapbook possibly compiled by H. C. Ezekiel. The scrapbook contains documents, most pertaining to various members of the Ezekiel family. Many documents are from the Civil War era, 1863-1865.\u003c/p\u003e","\u003cp\u003eTypescript titled \"Memoirs from the Baths of Diocletian.\"\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Moses J. Ezekiel papers consist of the papers of noted 19th century sculptor Moses J. Ezekiel, including:\n Correspondence to VMI superintendent Edward W. Nichols and others (dated 1867-1917), some relating to the design of the Battle of New Market memorial sculpture Virginia Mourning Her Dead Pen and ink sketches by Ezekiel (approximately 67 items) A typescript version of Ezekiel's autobiography Memoirs from the Baths of Diocletian Print material","Includes letters to General Edward W. Nichols and Greenlee Letcher concerning Virginia Mourning Her Dead (New Market Monument) and the Stonewall Jackson statue at VMI. Also includes postcards sent primarily to family members, including Henry C. Ezekiel and Rebecca Ezekiel.","Autobiographical letter from Moses J. Ezekiel to VMI historian Joseph R. Anderson, Jr. In the letter, Ezekiel recounts his experience as a VMI cadet at the Battle of New Market on May 15, 1864 and his post-VMI career through July 1904. He discusses caring for his classmate Thomas G. Jefferson, who was mortally wounded in the Battle and expresses regret for missing VMI reunion at which New Market Medals were issued to veterans.","Drawing of the bronze statue of Anthony J. Drexel, the Philadelphia financier and the founder of Drexel University. The monument was commissioned by Drexel's partner, John H. Harjes of Paris, France and donated to the city of Philadelphia, Pennsylvania.","Drawing of Anton Alexander von Werner (1843-1915), a German historical painter known for painting scenes from the Franco Prussian War.","Drawing of Benjamin B. Hotchkiss (1826-1885), a leading American gunmaker and ordnance engineer. Moses J. Ezekiel molded a bust of Hotchkiss in clay and cast it in bronze in 1879.","A drawing of Bacchante, a classical figure from Greek and  Roman mythology that is priestess or female votary of Bacchus.","A drawing of Jesus Christ, based on the bronze torso.","Detail from marble sculpture, 1896, located in the Chapelle de Notre Dame de Consolation, Paris.","Drawing of the marble sculpture, 1896, located in the Chapelle de Notre Dame de Consolation, Paris.","Drawing of the Confederate Memorial monument in Arlington National Cemetery, Virginia.","Drawing shows the frieze that comprises part of the Confederate Memorial monument in Arlington National Cemetery, Virginia.","Drawing of the main figure of the Confederate Memorial monument in Arlington National Cemetery, Virginia.","Drawing of Eva Cattermole (1849-1896), known as \"Contessa Lara\" who was an Italian poet, writer, and friend of Moses J. Ezekiel.","A drawing of Daniel Collin, a German publisher whom Moses J. Ezekiel became friends with in Berlin, Germany.","A sketch of a clay model of proposed David G. Farragut monument. Moses J. Ezekiel created a model to enter in a competition in 1873, but his work was not chosen.","Drawing of Edith Lack, from Plymouth, England. She was the youngest daughter of a family that Moses J. Ezekiel met while traveling to Rome, Italy in 1874.","Drawing of Fanny Lewald, a German novelist and champion of women's rights.","Drawing of Fedor Encke, one of Moses J. Ezekiel's classmates at the Berlin Academy.","Drawing of Francis H. Smith who was VMI superintendent from 1839 to 1889. Moses J. Ezekiel knew him during his own cadetship.","Drawing of George Washington Custis Lee. Lee taught at VMI immediately after the Civil War and after the death in 1870 of his father, Robert E. Lee, who was President of Washington and Lee University, Lexington, Virginia.","A drawing of Gustav Adolf, Cardinal Prince of Hohenlohe-Schillingsfürst (1823-1896).","Drawing of guests inside Moses J. Ezekiel's studio.","Drawing of Israel, a bas relief, which was Moses J. Ezekiel's first significant work.","This drawing is of the bust of Jacob Ezekiel, Moses J. Ezekiel's father.","Jennie McGraw Fiske was a member of a prominent family who provided significant philanthropic support to Cornell University, New York. In 1904 the University commissioned Moses J. Ezekiel to produce this recumbent statue and it was completed in June 1907.","Drawing of John H. Harjes, a German born financier. Moses J. Ezekiel, a friend of the family, cast this bronze bust in 1881.","Drawing of Judas Maccabees, a Jewish military leader who was victorious in 165 B.C.","The Robert Gamble Cabell family of Richmond, Virginia were childhood friends of Moses J. Ezekiel. Two Cabell brothers attended VMI and both fought in the Battle of New Market with Ezekiel. William Cabell was one of the cadets killed in the battle.","Drawing of Lola Montez, a British born dancer and mistress of King Ludwig I of Bavaria. She settled in New York and appeared on stage in the United States. Moses J. Ezekiel saw a performance in Richmond, Virginia sometime before 1861.","Drawing of Nadine Helbig, a Russian born author who married Wofgang Helbig.","Drawing of Mammy Keziah, an Ezekiel family slave.","Drawing of Mammy Keziah, an Ezekiel family slave.","Drawing of Mammy Mary, a slave owned by the Ezekiel family during Moses J. Ezekiel's childhood. He refers to her in his memoirs as \"my mammy Mary.\"","Drawing of Mary Custis Lee (1806-1873) who was the great granddaughter of Martha Washington and the wife of Robert E. Lee.","Drawing of Mary Custis Lee (1806-1873) who was the great granddaughter of Martha Washington and the wife of Robert E. Lee.","Drawing of a crypt monument at Sage Chapel, Cornell University, New York.","Drawing of Mary Triplett of Richmond, Virginia. She was one of the \"belles\" of the city, along with Lizzy Cabell. She was the sister of Moses J. Ezekiel's fellow VMI cadet, John R. Triplett.","A drawing of a member of a German family with whom Moses J. Ezekiel was acquainted.","Drawing of Adolfo de Bosis and his wife. He was an Italian poet and lawyer who translated Shelley into Italian and edited the Review Il Convito.","Drawing of the wife of German publisher Daniel Collin.","Drawing of Nannie Whitmell Tunstall, the sister of John L. Tunstall, who attended VMI with Moses J. Ezekiel. In 1886, Ezekiel created a 16 by 21 inch marble intaglio bas-relief of Tunstall, made during her visit to Rome, Italy. The piece is owned by VMI.","Drawing of the Neptune statue Moses J. Ezekiel created for a fountain in Nettuno, Italy. The statue was destroyed during World War II.","Drawing of Otto von Bismarck, a Prussian statesman.","Drawing is likely of a slave in the Ezekiel household in Richmond, Virginia.  No further information is known at this time.","Drawing of Pan and Amor bas relief.","Drawing of Moses J. Ezekiel's proposed Robert E. Lee monument for a competition in 1886. Another sculptor's work was chosen and Ezekiel's concept was never executed.","Drawing of Robert Hausmann, a German cellist.","Drawing of Scott Shipp, VMI Class of 1859, who served as commandant and later as VMI's second superintendent. He was commandant during Moses J. Ezekiel's cadetship and was in command at the Battle of New Market.","Drawing of the Southern monument, which was one of the first monuments in the north dedicated to the Confederate soldier. It was commissioned by the Cincinnati, Ohio chapter of the United Daughters of the Confederacy.","This drawing is based on the photo of Stonewall Jackson known as the Chancellorsville photograph.","A drawing of the entrance to Moses J. Ezekiel's studio, Baths of Diocletian, Rome.","Drawing of cadet Thomas G. Jefferson who was mortally wounded at the Battle of New Market on May 15, 1864.","Drawing of \"White Lucy,\" who was a slave in Richmond, Virginia during Moses J. Ezekiel's childhood. When her owner threatened sale, Jacob Ezekiel intervened and she was given the job of seamstress in the Ezekiel home. The family later rented a house for her, and she made a living as a washerwoman and seamstress. She died circa 1866. Her surname does not appear in Ezekiel's memoirs.","This memorial publication was sent from Moses J. Ezekiel to VMI Superintendent Scott Shipp. The publication is annotated by Shipp.","Photograph of Robert E. Lee and of Lee's Farewell Address. This photograph was given to Moses J. Ezekiel by Mrs. Robert E. Lee.","Ezekiel family scrapbook possibly compiled by H. C. Ezekiel. The scrapbook contains documents, most pertaining to various members of the Ezekiel family. Many documents are from the Civil War era, 1863-1865.","Typescript titled \"Memoirs from the Baths of Diocletian.\""],"userestrict_html_tesm":["\u003cp\u003eManuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Manuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_94afa6f1fee03d75868e399d1499d701\"\u003eManuscripts stacks\u003c/physloc\u003e"],"physloc_tesim":["Manuscripts stacks"],"names_ssim":["Virginia Military Institute Archives","Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927","Jefferson, Thomas G. (Thomas Garland), 1847-1864","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Drexel, Anthony Joseph, 1826-1893","Werner, Anton von, 1843-1915","Hotchkiss, Benjamin B., 1826-1885","Christ, Jesus, circa 6-4 B.C.E.-circa 30 C.E.","Lara, Contessa, 1849-1896","Lewald, Fanny, 1811-1889","Encke, Fedor, 1851-1936","Smith, Francis H. (Francis Henney), 1812-1890","Lee, George Washington Custis, 1832-1913","Ezekiel, Jacob, 1812-1899","Montez, Lola, 1818-1861","Helbig, Nadine, 1847-1915","Lee, Mary Custis, 1835-1918","White, Mary Outwater, 1836-1887","de Bosis, Adolfo, 1863-1924","Tunstall, Nannie Whitmell","Bismarck, Otto von, 1815-1898","Lee, Robert E. (Robert Edward), 1807-1870","Hausmann, Robert, 1852-1909","Shipp, Scott, 1839-1917","Jackson, Stonewall, 1824-1863"],"corpname_ssim":["Virginia Military Institute Archives"],"persname_ssim":["Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927","Jefferson, Thomas G. (Thomas Garland), 1847-1864","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Drexel, Anthony Joseph, 1826-1893","Werner, Anton von, 1843-1915","Hotchkiss, Benjamin B., 1826-1885","Christ, Jesus, circa 6-4 B.C.E.-circa 30 C.E.","Lara, Contessa, 1849-1896","Lewald, Fanny, 1811-1889","Encke, Fedor, 1851-1936","Smith, Francis H. (Francis Henney), 1812-1890","Lee, George Washington Custis, 1832-1913","Ezekiel, Jacob, 1812-1899","Montez, Lola, 1818-1861","Helbig, Nadine, 1847-1915","Lee, Mary Custis, 1835-1918","White, Mary Outwater, 1836-1887","de Bosis, Adolfo, 1863-1924","Tunstall, Nannie Whitmell","Bismarck, Otto von, 1815-1898","Lee, Robert E. (Robert Edward), 1807-1870","Hausmann, Robert, 1852-1909","Shipp, Scott, 1839-1917","Jackson, Stonewall, 1824-1863"],"language_ssim":["English"],"total_component_count_is":73,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T00:13:02.393Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vilxv_repositories_3_resources_94","ead_ssi":"vilxv_repositories_3_resources_94","_root_":"vilxv_repositories_3_resources_94","_nest_parent_":"vilxv_repositories_3_resources_94","ead_source_url_ssi":"data/oai/VMI/repositories_3_resources_94.xml","aspace_url_ssi":"http://ead.lib.virginia.edu/vivaxtf/view?docId=vmi/vilxv00043.xml","title_ssm":["Moses J. Ezekiel papers"],"title_tesim":["Moses J. Ezekiel papers"],"unitdate_ssm":["1867-1917"],"unitdate_inclusive_ssm":["1867-1917"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS.0010","/repositories/3/resources/94"],"text":["MS.0010","/repositories/3/resources/94","Moses J. Ezekiel papers","Sculptors—Virginia","Sculptors—Rome (Italy)","New Market Cadets","Virginia Military Institute—Buildings, structures, etc.","Virginia Military Institute—Class of 1866","Artists","Drawings (visual works)","The Moses J. Ezekiel papers digital collection","There are no restrictions","Chronological","Moses Jacob Ezekiel, the noted 19th century American Jewish sculptor, was born in Richmond, Virginia on October 28, 1844. One of 14 children of Jacob Ezekiel and Catherine de Castro, he had already started a mercantile career when he decided to attend college. Ezekiel entered VMI in September 1862, and during his VMI cadetship, took part in the Battle of New Market (May 15, 1864) and served in the trenches in defense of Richmond in the Spring of 1865.","Ezekiel graduated from VMI in 1866, and in 1867 began seriously to pursue his interest in art. He studied anatomy at the Medical College of Virginia and traveled to Cincinnati, Ohio where he studied at the Art School of J. Insco Williams and in the studio of T.D. Jones. In 1867 he sailed for Europe and entered the Royal Academy of Art in Berlin, Germany.","At the age of 29, Ezekiel won the prestigious Michel-Beer Prix de Rome for a bas relief entitled Israel. The prize money enabled him to travel to Rome, Italy where he established a studio and lived for the remainder of his life. Ezekiel executed nearly two hundred monuments in bronze and marble. Among his productions were the following:\n Busts of Lizst, Cardinal Hohenlohe, Eve, Homer, David, Judith, and Christ in the Tomb A statue of Mrs. Andrew W. White for Cornell University Madonna for the Church La Tivoli Faith for the Cemetery of Rome Apollo and Mercury in Berlin Robert E. Lee Stonewall Jackson Pan and Amor The Fountain of Neptune for the city of Netturno, Italy A bust of Lord Sherbrooke for St. Margaret, Westminister, London The Jefferson Monument for Louisville, Kentucky The Homer Group for the University of Virginia Virginia Mourning Her Dead for VMI Napoleon I at St. Helena A monument to Senator Daniel, Lynchburg, Virginia The Confederate Soldiers' Memorial at Arlington National Cemetery, Virginia Scores of other busts and reliefs \nEzekiel died in Italy on March 27, 1917, but because of World War I, his body was not returned to the United States until 1921. He is buried at the foot of the Confederate Memorial in Section 16 of Arlington National Cemetery, Virginia).","Rome July 23, 1904 \nMy dear Comrade and Friend. \nIn auld lang syne. \nI have again been prevented (by the retarded coming to Rome, of those who were to see my colossal statue of Mr. Drexel in clay before casting it in Bronze) from joining my old Cadet comrades in answering the last roll call and receiving the medal; which if still given to me, I should value above any earthly possession. After the Battle of New Market was over and we who survived answered the roll call on the field, I was in search of the wounded and found my room mate and comrade Thomas Jefferson lying on the floor of a hut quite exhausted and wounded in the breast. It was night and I was without shoes, as I had been all day and I went to the town of New Market and got a wagon and carried him to the house of Mrs. Clinedinst who gave me a bed for him on the ground floor- She had two daughters Anne and Lydie. It was Sunday night late when I got him into bed and from that time up to Tuesday night at about 11 o'clock I never left many cadets found both food and shelter was extremely kind to us all, and gave me every possible help for my friend. I always hoped to save Jefferson and that last evening when he asked me to read from St. John \"In my Father's house are many mansions\" \u0026 then began to wander in mind and thought I was his mother \u0026 then his sister \u0026 finally asked me to make a light, it was only then it dawned upon me that all hope was past and in his agony- as our gallant color bearer Evans was there with me I went up to call the family of Clinedinst (who had been as kind as it was possible for people to be all through those sad days) and they came down with candles in their hands whilst I had Jefferson in my arms, and he died. I washed and prepared him for burial and carried his mother a lock of his hair after we returned to Richmond.","As you want me to give you a kind of record of myself and according to the prospectus you sent I take pleasure in doing so. My parents were Jacob Ezekiel and Catherine de Castro\nMy grandparents Jacob de Castro \u0026 Hannah Pepper- Maternal and Michael Ezekiel  and Rebekah Israel - Paternal grandparents","My Parents were living in Richmond Va. when I was matriculated.","My Grandparents and great grandparents, are on my father's side buried in Philadelphia \u0026 on my mother's side in Richmond Va.","I was born in Richmond Va. Oct. 28, 1844.","Entered the V.M.I. the second year of the War and when back to reform the Corps, and graduated in the first class after the War. I gathered up in Lexington all the books and paintings I could find that had been dispersed by Hunter's Raid and reorganized the debating society, and gave the pictures later to the Letcher family and others, to whom they belonged. I was orderly sergeant of Company on the Intermediate lines below Richmond.","I was never a student at any institution before going to the V.M.I. But matriculated later and studied anatomy at the Richmond Medical College at night and from my 12th year on, kept books for my grandparents, and spent any spare hours in drawing \u0026 painting \u0026 modelling, never having a teacher of any kind, and it was then I modelled my Father's Bust which is still considered a good likeness.","I have I see given my War record first. But must add that I was slightly wounded in the Battle of New Market. But as the ball passed through my jacket and only grazed my breast, I took no notice of it. I was arrested and put in Castle Thunder in Richmond after the surrender, because I refused to take the oath of allegiance. About this time I wrote a letter which was published in all of the leading American papers, in which I denounced General Grant, comparing him to the worst Czars of Russia- for his famous or rather infamous Order No. 11, in which he prohibited any Jew in the U.S. Army having any concern in the Quarter Master's department. I do not now remember any more of it, than that I gathered the statistics \u0026 published them proving that the abuses in that department had not been done by Jews at all- and called upon all men in the United States of that persuasion or religion to vote for any man for the next President rather than for General Grant.","The General replied to my letter in the papers by deploring that he had ever published that Order No. 11 which he said he had given out upon information which be found out later was false. Meanwhile a secret carpet bag or political Yankee Committee in Richmond, sent me a letter saying that my life would be in danger if I stayed in Richmond after writing and publishing such a letter about General Grant their Hero: \u0026 this letter was forwarded to me, to Amelia County, at the Home of Mr. Garland Jefferson, the father of my dead comrade, where I had gone to carry the lock of hair of the dead boy to his mother. So I immediately on the receipt of that letter of intimidation jumped on to the first freight train that passed Amelia Courthouse \u0026 returned to Richmond. I went about my own affairs during the days, but coming home at night and passing 17th Street the concealed Ruffians fired at me from their concealment in the old market \u0026 let loose a shower of stones which smashed a number of windows, but left me unharmed. I reported at once to the Police Station in the bell house. But none of the gang were found \u0026 a second letter advising me to leave town came. But I took no notice of it, and so it all ended. As my Parents house had been rifled by the mob at the evacuation, and my Fathers store rooms of cotton and tobacco burned up, with the loss of an entire fortune of at least ¼ of million dollars, I staid at home, \u0026 with my youngest brother helped as well as we could to begin a little business and earn enough to live upon in a slender way, \u0026 when my father had again been able to start into a new business, I went West, and staid in Cincinnati a year, working for the first time in the studio of Mr. Jones (in 1868), a sculptor of some merit and well known there.","I then modelled my first statuette of \"Industry\", which was exhibited there, and the favorable criticism in the papers encouraged me penniless as I was to go abroad. I sold a breast pin I owned- which enabled me to travel second class to Berlin (in 1869) where I matriculated at the Royal Academy and passed the examination. In order to continue my studies I gave lessons in English in the mornings early- and drawing lessons at night, and spent the rest of the time at the academy, where I was elected by my Colleagues president of the Art Students league at the Academy. I also worked in the studio of Prof. [Siemernig] \u0026 then of Prof. Wolff and often worked In the open air or buildings in Berlin then in construction modelling heads and carytids and ornaments in order to earn an extra dollar. No one ever knew that I needed anything and I led a happy life all the same, and the Bohemian life of the student was mine also, to the fullest extent. I modelled then the ¾ life sized figure of Virginia Mourning her Dead and sent Mrs. General Lee a photo of it, as I was always in correspondence with that estimable wife of our Great Hero.","That statue I have always kept and it is now in my studio here, and is the model of the statue my brother cadets were good enough to unveil at the parade ground of our Alma Mater last year.","My finally gaining the Prix de Rome at the academy- and my being honored for my art works by the Duke of Saxe-Meiningen and the German Emperor and the Medal from the Art Society in Rome, my various works in America, England, France, Germany, Switzerland, and Russia are not subjects for my writing about: I have with all this the sincere regret that I have never been called upon in my own home Virginia, nor in the South, to execute a single work of art- excepting the one for my own comrades which links me forever with the Alma Mater, the V.M.I., where every stone, and every blade of grass is dear to me- and the name of Cadet of the V.M.I. the proudest and most honored title I can ever possess.","Of course my comrade I am writing this as a letter to you \u0026 not one for publication. You can glean from it any particulars you may choose for your Biography, of which I shall want several copies, besides I do want to contribute my mite to the picture of General Scott Shipp, and am surprised that I was not asked to do so as an Alumnus.","There never was any one I admired more than I did our then Col. Shipp, and when in the battle of New Market, his horse was wounded and he was down, I could not help running to him, to ask if he was hurt \u0026 when he said \"no, go ahead\" I left him. Randolph too was shot when we were shoulder to shoulder. He had just said smiling, there's no use dodging boys, if a ball's going to hit you, it'll hit you anyway! When he fell, I thought he was dead. But I found him at night in the hospital.","And now let me tell you that it has been a real grief to me not to have been able to join either last year or this year in the Corps Ceremonies which were of such deep interest to me. But I am under contract to finish a monument this fall \u0026 place it in Fairmount Park Philadelphia \u0026 I have several other works to finish and deliver and I could not come home until I could bring the monument and place it in position. These are hard facts, and have interfered with what would have been nearest to my own heart. But you will now understand it all.","Your kind letter has been waiting a long time to be answered, and it only seems a few weeks to me, as my life here is so full and every day brings me visitors from home or elsewhere, and so many duties, that for a couple of months I have absolutely had to neglect pen and ink nolens volens so I throw myself upon your kind indulgence, and with the most sincere and affectionate greetings","I am always your comrade and friend \nMoses J. Ezekiel","18 Piazza Termini \nBaths of Diocletian \nRome","The VMI Archives also holds a  collection of photographs  related to Ezekiel. Included are images of Ezekiel, his studio in Rome, Italy, and various examples of his sculptures.","The Moses J. Ezekiel papers consist of the papers of noted 19th century sculptor Moses J. Ezekiel, including:\n Correspondence to VMI superintendent Edward W. Nichols and others (dated 1867-1917), some relating to the design of the Battle of New Market memorial sculpture Virginia Mourning Her Dead Pen and ink sketches by Ezekiel (approximately 67 items) A typescript version of Ezekiel's autobiography Memoirs from the Baths of Diocletian Print material","Includes letters to General Edward W. Nichols and Greenlee Letcher concerning Virginia Mourning Her Dead (New Market Monument) and the Stonewall Jackson statue at VMI. Also includes postcards sent primarily to family members, including Henry C. Ezekiel and Rebecca Ezekiel.","Autobiographical letter from Moses J. Ezekiel to VMI historian Joseph R. Anderson, Jr. In the letter, Ezekiel recounts his experience as a VMI cadet at the Battle of New Market on May 15, 1864 and his post-VMI career through July 1904. He discusses caring for his classmate Thomas G. Jefferson, who was mortally wounded in the Battle and expresses regret for missing VMI reunion at which New Market Medals were issued to veterans.","Drawing of the bronze statue of Anthony J. Drexel, the Philadelphia financier and the founder of Drexel University. The monument was commissioned by Drexel's partner, John H. Harjes of Paris, France and donated to the city of Philadelphia, Pennsylvania.","Drawing of Anton Alexander von Werner (1843-1915), a German historical painter known for painting scenes from the Franco Prussian War.","Drawing of Benjamin B. Hotchkiss (1826-1885), a leading American gunmaker and ordnance engineer. Moses J. Ezekiel molded a bust of Hotchkiss in clay and cast it in bronze in 1879.","A drawing of Bacchante, a classical figure from Greek and  Roman mythology that is priestess or female votary of Bacchus.","A drawing of Jesus Christ, based on the bronze torso.","Detail from marble sculpture, 1896, located in the Chapelle de Notre Dame de Consolation, Paris.","Drawing of the marble sculpture, 1896, located in the Chapelle de Notre Dame de Consolation, Paris.","Drawing of the Confederate Memorial monument in Arlington National Cemetery, Virginia.","Drawing shows the frieze that comprises part of the Confederate Memorial monument in Arlington National Cemetery, Virginia.","Drawing of the main figure of the Confederate Memorial monument in Arlington National Cemetery, Virginia.","Drawing of Eva Cattermole (1849-1896), known as \"Contessa Lara\" who was an Italian poet, writer, and friend of Moses J. Ezekiel.","A drawing of Daniel Collin, a German publisher whom Moses J. Ezekiel became friends with in Berlin, Germany.","A sketch of a clay model of proposed David G. Farragut monument. Moses J. Ezekiel created a model to enter in a competition in 1873, but his work was not chosen.","Drawing of Edith Lack, from Plymouth, England. She was the youngest daughter of a family that Moses J. Ezekiel met while traveling to Rome, Italy in 1874.","Drawing of Fanny Lewald, a German novelist and champion of women's rights.","Drawing of Fedor Encke, one of Moses J. Ezekiel's classmates at the Berlin Academy.","Drawing of Francis H. Smith who was VMI superintendent from 1839 to 1889. Moses J. Ezekiel knew him during his own cadetship.","Drawing of George Washington Custis Lee. Lee taught at VMI immediately after the Civil War and after the death in 1870 of his father, Robert E. Lee, who was President of Washington and Lee University, Lexington, Virginia.","A drawing of Gustav Adolf, Cardinal Prince of Hohenlohe-Schillingsfürst (1823-1896).","Drawing of guests inside Moses J. Ezekiel's studio.","Drawing of Israel, a bas relief, which was Moses J. Ezekiel's first significant work.","This drawing is of the bust of Jacob Ezekiel, Moses J. Ezekiel's father.","Jennie McGraw Fiske was a member of a prominent family who provided significant philanthropic support to Cornell University, New York. In 1904 the University commissioned Moses J. Ezekiel to produce this recumbent statue and it was completed in June 1907.","Drawing of John H. Harjes, a German born financier. Moses J. Ezekiel, a friend of the family, cast this bronze bust in 1881.","Drawing of Judas Maccabees, a Jewish military leader who was victorious in 165 B.C.","The Robert Gamble Cabell family of Richmond, Virginia were childhood friends of Moses J. Ezekiel. Two Cabell brothers attended VMI and both fought in the Battle of New Market with Ezekiel. William Cabell was one of the cadets killed in the battle.","Drawing of Lola Montez, a British born dancer and mistress of King Ludwig I of Bavaria. She settled in New York and appeared on stage in the United States. Moses J. Ezekiel saw a performance in Richmond, Virginia sometime before 1861.","Drawing of Nadine Helbig, a Russian born author who married Wofgang Helbig.","Drawing of Mammy Keziah, an Ezekiel family slave.","Drawing of Mammy Keziah, an Ezekiel family slave.","Drawing of Mammy Mary, a slave owned by the Ezekiel family during Moses J. Ezekiel's childhood. He refers to her in his memoirs as \"my mammy Mary.\"","Drawing of Mary Custis Lee (1806-1873) who was the great granddaughter of Martha Washington and the wife of Robert E. Lee.","Drawing of Mary Custis Lee (1806-1873) who was the great granddaughter of Martha Washington and the wife of Robert E. Lee.","Drawing of a crypt monument at Sage Chapel, Cornell University, New York.","Drawing of Mary Triplett of Richmond, Virginia. She was one of the \"belles\" of the city, along with Lizzy Cabell. She was the sister of Moses J. Ezekiel's fellow VMI cadet, John R. Triplett.","A drawing of a member of a German family with whom Moses J. Ezekiel was acquainted.","Drawing of Adolfo de Bosis and his wife. He was an Italian poet and lawyer who translated Shelley into Italian and edited the Review Il Convito.","Drawing of the wife of German publisher Daniel Collin.","Drawing of Nannie Whitmell Tunstall, the sister of John L. Tunstall, who attended VMI with Moses J. Ezekiel. In 1886, Ezekiel created a 16 by 21 inch marble intaglio bas-relief of Tunstall, made during her visit to Rome, Italy. The piece is owned by VMI.","Drawing of the Neptune statue Moses J. Ezekiel created for a fountain in Nettuno, Italy. The statue was destroyed during World War II.","Drawing of Otto von Bismarck, a Prussian statesman.","Drawing is likely of a slave in the Ezekiel household in Richmond, Virginia.  No further information is known at this time.","Drawing of Pan and Amor bas relief.","Drawing of Moses J. Ezekiel's proposed Robert E. Lee monument for a competition in 1886. Another sculptor's work was chosen and Ezekiel's concept was never executed.","Drawing of Robert Hausmann, a German cellist.","Drawing of Scott Shipp, VMI Class of 1859, who served as commandant and later as VMI's second superintendent. He was commandant during Moses J. Ezekiel's cadetship and was in command at the Battle of New Market.","Drawing of the Southern monument, which was one of the first monuments in the north dedicated to the Confederate soldier. It was commissioned by the Cincinnati, Ohio chapter of the United Daughters of the Confederacy.","This drawing is based on the photo of Stonewall Jackson known as the Chancellorsville photograph.","A drawing of the entrance to Moses J. Ezekiel's studio, Baths of Diocletian, Rome.","Drawing of cadet Thomas G. Jefferson who was mortally wounded at the Battle of New Market on May 15, 1864.","Drawing of \"White Lucy,\" who was a slave in Richmond, Virginia during Moses J. Ezekiel's childhood. When her owner threatened sale, Jacob Ezekiel intervened and she was given the job of seamstress in the Ezekiel home. The family later rented a house for her, and she made a living as a washerwoman and seamstress. She died circa 1866. Her surname does not appear in Ezekiel's memoirs.","This memorial publication was sent from Moses J. Ezekiel to VMI Superintendent Scott Shipp. The publication is annotated by Shipp.","Photograph of Robert E. Lee and of Lee's Farewell Address. This photograph was given to Moses J. Ezekiel by Mrs. Robert E. Lee.","Ezekiel family scrapbook possibly compiled by H. C. Ezekiel. The scrapbook contains documents, most pertaining to various members of the Ezekiel family. Many documents are from the Civil War era, 1863-1865.","Typescript titled \"Memoirs from the Baths of Diocletian.\"","Manuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information.","Manuscripts stacks","Virginia Military Institute Archives","Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927","Jefferson, Thomas G. (Thomas Garland), 1847-1864","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Drexel, Anthony Joseph, 1826-1893","Werner, Anton von, 1843-1915","Hotchkiss, Benjamin B., 1826-1885","Christ, Jesus, circa 6-4 B.C.E.-circa 30 C.E.","Lara, Contessa, 1849-1896","Lewald, Fanny, 1811-1889","Encke, Fedor, 1851-1936","Smith, Francis H. (Francis Henney), 1812-1890","Lee, George Washington Custis, 1832-1913","Ezekiel, Jacob, 1812-1899","Montez, Lola, 1818-1861","Helbig, Nadine, 1847-1915","Lee, Mary Custis, 1835-1918","White, Mary Outwater, 1836-1887","de Bosis, Adolfo, 1863-1924","Tunstall, Nannie Whitmell","Bismarck, Otto von, 1815-1898","Lee, Robert E. (Robert Edward), 1807-1870","Hausmann, Robert, 1852-1909","Shipp, Scott, 1839-1917","Jackson, Stonewall, 1824-1863","English"],"unitid_tesim":["MS.0010","/repositories/3/resources/94"],"normalized_title_ssm":["Moses J. Ezekiel papers"],"collection_title_tesim":["Moses J. Ezekiel papers"],"collection_ssim":["Moses J. Ezekiel papers"],"repository_ssm":["Virginia Military Institute Archives"],"repository_ssim":["Virginia Military Institute Archives"],"creator_ssm":["Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927"],"creator_ssim":["Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927"],"creator_persname_ssim":["Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927"],"creators_ssim":["Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927"],"access_terms_ssm":["Manuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information."],"access_subjects_ssim":["Sculptors—Virginia","Sculptors—Rome (Italy)","New Market Cadets","Virginia Military Institute—Buildings, structures, etc.","Virginia Military Institute—Class of 1866","Artists","Drawings (visual works)"],"access_subjects_ssm":["Sculptors—Virginia","Sculptors—Rome (Italy)","New Market Cadets","Virginia Military Institute—Buildings, structures, etc.","Virginia Military Institute—Class of 1866","Artists","Drawings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":["1 cubic feet 2 boxes"],"extent_tesim":["1 cubic feet 2 boxes"],"genreform_ssim":["Drawings (visual works)"],"date_range_isim":[1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917],"accessrestrict_html_tesm":["\u003cp\u003e\u003ca href=\"http://digitalcollections.vmi.edu/cdm/landingpage/collection/p15821coll18\"\u003eThe Moses J. Ezekiel papers digital collection\u003c/a\u003e\u003c/p\u003e","\u003cp\u003eThere are no restrictions\u003c/p\u003e"],"accessrestrict_heading_ssm":["Online Access","Conditions Governing Access"],"accessrestrict_tesim":["The Moses J. Ezekiel papers digital collection","There are no restrictions"],"arrangement_html_tesm":["\u003cp\u003eChronological\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Chronological"],"bioghist_html_tesm":["\u003cp\u003eMoses Jacob Ezekiel, the noted 19th century American Jewish sculptor, was born in Richmond, Virginia on October 28, 1844. One of 14 children of Jacob Ezekiel and Catherine de Castro, he had already started a mercantile career when he decided to attend college. Ezekiel entered VMI in September 1862, and during his VMI cadetship, took part in the Battle of New Market (May 15, 1864) and served in the trenches in defense of Richmond in the Spring of 1865.\u003c/p\u003e\n","\u003cp\u003eEzekiel graduated from VMI in 1866, and in 1867 began seriously to pursue his interest in art. He studied anatomy at the Medical College of Virginia and traveled to Cincinnati, Ohio where he studied at the Art School of J. Insco Williams and in the studio of T.D. Jones. In 1867 he sailed for Europe and entered the Royal Academy of Art in Berlin, Germany.\u003c/p\u003e\n","\u003cp\u003eAt the age of 29, Ezekiel won the prestigious Michel-Beer Prix de Rome for a bas relief entitled Israel. The prize money enabled him to travel to Rome, Italy where he established a studio and lived for the remainder of his life. Ezekiel executed nearly two hundred monuments in bronze and marble. Among his productions were the following:\n\u003cul\u003e\n\u003cli\u003eBusts of Lizst, Cardinal Hohenlohe, Eve, Homer, David, Judith, and Christ in the Tomb\u003c/li\u003e\n\u003cli\u003eA statue of Mrs. Andrew W. White for Cornell University\u003c/li\u003e\n\u003cli\u003eMadonna for the Church La Tivoli\u003c/li\u003e\n\u003cli\u003eFaith for the Cemetery of Rome\u003c/li\u003e\n\u003cli\u003eApollo and Mercury in Berlin\u003c/li\u003e\n\u003cli\u003eRobert E. Lee\u003c/li\u003e\n\u003cli\u003eStonewall Jackson\u003c/li\u003e\n\u003cli\u003ePan and Amor\u003c/li\u003e\n\u003cli\u003eThe Fountain of Neptune for the city of Netturno, Italy\u003c/li\u003e\n\u003cli\u003eA bust of Lord Sherbrooke for St. Margaret, Westminister, London\u003c/li\u003e\n\u003cli\u003eThe Jefferson Monument for Louisville, Kentucky\u003c/li\u003e\n\u003cli\u003eThe Homer Group for the University of Virginia\u003c/li\u003e\n\u003cli\u003eVirginia Mourning Her Dead for VMI\u003c/li\u003e\n\u003cli\u003eNapoleon I at St. Helena\u003c/li\u003e\n\u003cli\u003eA monument to Senator Daniel, Lynchburg, Virginia\u003c/li\u003e\n\u003cli\u003eThe Confederate Soldiers' Memorial at Arlington National Cemetery, Virginia\u003c/li\u003e\n\u003cli\u003eScores of other busts and reliefs\u003c/li\u003e\n\u003c/ul\u003e\nEzekiel died in Italy on March 27, 1917, but because of World War I, his body was not returned to the United States until 1921. He is buried at the foot of the Confederate Memorial in Section 16 of Arlington National Cemetery, Virginia).\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Moses Jacob Ezekiel, the noted 19th century American Jewish sculptor, was born in Richmond, Virginia on October 28, 1844. One of 14 children of Jacob Ezekiel and Catherine de Castro, he had already started a mercantile career when he decided to attend college. Ezekiel entered VMI in September 1862, and during his VMI cadetship, took part in the Battle of New Market (May 15, 1864) and served in the trenches in defense of Richmond in the Spring of 1865.","Ezekiel graduated from VMI in 1866, and in 1867 began seriously to pursue his interest in art. He studied anatomy at the Medical College of Virginia and traveled to Cincinnati, Ohio where he studied at the Art School of J. Insco Williams and in the studio of T.D. Jones. In 1867 he sailed for Europe and entered the Royal Academy of Art in Berlin, Germany.","At the age of 29, Ezekiel won the prestigious Michel-Beer Prix de Rome for a bas relief entitled Israel. The prize money enabled him to travel to Rome, Italy where he established a studio and lived for the remainder of his life. Ezekiel executed nearly two hundred monuments in bronze and marble. Among his productions were the following:\n Busts of Lizst, Cardinal Hohenlohe, Eve, Homer, David, Judith, and Christ in the Tomb A statue of Mrs. Andrew W. White for Cornell University Madonna for the Church La Tivoli Faith for the Cemetery of Rome Apollo and Mercury in Berlin Robert E. Lee Stonewall Jackson Pan and Amor The Fountain of Neptune for the city of Netturno, Italy A bust of Lord Sherbrooke for St. Margaret, Westminister, London The Jefferson Monument for Louisville, Kentucky The Homer Group for the University of Virginia Virginia Mourning Her Dead for VMI Napoleon I at St. Helena A monument to Senator Daniel, Lynchburg, Virginia The Confederate Soldiers' Memorial at Arlington National Cemetery, Virginia Scores of other busts and reliefs \nEzekiel died in Italy on March 27, 1917, but because of World War I, his body was not returned to the United States until 1921. He is buried at the foot of the Confederate Memorial in Section 16 of Arlington National Cemetery, Virginia)."],"odd_html_tesm":["\u003cp\u003eRome July 23, 1904\u003cbr\u003e\nMy dear Comrade and Friend.\u003cbr\u003e\nIn auld lang syne.\u003cbr\u003e\nI have again been prevented (by the retarded coming to Rome, of those who were to see my colossal statue of Mr. Drexel in clay before casting it in Bronze) from joining my old Cadet comrades in answering the last roll call and receiving the medal; which if still given to me, I should value above any earthly possession. After the Battle of New Market was over and we who survived answered the roll call on the field, I was in search of the wounded and found my room mate and comrade Thomas Jefferson lying on the floor of a hut quite exhausted and wounded in the breast. It was night and I was without shoes, as I had been all day and I went to the town of New Market and got a wagon and carried him to the house of Mrs. Clinedinst who gave me a bed for him on the ground floor- She had two daughters Anne and Lydie. It was Sunday night late when I got him into bed and from that time up to Tuesday night at about 11 o'clock I never left many cadets found both food and shelter was extremely kind to us all, and gave me every possible help for my friend. I always hoped to save Jefferson and that last evening when he asked me to read from St. John \"In my Father's house are many mansions\" \u0026amp; then began to wander in mind and thought I was his mother \u0026amp; then his sister \u0026amp; finally asked me to make a light, it was only then it dawned upon me that all hope was past and in his agony- as our gallant color bearer Evans was there with me I went up to call the family of Clinedinst (who had been as kind as it was possible for people to be all through those sad days) and they came down with candles in their hands whilst I had Jefferson in my arms, and he died. I washed and prepared him for burial and carried his mother a lock of his hair after we returned to Richmond.\u003c/p\u003e\n","\u003cp\u003eAs you want me to give you a kind of record of myself and according to the prospectus you sent I take pleasure in doing so. My parents were Jacob Ezekiel and Catherine de Castro\nMy grandparents Jacob de Castro \u0026amp; Hannah Pepper- Maternal and Michael Ezekiel  and Rebekah Israel - Paternal grandparents\u003c/p\u003e\n","\u003cp\u003eMy Parents were living in Richmond Va. when I was matriculated.\u003c/p\u003e\n","\u003cp\u003eMy Grandparents and great grandparents, are on my father's side buried in Philadelphia \u0026amp; on my mother's side in Richmond Va.\u003c/p\u003e\n","\u003cp\u003eI was born in Richmond Va. Oct. 28, 1844.\u003c/p\u003e\n","\u003cp\u003eEntered the V.M.I. the second year of the War and when back to reform the Corps, and graduated in the first class after the War. I gathered up in Lexington all the books and paintings I could find that had been dispersed by Hunter's Raid and reorganized the debating society, and gave the pictures later to the Letcher family and others, to whom they belonged. I was orderly sergeant of Company on the Intermediate lines below Richmond.\u003c/p\u003e\n","\u003cp\u003eI was never a student at any institution before going to the V.M.I. But matriculated later and studied anatomy at the Richmond Medical College at night and from my 12th year on, kept books for my grandparents, and spent any spare hours in drawing \u0026amp; painting \u0026amp; modelling, never having a teacher of any kind, and it was then I modelled my Father's Bust which is still considered a good likeness.\u003c/p\u003e\n","\u003cp\u003eI have I see given my War record first. But must add that I was slightly wounded in the Battle of New Market. But as the ball passed through my jacket and only grazed my breast, I took no notice of it. I was arrested and put in Castle Thunder in Richmond after the surrender, because I refused to take the oath of allegiance. About this time I wrote a letter which was published in all of the leading American papers, in which I denounced General Grant, comparing him to the worst Czars of Russia- for his famous or rather infamous Order No. 11, in which he prohibited any Jew in the U.S. Army having any concern in the Quarter Master's department. I do not now remember any more of it, than that I gathered the statistics \u0026amp; published them proving that the abuses in that department had not been done by Jews at all- and called upon all men in the United States of that persuasion or religion to vote for any man for the next President rather than for General Grant.\u003c/p\u003e\n","\u003cp\u003eThe General replied to my letter in the papers by deploring that he had ever published that Order No. 11 which he said he had given out upon information which be found out later was false. Meanwhile a secret carpet bag or political Yankee Committee in Richmond, sent me a letter saying that my life would be in danger if I stayed in Richmond after writing and publishing such a letter about General Grant their Hero: \u0026amp; this letter was forwarded to me, to Amelia County, at the Home of Mr. Garland Jefferson, the father of my dead comrade, where I had gone to carry the lock of hair of the dead boy to his mother. So I immediately on the receipt of that letter of intimidation jumped on to the first freight train that passed Amelia Courthouse \u0026amp; returned to Richmond. I went about my own affairs during the days, but coming home at night and passing 17th Street the concealed Ruffians fired at me from their concealment in the old market \u0026amp; let loose a shower of stones which smashed a number of windows, but left me unharmed. I reported at once to the Police Station in the bell house. But none of the gang were found \u0026amp; a second letter advising me to leave town came. But I took no notice of it, and so it all ended. As my Parents house had been rifled by the mob at the evacuation, and my Fathers store rooms of cotton and tobacco burned up, with the loss of an entire fortune of at least ¼ of million dollars, I staid at home, \u0026amp; with my youngest brother helped as well as we could to begin a little business and earn enough to live upon in a slender way, \u0026amp; when my father had again been able to start into a new business, I went West, and staid in Cincinnati a year, working for the first time in the studio of Mr. Jones (in 1868), a sculptor of some merit and well known there.\u003c/p\u003e\n","\u003cp\u003eI then modelled my first statuette of \"Industry\", which was exhibited there, and the favorable criticism in the papers encouraged me penniless as I was to go abroad. I sold a breast pin I owned- which enabled me to travel second class to Berlin (in 1869) where I matriculated at the Royal Academy and passed the examination. In order to continue my studies I gave lessons in English in the mornings early- and drawing lessons at night, and spent the rest of the time at the academy, where I was elected by my Colleagues president of the Art Students league at the Academy. I also worked in the studio of Prof. [Siemernig] \u0026amp; then of Prof. Wolff and often worked In the open air or buildings in Berlin then in construction modelling heads and carytids and ornaments in order to earn an extra dollar. No one ever knew that I needed anything and I led a happy life all the same, and the Bohemian life of the student was mine also, to the fullest extent. I modelled then the ¾ life sized figure of Virginia Mourning her Dead and sent Mrs. General Lee a photo of it, as I was always in correspondence with that estimable wife of our Great Hero.\u003c/p\u003e\n","\u003cp\u003eThat statue I have always kept and it is now in my studio here, and is the model of the statue my brother cadets were good enough to unveil at the parade ground of our Alma Mater last year.\u003c/p\u003e\n","\u003cp\u003eMy finally gaining the Prix de Rome at the academy- and my being honored for my art works by the Duke of Saxe-Meiningen and the German Emperor and the Medal from the Art Society in Rome, my various works in America, England, France, Germany, Switzerland, and Russia are not subjects for my writing about: I have with all this the sincere regret that I have never been called upon in my own home Virginia, nor in the South, to execute a single work of art- excepting the one for my own comrades which links me forever with the Alma Mater, the V.M.I., where every stone, and every blade of grass is dear to me- and the name of Cadet of the V.M.I. the proudest and most honored title I can ever possess.\u003c/p\u003e\n","\u003cp\u003eOf course my comrade I am writing this as a letter to you \u0026amp; not one for publication. You can glean from it any particulars you may choose for your Biography, of which I shall want several copies, besides I do want to contribute my mite to the picture of General Scott Shipp, and am surprised that I was not asked to do so as an Alumnus.\u003c/p\u003e\n","\u003cp\u003eThere never was any one I admired more than I did our then Col. Shipp, and when in the battle of New Market, his horse was wounded and he was down, I could not help running to him, to ask if he was hurt \u0026amp; when he said \"no, go ahead\" I left him. Randolph too was shot when we were shoulder to shoulder. He had just said smiling, there's no use dodging boys, if a ball's going to hit you, it'll hit you anyway! When he fell, I thought he was dead. But I found him at night in the hospital.\u003c/p\u003e\n","\u003cp\u003eAnd now let me tell you that it has been a real grief to me not to have been able to join either last year or this year in the Corps Ceremonies which were of such deep interest to me. But I am under contract to finish a monument this fall \u0026amp; place it in Fairmount Park Philadelphia \u0026amp; I have several other works to finish and deliver and I could not come home until I could bring the monument and place it in position. These are hard facts, and have interfered with what would have been nearest to my own heart. But you will now understand it all.\u003c/p\u003e\n","\u003cp\u003eYour kind letter has been waiting a long time to be answered, and it only seems a few weeks to me, as my life here is so full and every day brings me visitors from home or elsewhere, and so many duties, that for a couple of months I have absolutely had to neglect pen and ink nolens volens so I throw myself upon your kind indulgence, and with the most sincere and affectionate greetings\u003c/p\u003e\n","\u003cp\u003eI am always your comrade and friend\u003cbr\u003e\nMoses J. Ezekiel\u003c/p\u003e\n","\u003cp\u003e18 Piazza Termini\u003cbr\u003e\nBaths of Diocletian\u003cbr\u003e\nRome\u003c/p\u003e"],"odd_heading_ssm":["Transcription"],"odd_tesim":["Rome July 23, 1904 \nMy dear Comrade and Friend. \nIn auld lang syne. \nI have again been prevented (by the retarded coming to Rome, of those who were to see my colossal statue of Mr. Drexel in clay before casting it in Bronze) from joining my old Cadet comrades in answering the last roll call and receiving the medal; which if still given to me, I should value above any earthly possession. After the Battle of New Market was over and we who survived answered the roll call on the field, I was in search of the wounded and found my room mate and comrade Thomas Jefferson lying on the floor of a hut quite exhausted and wounded in the breast. It was night and I was without shoes, as I had been all day and I went to the town of New Market and got a wagon and carried him to the house of Mrs. Clinedinst who gave me a bed for him on the ground floor- She had two daughters Anne and Lydie. It was Sunday night late when I got him into bed and from that time up to Tuesday night at about 11 o'clock I never left many cadets found both food and shelter was extremely kind to us all, and gave me every possible help for my friend. I always hoped to save Jefferson and that last evening when he asked me to read from St. John \"In my Father's house are many mansions\" \u0026 then began to wander in mind and thought I was his mother \u0026 then his sister \u0026 finally asked me to make a light, it was only then it dawned upon me that all hope was past and in his agony- as our gallant color bearer Evans was there with me I went up to call the family of Clinedinst (who had been as kind as it was possible for people to be all through those sad days) and they came down with candles in their hands whilst I had Jefferson in my arms, and he died. I washed and prepared him for burial and carried his mother a lock of his hair after we returned to Richmond.","As you want me to give you a kind of record of myself and according to the prospectus you sent I take pleasure in doing so. My parents were Jacob Ezekiel and Catherine de Castro\nMy grandparents Jacob de Castro \u0026 Hannah Pepper- Maternal and Michael Ezekiel  and Rebekah Israel - Paternal grandparents","My Parents were living in Richmond Va. when I was matriculated.","My Grandparents and great grandparents, are on my father's side buried in Philadelphia \u0026 on my mother's side in Richmond Va.","I was born in Richmond Va. Oct. 28, 1844.","Entered the V.M.I. the second year of the War and when back to reform the Corps, and graduated in the first class after the War. I gathered up in Lexington all the books and paintings I could find that had been dispersed by Hunter's Raid and reorganized the debating society, and gave the pictures later to the Letcher family and others, to whom they belonged. I was orderly sergeant of Company on the Intermediate lines below Richmond.","I was never a student at any institution before going to the V.M.I. But matriculated later and studied anatomy at the Richmond Medical College at night and from my 12th year on, kept books for my grandparents, and spent any spare hours in drawing \u0026 painting \u0026 modelling, never having a teacher of any kind, and it was then I modelled my Father's Bust which is still considered a good likeness.","I have I see given my War record first. But must add that I was slightly wounded in the Battle of New Market. But as the ball passed through my jacket and only grazed my breast, I took no notice of it. I was arrested and put in Castle Thunder in Richmond after the surrender, because I refused to take the oath of allegiance. About this time I wrote a letter which was published in all of the leading American papers, in which I denounced General Grant, comparing him to the worst Czars of Russia- for his famous or rather infamous Order No. 11, in which he prohibited any Jew in the U.S. Army having any concern in the Quarter Master's department. I do not now remember any more of it, than that I gathered the statistics \u0026 published them proving that the abuses in that department had not been done by Jews at all- and called upon all men in the United States of that persuasion or religion to vote for any man for the next President rather than for General Grant.","The General replied to my letter in the papers by deploring that he had ever published that Order No. 11 which he said he had given out upon information which be found out later was false. Meanwhile a secret carpet bag or political Yankee Committee in Richmond, sent me a letter saying that my life would be in danger if I stayed in Richmond after writing and publishing such a letter about General Grant their Hero: \u0026 this letter was forwarded to me, to Amelia County, at the Home of Mr. Garland Jefferson, the father of my dead comrade, where I had gone to carry the lock of hair of the dead boy to his mother. So I immediately on the receipt of that letter of intimidation jumped on to the first freight train that passed Amelia Courthouse \u0026 returned to Richmond. I went about my own affairs during the days, but coming home at night and passing 17th Street the concealed Ruffians fired at me from their concealment in the old market \u0026 let loose a shower of stones which smashed a number of windows, but left me unharmed. I reported at once to the Police Station in the bell house. But none of the gang were found \u0026 a second letter advising me to leave town came. But I took no notice of it, and so it all ended. As my Parents house had been rifled by the mob at the evacuation, and my Fathers store rooms of cotton and tobacco burned up, with the loss of an entire fortune of at least ¼ of million dollars, I staid at home, \u0026 with my youngest brother helped as well as we could to begin a little business and earn enough to live upon in a slender way, \u0026 when my father had again been able to start into a new business, I went West, and staid in Cincinnati a year, working for the first time in the studio of Mr. Jones (in 1868), a sculptor of some merit and well known there.","I then modelled my first statuette of \"Industry\", which was exhibited there, and the favorable criticism in the papers encouraged me penniless as I was to go abroad. I sold a breast pin I owned- which enabled me to travel second class to Berlin (in 1869) where I matriculated at the Royal Academy and passed the examination. In order to continue my studies I gave lessons in English in the mornings early- and drawing lessons at night, and spent the rest of the time at the academy, where I was elected by my Colleagues president of the Art Students league at the Academy. I also worked in the studio of Prof. [Siemernig] \u0026 then of Prof. Wolff and often worked In the open air or buildings in Berlin then in construction modelling heads and carytids and ornaments in order to earn an extra dollar. No one ever knew that I needed anything and I led a happy life all the same, and the Bohemian life of the student was mine also, to the fullest extent. I modelled then the ¾ life sized figure of Virginia Mourning her Dead and sent Mrs. General Lee a photo of it, as I was always in correspondence with that estimable wife of our Great Hero.","That statue I have always kept and it is now in my studio here, and is the model of the statue my brother cadets were good enough to unveil at the parade ground of our Alma Mater last year.","My finally gaining the Prix de Rome at the academy- and my being honored for my art works by the Duke of Saxe-Meiningen and the German Emperor and the Medal from the Art Society in Rome, my various works in America, England, France, Germany, Switzerland, and Russia are not subjects for my writing about: I have with all this the sincere regret that I have never been called upon in my own home Virginia, nor in the South, to execute a single work of art- excepting the one for my own comrades which links me forever with the Alma Mater, the V.M.I., where every stone, and every blade of grass is dear to me- and the name of Cadet of the V.M.I. the proudest and most honored title I can ever possess.","Of course my comrade I am writing this as a letter to you \u0026 not one for publication. You can glean from it any particulars you may choose for your Biography, of which I shall want several copies, besides I do want to contribute my mite to the picture of General Scott Shipp, and am surprised that I was not asked to do so as an Alumnus.","There never was any one I admired more than I did our then Col. Shipp, and when in the battle of New Market, his horse was wounded and he was down, I could not help running to him, to ask if he was hurt \u0026 when he said \"no, go ahead\" I left him. Randolph too was shot when we were shoulder to shoulder. He had just said smiling, there's no use dodging boys, if a ball's going to hit you, it'll hit you anyway! When he fell, I thought he was dead. But I found him at night in the hospital.","And now let me tell you that it has been a real grief to me not to have been able to join either last year or this year in the Corps Ceremonies which were of such deep interest to me. But I am under contract to finish a monument this fall \u0026 place it in Fairmount Park Philadelphia \u0026 I have several other works to finish and deliver and I could not come home until I could bring the monument and place it in position. These are hard facts, and have interfered with what would have been nearest to my own heart. But you will now understand it all.","Your kind letter has been waiting a long time to be answered, and it only seems a few weeks to me, as my life here is so full and every day brings me visitors from home or elsewhere, and so many duties, that for a couple of months I have absolutely had to neglect pen and ink nolens volens so I throw myself upon your kind indulgence, and with the most sincere and affectionate greetings","I am always your comrade and friend \nMoses J. Ezekiel","18 Piazza Termini \nBaths of Diocletian \nRome"],"prefercite_html_tesm":["\u003cp\u003eMoses J. Ezekiel papers, 1867-1917. MS 0010. VMI Archives, Virginia Military Institute, Lexington, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Moses J. Ezekiel papers, 1867-1917. MS 0010. VMI Archives, Virginia Military Institute, Lexington, Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003eThe VMI Archives also holds a \u003ca href=\"http://digitalcollections.vmi.edu/cdm/ref/collection/p15821coll7/id/3746\"\u003ecollection of photographs\u003c/a\u003e related to Ezekiel. Included are images of Ezekiel, his studio in Rome, Italy, and various examples of his sculptures.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The VMI Archives also holds a  collection of photographs  related to Ezekiel. Included are images of Ezekiel, his studio in Rome, Italy, and various examples of his sculptures."],"scopecontent_html_tesm":["\u003cp\u003eThe Moses J. Ezekiel papers consist of the papers of noted 19th century sculptor Moses J. Ezekiel, including:\n\u003cul\u003e\n\u003cli\u003eCorrespondence to VMI superintendent Edward W. Nichols and others (dated 1867-1917), some relating to the design of the Battle of New Market memorial sculpture Virginia Mourning Her Dead\u003c/li\u003e\n\u003cli\u003ePen and ink sketches by Ezekiel (approximately 67 items)\u003c/li\u003e\n\u003cli\u003eA typescript version of Ezekiel's autobiography\u003c/li\u003e\n\u003cli\u003eMemoirs from the Baths of Diocletian\u003c/li\u003e\n\u003cli\u003ePrint material\u003c/li\u003e\n\u003c/ul\u003e\u003c/p\u003e","\u003cp\u003eIncludes letters to General Edward W. Nichols and Greenlee Letcher concerning Virginia Mourning Her Dead (New Market Monument) and the Stonewall Jackson statue at VMI. Also includes postcards sent primarily to family members, including Henry C. Ezekiel and Rebecca Ezekiel.\u003c/p\u003e","\u003cp\u003eAutobiographical letter from Moses J. Ezekiel to VMI historian Joseph R. Anderson, Jr. In the letter, Ezekiel recounts his experience as a VMI cadet at the Battle of New Market on May 15, 1864 and his post-VMI career through July 1904. He discusses caring for his classmate Thomas G. Jefferson, who was mortally wounded in the Battle and expresses regret for missing VMI reunion at which New Market Medals were issued to veterans.\u003c/p\u003e","\u003cp\u003eDrawing of the bronze statue of Anthony J. Drexel, the Philadelphia financier and the founder of Drexel University. The monument was commissioned by Drexel's partner, John H. Harjes of Paris, France and donated to the city of Philadelphia, Pennsylvania.\u003c/p\u003e","\u003cp\u003eDrawing of Anton Alexander von Werner (1843-1915), a German historical painter known for painting scenes from the Franco Prussian War.\u003c/p\u003e","\u003cp\u003eDrawing of Benjamin B. Hotchkiss (1826-1885), a leading American gunmaker and ordnance engineer. Moses J. Ezekiel molded a bust of Hotchkiss in clay and cast it in bronze in 1879.\u003c/p\u003e","\u003cp\u003eA drawing of Bacchante, a classical figure from Greek and  Roman mythology that is priestess or female votary of Bacchus.\u003c/p\u003e","\u003cp\u003eA drawing of Jesus Christ, based on the bronze torso.\u003c/p\u003e","\u003cp\u003eDetail from marble sculpture, 1896, located in the Chapelle de Notre Dame de Consolation, Paris.\u003c/p\u003e","\u003cp\u003eDrawing of the marble sculpture, 1896, located in the Chapelle de Notre Dame de Consolation, Paris.\u003c/p\u003e","\u003cp\u003eDrawing of the Confederate Memorial monument in Arlington National Cemetery, Virginia.\u003c/p\u003e","\u003cp\u003eDrawing shows the frieze that comprises part of the Confederate Memorial monument in Arlington National Cemetery, Virginia.\u003c/p\u003e","\u003cp\u003eDrawing of the main figure of the Confederate Memorial monument in Arlington National Cemetery, Virginia.\u003c/p\u003e","\u003cp\u003eDrawing of Eva Cattermole (1849-1896), known as \"Contessa Lara\" who was an Italian poet, writer, and friend of Moses J. Ezekiel.\u003c/p\u003e","\u003cp\u003eA drawing of Daniel Collin, a German publisher whom Moses J. Ezekiel became friends with in Berlin, Germany.\u003c/p\u003e","\u003cp\u003eA sketch of a clay model of proposed David G. Farragut monument. Moses J. Ezekiel created a model to enter in a competition in 1873, but his work was not chosen.\u003c/p\u003e","\u003cp\u003eDrawing of Edith Lack, from Plymouth, England. She was the youngest daughter of a family that Moses J. Ezekiel met while traveling to Rome, Italy in 1874.\u003c/p\u003e","\u003cp\u003eDrawing of Fanny Lewald, a German novelist and champion of women's rights.\u003c/p\u003e","\u003cp\u003eDrawing of Fedor Encke, one of Moses J. Ezekiel's classmates at the Berlin Academy.\u003c/p\u003e","\u003cp\u003eDrawing of Francis H. Smith who was VMI superintendent from 1839 to 1889. Moses J. Ezekiel knew him during his own cadetship.\u003c/p\u003e","\u003cp\u003eDrawing of George Washington Custis Lee. Lee taught at VMI immediately after the Civil War and after the death in 1870 of his father, Robert E. Lee, who was President of Washington and Lee University, Lexington, Virginia.\u003c/p\u003e","\u003cp\u003eA drawing of Gustav Adolf, Cardinal Prince of Hohenlohe-Schillingsfürst (1823-1896).\u003c/p\u003e","\u003cp\u003eDrawing of guests inside Moses J. Ezekiel's studio.\u003c/p\u003e","\u003cp\u003eDrawing of Israel, a bas relief, which was Moses J. Ezekiel's first significant work.\u003c/p\u003e","\u003cp\u003eThis drawing is of the bust of Jacob Ezekiel, Moses J. Ezekiel's father.\u003c/p\u003e","\u003cp\u003eJennie McGraw Fiske was a member of a prominent family who provided significant philanthropic support to Cornell University, New York. In 1904 the University commissioned Moses J. Ezekiel to produce this recumbent statue and it was completed in June 1907.\u003c/p\u003e","\u003cp\u003eDrawing of John H. Harjes, a German born financier. Moses J. Ezekiel, a friend of the family, cast this bronze bust in 1881.\u003c/p\u003e","\u003cp\u003eDrawing of Judas Maccabees, a Jewish military leader who was victorious in 165 B.C.\u003c/p\u003e","\u003cp\u003eThe Robert Gamble Cabell family of Richmond, Virginia were childhood friends of Moses J. Ezekiel. Two Cabell brothers attended VMI and both fought in the Battle of New Market with Ezekiel. William Cabell was one of the cadets killed in the battle.\u003c/p\u003e","\u003cp\u003eDrawing of Lola Montez, a British born dancer and mistress of King Ludwig I of Bavaria. She settled in New York and appeared on stage in the United States. Moses J. Ezekiel saw a performance in Richmond, Virginia sometime before 1861.\u003c/p\u003e","\u003cp\u003eDrawing of Nadine Helbig, a Russian born author who married Wofgang Helbig.\u003c/p\u003e","\u003cp\u003eDrawing of Mammy Keziah, an Ezekiel family slave.\u003c/p\u003e","\u003cp\u003eDrawing of Mammy Keziah, an Ezekiel family slave.\u003c/p\u003e","\u003cp\u003eDrawing of Mammy Mary, a slave owned by the Ezekiel family during Moses J. Ezekiel's childhood. He refers to her in his memoirs as \"my mammy Mary.\"\u003c/p\u003e","\u003cp\u003eDrawing of Mary Custis Lee (1806-1873) who was the great granddaughter of Martha Washington and the wife of Robert E. Lee.\u003c/p\u003e","\u003cp\u003eDrawing of Mary Custis Lee (1806-1873) who was the great granddaughter of Martha Washington and the wife of Robert E. Lee.\u003c/p\u003e","\u003cp\u003eDrawing of a crypt monument at Sage Chapel, Cornell University, New York.\u003c/p\u003e","\u003cp\u003eDrawing of Mary Triplett of Richmond, Virginia. She was one of the \"belles\" of the city, along with Lizzy Cabell. She was the sister of Moses J. Ezekiel's fellow VMI cadet, John R. Triplett.\u003c/p\u003e","\u003cp\u003eA drawing of a member of a German family with whom Moses J. Ezekiel was acquainted.\u003c/p\u003e","\u003cp\u003eDrawing of Adolfo de Bosis and his wife. He was an Italian poet and lawyer who translated Shelley into Italian and edited the Review Il Convito.\u003c/p\u003e","\u003cp\u003eDrawing of the wife of German publisher Daniel Collin.\u003c/p\u003e","\u003cp\u003eDrawing of Nannie Whitmell Tunstall, the sister of John L. Tunstall, who attended VMI with Moses J. Ezekiel. In 1886, Ezekiel created a 16 by 21 inch marble intaglio bas-relief of Tunstall, made during her visit to Rome, Italy. The piece is owned by VMI.\u003c/p\u003e","\u003cp\u003eDrawing of the Neptune statue Moses J. Ezekiel created for a fountain in Nettuno, Italy. The statue was destroyed during World War II.\u003c/p\u003e","\u003cp\u003eDrawing of Otto von Bismarck, a Prussian statesman.\u003c/p\u003e","\u003cp\u003eDrawing is likely of a slave in the Ezekiel household in Richmond, Virginia.  No further information is known at this time.\u003c/p\u003e","\u003cp\u003eDrawing of Pan and Amor bas relief.\u003c/p\u003e","\u003cp\u003eDrawing of Moses J. Ezekiel's proposed Robert E. Lee monument for a competition in 1886. Another sculptor's work was chosen and Ezekiel's concept was never executed.\u003c/p\u003e","\u003cp\u003eDrawing of Robert Hausmann, a German cellist.\u003c/p\u003e","\u003cp\u003eDrawing of Scott Shipp, VMI Class of 1859, who served as commandant and later as VMI's second superintendent. He was commandant during Moses J. Ezekiel's cadetship and was in command at the Battle of New Market.\u003c/p\u003e","\u003cp\u003eDrawing of the Southern monument, which was one of the first monuments in the north dedicated to the Confederate soldier. It was commissioned by the Cincinnati, Ohio chapter of the United Daughters of the Confederacy.\u003c/p\u003e","\u003cp\u003eThis drawing is based on the photo of Stonewall Jackson known as the Chancellorsville photograph.\u003c/p\u003e","\u003cp\u003eA drawing of the entrance to Moses J. Ezekiel's studio, Baths of Diocletian, Rome.\u003c/p\u003e","\u003cp\u003eDrawing of cadet Thomas G. Jefferson who was mortally wounded at the Battle of New Market on May 15, 1864.\u003c/p\u003e","\u003cp\u003eDrawing of \"White Lucy,\" who was a slave in Richmond, Virginia during Moses J. Ezekiel's childhood. When her owner threatened sale, Jacob Ezekiel intervened and she was given the job of seamstress in the Ezekiel home. The family later rented a house for her, and she made a living as a washerwoman and seamstress. She died circa 1866. Her surname does not appear in Ezekiel's memoirs.\u003c/p\u003e","\u003cp\u003eThis memorial publication was sent from Moses J. Ezekiel to VMI Superintendent Scott Shipp. The publication is annotated by Shipp.\u003c/p\u003e","\u003cp\u003ePhotograph of Robert E. Lee and of Lee's Farewell Address. This photograph was given to Moses J. Ezekiel by Mrs. Robert E. Lee.\u003c/p\u003e","\u003cp\u003eEzekiel family scrapbook possibly compiled by H. C. Ezekiel. The scrapbook contains documents, most pertaining to various members of the Ezekiel family. Many documents are from the Civil War era, 1863-1865.\u003c/p\u003e","\u003cp\u003eTypescript titled \"Memoirs from the Baths of Diocletian.\"\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The Moses J. Ezekiel papers consist of the papers of noted 19th century sculptor Moses J. Ezekiel, including:\n Correspondence to VMI superintendent Edward W. Nichols and others (dated 1867-1917), some relating to the design of the Battle of New Market memorial sculpture Virginia Mourning Her Dead Pen and ink sketches by Ezekiel (approximately 67 items) A typescript version of Ezekiel's autobiography Memoirs from the Baths of Diocletian Print material","Includes letters to General Edward W. Nichols and Greenlee Letcher concerning Virginia Mourning Her Dead (New Market Monument) and the Stonewall Jackson statue at VMI. Also includes postcards sent primarily to family members, including Henry C. Ezekiel and Rebecca Ezekiel.","Autobiographical letter from Moses J. Ezekiel to VMI historian Joseph R. Anderson, Jr. In the letter, Ezekiel recounts his experience as a VMI cadet at the Battle of New Market on May 15, 1864 and his post-VMI career through July 1904. He discusses caring for his classmate Thomas G. Jefferson, who was mortally wounded in the Battle and expresses regret for missing VMI reunion at which New Market Medals were issued to veterans.","Drawing of the bronze statue of Anthony J. Drexel, the Philadelphia financier and the founder of Drexel University. The monument was commissioned by Drexel's partner, John H. Harjes of Paris, France and donated to the city of Philadelphia, Pennsylvania.","Drawing of Anton Alexander von Werner (1843-1915), a German historical painter known for painting scenes from the Franco Prussian War.","Drawing of Benjamin B. Hotchkiss (1826-1885), a leading American gunmaker and ordnance engineer. Moses J. Ezekiel molded a bust of Hotchkiss in clay and cast it in bronze in 1879.","A drawing of Bacchante, a classical figure from Greek and  Roman mythology that is priestess or female votary of Bacchus.","A drawing of Jesus Christ, based on the bronze torso.","Detail from marble sculpture, 1896, located in the Chapelle de Notre Dame de Consolation, Paris.","Drawing of the marble sculpture, 1896, located in the Chapelle de Notre Dame de Consolation, Paris.","Drawing of the Confederate Memorial monument in Arlington National Cemetery, Virginia.","Drawing shows the frieze that comprises part of the Confederate Memorial monument in Arlington National Cemetery, Virginia.","Drawing of the main figure of the Confederate Memorial monument in Arlington National Cemetery, Virginia.","Drawing of Eva Cattermole (1849-1896), known as \"Contessa Lara\" who was an Italian poet, writer, and friend of Moses J. Ezekiel.","A drawing of Daniel Collin, a German publisher whom Moses J. Ezekiel became friends with in Berlin, Germany.","A sketch of a clay model of proposed David G. Farragut monument. Moses J. Ezekiel created a model to enter in a competition in 1873, but his work was not chosen.","Drawing of Edith Lack, from Plymouth, England. She was the youngest daughter of a family that Moses J. Ezekiel met while traveling to Rome, Italy in 1874.","Drawing of Fanny Lewald, a German novelist and champion of women's rights.","Drawing of Fedor Encke, one of Moses J. Ezekiel's classmates at the Berlin Academy.","Drawing of Francis H. Smith who was VMI superintendent from 1839 to 1889. Moses J. Ezekiel knew him during his own cadetship.","Drawing of George Washington Custis Lee. Lee taught at VMI immediately after the Civil War and after the death in 1870 of his father, Robert E. Lee, who was President of Washington and Lee University, Lexington, Virginia.","A drawing of Gustav Adolf, Cardinal Prince of Hohenlohe-Schillingsfürst (1823-1896).","Drawing of guests inside Moses J. Ezekiel's studio.","Drawing of Israel, a bas relief, which was Moses J. Ezekiel's first significant work.","This drawing is of the bust of Jacob Ezekiel, Moses J. Ezekiel's father.","Jennie McGraw Fiske was a member of a prominent family who provided significant philanthropic support to Cornell University, New York. In 1904 the University commissioned Moses J. Ezekiel to produce this recumbent statue and it was completed in June 1907.","Drawing of John H. Harjes, a German born financier. Moses J. Ezekiel, a friend of the family, cast this bronze bust in 1881.","Drawing of Judas Maccabees, a Jewish military leader who was victorious in 165 B.C.","The Robert Gamble Cabell family of Richmond, Virginia were childhood friends of Moses J. Ezekiel. Two Cabell brothers attended VMI and both fought in the Battle of New Market with Ezekiel. William Cabell was one of the cadets killed in the battle.","Drawing of Lola Montez, a British born dancer and mistress of King Ludwig I of Bavaria. She settled in New York and appeared on stage in the United States. Moses J. Ezekiel saw a performance in Richmond, Virginia sometime before 1861.","Drawing of Nadine Helbig, a Russian born author who married Wofgang Helbig.","Drawing of Mammy Keziah, an Ezekiel family slave.","Drawing of Mammy Keziah, an Ezekiel family slave.","Drawing of Mammy Mary, a slave owned by the Ezekiel family during Moses J. Ezekiel's childhood. He refers to her in his memoirs as \"my mammy Mary.\"","Drawing of Mary Custis Lee (1806-1873) who was the great granddaughter of Martha Washington and the wife of Robert E. Lee.","Drawing of Mary Custis Lee (1806-1873) who was the great granddaughter of Martha Washington and the wife of Robert E. Lee.","Drawing of a crypt monument at Sage Chapel, Cornell University, New York.","Drawing of Mary Triplett of Richmond, Virginia. She was one of the \"belles\" of the city, along with Lizzy Cabell. She was the sister of Moses J. Ezekiel's fellow VMI cadet, John R. Triplett.","A drawing of a member of a German family with whom Moses J. Ezekiel was acquainted.","Drawing of Adolfo de Bosis and his wife. He was an Italian poet and lawyer who translated Shelley into Italian and edited the Review Il Convito.","Drawing of the wife of German publisher Daniel Collin.","Drawing of Nannie Whitmell Tunstall, the sister of John L. Tunstall, who attended VMI with Moses J. Ezekiel. In 1886, Ezekiel created a 16 by 21 inch marble intaglio bas-relief of Tunstall, made during her visit to Rome, Italy. The piece is owned by VMI.","Drawing of the Neptune statue Moses J. Ezekiel created for a fountain in Nettuno, Italy. The statue was destroyed during World War II.","Drawing of Otto von Bismarck, a Prussian statesman.","Drawing is likely of a slave in the Ezekiel household in Richmond, Virginia.  No further information is known at this time.","Drawing of Pan and Amor bas relief.","Drawing of Moses J. Ezekiel's proposed Robert E. Lee monument for a competition in 1886. Another sculptor's work was chosen and Ezekiel's concept was never executed.","Drawing of Robert Hausmann, a German cellist.","Drawing of Scott Shipp, VMI Class of 1859, who served as commandant and later as VMI's second superintendent. He was commandant during Moses J. Ezekiel's cadetship and was in command at the Battle of New Market.","Drawing of the Southern monument, which was one of the first monuments in the north dedicated to the Confederate soldier. It was commissioned by the Cincinnati, Ohio chapter of the United Daughters of the Confederacy.","This drawing is based on the photo of Stonewall Jackson known as the Chancellorsville photograph.","A drawing of the entrance to Moses J. Ezekiel's studio, Baths of Diocletian, Rome.","Drawing of cadet Thomas G. Jefferson who was mortally wounded at the Battle of New Market on May 15, 1864.","Drawing of \"White Lucy,\" who was a slave in Richmond, Virginia during Moses J. Ezekiel's childhood. When her owner threatened sale, Jacob Ezekiel intervened and she was given the job of seamstress in the Ezekiel home. The family later rented a house for her, and she made a living as a washerwoman and seamstress. She died circa 1866. Her surname does not appear in Ezekiel's memoirs.","This memorial publication was sent from Moses J. Ezekiel to VMI Superintendent Scott Shipp. The publication is annotated by Shipp.","Photograph of Robert E. Lee and of Lee's Farewell Address. This photograph was given to Moses J. Ezekiel by Mrs. Robert E. Lee.","Ezekiel family scrapbook possibly compiled by H. C. Ezekiel. The scrapbook contains documents, most pertaining to various members of the Ezekiel family. Many documents are from the Civil War era, 1863-1865.","Typescript titled \"Memoirs from the Baths of Diocletian.\""],"userestrict_html_tesm":["\u003cp\u003eManuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Manuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_94afa6f1fee03d75868e399d1499d701\"\u003eManuscripts stacks\u003c/physloc\u003e"],"physloc_tesim":["Manuscripts stacks"],"names_ssim":["Virginia Military Institute Archives","Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927","Jefferson, Thomas G. (Thomas Garland), 1847-1864","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Drexel, Anthony Joseph, 1826-1893","Werner, Anton von, 1843-1915","Hotchkiss, Benjamin B., 1826-1885","Christ, Jesus, circa 6-4 B.C.E.-circa 30 C.E.","Lara, Contessa, 1849-1896","Lewald, Fanny, 1811-1889","Encke, Fedor, 1851-1936","Smith, Francis H. (Francis Henney), 1812-1890","Lee, George Washington Custis, 1832-1913","Ezekiel, Jacob, 1812-1899","Montez, Lola, 1818-1861","Helbig, Nadine, 1847-1915","Lee, Mary Custis, 1835-1918","White, Mary Outwater, 1836-1887","de Bosis, Adolfo, 1863-1924","Tunstall, Nannie Whitmell","Bismarck, Otto von, 1815-1898","Lee, Robert E. (Robert Edward), 1807-1870","Hausmann, Robert, 1852-1909","Shipp, Scott, 1839-1917","Jackson, Stonewall, 1824-1863"],"corpname_ssim":["Virginia Military Institute Archives"],"persname_ssim":["Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927","Jefferson, Thomas G. (Thomas Garland), 1847-1864","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Drexel, Anthony Joseph, 1826-1893","Werner, Anton von, 1843-1915","Hotchkiss, Benjamin B., 1826-1885","Christ, Jesus, circa 6-4 B.C.E.-circa 30 C.E.","Lara, Contessa, 1849-1896","Lewald, Fanny, 1811-1889","Encke, Fedor, 1851-1936","Smith, Francis H. (Francis Henney), 1812-1890","Lee, George Washington Custis, 1832-1913","Ezekiel, Jacob, 1812-1899","Montez, Lola, 1818-1861","Helbig, Nadine, 1847-1915","Lee, Mary Custis, 1835-1918","White, Mary Outwater, 1836-1887","de Bosis, Adolfo, 1863-1924","Tunstall, Nannie Whitmell","Bismarck, Otto von, 1815-1898","Lee, Robert E. (Robert Edward), 1807-1870","Hausmann, Robert, 1852-1909","Shipp, Scott, 1839-1917","Jackson, Stonewall, 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